"Gemuit sub pondere cymba
Sutilis et multam accepit rimosa paludem." [31]
The effect of the "Ingens Aeneas" bursting Charon's crazy skiff is decidedly grotesque. Lucan has not failed to seize and exaggerate this peculiarity. To repeat the example we have already noticed in the first book, [32] when asking Nero which part of heaven he is selecting for his abode, he prays him not to choose one far removed from the centre, lest his vast weight should disturb the balance of the universe!
"Aetheris immensi partem si presseris unam
Sentiet axis onus."
Statius, as we have seen, adds the one element that was wanting, namely the abstraction of the heroic altogether; nevertheless, in small effects of this kind, he must be pronounced superior to both Virgil and Lucan.
The Achilleis is a mere fragment, no doubt left as such owing to the author's early death. The design, of which it was the first instalment, was even more ambitious than that of the Thebaid. It aimed at nothing less than an exhaustive treatment of all the legends of which Achilles was the hero, excepting those which form the subject of the Iliad. Its style shows a slight advance on that of the earlier poem; it is equally long- winded, but less bombastic, and consequently somewhat more natural. In one or two passages Statius [33] promises Domitian an epic celebrating his deeds, but probably he never had any serious intention of fulfilling his word. Statius had a high opinion of his own merits, especially when he compared himself with the poet fraternity of his day; but his careful study of Homer and Virgil had shown him that there was a domain into which he could not enter, and so even while vaunting his claims to immortality, he is careful not to aspire to be ranked with the poet of the Aeneid: [34]
"Nec tu divinam Aeneida tenta:
Sed longe sequere et vestigia semper adora."
VALERIUS MARTIALIS was born at Bilbilis, in Hispania Tarraconensis (March 1, 43 A.D.), and retained through life an affectionate admiration for the place of his birth, which he celebrates in numerous poems. [35] At twenty- two [36] years of age he came to Rome, Nero being then on the throne. He does not appear to have been known to that emperor, but rose into great favour with Titus, which was continued under Domitian, who conferred on him the Jus trium liberorum [37] and the tribunate, together with the rank of a Roman knight, [38] and a pension from the imperial treasury, [39] probably attached to the position of court poet. It is difficult to ascertain the truth as to his circumstances. The facts above mentioned, as well as his possession of a house in the city and a villa at Nomentum, [40] would point to an easy competence; on the other hand the poet's continual complaints of poverty [41] prove that he was either less wealthy than his titles suggest, or else that he was hard to satisfy. On the accession of Trajan he seems to have left Rome for Spain, it is said because the emperor refused to recognise his genius; but as he had been a prominent author for upwards of thirty years, it is likely that his character, not his talent, was what Trajan looked coldly on. A poet who had prostituted his pen in a way unexampled even among the needy and immoral pickers-up of chance crumbs that crowded the avenues of the palace, could hardly be acceptable to a prince of manly character. At the same time there is this excuse for Martial, that he did not belong to the old families of Rome. He and such as he owed everything to the emperor's bounty, and if the emperor desired flattery in return, it cost them little pains and still less loss of self-respect to give it. Politics had become entirely a system of palace intrigue. Only when the army intervened was any general interest awakened. The supremacy of the emperor's person was the one great fact, rapidly becoming a great inherited idea, which formed the point of union among the diverse non-political classes, and gave the poets their chief theme of inspiration. It mattered not to them whether their lord was good or bad. It is well-known that the people liked Domitian, and it was only by the firmness of the senate that he was prevented from being formally proclaimed as a god. Martial does not pretend to be above the level of conduct which he saw practised by emperor and people alike. Without strength of character, without independence of thought, both of which indeed were almost extinct at this epoch, his one object was to ingratiate himself with those who could fill his purse. Hence the indifference he shows to the vices of Nero. Juvenal, Tacitus, and Pliny use a very different language. But then they represented the old-fashioned ideas of Rome. Martial, indeed, alludes to Nero as a well- known type of crime: [42]
"Quid Nerone peius?
Quid thermis melius Neronianis?"
but he has no real passion. The only thing he really hates him for is his having slain Lucan. [43]
Martial, then, is much on a level with the society in which he finds himself; the society, that is, of those very freedmen, favourites, actors, dancers, and needy bards, that Juvenal has made the objects of his satire. And therefore we cannot expect him to rise into lofty enthusiasm or pure views of conduct. His poems are a most valuable adjunct to those of Juvenal; for perhaps, if we did not possess Martial, we might fancy that the former's sardonic bitterness had over-coloured his picture. As it is, these two friends illustrate and confirm each other's statements.