Another circumstance of great importance, towards the production of such poetry as might live through every age, was the extreme attention which the great poets of this period displayed, both in the composition, and the polishing of their works. Virgil, when employed upon the Georgics, usually wrote in the morning, and applied much of the subsequent part of the day to correction and improvement. He compared himself to a bear, that licks her cub into form. If this was his regular practice in the Georgics, we may justly suppose that it was the same in the Aeneid. Yet, after all this labour, he intended to devote three years entirely to its farther amendment. Horace has gone so far in recommending careful correction, that he figuratively mentions nine years as an adequate period for that purpose. But whatever may be the time, there is no precept which he urges either oftener or more forcibly, than a due attention to this important subject.
(191) Saepe stylum vertas, iterum quae digna legi sint
Scripturus.—Sat. i. x.
Would you a reader’s just esteem engage?
Correct with frequent care the blotted page.—Francis.
————Vos, O
Pompilius sanguis, carmen reprehendite, quod non
Multa dies et multa litura coercuit, atque
Perfectum decies non castigavit ad uuguem.
De. Art. Poet.
Sons of Pompilius, with contempt receive,
Nor let the hardy poem hope to live,
Where time and full correction don’t refine
The finished work, and polish every line.—Francis.
To the several causes above enumerated, as concurring to form the great superiority of the Augustan age, as respects the productions of literature, one more is to be subjoined, of a nature the most essential: the liberal and unparalleled encouragement given to distinguished talents by the emperor and his minister. This was a principle of the most powerful energy: it fanned the flame of genius, invigorated every exertion; and the poets who basked in the rays of imperial favour, and the animating patronage of Mecaenas, experienced a poetic enthusiasm which approached to real inspiration.
Having now finished the proposed explanation, relative to the celebrity of the Augustan age, we shall conclude with recapitulating in a few words the causes of this extraordinary occurrence.
The models, then, which the Romans derived from Grecian poetry, were the finest productions of human genius; their incentives to emulation were the strongest that could actuate the heart. With ardour, therefore, and industry in composing, and with unwearied patience in polishing their compositions, they attained to that glorious distinction in literature, which no succeeding age has ever rivalled.
TIBERIUS NERO CAESAR.
(192)
I. The patrician family of the Claudii (for there was a plebeian family of the same name, no way inferior to the other either in power or dignity) came originally from Regilli, a town of the Sabines. They removed thence to Rome soon after the building of the city, with a great body of their dependants, under Titus Tatius, who reigned jointly with Romulus in the kingdom; or, perhaps, what is related upon better authority, under Atta Claudius, the head of the family, who was admitted by the senate into the patrician order six years after the expulsion of the Tarquins. They likewise received from the state, lands beyond the Anio for their followers, and a burying-place for themselves near the capitol [284]. After this period, in process of time, the family had the honour of twenty-eight consulships, five dictatorships, seven censorships, seven triumphs, and two ovations. Their descendants were distinguished by various praenomina and cognomina [285], but rejected by common consent the praenomen of (193) Lucius, when, of the two races who bore it, one individual had been convicted of robbery, and another of murder. Amongst other cognomina, they assumed that of Nero, which in the Sabine language signifies strong and valiant.
II. It appears from record, that many of the Claudii have performed signal services to the state, as well as committed acts of delinquency. To mention the most remarkable only, Appius Caecus dissuaded the senate from agreeing to an alliance with Pyrrhus, as prejudicial to the republic [286]. Claudius Candex first passed the straits of Sicily with a fleet, and drove the Carthaginians out of the island [287]. Claudius Nero cut off Hasdrubal with a vast army upon his arrival in Italy from Spain, before he could form a junction with his brother Hannibal [288]. On the other hand, Claudius Appius Regillanus, one of the Decemvirs, made a violent attempt to have a free virgin, of whom he was enamoured, adjudged a slave; which caused the people to secede a second time from the senate [289]. Claudius Drusus erected a statue of himself wearing a crown at Appii Forum [290], and endeavoured, by means of his dependants, to make himself master of Italy. Claudius Pulcher, when, off the coast of Sicily [291], the pullets used for taking augury would not eat, in contempt of the omen threw them overboard, as if they should drink at least, if they would not eat; and then engaging the enemy, was routed. After his defeat, when he (194) was ordered by the senate to name a dictator, making a sort of jest of the public disaster, he named Glycias, his apparitor.