Of the contemporary poets and critics whose works are extant, much the most important witness of the impression produced by Virgil on those with whom he lived is the poet Horace. And he is an admirable witness, from the clearness of his judgment, the calmness of his temperament, and the intimate terms of friendship on which he lived with the older poet. Unlike Virgil, who from reasons of health, or natural inclination, or devotion to his art had chosen
Secretum iter et fallentis semita vitae(143),
and cherished few, but close, intimacies, Horace lived in the world, enjoyed all that was illustrious, brilliant or genial, in the society of his time, and while still constant to the attachments of his earlier years, continued through all his life to form new friendships with younger men who gave promise of distinction. His Odes and Epistles are addressed to a great variety of men, to those of highest social or political position, such as Agrippa, Pollio, Munatius Plancus, Sallustius Crispus, Lollius, etc.; to old comrades of his youth or brother poets, such as Pompeius Grosphus, Septimius, Aristius Fuscus, Tibullus; to the men of a younger generation, such as Iulus Antonius, Julius Florus, and the younger Lollius: and to all of them he applies language of discriminating, but not of excessive appreciation. To the men of eminence in the State he uses expressions of courteous and delicate compliment, never of flattery or exaggeration. His old comrades and intimate associates he greets with hearty friendliness or genial irony: to younger men, without assuming the airs of a Mentor, he addresses words of sympathetic encouragement or paternal advice. But among all those whom he addresses there are only two--unless from one or two words implying strong attachment, we add one more to the number, Aelius Lamia--in connexion with whom he uses the language of warm and admiring affection. These are Maecenas and Virgil. Whatever may have been the date or circumstances connected with the composition of the third Ode of Book I., the simple words 'animae dimidium meae' establish the futility of the notion, that the subject of this Ode is not the poet but only the same merchant or physician whom Horace in the twelfth Ode of Book IV. invites, in his most Epicurean style, to sacrifice for a time his pursuit of wealth to the more seasonable claims of the wine of Cales.