The loves of the Vestal and
the God of War, the cradle laid among the reeds of Tiber, the
fig-tree, the she-wolf, the shepherd's cabin, the recognition,
the fratricide, the rape of the Sabines, the death of Tarpeia,
the fall of Hostus Hostilius, the struggle of Mettus Curtius
through the marsh, the women rushing with torn raiment and
dishevelled hair between their fathers and their husbands, the
nightly meetings of Numa and the Nymph by the well in the sacred
grove, the fight of the three Romans and the three Albans, the
purchase of the
Sibylline
books, the crime of Tullia, the
simulated madness of Brutus, the ambiguous reply of the Delphian
oracle to the Tarquins, the wrongs of Lucretia, the heroic
actions of Horatius Cocles, of Scaevola, and of Cloelia, the
battle of Regillus won by the aid of Castor and Pollux, the
defense of Cremera, the touching story of Coriolanus, the still
more touching story of Virginia, the wild legend about the
draining of the Alban lake, the combat between Valerius Corvus
and the gigantic Gaul, are among the many instances which will at
once suggest themselves to every reader.
Macaulay - Lays of Ancient Rome
LAYS OF ANCIENT ROME
By Thomas Babbington Macaulay
Contents:
Preface
Horatius
The Lay
The Battle of the Lake Regillus
The Lay
Virginia
The Lay
The Prophecy of Capys
The Lay
That what is called the history of the Kings and early Consuls of
Rome is to a great extent fabulous, few scholars have, since the
time of Beaufort, ventured to deny. It is certain that, more than
three hundred and sixty years after the date ordinarily assigned
for the foundation of the city, the public records were, with
scarcely an exception, destroyed by the Gauls. It is certain that
the oldest annals of the commonwealth were compiled more than a
century and a half after this destruction of the records. It is
certain, therefore, that the great Latin writers of the Augustan
age did not possess those materials, without which a trustworthy
account of the infancy of the republic could not possibly be
framed. Those writers own, indeed, that the chronicles to which
they had access were filled with battles that were never fought,
and Consuls that were never inaugurated; and we have abundant
proof that, in these chronicles, events of the greatest
importance, such as the issue of the war with Porsena and the
issue of the war with Brennus, were grossly misrepresented. Under
these circumstances a wise man will look with great suspicion on
the legend which has come down to us. He will perhaps be inclined
to regard the princes who are said to have founded the civil and
religious institutions of Rome, the sons of Mars, and the husband
of Egeria, as mere mythological personages, of the same class
with Perseus and Ixion. As he draws nearer to the confines of
authentic history, he will become less and less hard of belief.
He will admit that the most important parts of the narrative have
some foundation in truth. But he will distrust almost all the
details, not only because they seldom rest on any solid evidence,
but also because he will constantly detect in them, even when
they are within the limits of physical possibility, that peculiar
character, more easily understood than defined, which
distinguishes the creations of the imagination from the realities
of the world in which we live.
The early history of Rome is indeed far more poetical than
anything else in Latin literature. The loves of the Vestal and
the God of War, the cradle laid among the reeds of Tiber, the
fig-tree, the she-wolf, the shepherd's cabin, the recognition,
the fratricide, the rape of the Sabines, the death of Tarpeia,
the fall of Hostus Hostilius, the struggle of Mettus Curtius
through the marsh, the women rushing with torn raiment and
dishevelled hair between their fathers and their husbands, the
nightly meetings of Numa and the Nymph by the well in the sacred
grove, the fight of the three Romans and the three Albans, the
purchase of the Sibylline books, the crime of Tullia, the
simulated madness of Brutus, the ambiguous reply of the Delphian
oracle to the Tarquins, the wrongs of Lucretia, the heroic
actions of Horatius Cocles, of Scaevola, and of Cloelia, the
battle of Regillus won by the aid of Castor and Pollux, the
defense of Cremera, the touching story of Coriolanus, the still
more touching story of Virginia, the wild legend about the
draining of the Alban lake, the combat between Valerius Corvus
and the gigantic Gaul, are among the many instances which will at
once suggest themselves to every reader.
In the narrative of Livy, who was a man of fine imagination,
these stories retain much of their genuine character. Nor could
even the tasteless Dionysius distort and mutilate them into mere
prose. The poetry shines, in spite of him, through the dreary
pedantry of his eleven books.
The loves of the Vestal and
the God of War, the cradle laid among the reeds of Tiber, the
fig-tree, the she-wolf, the shepherd's cabin, the recognition,
the fratricide, the rape of the Sabines, the death of Tarpeia,
the fall of Hostus Hostilius, the struggle of Mettus Curtius
through the marsh, the women rushing with torn raiment and
dishevelled hair between their fathers and their husbands, the
nightly meetings of Numa and the Nymph by the well in the sacred
grove, the fight of the three Romans and the three Albans, the
purchase of the
Sibylline
books, the crime of Tullia, the
simulated madness of Brutus, the ambiguous reply of the Delphian
oracle to the Tarquins, the wrongs of Lucretia, the heroic
actions of Horatius Cocles, of Scaevola, and of Cloelia, the
battle of Regillus won by the aid of Castor and Pollux, the
defense of Cremera, the touching story of Coriolanus, the still
more touching story of Virginia, the wild legend about the
draining of the Alban lake, the combat between Valerius Corvus
and the gigantic Gaul, are among the many instances which will at
once suggest themselves to every reader.
In the narrative of Livy, who was a man of fine imagination,
these stories retain much of their genuine character. Nor could
even the tasteless Dionysius distort and mutilate them into mere
prose. The poetry shines, in spite of him, through the dreary
pedantry of his eleven books. It is discernible in the most
tedious and in the most superficial modern works on the early
times of Rome. It enlivens the dulness of the Universal History,
and gives a charm to the most meagre abridgements of Goldsmith.
Even in the age of Plutarch there were discerning men who
rejected the popular account of the foundation of Rome, because
that account appeared to them to have the air, not of a history,
but of a romance or a drama. Plutarch, who was displeased at
their incredulity, had nothing better to say in reply to their
arguments than that chance sometimes turns poet, and produces
trains of events not to be distinguished from the most elaborate
plots which are constructed by art. But though the existence of a
poetical element in the early history of the Great City was
detected so many ages ago, the first critic who distinctly saw
from what source that poetical element had been derived was James
Perizonius, one of the most acute and learned antiquaries of the
seventeenth century. His theory, which in his own days attracted
little or no notice, was revived in the present generation by
Niebuhr, a man who would have been the first writer of his time,
if his talent for communicating truths had borne any proportion
to his talent for investigating them. That theory has been
adopted by several eminent scholars of our own country,
particularly by the Bishop of St. David's, by Professor Malde,
and by the lamented Arnold. It appears to be now generally
received by men conversant with classical antiquity; and indeed
it rests on such strong proofs, both internal and external, that
it will not be easily subverted. A popular exposition of this
theory, and of the evidence by which it is supported, may not be
without interest even for readers who are unacquainted with the
ancient languages.
The Latin literature which has come down to us is of later date
than the commencement of the Second Punic War, and consists
almost exclusively of works fashioned on Greek models. The Latin
metres, heroic, elegiac, lyric, and dramatic, are of Greek
origin.
