Many were the birds that fell victims to the desire to keep them in richly ornamented cages in which they died of hunger, says Epictetus, sooner than be slaves. The canary which takes more kindly to captivity was unknown till it was brought to Italy in the sixteenth century. Parrots there were, but Roman parrots were not long-lived: they shared the common doom: “To each his sufferings, all are pets.” The parrots of Corinna and of Melior which ought to have lived to a hundred or, at any rate, to have had the chance of dying of grief at the loss of their possessors (as a parrot did that I once knew), enjoyed fame and fortune for as brief a span as Lesbia’s sparrow. Melior’s parrot not only had brilliant green feathers but also many accomplishments which are described by its master’s friend, the poet Statius. On one occasion, it sat up half the night at a banquet, hopping from one guest to another and talking in a way that excited great admiration; it even shared the good fare and on the morrow it died—which was less than surprising. I came across an old-fashioned criticism of this poem in which Statius is scolded for showing so much genuine feeling about ... a parrot! The critic was right in one thing—the genuine feeling is there; those who have known what a companion a bird may be, will appreciate the little touch: “You never felt alone, dear Melior, with its open cage beside you!” Now the cage is empty; it is “la cage sans oiseaux” which Victor Hugo prayed to be spared from seeing. Some translator turned this into “a nest without birds,” because he thought that a cage without birds sounded unpoetical, but Victor Hugo took care of truth and left poetry to take of itself. And whatever may be the ethics of keeping cage birds, true it is that few things are more dismal than the sight of the little mute, tenantless dwelling which was yesterday alive with fluttering love.
We owe to Roman poets a good deal of information about dogs, and especially the knowledge that the British hound was esteemed superior to all others, even to the famous breed of Epirus. This is certified by Gratius Faliscus, a contemporary of Ovid. He described these animals as remarkably ugly, but incomparable for pluck. British bull-dogs were used in the Colosseum, and in the third century Nemesianus praised the British greyhound. Most of the valuable dogs were brought from abroad; it is to be inferred that the race degenerated in the climate of Rome, as it does now. Concha, whose epitaph was written by Petronius, was born in Gaul. While Martial’s too elaborate epitaph on “The Trusty Lydia” is often quoted and translated, the more sympathetic poem of Petronius has been overlooked. He tells the perfections of Concha in a simple, affectionate manner; like Lydia, she was a mighty huntress and chased the wild boar fearlessly through the dense forest. Never did chain hamper her liberty and never a blow fell on her shapely, snow-white form. She reposed softly, stretched on the breast of her master or mistress, and at night a well-made bed refreshed her tired limbs. If she lacked speech, she could make herself understood better than any of her kind—yet no one had reason to fear her bark. A hapless mother, she died when her little ones saw the light, and now a narrow marble slab covers the earth where she rests.
Cicero’s tribute to canine worth is well known: “Dogs watch for us faithfully; they love and worship their masters, they hate strangers, their powers of tracking by scent is extraordinary; great is their keenness in the chase: what can all this mean but that they were made for man’s advantage?” It was as natural to the Roman mind to regard man as the lord of creation as to regard the Roman as the lord of man. For the rest, his normal conception of animals differed little from that of Aristotle. Cicero says that the chief distinction between man and animals, is that animals look only to the present, paying little attention to the past and future, while man looks before and after, weighs causes and effects, draws analogies and views the whole path of life, preparing things needful for passing along it. Expressed in the key of antique optimism instead of in the key of modern pessimism, the judgment is the same as that of Burns in his lines to the field-mouse:
“Still thou art blest, compared wi’ me!
The present only touches thee:
But, och! I backward cast my e’e
On prospects drear!
And forward, tho’ I canna see,
I guess and fear.”
And of Leopardi in the song of the Syrian shepherd to his flock:—