THE DECLINE. FROM THE ACCESSION OF TIBERIUS TO THE DEATH OF M. AURELIUS (14-180 A.D.)
CHAPTER I
THE AGE OF TIBERIUS (14-37 A.D.).
Augustus was not more unlike his gloomy successor than were the writers who flourished under him to those that now come before us. The history of literature presents no stronger contrast than between the rich fertility of the last epoch and the barrenness of the present one. The age of Tiberius forms an interval of silence during which the dead are buried, and the new generation prepares itself to appear. Under Nero it will have started forth in all its panoply of tinsel armour; at present the seeds that will produce it are being sown by the hand of despotism. [1]
The sudden collapse of letters on the death of Augustus is easily accounted for. As long as the chief of the state encouraged them labourers in every field were numerous. When his face was withdrawn the stimulus to effort was removed. Thus, even in Augustus's time, when ill health and disappointment had soured his nature and disposed him to arbitrary actions, literature had felt the change. The exile of Ovid was a blow to the muses. We have seen how it injured his own genius, a decline over which he mourns, knowing the cause but impotent to overcome it. [2] We have seen also how it was followed up by other harsh measures, stifling the free voice of poets and historians. And when we reflect how the despotism was entwining itself round the entire life of the nation, gathering by each new enactment food for future aggression, and only veiled as yet by the mildness or caution of a prince whose one object was to found a dynasty, our surprise is lessened at the spectacle of literature prostrate and dumb, threatened by the hideous form of tyranny now no longer in disguise, offering it with brutal irony the choice between submission, hypocrisy, and death. Tiberius (whose portrait drawn by Tacitus in colours almost too dark for belief, is nevertheless rendered credible by the deathlike silence in which his reign was passed) had in his youth shown both taste and proficiency in liberal studies. He had formed his style on that of Messala, but the gloomy bent of his mind led him to contract and obscure his meaning to such a degree that, unlike most Romans, he spoke better extempore [3] than after preparation. In the art of perplexing by ambiguous phrases, of indicating intentions without committing himself to them, he was without a rival. In point of language he was a purist like Augustus; but unlike him he mingled archaisms with his diction. While at Rhodes he attended the lectures of Theodorus; and the letters or speeches of his referred to by Tacitus indicate a nervous and concentrated style. Poetry was alien from his stern character. Nevertheless, Suetonius tells us he wrote a lyric poem and Greek imitations of Euphorion, Rhianus, and Parthenius; but it was the minute questions of mythology that chiefly attracted him, points of useless erudition like those derided by Juvenal: [4]
"Nutricem Anchisae, nomen patriamque novercae
Anchemoli, dicat quot Acestes vixerit annos,
Quot Siculus Phrygibus vini donaverit urnas."
In maturer life he busied himself with writing memoirs, which formed the chief, almost the only study of Domitian, and of which we may regret that time has deprived us. The portrait of this arch dissembler by his own able hand would be a good set off to the terrible indictment of Tacitus. Besides the above he was the author of funeral speeches, and, according to Suidas, of a work on the art of rhetoric.
With these literary pretensions it is clear that his discouragement of letters as emperor was due to political reasons. He saw in the free expression of thought or fancy a danger to his throne. And as the abominable system of delations made every chance expression penal, and found treason to the present in all praise of the past, the only resource open to men of letters was to suppress every expression of feeling, and, by silent brooding, to keep passion at white heat, so that when it speaks at last it speaks with the concentrated intensity of a Juvenal or a Tacitus.
We might ask how it was that authors did not choose subjects outside the sphere of danger. There were still forms of art and science which had not been worked out. The Natural History of Pliny shows how much remained to be done in fields of great interest. Neither philosophy nor the lighter kinds of poetry could afford matter for provocation. But the answer is easy. The Roman imagination was so narrow, and their constructive talent so restricted, that they felt no desire to travel beyond the regular lines. It seemed as if all had been done that could be done well. History, national and universal, [5] science [6] and philosophy, [7] Greek poetry in all its varied forms, had been brought to perfection by great masters whom it was hopeless to rival. The age of literary production seemed to have been rounded off, and the self-consciousness that could reflect on the new era had not yet had time to arise. Rhetoric, as applied to the expression of political feeling, was the only form which literature cared to take, and that was precisely the form most obnoxious to the government.
Thus it is possible that even had Tiberius been less jealously repressive letters would still have stagnated. The severe strain of the Augustan age brought its inevitable reaction. The simultaneous appearance of so many writers of the first rank rendered necessary an interval during which their works were being digested and their spirit settling down into an integral constituent of the national mind. By the time thought reawakens, Virgil, Horace, and Livy are already household words, and their works the basis of all literary culture.