D. Octavius Caesar Augustus (Augustus) - C. Suetonius Tranquillus
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:
Mantua me genuit: Calabri rapuere: tenet nunc
Parthenope: cecini pascua, rura, duces. [274]
He was accordingly interred, by the order of Augustus, with great funeral
pomp, within two miles of Naples, near the road to Puteoli, where his
tomb still exists. Of his estate, which was very considerable by the
liberality of his friends, he left the greater part to Valerius Proculus
and his brother, a fourth to Augustus, a twelfth to Mecaenas, besides
legacies to L. Varius and Plotius Tucca, who, in consequence of his own
request, and the command of Augustus, revised and corrected the Aeneid
after his death. Their instructions from the emperor were, to expunge
whatever they thought improper, but upon no account to make any addition.
This restriction is supposed to be the cause that many lines in the
Aeneid are imperfect.
Virgil was of large stature, had a dark complexion, and his (172)
features are said to have been such as expressed no uncommon abilities.
He was subject to complaints of the stomach and throat, as well as to
head-ache, and had frequent discharges of blood upwards: but from what
part, we are not informed. He was very temperate both in food and wine.
His modesty was so great, that at Naples they commonly gave him the name
of Parthenias, "the modest man." On the subject of his modesty; the
following anecdote is related.
Having written a distich, in which he compared Augustus to Jupiter, he
placed it in the night-time over the gate of the emperor's palace. It
was in these words:
Nocte pluit tota, redeunt spectacula mane:
Divisum imperium cum Jove Caesar habet.
All night it rained, with morn the sports appear,
Caesar and Jove between them rule the year.
By order of Augustus, an inquiry was made after the author; and Virgil
not declaring himself, the verses were claimed by Bathyllus, a
contemptible poet, but who was liberally rewarded on the occasion.
Virgil, provoked at the falsehood of the impostor, again wrote the verses
on some conspicuous part of the palace, and under them the following
line:
Hos ego versiculos feci, tulit alter honorem;
I wrote the verse, another filched the praise;
with the beginning of another line in these words:
Sic vos, non vobis,
Not for yourselves, you----
repeated four times. Augustus expressing a desire that the lines should
be finished, and Bathyllus proving unequal to the task, Virgil at last
filled up the blanks in this manner:
Sic vos, non vobis, nidificatis, aves;
Sic vos, non vobis, vellera fertis, oves;
Sic vos, non vobis, mellificatis, apes;
Sic vos, non vobis, fertis aratra, boves.
Not for yourselves, ye birds, your nests ye build;
Not for yourselves, ye sheep, your fleece ye yield;
Not for yourselves, ye bees, your cells ye fill;
Not for yourselves, ye beeves, ye plough and till.
The expedient immediately evinced him to be the author of the distich,
and Bathyllus became the theme of public ridicule.
When at any time Virgil came to Rome, if the people, as was commonly the
case, crowded to gaze upon him, or pointed at him with the finger in
admiration, he blushed, and stole away (173) from them; frequently taking
refuge in some shop. When he went to the theatre, the audience
universally rose up at his entrance, as they did to Augustus, and
received him with the loudest plaudits; a compliment which, however
highly honourable, he would gladly have declined. When such was the just
respect which they paid to the author of the Bucolics and Georgics, how
would they have expressed their esteem, had they beheld him in the
effulgence of epic renown! In the beautiful episode of the Elysian
fields, in the Aeneid, where he dexterously introduced a glorious display
of their country, he had touched the most elastic springs of Roman
enthusiasm. The passion would have rebounded upon himself, and they
would, in the heat of admiration, have idolized him.
HORACE was born at Venusia, on the tenth of December, in the consulship
of L. Cotta and L. Torquatus. According to his own acknowledgment, his
father was a freedman; by some it is said that he was a collector of the
revenue, and by others, a fishmonger, or a dealer in salted meat.
Whatever he was, he paid particular attention to the education of his
son, for, after receiving instruction from the best masters in Rome, he
sent him to Athens to study philosophy. From this place, Horace followed
Brutus, in the quality of a military tribune, to the battle of Philippi,
where, by his own confession, being seized with timidity, he abandoned
the profession of a soldier, and returning to Rome, applied himself to
the cultivation of poetry. In a short time he acquired the friendship of
Virgil and Valerius, whom he mentions in his Satires, in terms of the
most tender affection.
