Part 17

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.

The ostensible reason assigned by Augustus for banishing Ovid, was his corrupting the Roman youth by lascivious publications; but it is evident, from various passages in the poet's productions after this period, that there was, besides, some secret reason, which would not admit of being divulged. He says in his Tristia, Lib. ii. 1--

Perdiderent cum me duo crimina, carmen et errors. [278]

It appears from another passage in the same work, that this inviolable arcanum was something which Ovid had seen, and, as he insinuates, through his own ignorance and mistake.

Cur aliquid vidi? cur conscia lumina feci? Cur imprudenti cognita culpa mihi est?--Ibid. * * * * * * (180) Inscia quod crimen viderunt lumina, plector: Peccatumque oculos est habuisse meum. [279] De Trist. iii. 5.

It seems, therefore, to be a fact sufficiently established, that Ovid had seen something of a very indecent nature, in which Augustus was concerned. What this was, is the question. Some authors, conceiving it to have been of a kind extremely atrocious, have gone so far as to suppose, that it must have been an act of criminality between Augustus and his own daughter Julia, who, notwithstanding the strict attention paid to her education by her father, became a woman of the most infamous character; suspected of incontinence during her marriage with Agrippa, and openly profligate after her union with her next husband, Tiberius. This supposition, however, rests entirely upon conjecture, and is not only discredited by its own improbability, but by a yet more forcible argument. It is certain that Julia was at this time in banishment for her scandalous life. She was about the same age with Tiberius, who was now forty seven, and they had not cohabited for many years. We know not exactly the year in which Augustus sent her into exile, but we may conclude with confidence, that it happened soon after her separation from Tiberius; whose own interest with the emperor, as well as that of his mother Livia, could not fail of being exerted, if any such application was necessary, towards removing from the capital a woman, who, by the notoriety of her prostitution, reflected disgrace upon all with whom she was connected, either by blood or alliance. But no application from Tiberius or his mother could be necessary, when we are assured that Augustus even presented to the senate a narrative respecting the infamous behaviour of his daughter, which was read by the quaestor. He was so much ashamed of her profligacy, that he for a long time declined all company, and had thoughts of putting her to death. She was banished to an island on the coast of Campania for five years; at the expiration of which period, she was removed to the continent, and the severity of her treatment a little mitigated; but though frequent applications were made in her behalf by the people, Augustus never could be prevailed upon to permit her return.

(181) Other writers have conjectured, that, instead of Julia, the daughter of Augustus, the person seen with him by Ovid may have been Julia his grand-daughter, who inherited the vicious disposition of her mother, and was on that account likewise banished by Augustus. The epoch of this lady's banishment it is impossible to ascertain; and therefore no argument can be drawn from that source to invalidate the present conjecture. But Augustus had shown the same solicitude for her being trained up in virtuous habits, as he had done in respect of her mother, though in both cases unsuccessfully; and this consideration, joined to the enormity of the supposed crime, and the great sensibility which Augustus had discovered with regard to the infamy of his daughter, seems sufficient to exonerate his memory from so odious a charge. Besides, is it possible that he could have sent her into banishment for the infamy of her prostitution, while (upon the supposition of incest) she was mistress of so important a secret, as that he himself had been more criminal with her than any other man in the empire?

Some writers, giving a wider scope to conjecture, have supposed the transaction to be of a nature still more detestable, and have even dragged Mecaenas, the minister, into a participation of the crime. Fortunately, however, for the reputation of the illustrious patron of polite learning, as well as for that of the emperor, this crude conjecture may be refuted upon the evidence of chronology. The commencement of Ovid's exile happened in the ninth year of the Christian aera, and the death of Mecaenas, eight years before that period. Between this and other calculations, we find a difference of three or four years; but allowing the utmost latitude of variation, there intervened, from the death of Mecaenas to the banishment of Ovid, a period of eleven years; an observation which fully invalidates the conjecture above-mentioned.

Having now refuted, as it is presumed, the opinions of the different commentators on this subject, we shall proceed to offer a new conjecture, which seems to have a greater claim to probability than any that has hitherto been suggested.

Suetonius informs us, that Augustus, in the latter part of his life, contracted a vicious inclination for the enjoyment of young virgins, who were procured for him from all parts, not only with the connivance, but by the clandestine management of his consort Livia. It was therefore probably with one of those victims that he was discovered by Ovid. Augustus had for many years affected a decency of behaviour, and he would, therefore, naturally be not a little disconcerted at the unseasonable intrusion of the poet. That Ovid knew not of Augustus's being in the place, is beyond all doubt: and Augustus's consciousness (182) of this circumstance, together with the character of Ovid, would suggest an unfavourable suspicion of the motive which had brought the latter thither. Abstracted from the immorality of the emperor's own conduct, the incident might be regarded as ludicrous, and certainly was more fit to excite the shame than the indignation of Augustus. But the purpose of Ovid's visit appears, from his own acknowledgment, to have been not entirely free from blame, though of what nature we know not:

Non equidem totam possum defendere culpam: Sed partem nostri criminis error habet. De Trist. Lib. iii. Eleg. 5.

I know I cannot wholly be defended, Yet plead 'twas chance, no ill was then intended.--Catlin.

Ovid was at this time turned of fifty, and though by a much younger man he would not have been regarded as any object of jealousy in love, yet by Augustus, now in his sixty-ninth year, he might be deemed a formidable rival. This passion, therefore, concurring with that which arose from the interruption or disappointment of gratification, inflamed the emperor's resentment, and he resolved on banishing to a distant country a man whom he considered as his rival, and whose presence, from what had happened, he never more could endure.

Augustus having determined on the banishment of Ovid, could find little difficulty in accommodating the ostensible to the secret and real cause of this resolution.

No argument to establish the date of publication, can be drawn from the order in which the various productions of Ovid are placed in the collection of his works: but reasoning from probability, we should suppose that the Ars Amandi was written during the period of his youth; and this seems to be confirmed by the following passage in the second book of the Fasti:

Certe ego vos habui faciles in amore ministros; Cum lusit numeris prima juventa suis. [280]

That many years must have elapsed since its original publication, is evident from the subsequent lines in the second book of the Tristia:

Nos quoque jam pridem scripto peccavimus uno. Supplicium patitur non nova culpa novum. Carminaque edideram, cum te delicta notantem Praeterii toties jure quietus eques. (183) Ergo, quae juveni mihi non nocitura putavi Scripta parum prudens, nunc nocuere seni? [281]