Chapter 9

Of his numerous biographical works, twenty-two lives only remain, which are all of Greeks, except two Carthaginians, Hamilcar and Hannibal; and two Romans, M. Porcius Cato and T. Pomponius Atticus. Of his own life,--of him who had written the lives of so many, no account is transmitted; but from the multiplicity of his productions, we may conclude that it was devoted to literature.

TITUS LIVIUS may be ranked among the most celebrated historians the world has ever produced. He composed a history of Rome from the foundation of the city, to the conclusion of the German war conducted by Drusus in the time of the emperor Augustus. This great work consisted, originally, of one hundred and forty books; of which there now remain only thirty-five, viz., the first decade, and the whole from book twenty-one to book forty-five, both inclusive. Of the other hundred and five books, nothing more has survived the ravages of time and barbarians than their general contents. In a perspicuous arrangement of his subject, in a full and circumstantial account of transactions, in the delineation of characters and other objects of description, to justness and aptitude of sentiment, and in an air of majesty (162) pervading the whole composition, this author may be regarded as one of the best models extant of historical narrative. His style is splendid without meretricious ornament, and copious without being redundant; a fluency to which Quintilian gives the expressive appellation of "lactea ubertas." Amongst the beauties which we admire in his writings, besides the animated speeches frequently interspersed, are those concise and peculiarly applicable eulogiums, with which he characterises every eminent person mentioned, at the close of their life. Of his industry in collating, and his judgment in deciding upon the preference due to, dissentient authorities, in matters of testimony, the work affords numberless proofs. Of the freedom and impartiality with which he treated even of the recent periods of history, there cannot be more convincing evidence, than that he was rallied by Augustus as a favourer of Pompey; and that, under the same emperor, he not only bestowed upon Cicero the tribute of warm approbation, but dared to ascribe, in an age when their names were obnoxious, even to Brutus and Cassius the virtues of consistency and patriotism. If in any thing the conduct of Livy violates our sentiments of historical dignity, it is the apparent complacency and reverence with which he every where mentions the popular belief in omens and prodigies; but this was the general superstition of the times; and totally to renounce the prejudices of superstitious education, is the last heroic sacrifice to philosophical scepticism. In general, however, the credulity of Livy appears to be rather affected than real; and his account of the exit of Romulus, in the following passage, may be adduced as an instance in confirmation of this remark.

"His immortalibus editis operibus, quum ad exercitum recensendum concionem in campo ad Caprae paludem haberet, subita coorta tempestate cum magno fragore tonitribusque tam denso regem operuit nimbo, ut conspectum ejus concioni abstulerit; nec deinde in terris Romulus fuit. Romana pubes, sedato tandem pavore, postquam ex tam turbido die serena, et tranquilla lux rediit, ubi vacuam sedem regiam vidit; etsi satis credebat Patribus, qui proximi steterant, sublimem raptum procella; tamen veluti orbitatis metu icta, maestum aliquamdiu silentium obtinuit. Deinde a paucis initio facto, Deum, Deo natum, regem parentemque urbis Romanae, salvere universi Romulum jubent; pacem precibus exposcunt, uti volens propitius suam semper sospitet progeniem. Fuisse credo tum quoque aliquos, qui discerptum regem Patrum manibus taciti arguerent; manavit enim haec quoque, et perobscura, fama. Illam alteram admiratio viri, et pavor praesens nobilitavit. Consilio etiam unius hominis addita rei dicitur fides; namque Proculus Julius sollicita civitate desiderio (163) regis, et infensa Patribus, gravis, ut traditur, quamvis magnae rei auctor, in concionem prodit. 'Romulus, inquit, Quirites, parens urbis hujus, prima hodierna luce coelo repente delapsus, se mihi obvium dedit; quam profusus horrore venerabundusque astitissem, petens precibus, ut contra intueri fas esset; Abi, nuncia, inquit, Romanis, Coelestes ita velle, ut mea Roma caput orbis terrarum sit; proinde rem militarem colant; sciantque, et ita posteris tradant, nullas opes humanas armis Romanis resistere posse.' Haec, inquit, locutus, sublimis abiit. Mirum, quantum illi viro nuncianti haec fidei fuerit; quamque desiderium Romuli apud plebem exercitumque, facta fide immortalitatis, lenitum sit." [271]