Postera lux oritur multo gratissima: namque
Plotius et Varius Sinuessae, Virgiliusque,
Occurrunt; animae, quales neque candidiores
Terra tulit, neque queis me sit devinctior alter.
O qui complexus, et gaudia quanta fuerunt!
Nil ego contulerim jucundo sanus amico.--Sat. I. 5.
Next rising morn with double joy we greet,
For Plotius, Varius, Virgil, here we meet:
Pure spirits these; the world no purer knows,
For none my heart with more affection glows:
How oft did we embrace, our joys how great!
For sure no blessing in the power of fate
Can be compared, in sanity of mind,
To friends of such companionable kind.--Francis.
By the two friends above mentioned, he was recommended to the patronage
not only of Mecaenas, but of Augustus, with whom he, as well as Virgil,
lived on a footing of the greatest intimacy. Satisfied with the luxury
which he enjoyed at the first tables in (174) Rome, he was so unambitious
of any public employment, that when the emperor offered him the place of
his secretary, he declined it. But as he lived in an elegant manner,
having, besides his house in town, a cottage on his Sabine farm, and a
villa at Tibur, near the falls of the Anio, he enjoyed, beyond all doubt.
a handsome establishment, from the liberality of Augustus. He indulged
himself in indolence and social pleasure, but was at the same time much
devoted to reading; and enjoyed a tolerable good state of health,
although often incommoded with a fluxion of rheum upon the eyes.
Horace, in the ardour of youth, and when his bosom beat high with the
raptures of fancy, had, in the pursuit of Grecian literature, drunk
largely, at the source, of the delicious springs of Castalia; and it
seems to have been ever after his chief ambition, to transplant into the
plains of Latium the palm of lyric poetry. Nor did he fail of success:
Exegi monumentum aere perennius.--Carm. iii. 30.
More durable than brass a monument I've raised.
In Greece, and other countries, the Ode appears to have been the most
ancient, as well as the most popular species of literary production.
Warm in expression, and short in extent, it concentrates in narrow bounds
the fire of poetical transport: on which account, it has been generally
employed to celebrate the fervours of piety, the raptures of love, the
enthusiasm of praise; and to animate warriors to glorious exertions of
valour:
Musa dedit fidibus Divos, puerosque Deorum,
Et pugilem victorem, et equum certamine primnm,
Et juvenum curas, et libera vina referre.--Hor. De Arte Poet.
The Muse to nobler subjects tunes her lyre;
Gods, and the sons of Gods, her song inspire;
Wrestler and steed, who gained the Olympic prize,
Love's pleasing cares, and wine's unbounded joys.--Francis.
Misenum Aeoliden, quo non praestantior alter
Aere ciere viros, Martemque accendere cnatu. [275]
Virgil, Aeneid, vi.
. . . . . . . . . . . .
Sed tum forte cava dum personat aequora concha
Demens, et canto vocat in certamina Divos.--Ibid.
Misenus, son of Oeolus, renowned
The warrior trumpet in the field to sound;
With breathing brass to kindle fierce alarms,
And rouse to dare their fate in honourable arms.
. . . . . . . . . . . .
(175) Swollen with applause, and aiming still at more,
He now provokes the sea-gods from the shore.--Dryden
There arose in this department, among the Greeks, nine eminent poets,
viz. Alcaeus, Alcman, Anacreon, Bacchylides, Ibicus, Sappho, Stesichorus,
Simonides, and Pindar. The greater number of this distinguished class
are now known only by name. They seem all to have differed from one
another, no less in the kind of measure which they chiefly or solely
employed, than in the strength or softness, the beauty or grandeur, the
animated rapidity or the graceful ease of their various compositions. Of
the amorous effusions of the lyre, we yet have examples in the odes of
Anacreon, and the incomparable ode of Sappho: the lyric strains which
animated to battle, have sunk into oblivion; but the victors in the
public games of Greece have their fame perpetuated in the admirable
productions of Pindar.
Horace, by adopting, in the multiplicity of his subjects, almost all the
various measures of the different Greek poets, and frequently combining
different measures in the same composition, has compensated for the
dialects of that tongue, so happily suited to poetry, and given to a
language less distinguished for soft inflexions, all the tender and
delicate modulations of the Eastern song. While he moves in the measures
of the Greeks with an ease and gracefulness which rivals their own
acknowledged excellence, he has enriched the fund of lyric harmony with a
stanza peculiar to himself. In the artificial construction of the Ode,
he may justly be regarded as the first of lyric poets. In beautiful
imagery, he is inferior to none: in variety of sentiment and felicity of
expression, superior to every existing competitor in Greek or Roman
poetry. He is elegant without affectation; and what is more remarkable,
in the midst of gaiety he is moral. We seldom meet in his Odes with the
abrupt apostrophes of passionate excursion; but his transitions are
conducted with ease, and every subject introduced with propriety.
