No More Learning

Such
confutation was surely not needed; for the narrative is on the
face of it a romance. How it found its way into Mariana's history
is quite clear. He acknowledges his obligations to the ancient
chronicles; and had doubtless before him the Cronica del famoso
Cavallero Cid Ruy Diez Campeador, which had been printed as early
as the year 1552. He little suspected that all the most striking
passages in this chronicle were copied from a poem of the twelfth
century,--a poem of which the language and versification had long
been obsolete, but which glowed with no common portion of the
fire of the Iliad. Yet such is the fact. More than a century and
a half after the death of Mariana, this venerable ballad, of
which one imperfect copy on parchment, four hundred years old,
had been preserved at Bivar, was for the first time printed. Then
it was found that every interesting circumstance of the story of
the heirs of Carrion was derived by the eloquent Jesuit from a
song of which he had never heard, and which was composed by a
minstrel whose very name had been long forgotten.

Such, or nearly such, appears to have been the process by which
the lost ballad-poetry of Rome was transformed into history. To
reverse that process, to transform some portions of early Roman
history back into the poetry out of which they were made, is the
object of this work.

In the following poems the author speaks, not in his own person,
but in the persons of ancient minstrels who know only what Roman
citizen, born three or four hundred years before the Christian
era, may be supposed to have known, and who are in no wise above
the passions and prejudices of their age and nation. To these
imaginary poets must be ascribed some blunders which are so
obvious that is unnecessary to point them out. The real blunder
would have been to represent these old poets as deeply versed in
general history, and studious of chronological accuracy. To them
must also be attributed the illiberal sneers at the Greeks, the
furious party spirit, the contempt for the arts of peace, the
love of war for its own sake, the ungenerous exultation over the
vanquished, which the reader will sometimes observe. To portray a
Roman of the age of Camillus or Curius as superior to national
antipathies, as mourning over the devastation and slaughter by
which empire and triumphs were to be won, as looking on human
suffering with the sympathy of Howard, or as treating conquered
enemies with the delicacy of the Black Prince, would be to
violate all dramatic propriety. The old Romans had some great
virtues, fortitude, temperance, veracity, spirit to resist
oppression, respect for legitimate authority, fidelity in the
observing of contracts, disinterestedness, ardent patriotism; but
Christian charity and chivalrous generosity were alike unknown to
them.
It would have been obviously improper to mimic the manner of any
particular age or country. Something has been borrowed, however,
from our own old ballads, and more from Sir Walter Scott, the
great restorer of our ballad-poetry. To the Iliad still greater
obligations are due; and those obligations have been contracted
with the less hesitation, because there is reason to believe that
some of the old Latin minstrels really had recourse to that
inexhaustible store of poetical images.

It would have been easy to swell this little volume to a very
considerable bulk, by appending notes filled with quotations; but
to a learned reader such notes are not necessary; for an
unlearned reader they would have little interest; and the
judgment passed both by the learned and by the unlearned on a
work of the imagination will always depend much more on the
general character and spirit of such a work than on minute
details.





Horatius

There can be little doubt that among those parts of early Roman
history which had a poetical origin was the legend of Horatius
Cocles. We have several versions of the story, and these versions
differ from each other in points of no small importance.
Polybius, there is reason to believe, heard the tale recited over
the remains of some Consul or Praetor descended from the old
Horatian patricians; for he introduces it as a specimen of the
narratives with which the Romans were in the habit of
embellishing their funeral oratory. It is remarkable that,
according to him, Horatius defended the bridge alone, and
perished in the waters. According to the chronicles which Livy
and Dionysius followed, Horatius had two companions, swam safe to
shore, and was loaded with honors and rewards.

These discrepancies are easily explained. Our own literature,
indeed, will furnish an exact parallel to what may have taken
place at Rome. It is highly probably that the memory of the war
of Porsena was preserved by compositions much resembling the two
ballads which stand first in the Relics of Ancient English
Poetry. In both those ballads the English, commanded by the
Percy, fight with the Scots, commanded by the Douglas. In one of
the ballads the Douglas is killed by a nameless English archer,
and the Percy by a Scottish spearman; in the other, the Percy
slays the Douglas in single combat, and is himself made prisoner.
In the former, Sir Hugh Montgomery is shot through the heart by a
Northumbrian bowman; in the latter he is taken and exchanged for
the Percy. Yet both the ballads relate to the same event, and
that event which probably took place within the memory of persons
who were alive when both the ballads were made.