"Low on his funeral couch he lies!
No pitying heart, no eye afford
A tear to grace his obsequies!
"The swarm that in the noontide beam were born?
Gone to salute the rising Morn.
Fair laughs the Morn, and soft the zephyr blows,
While proudly riding o'er the azure realm,
In gallant trim the gilded vessel goes;
Youth on the prow and Pleasure at the helm;
Regardless of the sweeping Whirlwind's sway,
That, hushed in grim repose, expects his evening prey."
The last lines of this passage would alone have been applicable to Caius Caesar. There was nothing fair or gay even about the beginning of his reign. From first to last it was a reign of fury and madness, and lust and blood. There was an hereditary taint of insanity in this family, which was developed by their being placed on the dizzy pinnacle of imperial despotism, and which usually took the form of monstrous and abnormal crime. If we would seek a parallel for Caius Caesar, we must look for it in the history of Christian VII. of Denmark, and Paul of Russia. In all three we find the same ghastly pallor, the same sleeplessness which compelled them to rise, and pace their rooms at night, the same incessant suspicion; the same inordinate thirst for cruelty and torture. He took a very early opportunity to disembarrass himself of his benefactors, Macro and Ennia, and of his rival, the young Tiberius. The rest of his reign was a series of brutal extravagances. We have lost the portion of those matchless Annals of Tacitus which contained the reign of Caius, but more than enough to revolt and horrify is preserved in the scattered notices of Seneca, and in the narratives of Suetonius in Latin and Dio Cassius in Greek.
His madness showed itself sometimes in gluttonous extravagance, as when he ordered a supper which cost more than 8,000l; sometimes in a bizarre and disgraceful mode of dress, as when he appeared in public in women's stockings, embroidered with gold and pearls; sometimes in a personality and insolence of demeanor towards every rank and class in Rome, which made him ask a senator to supper, and ply him with drunken toasts, on the very evening on which he had condemned his son to death; sometimes in sheer raving blasphemy, as when he expressed his furious indignation against Jupiter for presuming to thunder while he was supping, or looking at the pantomimes; but most of all in a ferocity which makes Seneca apply to him the name of "Bellua," or "wild monster," and say that he seems to have been produced "for the disgrace and destruction of the human race."
We will quote from the pages of Seneca but one single passage to justify his remark "that he was most greedy for human blood, which he ordered to stream in his very presence with such eagerness as though he were going to drink it up with his lips." He says that in one day he scourged and tortured men of consular and quaestorial parentage, knights and senators, not by way of examination, but out of pure caprice and rage; he seriously meditated the butchery of the entire senate; he expressed a wish that the Roman people had but a single neck, that he might strike it off at one blow; he silenced the screams or reproaches of his victims sometimes by thrusting a sponge in their mouths, sometimes by having their mouths gagged with their own torn robes, sometimes by ordering their tongues to be cut out before they were thrown to the wild beasts. On one occasion, rising from a banquet, he called for his slippers, which were kept by the slaves while the guests reclined on the purple couches, and so impatient was he for the sight of death, that, walking up and down his covered portico by lamplight with ladies and senators, he then and there ordered some of his wretched victims to be beheaded in his sight.
It is a singular proof of the unutterable dread and detestation inspired by some of these Caesars, that their mere countenance is said to have inspired anguish. Tacitus, in the life of his father-in-law Agricola, mentions the shuddering recollection of the red face of Domitian, as it looked on at the games. Seneca speaks in one place of wretches doomed to undergo stones, sword, fire, and Caius; in another he says that he had tortured the noblest Romans with everything which could possibly cause the intensest agony,--with cords, plates, rack, fire, and, as though it were the worst torture of all, with his look! What that look was, we learn from Seneca himself, "His face was ghastly pale, with a look of insanity; his fierce, dull eyes were half-hidden under a wrinkled brow; his ill-shaped head was partly bald, partly covered with dyed-hair; his neck covered with bristles, his legs thin, and his feet mis-shapen." Woe to the nation that lies under the heel of a brutal despotism; treble woe to the nation that can tolerate a despot so brutal as this! Yet this was the nation in the midst of which Seneca lived, and this was the despot under whom his early manhood was spent.
"But what more oft in nations grown corrupt,
And by their vices brought to servitude,
Than to love bondage more than liberty,
Bondage with ease than strenuous liberty?"
It was one of the peculiarities of Caius Caesar that he hated the very existence of any excellence. He used to bully and insult the gods themselves, frowning even at the statues of Apollo and Jupiter of the Capitol. He thought of abolishing Homer, and order the works of Livy and Virgil to be removed from all libraries, because he could not bear that they should be praised. He ordered Julius Graecinus to be put to death for no other reason than this, "That he was a better man than it was expedient for a tyrant that any one should be;" for, as Pliny tells us, the Caesars deliberately preferred that their people should be vicious than that they should be virtuous. It was hardly likely that such a man should view with equanimity the rising splendour of Seneca's reputation. Hitherto, the young man, who was thirty-five years old at the accession of Caius, had not written any of his philosophic works, but in all probability he had published his early, and no longer extant, treatises on earthquakes, on superstitions, and the books On India, and On the Manners of Egypt, which had been the fruit of his early travels. It is probable, too, that he had recited in public some of those tragedies which have come down to us under his name, and in the composition of which he was certainly concerned. All these works, and especially the applause won by the public reading of his poems, would have given him that high literary reputation which we know him to have earned. It was not, however, this reputation, but the brilliancy and eloquence of his orations at the bar which excited the jealous hatred of the Emperor. Caius piqued himself on the possession of eloquence; and, strange to say, there are isolated expressions of his which seem to show that, in lucid intervals, he was by no means devoid of intellectual acuteness. For instance, there is real humour and insight in the nicknames of "a golden sheep" which he gave to the rich and placid Silanus, and of "Ulysses in petticoats," by which he designated his grandmother, the august Livia. The two epigrammetic criticisms which he passed upon the style of Seneca are not wholly devoid of truth; he called his works Commissiones meras, or mere displays.[25] In this expression he hit off, happily enough, the somewhat theatrical, the slightly pedantic and pedagogic and professorial character of Seneca's diction, its rhetorical ornament and antitheses, and its deficiency in stern masculine simplicity and strength. In another remark he showed himself a still more felicitous critic. He called Seneca's writings Arenu sine Calce, "sand without lime," or, as we might say, "a rope of sand." This epigram showed a real critical faculty. It exactly hits off Seneca's short and disjointed sentences, consisting as they often do of detached antitheses. It accords with the amusing comparison of Malebranche, that Seneca's composition, with its perpetual and futile recurrences, calls up to him the image of a dancer who ends where he begins.
[25] Suet. Calig. liii.