They say likewise that Domitian dreamed that a golden hump grew out of the back of his neck, which he considered as a certain sign of happy days for the empire after him. Such an auspicious change indeed shortly afterwards took place, through the justice and moderation of the succeeding emperors.
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If we view Domitian in the different lights in which he is represented, during his lifetime and after his decease, his character and conduct discover a greater diversity than is commonly observed in the objects of historical detail. But as posthumous character is always the most just, its decisive verdict affords the surest criterion by which this variegated emperor must be estimated by impartial posterity. According to this rule, it is beyond a doubt that his vices were more predominant than his virtues: and when we follow him into his closet, for some time after his accession, when he was thirty years of age, the frivolity of his daily employment, in the killing of flies, exhibits an instance of dissipation, which surpasses all that has been recorded of his imperial predecessors. The encouragement, however, which the first Vespasian had shown to literature, continued to operate during the present reign; and we behold the first fruits of its auspicious influence in the valuable treatise of QUINTILIAN.
Of the life of this celebrated writer, little is known upon any authority that has a title to much credit. We learn, however, that he was the son of a lawyer in the service of some of the preceding emperors, and was born in Rome, though in what consulship, or under what emperor, it is impossible to determine. He married a woman of a noble family, by whom he had two sons. The mother died in the flower of her age, and the sons, at the distance of some time from each other, when their father was advanced in years. The precise time of Quintilian’s own death is equally inauthenticated with that of his birth; nor can we rely upon an author of suspicious veracity, who says that he passed the latter part of his life in a state of indigence which was alleviated by the liberality of his pupil, Pliny the Younger. Quintilian opened a school of rhetoric at Rome, where he not only discharged that labourious employment with great applause, (499) during more than twenty years, but pleaded at the bar, and was the first who obtained a salary from the state, for executing the office of a public teacher. He was also appointed by Domitian preceptor to the two young princes who were intended to succeed him on the throne.
After his retirement from the situation of a teacher, Quintilian devoted his attention to the study of literature, and composed a treatise on the Causes of the Corruption of Eloquence. At the earnest solicitation of his friends, he was afterwards induced to undertake his Institutiones Oratoriae, the most elaborate system of oratory extant in any language. This work is divided into twelve books, in which the author treats with great precision of the qualities of a perfect orator; explaining not only the fundamental principles of eloquence, as connected with the constitution of the human mind, but pointing out, both by argument and observation, the most successful method of exercising that admirable art, for the accomplishment of its purpose. So minutely, and upon so extensive a plan, has he prosecuted the subject, that he delineates the education suitable to a perfect orator, from the stage of infancy in the cradle, to the consummation of rhetorical fame, in the pursuits of the bar, or those, in general, of any public assembly. It is sufficient to say, that in the execution of this elaborate work, Quintilian has called to the assistance of his own acute and comprehensive understanding, the profound penetration of Aristotle, the exquisite graces of Cicero; all the stores of observation, experience, and practice; and in a word, the whole accumulated exertions of ancient genius on the subject of oratory.
It may justly be regarded as an extraordinary circumstance in the progress of scientific improvement, that the endowments of a perfect orator were never fully exhibited to the world, until it had become dangerous to exercise them for the important purposes for which they were originally cultivated. And it is no less remarkable, that, under all the violence and caprice of imperial despotism which the Romans had now experienced, their sensibility to the enjoyment of poetical compositions remained still unabated; as if it served to console the nation for the irretrievable loss of public liberty. From this source of entertainment, they reaped more pleasure during the present reign, than they had done since the time of Augustus. The poets of this period were Juvenal, Statius, and Martial.
JUVENAL was born at Aquinum, but in what year is uncertain; though, from some circumstances, it seems to have been in the reign of Augustus. Some say that he was the son of a freedman, (500) while others, without specifying the condition of his father, relate only that he was brought up by a freedman. He came at an early age to Rome, where he declaimed for many years, and, pleaded causes in the forum with great applause; but at last he betook himself to the writing of satires, in which he acquired great fame. One of the first, and the most constant object of is satire, was the pantomime Paris, the great favourite of the emperor Nero, and afterwards of Domitian. During the reign of the former of these emperors, no resentment was shown towards the poet; but he experienced not the same impunity after the accession of the latter; when, to remove him from the capital, he was sent as governor to the frontiers of Egypt, but in reality, into an honourable exile. According to some authors, he died of chagrin in that province: but this is not authenticated, and seems to be a mistake: for in some of Martial’s epigrams, which appear to have been written after the death of Domitian, Juvenal is spoken of as residing at Rome. It is said that he lived to upwards of eighty years of age.
The remaining compositions of this author are sixteen satires, all written against the dissipation and enormous vices which prevailed at Rome in his time. The various objects of animadversion are painted in the strongest colours, and placed in the most conspicuous points of view. Giving loose reins to just and moral indignation, Juvenal is every where animated, vehement, petulant, and incessantly acrimonious. Disdaining the more lenient modes of correction, or despairing of their success, he neither adopts the raillery of Horace, nor the derision of Persius, but prosecutes vice and folly with all the severity of sentiment, passion, and expression. He sometimes exhibits a mixture of humour with his invectives; but it is a humour which partakes more of virulent rage than of pleasantry; broad, hostile, but coarse, and rivalling in indelicacy the profligate manners which it assails. The satires of Juvenal abound in philosophical apophthegms; and, where they are not sullied by obscene description, are supported with a uniform air of virtuous elevation. Amidst all the intemperance of sarcasm, his numbers are harmonious. Had his zeal permitted him to direct the current of his impetuous genius into the channel of ridicule, and endeavour to put to shame the vices and follies of those licentious times, as much as he perhaps exasperated conviction rather than excited contrition, he would have carried satire to the highest possible pitch, both of literary excellence and moral utility. With every abatement of attainable perfection, we hesitate not to place him at the head of this arduous department of poetry.
Of STATIUS no farther particulars are preserved than that he (501) was born at Naples; that his father’s name was Statius of Epirus, and his mother’s Agelina, and that he died about the end of the first century of the Christian era. Some have conjectured that he maintained himself by writing for the stage, but of this there is no sufficient evidence; and if ever he composed dramatic productions, they have perished. The works of Statius now extant, are two poems, viz. the Thebais and the Achilleis, besides a collection, named Silvae.
The Thebais consists of twelve books, and the subject of it is the Theban war, which happened 1236 years before the Christian era, in consequence of a dispute between Eteocles and Polynices, the sons of Oedipus and Jocasta. These brothers had entered into an agreement with each other to reign alternately for a year at a time; and Eteocles being the elder, got first possession of the throne. This prince refusing to abdicate at the expiration of the year, Polynices fled to Argos, where marrying Argia, the daughter of Adrastus, king of that country, he procured the assistance of his father-in-law, to enforce the engagement stipulated with his brother Eteocles. The Argives marched under the command of seven able generals, who were to attack separately the seven gates of Thebes. After much blood had been spilt without any effect, it was at last agreed between the two parties, that the brothers should determine the dispute by single combat. In the desperate engagement which ensued, they both fell; and being burnt together upon the funeral pile, it is said that their ashes separated, as if actuated by the implacable resentment which they had borne to each other.