and the faith in her destiny that he had imbibed in his youth. The time
came when Octavian, after Actium, reunited the Empire with a firm hand
and justified the buoyant optimism which Vergil, almost alone of his
generation, had been able to preserve.

During these few years Vergil seems to have written but little. We have,
however, a strange poem of thirty-eight lines, the _Copa_, which, to
judge from its exclusion from the _Catalepton_, should perhaps be
assigned to this period. A study in tempered realism, not unlike the
eighth _Eclogue_, it gives us the song of a Syrian tavern-maid inviting
wayfarers into her inn from the hot and dusty road. The spirit is
admirably reproduced in Kirby Smith's rollicking translation:[3]

[Footnote 3: See Kirby Flower Smith, _Marital, the Epigrammatist and,
Other Essays_, Johns Hopkins Press, 1920, p. 170. The attribution of the
poem to Vergil by the ancients as well as by the manuscripts, and the
style of its fanciful realism so patent in much of Vergil's work place
the poem in the authentic list. Rand, _Young Virgil's Poetry_, Harvard
Studies, 1919, p. 174, has well summed up the arguments regarding the
authorship of the poem.]

'Twas at a smoke-stained tavern, and she, the hostess there--
A wine-flushed Syrian damsel, a turban on her hair--
Beat out a husky tempo from reeds in either hand,
And danced--the dainty wanton--an Ionian saraband.
"'Tis hot," she sang, "and dusty; nay, travelers, whither bound?
Bide here and tip a beaker--till all the world goes round;
Bide here and have for asking wine-pitchers, music, flowers,
Green pergolas, fair gardens, cool coverts, leafy bowers.
In our Arcadian grotto we have someone to play