Scarcely any incident in ancient history savours more of the (164) marvellous than the account above delivered respecting the first Roman king; and amidst all the solemnity with which it is related, we may perceive that the historian was not the dupe of credulity. There is more implied than the author thought proper to avow, in the sentence, Fuisse credo, etc. In whatever light this anecdote be viewed, it is involved in perplexity. That Romulus affected a despotic power, is not only highly probable, from his aspiring disposition, but seems to be confirmed by his recent appointment of the Celeres, as a guard to his person. He might, therefore, naturally incur the odium of the patricians, whose importance was diminished, and their institution rendered abortive, by the increase of his power. But that they should choose the opportunity of a military review, for the purpose of removing the tyrant by a violent death, seems not very consistent with the dictates even of common prudence; and it is the more incredible, as the circumstance which favoured the execution of the plot is represented to have been entirely a fortuitous occurrence. The tempest which is said to have happened, is not easily reconcilable with our knowledge of that phenomenon. Such a cloud, or mist, as could have enveloped Romulus from the eyes of the assembly, is not a natural concomitant of a thunder-storm. There is some reason to suspect that both the noise and cloud, if they actually existed, were artificial; the former intended to divert the attention of the spectators, and the latter to conceal the transaction. The word fragor, a noise or crash, appears to be an unnecessary addition where thunder is expressed, though sometimes so used by the poets, and may therefore, perhaps, imply such a noise from some other cause. If Romulus was killed by any pointed or sharp-edged weapon, his blood might have been discovered on the spot; or, if by other means, still the body was equally an object for public observation. If the people suspected the patricians to be guilty of murder, why did they not endeavour to trace the fact by this evidence? And if the patricians were really innocent, why did they not urge the examination? But the body, without doubt, was secreted, to favour the imposture. The whole narrative is strongly marked with circumstances calculated to affect credulity with ideas of national importance; and, to countenance the design, there is evidently a chasm in the Roman history immediately preceding this transaction and intimately connected with it.

Livy was born at Patavium [272], and has been charged by Asinius Pollio and others with the provincial dialect of his country. The objections to his Pativinity, as it is called, relate chiefly to the (165) spelling of some words; in which, however, there seems to be nothing so peculiar, as either to occasion any obscurity or merit reprehension.

Livy and Sallust being the only two existing rivals in Roman history, it may not be improper to draw a short comparison between them, in respect of their principal qualities, as writers. With regard to language, there is less apparent affectation in Livy than in Sallust. The narrative of both is distinguished by an elevation of style: the elevation of Sallust seems to be often supported by the dignity of assumed virtue; that of Livy by a majestic air of historical, and sometimes national, importance. In delineating characters, Sallust infuses more expression, and Livy more fulness, into the features. In the speeches ascribed to particular persons, these writers are equally elegant and animated.

So great was the fame of Livy in his own life-time, that people came from the extremity of Spain and Gaul, for the purpose only of beholding so celebrated a historian, who was regarded, for his abilities, as a prodigy. This affords a strong proof, not only of the literary taste which then prevailed over the most extensive of the Roman provinces, but of the extraordinary pains with which so great a work must have been propagated, when the art of printing was unknown. In the fifteenth century, on the revival of learning in Europe, the name of this great writer recovered its ancient veneration; and Alphonso of Arragon, with a superstition characteristic of that age, requested of the people of Padua, where Livy was born, and is said to have been buried, to be favoured by them with the hand which had written so admirable a work.--

The celebrity of VIRGIL has proved the means of ascertaining his birth with more exactness than is common in the biographical memoirs of ancient writers. He was born at Andes, a village in the neighbourhood of Mantua, on the 15th of October, seventy years before the Christian aera. His parents were of moderate condition; but by their industry acquired some territorial possessions, which descended to their son. The first seven years of his life was spent at Cremona, whence he went to Mediolanum, now Milan, at that time the seat of the liberal arts, denominated, as we learn from Pliny the younger, Novae Athenae. From this place he afterwards moved to Naples, where he applied himself with great assiduity to Greek and Roman literature, particularly to the physical and mathematical sciences; for which he expressed a strong predilection in the second book of his Georgics.

