[Footnote 65: Ibid., viii, 12.]
[Footnote 66: Ibid., Lett. ix. 27.]
Probably he had reference to those informers who were expiating under Trajan the favor and prosperity they had enjoyed under Domitian. That they deserved scorn, there can be no doubt; but is it always easy to pass just and impartial judgment upon contemporaries? Does not history run a chance of resembling one of those retrospective reviews, before which, after a change of rulers, the men of to-day lay complaints against the men of yesterday?
Occasionally the choice of subjects was even more remarkable. The orator Regulus, whom Pliny (usually so full of good will toward the subjects of his criticism) unceasingly pursued with scornful hatred, loses his only son. Not content with bestowing upon him magnificent obsequies, in which, to strike all eyes with the spectacle of pompous woe, be sacrifices, upon the funeral pile, the nightingales, parrots, dogs, and horses that the child had loved; he would perpetuate his son's memory and spread abroad the proofs of his own grief. Portraits and images wrought in wax, or copper, or marble, ivory, silver, or gold—the most varied works of painter or sculptor, suffice him not. It occurs to him that he himself is an artist—a word-artist, and now or never his powers should be utilized. His son's life and death would be an admirable text for a lecture. Quick to the work! Great griefs are mute, says Seneca, but Regulus thinks otherwise; and in a few days he gives forth to a numerous assembly an address which cannot fail to do credit to his literary talents and his paternal sentiments. The comedy (for what else can we call it?) met with success. So fine a piece was not composed to delight a single audience, and Regulus, being rich enough to pay the expenses of glory, addressed a sort of circular to the magistrates of every important town throughout Italy and the provinces, begging them to select their best declaimer and confide to him the reading of this precious work of art. The wish of Regulus was gratified. [Footnote 67]
[Footnote 67: Pliny the Younger, iv. 2, 7.]
Pliny's letter, giving these curious details, shows also that the fashion of recitations had spread beyond Rome. Testimony to the same effect abounds in ancient authors. Few cities were without public lectures. In imitation of Italy, the practice was adopted in Africa, Gaul and Spain. Of Greece I do not speak, for Greece is par excellence the land of literary recreations, and we will go thither all in good time.
III.
It would appear from various texts that Rome at least had certain seasons for lectures: the months of April and August, and sometimes of July, being especially selected, no doubt because affairs before the tribunals were then less frequent. Authors took advantage of these periods of leisure to supplant the magistrates. But that each aspirant might have his turn, meeting succeeded meeting. "Poets abound this year," writes Pliny; "we have had recitations almost every day this month." Innocent satisfaction of a mind enjoying the triumph of good taste and literature in these exhibitions, or osentationes, as they were termed by severe judges! Seneca advises his pupil Lucilius not to stoop to objects so paltry. One would suppose that the frequency of public lectures would have led to the erection of a public edifice—of an amphitheatre especially devoted to these exercises. We find, however, that such a thing was never thought of, and that each lecturer was expected to provide his platform as best he could. Poor poets, a never-failing race, spoke in public squares or at the baths. [Footnote 68] Petronius in his Satyricon depicts the old poet Eumolpus declaiming anywhere and everywhere, in the streets or under peristyles, spouting his verses to every comer, at the risk of being driven away by the wearied crowd or of driving them away, a circumstance not more flattering to a poet. Eumolpus is but a fictitious personage, but he is no doubt drawn from life. Petronius describes what he has often witnessed; and even if we could doubt this, Horace and Juvenal would bear witness to the fidelity of the portrait.
[Footnote 68: Horace, Sat. I. iv. 75.]