The Gauls retreated for a while, but having subsequently joined the Volscii, they got into the Pontine Marshes, and resolved to go through thick and thin for the purpose of attacking the Romans. Again a giant appeared in the Gallic ranks, where, it would seem, a giant was always to be found,—an appendage indicating less of the brave than of the fair in the composition of the Gallic army. Again a young Roman was ready to meet an opponent twice his size; and Marcus Valerius declared that if the giant meant fighting, he, Marcus Valerius, was to be heard of at a place agreed upon. The terms were concluded, and the giant came up, with the appearance of contemplating mischief, when a crow, settling on the Gaul's helmet, by way of crest, soon enabled the Roman to crow over his crest-fallen antagonist. The bird, flapping his wings whenever the giant attempted to hit out, put so many feathers in his face as to render his position ticklish; and as he could not see with a bundle of crow-quills in his eye, his look-out became rather desperate. Valerius, in the mean time, laid about him with such vigour and effect, that the giant, who was doubly blinded with rage and feathers, knew not where to have him. The contest soon terminated in favour of the Roman youth, who took the name of Corvus, or the Crow, from the cause already mentioned. The Gauls were vanquished, and Valerius was awarded no less than ten prize oxen; so that he obtained in solid beef, rather than in empty praise, an acknowledgment of his services. At his triumph, 4000 Volscians were drawn up on each side of him in chains; but there is something in the idea of his passing through this Fetter Lane which is repugnant to our more civilised notions of true glory.
Terrific Combat between Titus Manlius and a Gaul of gigantic stature.
FOOTNOTES:
[26] Livy, vi., 42.
[27] The word "Histriones" is said to be derived from the Etruscan hister, a dancer. The earliest performers introduced into Rome were dancers—in fact, a ballet company—from Etruria. Those sensitive admirers of the purely classical in the entertainments of the stage, who clamour against opera and ballet, will, perhaps, be surprised to learn that the most truly classical performances are those which they most energetically protest against.