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Gall. Exc. Sc. 12. Ambitio. Primarily the solicitation of office by the candidate; then the parade and display that attended it; then parade in general, especially in a bad sense. Certis, i.e. rite statutis. Guen. Cumulant. Structura est poetica, cf. Virg. Aen. 11, 50: cumulatque altaria donis. Equus adjicitur.
As a college man yourself, my dear sir, you will probably forgive the lucubrations of an old graduate of William and Mary's, who has forgotten his 'ars poetica. The verses you have possibly glanced at are crude, I am aware, and perhaps show the difficulty of expressing at once the dictates of the heart and the brain. They refer to a dear friend now at peace.
There was half a Horace, the two first books of the Odes at the beginning and the De Arte Poetica at the end having disappeared. There was a little bit of a volume of Cicero, and there were Caesar's Commentaries, in two volumes, so stoutly bound that they had defied the combined ill-usage of time and the Crawley family.
In 1598, when the disturbances in Ireland occupied a considerable share of her attention, she translated Sallust's "De bello Jugurthino," also the greater part of Horace's "De Arte Poetica," and Plutarch's book, "De Curiositate," all of which were written in her own hand. But Elizabeth no longer took an interest in public concerns; her sun was setting, overshadowed by a dark cloud.
Gray's "Elegy," it is true, is full of lines we all remember, and is a great poem, if that term can be applied to any piece of verse of that length. But what shall we say to the "Ars Poetica" of Horace? It is crowded with lines worn smooth as old sesterces by constant quotation. And yet we should rather call it a versified criticism than a poem in the full sense of that word.
"If they would only study and take to heart Horace's 'Ars Poetica," said the Professor, "it would be a great benefit to them and to the world at large. I would not advise you to follow him too literally, of course, for, as you will see, the changes that have taken place since his time would make some of his precepts useless and some dangerous, but the spirit of them is always instructive.
His Latin verses might well have been spared. In the translation of Gray's Elegy there is a more than usual crampness; occasioned, perhaps, by his having rendered into hexameters the stanzas of four lines, to which the elegiac measure of the Romans would have been better suited. The Epistola Poetica Familiaris, addressed to his friend Mr. Bamfylde, has more freedom.
Gray's "Elegy," it is true, is full of lines we all remember, and is a great poem, if that term can be applied to any piece of verse of that length. But what shall we say to the "Ars Poetica" of Horace? It is crowded with lines worn smooth as old sesterces by constant quotation. And yet we should rather call it a versified criticism than a poem in the full sense of that word.
Horace had been known long before, but not until Drant's translation of the Ars Poetica into English in 1567 is its influence seen to be definite and extensive in England. One of the earliest published evidences of this influence is George Whetstone's Dedication to Promos and Cassandra . The passage is short, but contains two very important points in the creed of classicism.
His works are difficult to be met with, but from such of his poems as we have had occasion to read, he seems to have been a witty, delicate writer, and to have had a particular talent for panegyric. Wood says, a collection of his poems was published under the title of Poetica Stromata, in 8vo. London 1647.
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