LV. CLAUDIAN.
In Claudian, who wrote about 400, we have another oriental Greek, who wrote chiefly in Latin with far more mastery of that language than Ammianus. Stilicho his patron, the great barbarian head of the Roman army, was at the height of his power, and Claudian’s most congenial occupation was to sing his praises and denounce his opponents. He was also poet laureate of the feeble emperor Honorius. Writing mainly on contemporary themes, he is, if allowance be made for his bias, a witness worth citing; but the passages relevant to the present subject are naturally few. In common with other writers of the later ages of Rome he is constantly looking back to a great and glorious past, contrasting painfully with that present which he nevertheless is striving to glorify. Thus he not only refers with enthusiasm[1701] to the old heroes of Roman history and legend, the common material of Roman literature, but even dreams[1702] of a golden age to be, when the earth of her own accord shall render all good things in abundance to a people living happily in communistic brotherhood. This fancy however is no more than a piece of unreal rhetoric, an echo of Vergil. It is inspired by the victories of Stilicho, and the world-dominion under which this beatific vision is to be realized is—the rule of Honorius.
In January 395 the great Theodosius died, and the empire was divided between his two sons. In November, Rufinus, who dominated Arcadius at Constantinople, was murdered. His place was soon taken by the eunuch Eutropius. On these two personages Claudian poured out a flood of invective, speaking for Stilicho and the West. The greed of Rufinus is depicted[1703] as ruinous to the landed interests. ‘The fertility of his land was the ruin of the landlord: a good crop[1704] made the farmers tremble. He drives men from their homes, and thrusts them out of their ancestral borders, either robbing the living or seizing the estates of the dead.’ The jealousy of the West expresses itself in a passage[1705] referring to the famine created in Rome by the rebellion of Gildo in Africa. Honorius (that is Stilicho) is effusively praised for its relief by importations from other Provinces, chiefly from Gaul. That, owing to the claim of the New Rome to the corn of Egypt, the Old Rome should be so dependent on Africa, is a situation indignantly resented[1706] in eloquent lines. A symptom ominous of imperial failure was the attempt to wrest eastern Illyricum from the rule of Arcadius (407-8) an enterprise[1707] secretly concerted between Stilicho and Alaric. Fugitives from Epirus sought refuge in Italy. Stilicho treated them as prisoners of war from an enemy’s country, and handed them over to Italian landlords as slaves or coloni. When Alaric and his Goths moved towards Italy, some of these refugees, aided by a law issued for their protection, found their way home again. Claudian unblushingly declares[1708] that none but Stilicho will be able to heal the empire’s wound: ‘at length the colonus will return to his own borders and the court will once more be enriched by the tributes of Illyricum.’
A Roman view of the intruding barbarians and their capacity of peaceful settlement is in one place[1709] put into the mouth of Bellona the war-goddess. She addresses a Gothic chief in bitter sarcasm. ‘Go and be a thorough ploughman, cleaving the soil: teach your comrades to lay aside the sword and toil at the hoe. Your Gruthungians[1710] will make fine cultivators, and tend vineyards in accordance with the seasons.’ She taunts him with degenerating from the good old habits of his race, war and plunder, and scornfully describes him as one captured[1711] by the glamour of fair dealing, who had rather live as a serf on what is granted him than as a lord on what he takes by force. In short, he is a coward. Now no doubt there were Goths and others, Huns in particular, of this war-loving work-hating type approved by the war-goddess. But abundant evidence shews that many, perhaps most, of the barbarians were quite ready to settle down in peace and produce their own food. When Claudian himself speaks[1712] of the ‘Teuton’s ploughshare’ as one of the agencies producing corn that relieved famine in Rome, he is most likely referring to the many Germans already settled in Gaul as well as to inhabitants of the ‘Germanies,’ the two provinces along the Rhine.
A curious passage[1713] in the poem on the Gothic war and Stilicho’s defeat of Alaric at Pollentia (402) is of interest in connexion with the Roman army and the recruiting system. Of the confidence revived in Rome by the appearance of Stilicho and his troops a vivid picture is drawn, and he continues ‘henceforth[1714] no more pitiful conscription, no more of reapers laying down the sickle and wielding the inglorious javelin ... nor the mean clamorous jangling of amateur leaders: no, this is the presence of a genuine manhood, a genuine commander, a scene of war in real life.’ If this means anything, it implies that hasty levies[1715] of raw countrymen were notoriously unfit to face hordes of barbarian tribesmen in the field. True, no doubt; professional training had been the basis of efficiency in Roman armies ever since the days of Marius. But the words surely suggest further that conscription within the empire was in Claudian’s time not found a success, that is in producing a supply of fit recruits to keep the legions up to strength. This also was doubtless true, as much other evidence attests, and was the main reason why the ‘Roman’ soldiery of the period were mostly barbarians. But here, as usual, the witness of the court-poet is in the form of admission rather than statement. His business was to be more Roman than Rome. It remains only to mention two similes, one of which perhaps refers to free labour. An old crone[1716] has ‘poor girls’ under her engaged in weaving. They beg for a little holiday, but she keeps them at work ‘to earn their joint livelihood.’ This may be a scene from life, but is more likely an echo from earlier poetry. When he illustrates[1717] the effect of Stilicho’s coming on the peoples rising against Rome by comparing them to slaves, deceived by false report of their lord’s death, and caught revelling by him when he unexpectedly returns, it is a scene that might be enacted in any age. The little poem on the old man of Verona is famous as a picture of humble contentment in rustic life. But the main point of it as evidence is that the case is exceptional.