Me vero primum dulces ante omnia Musae, Quarum sacra fero ingenti perculsus amore, (166) Accipiant; coelique vias et sidera monstrent; Defectus Solis varios, Lunaeque labores: Unde tremor terris: qua vi maria alta tumescant Obicibus ruptis, rursusque in seipsa residant: Quid tantum Oceano properent se tingere soles Hiberni: vel quae tardis mora noctibus obstet. Geor. ii. 1. 591, etc.

But most beloved, ye Muses, at whose fane, Led by pure zeal, I consecrate my strain, Me first accept! And to my search unfold, Heaven and her host in beauteous order rolled, The eclipse that dims the golden orb of day, And changeful labour of the lunar ray; Whence rocks the earth, by what vast force the main Now bursts its barriers, now subsides again; Why wintry suns in ocean swiftly fade, Or what delays night's slow-descending shade. Sotheby.

When, by a proscription of the Triumvirate, the lands of Cremona and Mantua were distributed amongst the veteran soldiers, Virgil had the good fortune to recover his possessions, through the favour of Asinius Pollio, the deputy of Augustus in those parts; to whom, as well as to the emperor, he has testified his gratitude in beautiful eclogues.

The first production of Virgil was his Bucolics, consisting of ten eclogues, written in imitation of the Idyllia or pastoral poems of Theocritus. It may be questioned whether any language which has its provincial dialects, but is brought to perfection, can ever be well adapted, in that state, to the use of pastoral poetry. There is such an apparent incongruity between the simple ideas of the rural swain and the polished language of the courtier, that it seems impossible to reconcile them together by the utmost art of composition. The Doric dialect of Theocritus, therefore, abstractedly from all consideration of simplicity of sentiment, must ever give to the Sicilian bard a pre-eminence in this species of poetry. The greater part of the Bucolics of Virgil may be regarded as poems of a peculiar nature, into which the author has happily transfused, in elegant versification, the native manners and ideas, without any mixture of the rusticity of pastoral life. With respect to the fourth eclogue, addressed to Pollio, it is avowedly of a nature superior to that of pastoral subjects:

Sicelides Musae, paullo majora canamus. Sicilian Muse, be ours a loftier strain.

Virgil engaged in bucolic poetry at the request of Asinius Pollio, whom he highly esteemed, and for one of whose sons in particular, (167) with Cornelius Gallus, a poet likewise, he entertained the warmest affection. He has celebrated them all in these poems, which were begun, we are told, in the twenty-ninth year of his age, and completed in three years. They were held in so great esteem amongst the Romans, immediately after their publication, that it is said they were frequently recited upon the stage for the entertainment of the audience. Cicero, upon hearing some lines of them, perceived that they were written in no common strain of poetry, and desired that the whole eclogue might be recited: which being done, he exclaimed, "Magnae spes altera Romae." Another hope of mighty Rome! [273]

Virgil's next work was the Georgics, the idea of which is taken from the Erga kai Hmerai, the Works and Days of Hesiod, the poet of Ascra. But between the productions of the two poets, there is no other similarity than that of their common subject. The precepts of Hesiod, in respect of agriculture, are delivered with all the simplicity of an unlettered cultivator of the fields, intermixed with plain moral reflections, natural and apposite; while those of Virgil, equally precise and important, are embellished with all the dignity of sublime versification. The work is addressed to Mecaenas, at whose request it appears to have been undertaken. It is divided into four books. The first treats of ploughing; the second, of planting; the third, of cattle, horses, sheep, goats, dogs, and of things which are hurtful to cattle; the fourth is employed on bees, their proper habitations, food, polity, the diseases to which they are liable, and the remedies of them, with the method of making honey, and a variety of other considerations connected with the subject. The Georgics (168) were written at Naples, and employed the author during a period of seven years. It is said that Virgil had concluded the Georgics with a laboured eulogium on his poetical friend Gallus; but the latter incurring about this time the displeasure of Augustus, he was induced to cancel it, and substitute the charming episode of Astaeus and Eurydice.

