Yet about this sea, which should have kindled his imagination and inspired his genius, this thankless bard poetises in a vein such as a London citizen, some half-century back, might have indulged in after a long, tedious, 'squally' voyage in an overladen Margate hoy.
No such spirit possessed him as that which dictated poor Campbell's noble apostrophe to the glorious 'world of waters:'
—— 'Earth has not a plain
So boundless or so beautiful as thine;
The eagle's vision cannot take it in;
The lightning's glance, too weak to sweep its space,
Sinks half-way o'er it, like a wearied bird:
It is the mirror of the stars, where all
Their hosts within the concave firmament,
Gay marching to the music of the spheres,
Can see themselves at once.'
Horace, indeed, has sung the praises of Tarentum—that beautiful maritime city of the Calabrian Gulf, whose attractions were such as to make the delights of Tarentum a common proverbial expression. But what were these delights as celebrated by our poet?—the perfection of its honey, the excellence of its olives, the abundance of its grapes, its lengthened spring and temperate winter. For these, its merits, did Horace prefer, as he tells us, Tarentum to every other spot on the wide earth—his beloved Tibur only and ever excepted. In truth, Horace valued and visited the sea-side only in winter, and then simply because its climate was milder than that to be met with inland, and therefore more agreeable to the dilapidated constitution of a sensitive valetudinarian. His commentators suppose he produced nothing during his marine hybernations: if the inclement season froze 'the genial current of his soul,' the aspect of the sea did not thaw it.
His motive for his sea-side trips is amusingly set forth in one of the most lively and characteristic of his Epistles—the fifteenth of the first book. In this he inquires of a friend what sort of winter weather is to be found at Velia and Salernum; two cities, one on the Adriatic, the other on the Mediterranean seaboard of Italy—what manner of roads they had—whether the people there drank tank-water or spring-water—and whether hares, boars, crabs, and fish were with them abundant. He adds, he is not apprehensive about their wines—knowing these, as we may infer, to be good—although usually, when from home, he is scrupulous about his liquors; whilst, when at home, he can put up almost with anything in the way of potations. It is quite plain Horace went down to the sea just in the spirit in which a turtle-fed alderman would transfer himself to Cheltenham; or in which a fine lady, whose nerves the crush, hurry, and late hours of a London season had somewhat disturbed, would exchange the dissipations of Mayfair for the breezy hills of Malvern, or the nauseous waters of Tunbridge Wells.
This certainly explains, and perhaps excuses, the grossly uncivil terms in which alone he notices the sea. One of the worst of Ulysses' troubles was, according to him, the numerous and lengthy sea-voyages which that Ithacan gadabout had to take. Horace wishes for Mævius, who was his aversion, no worse luck than a rough passage and shipwreck at the end of it. His notion of a happy man—ille beatus—is one who has not to dread the sea. Augustus, whose success had blessed not only his own country, but the whole world, had—not the least of his blessings—given to the seamen a calmed sea—pacatum mare. Lamenting at Virgil's departure for Athens, he rebukes the impiety of the first mariner who ventured, in the audacity of his heart, to go afloat and cross the briny barrier interposed between nations. He esteems a merchant favoured specially by the gods, should he twice or thrice a year return in safety from an Atlantic cruise. He tells us he himself had known the terrors of 'the dark gulf of the Adriatic,' and had experienced 'the treachery of the western gale;' and expresses a charitable wish, that the enemies of the Roman state were exposed to the delights of both. He likens human misery to a sea 'roughened by gloomy winds;' 'to embark once more on the mighty sea,' is his figurative expression for once more engaging in the toils and troubles of the world; Rome, agitated by the dangers of civil conflict, resembles an ill-formed vessel labouring tempest-tossed in the waves; his implacable Myrtale resembles the angry Adriatic, in which also he finds a likeness to an ill-tempered lover. All through, from first to last, the gentle Horace pelts with most ungentle phrases one of the noblest objects in nature, provocative alike of our admiration and our awe, our terror and our love.
And even Shakspeare must be ranged in the same category. The most English of poets has not one laudatory phrase for
—— 'The seas
Which God hath given for fence impregnable'
to the poet's England. It is idle to say that Shakspeare was inland-bred—that he knew nothing, and could therefore have cared nothing about the matter—seeing that, insensible as he might have been to its beauties, he makes constant reference to the sea, and even in language implying that his familiarity with it was not inferior to that of any yachtsman who has ever sailed out of Cowes Harbour. He uses nautical terms frequently and appropriately. Romeo's rope-ladder is 'the high top-gallant of his joy;' King John, dying of poison, declares 'the tackle of his heart is cracked,' and 'all the shrouds wherewith his life should sail' wasted 'to a thread.' Polonius tells Laertes, 'the wind sits in the shoulder of your sail'—a technical expression, the singular propriety of which a naval critic has recently established; whilst some of the commentators on the passage in King Lear, descriptive of the prospect from Dover Cliffs, affirm that the comparison as to apparent size, of the ship to her cock-boat, and the cock-boat to a buoy, discover a perfect knowledge of the relative proportions of the objects named. In Hamlet, Othello, The Tempest, The Merchant of Venice, The Comedy of Errors, Twelfth Night, Winter's Tale, Measure for Measure, and Pericles, sea-storms are made accessory to the development of the plot, and sometimes described with a force and truthfulness which forbid the belief that the writer had never witnessed such scenes: however, like Horace, it is in the darkest colours that Shakspeare uniformly paints 'the multitudinous seas.'
In the Winter's Tale, we read of—