Horace mentions _plainly_ the Numantian Wars, and those with Hannibal, but artfully speaks of those of Brutus, and Cassius, and of the Character of Antony, under _fabulous_ denomination, sufficiently understood by Augustus, and his Minister. Dacier justly observes how easy it is to discern, that by the Lapithæ, and Giants, defeated by Hercules on the plains of Thessaly, the Poet means the Armies of Brutus, and Cassius, defeated by Augustus, almost in the same place, at the Battle of Philippi. He concludes also that by Hylæus is meant Mark Antony, who assumed the name of Bacchus, and ruined himself by his profligate passion for Cleopatra. Another Commentator observes, that as the Giants, and Lapithæ, are said to have made the Palace of Saturn shake, so also did Brutus, and Cassius, and afterwards Mark Antony, make all Italy tremble, and that it is Rome itself that Horace would have to be understood by the _magnificent Palace of Saturn_. Some Critics seek to destroy all the common sense, beauty, and character of this Ode, by denying the allegoric interpretation; and also by insisting that Licinia was the Poet's _own_ Mistress, and not the mistress of his Patron. It had been absurd, and inconceivably unmeaning, if, when he was requested to sing the triumphs of Augustus in the Italian Wars, he should, during the brief mention of them, have adverted to old fables, uniting them, not as a simile, but in a line of continuation with the Numantian, and Carthaginian Wars; unless, beneath those fables, he shadowed forth the _Roman_ Enemies of Augustus. The idea that Licinia was the Mistress of Horace, has surely little foundation:--for it were strange indeed if he could take pleasure in describing amorous familiarities between Mæcenas, and the Person with whom _himself_ was in love. One of these Critics alledges, as the reason why this Lady could _not_ be the destined Bride of _Mæcenas_, that it would have been as indiscreet in _him_ to have admitted Horace to be a witness of his passion for Licinia-Terentia, as it would have been impertinent in the _Poet_, to have invaded the privacies of his Patron. It is not necessary, from this Ode, to conclude that Horace had _witnessed_ the tender scene he describes. He might, without any hazard of imputed impertinence, venture to paint, from his imagination, the innocently playful endearments of betrothed Lovers. The picture was much more likely to _flatter_ than to _disgust_ the gay, and gallant Mæcenas. 2: The Roman Ladies, according to ancient custom, danced with entwined arms, around the Altar of Diana, on the day of her Festival. TO POSTHUMUS. BOOK THE SECOND, ODE THE FOURTEENTH. Alas! my Posthumus, the Years Unpausing glide away; Nor suppliant hands, nor fervent prayers, Their fleeting pace delay; Nor smooth the brow, when furrowing lines descend, Nor from the stoop of Age the faltering Frame defend.