honeycombed with Horatian allusion and permeated by Horatian spirit, and
who, in Leopardi's opinion, had he lived in a different age, would have
been a second Horace; Testi of Ferrara, whom Ariosto's enthusiasm for
Horace so kindled that he gravitated from the modern spirit to the
classical; Parini of Milan, whose poem, _Alla Musa_, is Horatian in
spirit and phrase; Leopardi, who composed a parody on the _Ars Poetica_;
Prati, who transmuted _Epode II_ into the _Song of Hygieia_; and
Carducci, whose use of Horatian meters, somewhat strained, is due to the
conscious desire of making Italy's past greatness serve the present. The
names of Bernardo Tasso and Torquato Tasso might be added.

It is not impossible, also, that the musical debt of the world to Italy
is in a measure owing to Horace. Whether the music which accompanied the
_Odes_ as they emerged from the Middle Age was only the invention of
monks, or the survival of actual Horatian music from antiquity, is a
question hardly to be answered; but the setting of Horace to music in
the Renaissance was not without an influence. In 1507, Tritonius
composed four-voice parts for twenty-two different meters of Horace and
other poets. In 1526, Michael engaged in the same effort, and in 1534
Senfl developed the youthful compositions of Tritonius. All this was for
school purposes. With the beginnings of Italian opera, these
compositions, in which the music was without measure and held strictly
to the service of poetry, came to an end. It is not unreasonable to
suspect that in these early attempts at the union of ancient verse and
music there exist the beginnings of the musical drama.


_ii_. IN FRANCE

France, where the great majority of Horatian manuscripts were preserved,