GALLUS was a Roman knight, distinguished not only for poetical, but military talents. Of his poetry we have only six elegies, written, in the person of an old man, on the subject of old age, but which, there is reason to think, were composed at an earlier part of the author’s life. Except the fifth elegy, which is tainted with immodesty, the others, particularly the first, are highly beautiful, and may be placed in competition with any other productions of the elegiac kind. Gallus was, for some time, in great favour with Augustus, who appointed him governor of Egypt. It is said, however, that he not only oppressed the province by extortion, but entered into a conspiracy against his benefactor, for which he was banished. Unable to sustain such a reverse of fortune, he fell into despair, and laid violent hands on himself. This is the Gallus in honour of whom Virgil composed his tenth eclogue.
Such are the celebrated productions of the Augustan age, which have been happily preserved, for the delight and admiration of mankind, and will survive to the latest posterity. Many (189) more once existed, of various merit, and of different authors, which have left few or no memorials behind them, but have perished promiscuously amidst the indiscriminate ravages of time, of accidents, and of barbarians. Amongst the principal authors whose works are lost, are Varius and Valgius; the former of whom, besides a panegyric upon Augustus, composed some tragedies. According to Quintilian, his Thyestes was equal to any composition of the Greek tragic poets.
The great number of eminent writers, poets in particular, who adorned this age, has excited general admiration, and the phenomenon is usually ascribed to a fortuitous occurrence, which baffles all inquiry: but we shall endeavour to develop the various causes which seem to have produced this effect; and should the explanation appear satisfactory, it may favour an opinion, that under similar circumstances, if ever they should again be combined, a period of equal glory might arise in other ages and nations.
The Romans, whether from the influence of climate, or their mode of living, which in general was temperate, were endowed with a lively imagination, and, as we before observed, a spirit of enterprise. Upon the final termination of the Punic war, and the conquest of Greece, their ardour, which had hitherto been exercised in military achievements, was diverted into the channel of literature; and the civil commotions which followed, having now ceased, a fresh impulse was given to activity in the ambitious pursuit of the laurel, which was now only to be obtained by glorious exertions of intellect. The beautiful productions of Greece, operating strongly upon their minds, excited them to imitation; imitation, when roused amongst a number, produced emulation; and emulation cherished an extraordinary thirst of fame, which, in every exertion of the human mind, is the parent of excellence. This liberal contention was not a little promoted by the fashion introduced at Rome, for poets to recite their compositions in public; a practice which seems to have been carried even to a ridiculous excess.—Such was now the rage for poetical composition in the Roman capital, that Horace describes it in the following terms:
Mutavit mentem populus levis, et calet uno
Scribendi studio: pueri patresque severi
Fronde comas vincti coenant, et carmina dictant.—Epist. ii. 1.
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Now the light people bend to other aims;
A lust of scribbling every breast inflames;
Our youth, our senators, with bays are crowned,
And rhymes eternal as our feasts go round.
(190) Scribimus indocti doctique poemata passim.—Hor. Epeat. ii. 1.
But every desperate blockhead dares to write,
Verse is the trade of every living wight.—Francis.
The thirst of fame above mentioned, was a powerful incentive, and is avowed both by Virgil and Horace. The former, in the third book of his Georgics, announces a resolution of rendering himself celebrated, if possible.
————tentanda via est qua me quoque possim
Tollere humo, victorque virum volitare per ora.
I, too, will strive o’er earth my flight to raise,
And wing’d by victory, catch the gale of praise.—Sotheby.
And Horace, in the conclusion of his first Ode, expresses himself in terms which indicate a similar purpose.
Quad si me lyricis vatibis inseres,
Sublimi feriam sidera vertice.
But if you rank me with the choir,
Who tuned with art the Grecian lyre;
Swift to the noblest heights of fame,
Shall rise thy poet’s deathless name.—Francis.
Even Sallust, a historian, in his introduction to Catiline’s Conspiracy, scruples not to insinuate the same kind of ambition. Quo mihi rectius videtur ingenii quam virium opibus gloriam quaerere; et quoniam vita ipsa, qua fruimur, brevis est, memoriam nostri quam maxume longam efficere. [283]