But there is one circumstance which deserves
especial
notice.
Macaulay - Lays of Ancient Rome
The story of the Tarquins, as it has come down to
us, appears to have been compiled from the works of several
popular poets; and one, at least, of those poets appears to have
visited the Greek colonies in Italy, if not Greece itself, and to
have had some acquaintance with the works of Homer and Herodotus.
Many of the most striking adventures of the House of Tarquin,
before Lucretia makes her appearance, have a Greek character. The
Tarquins themselves are represented as Corinthian nobles of the
great House of the Bacchiadae, driven from their country by the
tyranny of that Cypselus, the tale of whose strange escape
Herodotus has related with incomparable simplicity and
liveliness. Livy and Dionysius tell us that, when Tarquin the
Proud was asked what was the best mode of governing a conquered
city, he replied only by beating down with his staff all the
tallest poppies in his garden. This is exactly what Herodotus, in
the passage to which reference has already been made, relates of
the counsel given to Periander, the son of Cypselus. The
stratagem by which the town of Gabii is brought under the power
of the Tarquins is, again, obviously copied from Herodotus. The
embassy of the young Tarquins to the oracle at Delphi is just
such a story as would be told by a poet whose head was full of
the Greek mythology; and the ambiguous answer returned by Apollo
is in the exact style of the prophecies which, according to
Herodotus, lured Croesus to destruction. Then the character of
the narrative changes. From the first mention of Lucretia to the
retreat of Porsena nothing seems to be borrowed from foreign
sources. The villainy of Sextus, the suicide of his victim, the
revolution, the death of the sons of Brutus, the defence of the
bridge, Musius burning his hand, Cloelia swimming through Tiber,
seem to be all strictly Roman. But when we have done with the
Tuscan wars, and enter upon the war with the Latines, we are
again struck by the Greek air of the story. The Battle of the
Lake Regillus is in all respects a Homeric battle, except that
the combatants ride astride on their horses, instead of driving
chariots. The mass of fighting men is hardly mentioned. The
leaders single each other out, and engage hand to hand. The great
object of the warriors on both sides is, as in the Iliad, to
obtain possession of the spoils and bodies of the slain; and
several circumstances are related which forcibly remind us of the
great slaughter round the corpses of Sarpedon and Patroclus.
But there is one circumstance which deserves especial notice.
Both the war of Troy and the war of Regillus were caused by the
licentious passions of young princes, who were therefore
peculiarly bound not to be sparing of their own persons on the
day of battle. Now the conduct of Sextus at Regillus, as
described by Livy, so exactly resembles that of Paris, as
described at the beginning of the third book of the Iliad, that
it is difficult to believe the resemblance accidental. Paris
appears before the Trojan ranks, defying the bravest Greek to
encounter him:--
3 lines from the Iliad, in Greek, probably those
translated by Pope as:
. . . to the van, before the sons of fame
Whom Troy sent forth, the beauteous Paris came:
Livy introduces Sextus in a similar manner: "Ferocem juvenem
Tarquinium, ostentantem se in prima exsulum acie. " Menelaus
rushes to meet Paris. A Roman noble, eager for vengeance, spurs
his horse towards Sextus. Both the guilty princes are instantly
terror-stricken:--
3 more lines in Greek, Pope's translation being:
. . . [Menelaus] approaching near,
The beauteous champion views with marks of fear,
Smit with a conscious sense, retires behind,
And shuns the fate he well deserv'd to find.
"Tarquinius," says Livy, "retro in agmen suorum infenso cessit
hosti. " If this be a fortuitous coincidence, it is also one of
the most extraordinary in literature.
In the following poem, therefore, images and incidents have been
borrowed, not merely without scruple, but on principle, from the
incomparable battle-pieces of Homer.
us, appears to have been compiled from the works of several
popular poets; and one, at least, of those poets appears to have
visited the Greek colonies in Italy, if not Greece itself, and to
have had some acquaintance with the works of Homer and Herodotus.
Many of the most striking adventures of the House of Tarquin,
before Lucretia makes her appearance, have a Greek character. The
Tarquins themselves are represented as Corinthian nobles of the
great House of the Bacchiadae, driven from their country by the
tyranny of that Cypselus, the tale of whose strange escape
Herodotus has related with incomparable simplicity and
liveliness. Livy and Dionysius tell us that, when Tarquin the
Proud was asked what was the best mode of governing a conquered
city, he replied only by beating down with his staff all the
tallest poppies in his garden. This is exactly what Herodotus, in
the passage to which reference has already been made, relates of
the counsel given to Periander, the son of Cypselus. The
stratagem by which the town of Gabii is brought under the power
of the Tarquins is, again, obviously copied from Herodotus. The
embassy of the young Tarquins to the oracle at Delphi is just
such a story as would be told by a poet whose head was full of
the Greek mythology; and the ambiguous answer returned by Apollo
is in the exact style of the prophecies which, according to
Herodotus, lured Croesus to destruction. Then the character of
the narrative changes. From the first mention of Lucretia to the
retreat of Porsena nothing seems to be borrowed from foreign
sources. The villainy of Sextus, the suicide of his victim, the
revolution, the death of the sons of Brutus, the defence of the
bridge, Musius burning his hand, Cloelia swimming through Tiber,
seem to be all strictly Roman. But when we have done with the
Tuscan wars, and enter upon the war with the Latines, we are
again struck by the Greek air of the story. The Battle of the
Lake Regillus is in all respects a Homeric battle, except that
the combatants ride astride on their horses, instead of driving
chariots. The mass of fighting men is hardly mentioned. The
leaders single each other out, and engage hand to hand. The great
object of the warriors on both sides is, as in the Iliad, to
obtain possession of the spoils and bodies of the slain; and
several circumstances are related which forcibly remind us of the
great slaughter round the corpses of Sarpedon and Patroclus.
But there is one circumstance which deserves especial notice.
Both the war of Troy and the war of Regillus were caused by the
licentious passions of young princes, who were therefore
peculiarly bound not to be sparing of their own persons on the
day of battle. Now the conduct of Sextus at Regillus, as
described by Livy, so exactly resembles that of Paris, as
described at the beginning of the third book of the Iliad, that
it is difficult to believe the resemblance accidental. Paris
appears before the Trojan ranks, defying the bravest Greek to
encounter him:--
3 lines from the Iliad, in Greek, probably those
translated by Pope as:
. . . to the van, before the sons of fame
Whom Troy sent forth, the beauteous Paris came:
Livy introduces Sextus in a similar manner: "Ferocem juvenem
Tarquinium, ostentantem se in prima exsulum acie. " Menelaus
rushes to meet Paris. A Roman noble, eager for vengeance, spurs
his horse towards Sextus. Both the guilty princes are instantly
terror-stricken:--
3 more lines in Greek, Pope's translation being:
. . . [Menelaus] approaching near,
The beauteous champion views with marks of fear,
Smit with a conscious sense, retires behind,
And shuns the fate he well deserv'd to find.
"Tarquinius," says Livy, "retro in agmen suorum infenso cessit
hosti. " If this be a fortuitous coincidence, it is also one of
the most extraordinary in literature.
In the following poem, therefore, images and incidents have been
borrowed, not merely without scruple, but on principle, from the
incomparable battle-pieces of Homer.