These beautiful poems, considered merely as didactic, have the justest claim to utility. In what relates to agriculture in particular, the precepts were judiciously adapted to the climate of Italy, and must have conveyed much valuable information to those who were desirous of cultivating that important art, which was held in great honour amongst the Romans. The same remark may be made, with greater latitude of application, in respect of the other subjects. But when we examine the Georgics as poetical compositions, when we attend to the elevated style in which they are written, the beauty of the similes, the emphatic sentiments interspersed, the elegance of diction, the animated strain of the whole, and the harmony of the versification, our admiration is excited, at beholding subjects, so common in their nature, embellished with the most magnificent decorations of poetry.

During four days which Augustus passed at Atella, to refresh himself from fatigue, in his return to Rome, after the battle of Actium, the Georgics, just then finished, were read to him by the author, who was occasionally relieved in the task by his friend Mecaenas. We may easily conceive the satisfaction enjoyed by the emperor, at finding that while he himself had been gathering laurels in the achievements of war, another glorious wreath was prepared by the Muses to adorn his temples; and that an intimation was given of his being afterwards celebrated in a work more congenial to the subject of heroic renown.

It is generally supposed that the Aeneid was written at the particular desire of Augustus, who was ambitious of having the Julian family represented as lineal descendants of the Trojan Aeneas. In this celebrated poem, Virgil has happily united the characteristics of the Iliad and Odyssey, and blended them so judiciously together, that they mutually contribute to the general effect of the whole. By the esteem and sympathy excited for the filial piety and misfortunes of Aeneas at the catastrophe of Troy, the reader is strongly interested in his subsequent adventures; and every obstacle to the establishment of the Trojans in the promised land of Hesperia produces fresh sensations of increased admiration and attachment. The episodes, characters, and incidents, all concur to give beauty or grandeur to the poem. The picture of Troy in flames can never be sufficiently (169) admired! The incomparable portrait of Priam, in Homer, is admirably accommodated to a different situation, in the character of Anchises, in the Aeneid. The prophetic rage of the Cumaean Sibyl displays in the strongest colours the enthusiasm of the poet. For sentiment, passion, and interesting description, the episode of Dido is a master-piece in poetry. But Virgil is not more conspicuous for strength of description than propriety of sentiment; and wherever he takes a hint from the Grecian bard, he prosecutes the idea with a judgment peculiar to himself. It may be sufficient to mention one instance. In the sixth book of the Iliad, while the Greeks are making great slaughter amongst the Trojans, Hector, by the advice of Helenus, retires into the city, to desire that his mother would offer up prayers to the goddess Pallas, and vow to her a noble sacrifice, if she would drive Diomede from the walls of Troy. Immediately before his return to the field of battle, he has his last interview with Andromache, whom he meets with his infant son Astyanax, carried by a nurse. There occurs, upon this occasion, one of the most beautiful scenes in the Iliad, where Hector dandles the boy in his arms, and pours forth a prayer, that he may one day be superior in fame to his father. In the same manner, Aeneas, having armed himself for the decisive combat with Turnus, addresses his son Ascanius in a beautiful speech, which, while expressive of the strongest paternal affection, contains, instead of a prayer, a noble and emphatic admonition, suitable to a youth who had nearly attained the period of adult age. It is as follows:

Disce, puer, virtutem ex me, verumque laborem; Fortunam ex aliis; nunc te mea dextera bello Defensum dabit, et magna inter praemia ducet. Tu facito, mox cum matura adoleverit aetas, Sis memor: et te animo repetentem exempla tuorum, Et pater Aeneas, et avunculus excitet Hector.--Aeneid, xii.