The Carmen Seculare was written at the express desire of Augustus, for
the celebration of the Secular Games, performed once in a hundred years,
and which continued during three days and three nights, whilst all Rome
resounded with the mingled effusions of choral addresses to gods and
goddesses, and of festive joy. An occasion which so much interested the
ambition of the poet, called into exertion the most vigorous efforts of
his genius. More concise in mythological attributes than the hymns
ascribed to Homer, this beautiful production, in variety and grandeur of
invocation, and in pomp of numbers, surpasses all that Greece, (176)
melodious but simple in the service of the altar, ever poured forth from
her vocal groves in solemn adoration. By the force of native genius, the
ancients elevated their heroes to a pitch of sublimity that excites
admiration, but to soar beyond which they could derive no aid from
mythology; and it was reserved for a bard, inspired with nobler
sentiments than the Muses could supply, to sing the praises of that Being
whose ineffable perfections transcend all human imagination. Of the
praises of gods and heroes, there is not now extant a more beautiful
composition, than the 12th Ode of the first book of Horace:
Quem virum aut heroa lyra vel acri
Tibia sumes celebrare, Clio?
Quem Deum? cujus recinet jocosa
Nomen imago,
Aut in umbrosis Heliconis oris, etc.
What man, what hero, on the tuneful lyre,
Or sharp-toned flute, will Clio choose to raise,
Deathless, to fame? What God? whose hallowed name
The sportive image of the voice
Shall in the shades of Helicon repeat, etc.
The Satires of Horace are far from being remarkable for poetical harmony,
as he himself acknowledges. Indeed, according to the plan upon which
several of them are written, it could scarcely be otherwise. They are
frequently colloquial, sometimes interrogatory, the transitions quick,
and the apostrophes abrupt. It was not his object in those compositions,
to soothe the ear with the melody of polished numbers, but to rally the
frailties of the heart, to convince the understanding by argument, and
thence to put to shame both the vices and follies of mankind. Satire is
a species of composition, of which the Greeks furnished no model; and the
preceding Roman writers of this class, though they had much improved it
from its original rudeness and licentiousness, had still not brought it
to that degree of perfection which might answer the purpose of moral
reform in a polished state of society. It received the most essential
improvement from Horace, who has dexterously combined wit and argument,
raillery and sarcasm, on the side of morality and virtue, of happiness
and truth.
The Epistles of this author may be reckoned amongst the most valuable
productions of antiquity. Except those of the second book, and one or
two in the first, they are in general of the familiar kind; abounding in
moral sentiments, and judicious observations on life and manners.
The poem De Arte Poetica comprises a system of criticism, in justness of
principle and extent of application, correspondent to the various
exertions of genius on subjects of invention and taste. (177) That in
composing this excellent production, he availed himself of the most
approved works of Grecian original, we may conclude from the advice which
he there recommends:
------------Vos exemplaria Graeca
Nocturna versate manu, versate diurna.
Make the Greek authors your supreme delight;
Read them by day, and study them by night.--Francis.
In the writings of Horace there appears a fund of good sense, enlivened
with pleasantry, and refined by philosophical reflection. He had
cultivated his judgment with great application, and his taste was guided
by intuitive perception of moral beauty, aptitude, and propriety. The
few instances of indelicacy which occur in his compositions, we may
ascribe rather to the manners of the times, than to any blameable
propensity in the author. Horace died in the fifty-seventh year of his
age, surviving his beloved Mecaenas only three weeks; a circumstance
which, added to the declaration in an ode [276] to that personage,
supposed to have been written in Mecaenas's last illness, has given rise
to a conjecture, that Horace ended his days by a violent death, to
accompany his friend. But it is more natural to conclude that he died of
excessive grief, as, had he literally adhered to the affirmation
contained in the ode, he would have followed his patron more closely.
