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At some time between his return to Rome and 38 BCE, Horace became a friend of another young poet five years his senior, Virgil. In 38 BCE Virgil and the poet Varius introduced Horace to Gaius Maecenas (died 8 BC), a wealthy equestrian descended from Etruscan nobility who was patron to the new generation of talented poets such as Virgil and, later, Propertius. As Octavian’s longtime friend, Maecenas enjoyed a great deal of unofficial power in Rome, but he is best known for his prominent role in Horace’s verse. Ofellus, the focus of the second satire, stands in contrast to other characters in the book. Ofellus lost his farm—but retained his convictions—when his land was transferred to veteran soldiers. Against Ofellus’s precepts that hard work, simple food, and plain but unstinting living are best, Horace has set those of Catius ( Sat. 2.4), who zealously recounts in philosophical style a lecture he has just heard on gourmet delicacies. Balancing Catius’s amusing precepts is the story told by Fundanius, Horace’s friend and writer of comedies ( Sat. 1.10.40-42), about the dinner party given by Nasidienus, who tries to impress Maecenas with trendy food and wines ( Sat. 2.8). By the time of his introduction to Maecenas, Horace was writing in at least two genres: satires that he called both sermones (verse conversations) and saturae (satires) as well as poems that he referred to as iambi (iambics), although that collection is commonly called the Epodes. Horace may have begun the iambics as early as 42 BCE, and he may have started working on the satires at the same time or earlier. Not until several years later did he publish a full work, Satires I (ca. 35 BCE).

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Beyond praises of the old-fashioned virtues of simplicity, chastity, reverence for the gods, tempered ambition, respectable poverty, and love of Rome, Horace’s odes praise the princeps himself for bringing peace to an empire torn by war. The odes cannot be divided easily between public and private, however. Often the two spheres blend, as in Odes 3.14, where a comparison between the triumphant Augustus and Hercules, and the public joy over the safe return of the princeps, leads into the poet’s anticipation of a private celebration with Neaera.Quintus of Smyrna, Posthomerica 13.405–10, trans. A. S. Way (lines 368–73 in the original Greek). ↩

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Dr. Reddy's Venusia Max Intensive Moisturizing Cream, For Dry to Very Dry Skin, Repairs & Smoothens Skin, 150 GM Dr. Reddy's Venusia Max Intensive Moisturizing Cream, For Dry to Very Dry Skin, Repairs & Smoothens Skin, 150 GM The emperor should especially value the writers whose work is aimed at a small, select audience of readers, rather than those who seek to please the masses by writing for large public performances. Painstaking contemporary poets (such as Horace) may not have large public appeal, Horace argues, but they contribute to the lasting legacy of Roman literature.Skincare products: We believe in the power of high-quality skincare products, which is why we offer a range of trusted brands proven to deliver effective results. Our knowledgeable staff can recommend products suitable for your skin type and concerns. The first poem of a poetry book, often programmatic, sets the tone for the rest of the book and provides information on the matter and style, the dedicatee, and the place of the work in the literary tradition as well as the poet’s innovation. The discursive chatter to Maecenas in the opening poem of Satires I, which centers on discontent and greed, places Horace in the Lucilian literary tradition. Lucilius’s persona was that of a wealthy equestrian confidently publicizing his opinions. The haphazard logic of Horace’s narrator mimics the careless authority of those accustomed to voicing any and all of their opinions; his style is that of someone comfortably making judgments in the company of those who share his values and assumptions. The poem cannot be called a philosophical argument: the transitions are awkward, and the logic wanders. Solid ethical sense, however, shines through: people should be content with what they have, enjoying their resources and advantages instead of hoarding and competing with others. While the reader might agree with his antagonist that Horace’s claims are difficult to believe, the idealized representation of the lesser-status friend who is secure in his own place and free from ambitious envy has a long tradition in Roman culture. The glimpse available to outsiders makes the group more desirable and at the same time more unattainable.