e city that lay
behind them, and look over it to the Tiber and the scene of the nightly
sacrifices of the Tarentum; and with the deities of these rites, who
must of course be taken before those of day and light, as in the order
of the festival, the next five stanzas are occupied:[953] Eilithyia, the
Moirae (Parcae), and Tellus or Ceres. When that duty is over they turn
once more to the temple, and the Greek deities of the Tarentum are
mentioned no more. Three stanzas are devoted to Apollo and Diana (Luna),
with a happy allusion to the _Aeneid_, and then once more the choirs
turn, and this time they face the Capitol; the hymn is long, and these
changes of movement would be at once a relief to the singers and a
pleasant sight to the spectators. They address the deities of the
Capitol in appropriate language:

di probos mores docili iuventae,
di, senectuti placidae quietem,
Romulae genti date remque prolemque
et decus omne.

The allusion to Jupiter and Juno is thus veiled:

quaeque vos bobus veneratur albis
clarus Anchisae Venerisque sanguis,
impetret, bellante prior, iacentem
lenis in hostem.

Horace has cleverly made Augustus himself the leading figure in this and
the following stanza, and the listeners forget the Capitoline gods as
they note the allusion to Venus, the ancestress of the Julii, the
prestige of Augustus that has brought envoys to him from Scythia, Media,
and India, and in the next stanza the public virtues, presented here as
deities--Fides, Pax, Honos, Pudor, Virtus--on whose aid and worship the
new regime is based.[954]

At the sixteenth stanza the choirs again face about to the temple of
Apollo, and with him and Diana again the next two stanzas have to do.
Only one remains, in which as an _exodos_ we may be sure the two choirs
of boys and girls joined; it sums up the whole body of deities, but with
Apollo and Diana as the special objects of the day's worship:

haec Iovem sentire deosque cunctos
spem bonam certamque domum reporto,
doctus et Phoebi chorus et Dianae
dicere laudes.

The performance on the Palatine was now over, and the procession
streamed down the hill to join the Via Sacra near the Regia and the
Vesta temple, and so to make its way up to the Capitol, where the
performance was repeated.[955] Taking station at this noble point of
view, he who will can again follow its movement with the hymn in his
hand. The area in front of the Capitoline templ