No More Learning

Songs, we know, were chanted at religious festivals of
Rome from an early period, indeed from so early a period that
some of the sacred verses were popularly ascribed to Numa, and
were utterly unintelligible in the age of Augustus. In the Second
Punic War a great feast was held in honor of Juno, and a song was
sung in her praise. This song was extant when Livy wrote; and,
though exceedingly rugged and uncouth, seemed to him not wholly
destitute of merit. A song, as we learn from Horace, was part of
the established ritual at the great Secular Jubilee. It is
therefore likely that the Censors and Pontiffs, when they had
resolved to add a grand procession of knights to the other
solemnities annually performed on the Ides of Quintilis, would
call in the aid of a poet. Such a poet would naturally take for
his subject the battle of Regillus, the appearance of the Twin
Gods, and the institution of their festival. He would find
abundant materials in the ballads of his predecessors; and he
would make free use of the scanty stock of Greek learning which
he had himself acquired. He would probably introduce some wise
and holy Pontiff enjoining the magnificent ceremonial which,
after a long interval, had at length been adopted. If the poem
succeeded, many persons would commit it to memory. Parts of it
would be sung to the pipe at banquets. It would be peculiarly
interesting to the great Posthumian House, which numbered among
its many images that of the Dictator Aulus, the hero of Regillus.
The orator who, in the following generation, pronounced the
funeral panegyric over the remains of Lucius Posthumius Megellus,
thrice Consul, would borrow largely from the lay; and thus some
passages, much disfigured, would probably find their way into the
chronicles which were afterwards in the hands of Dionysius and
Livy.

Antiquaries differ widely as to the situation of the field of
battle. The opinion of those who suppose that the armies met near
Cornufelle, between Frascati and the Monte Porzio, is at least
plausible, and has been followed in the poem.

As to the details of the battle, it has not been thought
desirable to adhere minutely to the accounts which have come down
to us.
Those accounts, indeed, differ widely from each other,
and, in all probability, differ as widely from the ancient poem
from which they were originally derived.

It is unnecessary to point out the obvious imitations of the
Iliad, which have been purposely introduced.






The Battle of the Lake Regillus


A Lay Sung at the Feast of Castor and Pollux on the Ides of
Quintilis in the year of the City CCCCLI.

I

Ho, trumpets, sound a war-note!
Ho, lictors, clear the way!
The Knights will ride, in all their pride,
Along the streets to-day.
To-day the doors and windows
Are hung with garlands all,
From Castor in the Forum,
To Mars without the wall.
Each Knight is robed in purple,
With olive each is crowned;
A gallant war-horse under each
Paws haughtily the ground.
While flows the Yellow River,
While stands the Sacred Hill,
The proud Ides of Quintilis
Shall have such honor still.
Gay are the Martian Kalends,
December's Nones are gay,
But the proud Ides, when the squadron rides,
Shall be Rome's whitest day.

II

Unto the Great Twin Brethren
We keep this solemn feast.
Swift, swift, the Great Twin Brethren
Came spurring from the east.
They came o'er wild Parthenius
Tossing in waves of pine,
O'er Cirrha's dome, o'er Adria's foam,
O'er purple Apennine,
From where with flutes and dances
Their ancient mansion rings,
In lordly Lacedaemon,
The City of two kings,
To where, by Lake Regillus,
Under the Porcian height,
All in the lands of Tusculum,
Was fought the glorious fight.

III

Now on the place of slaughter
Are cots and sheepfolds seen,
And rows of vines, and fields of wheat,
And apple-orchards green;
The swine crush the big acorns
That fall from Corne's oaks.
Upon the turf by the Fair Fount
The reaper's pottage smokes.
The fisher baits his angle;
The hunter twangs his bow;
Little they think on those strong limbs
That moulder deep below.