This seems to be confirmed by a fact immediately preceding his death; for
though he declared Augustus heir to his whole estate, he was not able, on
account of weakness, to put his signature to the will; a failure which it
is probable that he would have taken care to obviate, had his death been
premeditated. He was interred, at his own desire, near the tomb of
Mecaenas.----
OVID was born of an equestrian family, at Sulmo, a town of the Peligni,
on the 21st of March, in the consulship of Hirtius and Pansa. His father
intended him for the bar; and after passing him through the usual course
of instruction at Rome, he was sent to Athens, the emporium of learning,
to complete his education. On his return to Rome, in obedience to the
desire of his father, he entered upon the offices of public life in the
forum, and declaimed with great applause. But this was the effect of
paternal authority, not of choice: for, from his earliest years, he
discovered an extreme attachment to poetry; and no sooner was his father
dead, than, renouncing the bar, he devoted himself entirely to the
cultivation of that fascinating art, his propensity to which was
invincible. His productions, all written either in heroic or pentameter
verse, are numerous, and on various subjects. It will be sufficient to
mention them briefly.
(178) The Heroides consist of twenty-one Epistles, all which, except
three, are feigned to be written from celebrated women of antiquity, to
their husbands or lovers, such as Penelope to Ulysses, Dido to Aeneas,
Sappho to Phaon, etc. These compositions are nervous, animated and
elegant: they discover a high degree of poetic enthusiasm, but blended
with that lascivious turn of thought, which pervades all the amorous
productions of this celebrated author.
The elegies on subjects of love, particularly the Ars Amandi, or Ars
Amatoria, though not all uniform in versification, possess the same
general character, of warmth of passion, and luscious description, as the
epistles.
The Fasti were divided into twelve books, of which only the first six now
remain. The design of them was to deliver an account of the Roman
festivals in every month of the year, with a description of the rites and
ceremonies, as well as the sacrifices on those occasions. It is to be
regretted, that, on a subject so interesting, this valuable work should
not have been transmitted entire: but in the part which remains, we are
furnished with a beautiful description of the ceremonial transactions in
the Roman calendar, from the first of January to the end of June. The
versification, as in all the compositions of this author, is easy and
harmonious.
The most popular production of this poet is his Metamorphoses, not less
extraordinary for the nature of the subject, than for the admirable art
with which the whole is conducted. The work is founded upon the
traditions and theogony of the ancients, which consisted of various
detached fables. Those Ovid has not only so happily arranged, that they
form a coherent series of narratives, one rising out of another; but he
describes the different changes with such an imposing plausibility, as to
give a natural appearance to the most incredible fictions. This
ingenious production, however perfect it may appear, we are told by
himself, had not received his last corrections when he was ordered into
banishment.
In the Ibis, the author imitates a poem of the same name, written by
Callimachus. It is an invective against some person who publicly
traduced his character at Rome, after his banishment. A strong
sensibility, indignation, and implacable resentment, are conspicuous
through the whole.
The Tristia were composed in his exile, in which, though his vivacity
forsook him, he still retained a genius prolific in versification. In
these poems, as well as in many epistles to different persons, he bewails
his unhappy situation, and deprecates in the strongest terms the
inexorable displeasure of Augustus.
Several other productions written by Ovid are now lost, and (179) amongst
them a tragedy called Medea, of which Quintilian expresses a high
opinion. Ovidii Medea videtur mihi ostendere quantum vir ille praestare
potuerit, si ingenio suo temperare quam indulgere maluisset [277]. Lib.
x. c. 1.
It is a peculiarity in the productions of this author, that, on whatever
he employs his pen, he exhausts the subject; not with any prolixity that
fatigues the attention, but by a quick succession of new ideas, equally
brilliant and apposite, often expressed in antitheses. Void of obscenity
in expression, but lascivious in sentiment, he may be said rather to
stimulate immorally the natural passions, than to corrupt the
imagination. No poet is more guided in versification by the nature of
his subject than Ovid. In common narrative, his ideas are expressed with
almost colloquial simplicity; but when his fancy glows with sentiment, or
is animated by objects of grandeur, his style is proportionably elevated,
and he rises to a pitch of sublimity.
No point in ancient history has excited more variety of conjectures than
the banishment of Ovid; but after all the efforts of different writers to
elucidate the subject, the cause of this extraordinary transaction
remains involved in obscurity. It may therefore not be improper, in this
place, to examine the foundation of the several conjectures which have
been formed, and if they appear to be utterly imadmissible, to attempt a
solution of the question upon principles more conformable to probability,
and countenanced by historical evidence.