The subjects of the first books are moral, those of the second critical. The _Ars Poetica_ is but a poetical epistle addressed to the Pisos, who had been bitten by the prevailing mania for tragic poetry. The usual title claims a far greater extent of subject than the poet intended. It is not a treatise on poetry, but simply an outline of the history of the Greek drama, and the principles of criticism applicable to it. It harmonizes well with the literary subjects treated of in the second book of the Epistles, and might well be included in it. It is, indeed, longer and more elaborate: a synopsis of so extensive a subject required more careful treatment; but it is impossible to form a correct estimate of the taste and judgment which it displays, unless it is considered as nothing more than an epistle. The versification of these compositions is more smooth than that of the Satires, but only in proportion to the superior neatness of the style generally. In neither does the metrical harmony rise to the height of poetry, properly speaking. Doubtless this was the poet’s deliberate intention. It cannot be supposed that he who could so successfully introduce all the beautiful Greek lyric metres, and in some cases improve the delicacy of their structure, was incapable of reproducing the rhythm of the Greek hexameter. He felt that in subjects belonging to the prosaic realities of life, and hitherto treated with the conversational facility of the iambic measure, some appearance of negligence and even roughness could alone render the stately hexameter appropriate, and therefore tolerable. But, admirable as the Satires are for their artistic and dramatic power, and the Epistles for their correct taste, lively wit, and critical elegance, it is in his inimitable Odes that the genius of Horace as a poet is especially displayed. They have never been equalled in beauty of sentiment, gracefulness of language, and melody of versification. They comprehend every variety of subject suitable to the lyric muse. They rise without effort to the most elevated topics—the grandest subjects of history, the most gorgeous legends of mythology, the noblest aspirations of patriotism: they descend to the simplest joys and sorrows of every-day life. At one time they burn with indignation, at another they pour forth accents of the tenderest emotions. They present in turn every phase of the author’s character: some remind us that he was a philosopher and a satirist; and although many are sensuous and self-indulgent, they are full of gentleness, kindness, and spirituality. Not only do they evince a complete mastery over the Greek metres, but also show that Horace was thoroughly imbued with the spirit of Greek poetry, and had profoundly studied Greek literature, especially the writings of Pindar and the lyric poets. Numerous as the instances are in which he has imitated them, and introduced by a happy adaptation their ideas, epithets, and