The Carmen Seculare was written at the express desire of Augustus, for the celebration of the Secular Games, performed once in a hundred years, and which continued during three days and three nights, whilst all Rome resounded with the mingled effusions of choral addresses to gods and goddesses, and of festive joy. An occasion which so much interested the ambition of the poet, called into exertion the most vigorous efforts of his genius. More concise in mythological attributes than the hymns ascribed to Homer, this beautiful production, in variety and grandeur of invocation, and in pomp of numbers, surpasses all that Greece, (176) melodious but simple in the service of the altar, ever poured forth from her vocal groves in solemn adoration. By the force of native genius, the ancients elevated their heroes to a pitch of sublimity that excites admiration, but to soar beyond which they could derive no aid from mythology; and it was reserved for a bard, inspired with nobler sentiments than the Muses could supply, to sing the praises of that Being whose ineffable perfections transcend all human imagination. Of the praises of gods and heroes, there is not now extant a more beautiful composition, than the 12th Ode of the first book of Horace: Quem virum aut heroa lyra vel acri Tibia sumes celebrare, Clio? Quem Deum? cujus recinet jocosa Nomen imago, Aut in umbrosis Heliconis oris, etc. What man, what hero, on the tuneful lyre, Or sharp-toned flute, will Clio choose to raise, Deathless, to fame? What God? whose hallowed name The sportive image of the voice Shall in the shades of Helicon repeat, etc. The Satires of Horace are far from being remarkable for poetical harmony, as he himself acknowledges. Indeed, according to the plan upon which several of them are written, it could scarcely be otherwise. They are frequently colloquial, sometimes interrogatory, the transitions quick, and the apostrophes abrupt. It was not his object in those compositions, to soothe the ear with the melody of polished numbers, but to rally the frailties of the heart, to convince the understanding by argument, and thence to put to shame both the vices and follies of mankind. Satire is a species of composition, of which the Greeks furnished no model; and the preceding Roman writers of this class, though they had much improved it from its original rudeness and licentiousness, had still not brought it to that degree of perfection which might answer the purpose of moral reform in a polished state of society. It received the most essential improvement from Horace, who has dexterously combined wit and argument, raillery and sarcasm, on the side of morality and virtue, of happiness and truth.