Roman Women

by Alfred Brittain

There was another class of women which furnished many of the names intimately connected with Roman poetry, not for what these women themselves did, but because of their intimate relations with the poets. As the exquisite tracery of primordial ferns is sometimes found embedded in the carboniferous strata, so these women, whose names would otherwise have perished with their generation, were, by the chances of their birth and fortune, brought into connection with literary men, and their memory has thus been preserved in Latin poesy. It is to Martial himself that we are indebted for the information that, returning to his country home after many years of absence in Rome, he finds comfort for the lack of his urban pleasures and conveniences in the society of Marcella, a lady of uncommon intellectual development and grace of person. Her relation to the poet was rather that of patroness than mistress. It would seem unimportant either way; yet she assisted in the production of literature more durable than the Empire, and her name is known to posterity.

Every reader of Horace knows of Lydia, Glycera, Phyllis, and Barine. Who were they? To have found them in that ancient Rome, it would have been necessary to go, not to houses such as have been described as the homes of the imperial women, but to those insulæ, or huge tenements, in which the great mass of the people lived. There these women inhabited one room or many, according as their poverty or wealth would warrant. The latter depended largely upon their youth and beauty; for these women were light-o'-loves, who were inured to the changes and chances of their position, and could turn from one lover to another with as few heart pangs as were suffered by their inconstant friends. In many cases, they were the daughters of unnaturalized foreigners, whom Roman citizens could not marry and to whom no lot other than that of the mistress was open. That such women were the intimates of Horace is revealed by the manner in which he descants in his Satires on the danger attending liaisons with married women--so also is the sincerity of that affection to which he swears in his Odes. Speaking of those ladies who were not eligible for marriage bonds, he says: "When I am in the company of such an one, she is my Ilia and Ægeria; in short, I give her any tender name."

The favorite of Horace seems to have been Lydia, of whose undistinguished fame he tells, but does not inform us on what account she was famous. Among the amorous epistles in which he addresses her, there is more than one that reveals his jealous knowledge of the fact that he is not the sole recipient of her favors. As a punishment for her occasional inhospitable treatment of him, he writes an insulting ode in which it is averred that she has grown too old for lovers and that her slumbers will no more be disturbed by the serenade. Horace possessed the ability, and did not lack the meanness, to castigate these women in his poetry after the most shameful manner; and that not for their moral delinquencies, but because of the suspension of their preferences for himself. Witness the manner in which he gloats over the fading of the charms of Lyce, who had sometime disdained his advances: "Wrinkles and snowy hair render you odious. Now neither Coan purples nor sparkling jewels restore those years which winged time has inserted in the public annals. Whither is your beauty gone? Alas! or whither your bloom? Whither your graceful deportment? What have you remaining of her, of her who breathed loves and ravished me from myself? Happy in accomplishments next to Cynara, and distinguished for an aspect of graceful delicacies. But the Fates granted but a few years to Cynara, intending to preserve Lyce for a long time, to rival in years the aged raven; that the fervid young fellows might see, not without excessive laughter, that torch, which once so brightly scorched, now reduced to ashes."

As a finale at once to his love epistles and amorous relationships, he invites Phyllis to an entertainment in his country villa on Maecenas's birthday; and among the provisions for this festive occasion he mentions a caskful of Albanian wine, upward of nine years old, besides parsley for the weaving of chaplets, and ivy to bind her hair. "Come, then, last of my loves: learn with me such measures as you may recite with your lovely voice; our gloomy cares shall be mitigated with an ode."

Through Ovid we learn of Corinna, who was his mistress and the heroine of his love elegies; but his passion for her was no more sincere than we should expect from that manual of libertinism--his Ars amatoria. This work is the glorification of animalism and indirectly a defamation of woman. It assumes with the most undisguised frankness that the root and source of the principal part of the attention which men pay to women is their availability for the purpose of satisfying amatory desire, and it alleges the theory that any woman will capitulate the citadel of her honor, if only it be besieged with indefatigableness and resource. It was by such poetry as this that the women of Rome were prepared for that carnival of vice into which they threw themselves with such frenzied abandonment in the days of Claudius and Nero. In the eroticism of Latin poetry is revealed a society in which illicit love is put to the experiment; in Roman history is made manifest the resulting moral chaos.

The master of this school was Catullus; and he immortalized one Lesbia, who was the principal heroine in his love poems. It has been said by one of the best-informed students of Roman literature that the poems of Catullus to Lesbia are unique in Roman letters for the intensity and self-oblivion of the passion they portray. We learn from Apuleius that Clodia was the real name of Lesbia; and it is supposed that the latter name was given her by her lover because of his admiration of the Lesbian poetess. Many have concluded from the statement of Apuleius that Lesbia was the notoriously fascinating sister of Clodius, the woman whom Cicero so mercilessly pilloried before the judges; but the possibility of this seems to be precluded by the fact that Catullus incited a poem to Cicero in which he terms him the "best of all advocates "--a courtesy which hardly could have been overlooked or forgiven by the woman to whom the advocate had given such ample cause for hatred.

Many of Catullus's brightest pieces are addressed to Lesbia; but all are touched by the poet's consciousness of her inconstancy. At last she leaves him, and he bids her adieu in the lines which have thus been so beautifully rendered by Moore:

"Comrades and friends, with whom where'er

The Fates have willed through life I've roved,

Now speed ye home, and with you bear