My son! from my example learn the war In camps to suffer, and in feuds to dare, But happier chance than mine attend thy care! This day my hand thy tender age shall shield, And crown with honours of the conquered field: Thou when thy riper years shall send thee forth To toils of war, be mindful of my worth; Assert thy birthright, and in arms be known, For Hector's nephew and Aeneas' son.

Virgil, though born to shine by his own intrinsic powers, certainly owed much of his excellence to the wonderful merits of Homer. His susceptible imagination, vivid and correct, was (170) impregnated by the Odyssey, and warmed with the fire of the Iliad. Rivalling, or rather on some occasions surpassing his glorious predecessor in the characters of heroes and of gods, he sustains their dignity with so uniform a lustre, that they seem indeed more than mortal.

Whether the Iliad or the Aeneid be the more perfect composition, is a question which has often been agitated, but perhaps will never be determined to general satisfaction. In comparing the genius of the two poets, however, allowance ought to be made for the difference of circumstances under which they composed their respective works. Homer wrote in an age when mankind had not as yet made any great progress in the exertion of either intellect or imagination, and he was therefore indebted for big resources to the vast capacity of his own mind. To this we must add, that he composed both his poems in a situation of life extremely unfavourable to the cultivation of poetry. Virgil, on the contrary, lived at a period when literature had attained to a high state of improvement. He had likewise not only the advantage of finding a model in the works of Homer, but of perusing the laws of epic poetry, which had been digested by Aristotle, and the various observations made on the writings of the Greek bard by critics of acuteness and taste; amongst the chief of whom was his friend Horace, who remarks that

quandoque bonus dormitat Homerus.--De Arte Poet.

E'en sometimes the good Homer naps.

Virgil, besides, composed his poem in a state remote from indigence, where he was roused to exertion by the example of several contemporary poets; and what must have animated him beyond every other consideration, he wrote both at the desire, and under the patronage of the emperor and his minister Mecaenas. In what time Homer composed either of his poems, we know not; but the Aeneid, we are informed, was the employment of Virgil during eleven years. For some years, the repeated entreaties of Augustus could not extort from him the smallest specimen of the work; but at length, when considerably advanced in it, he condescended to recite three books--the second, the fourth, and the sixth--in the presence of the emperor and his sister Octavia, to gratify the latter of whom, in particular, the recital of the last book now mentioned, was intended. When the poet came to the words, Tu Marcellus eris, alluding to Octavia's son, a youth of great hopes, who had lately died, the mother fainted. After she had recovered from this fit, by the care of her attendants, she ordered ten sesterces to be given to Virgil for every line relating (171) to that subject; a gratuity which amounted to about two thousand pounds sterling.

In the composition of the Aeneid, Virgil scrupled not to introduce whole lines of Homer, and of the Latin poet Ennius; many of whose sentences he admired. In a few instances he has borrowed from Lucretius. He is said to have been at extraordinary pains in polishing his numbers; and when he was doubtful of any passage, he would read it to some of his friends, that he might have their opinion. On such occasions, it was usual with him to consult in particular his freedman and librarian Erotes, an old domestic, who, it is related, supplied extempore a deficiency in two lines, and was desired by his master to write them in the manuscript.

When this immortal work was completed, Virgil resolved on retiring into Greece and Asia for three years, that he might devote himself entirely to polishing it, and have leisure afterwards to pass the remainder of his life in the cultivation of philosophy. But meeting at Athens with Augustus, who was on his return from the East, he determined on accompanying the emperor back to Rome. Upon a visit to Megara, a town in the neighbourhood of Athens, he was seized with a languor, which increased during the ensuing voyage; and he expired a few days after landing at Brundisium, on the 22nd of September, in the fifty-second year of his age. He desired that his body might be carried to Naples, where he had passed many happy years; and that the following distich, written in his last sickness, should be inscribed upon his tomb: