[a] Agamemnon and Jason were two favourite dramatic subjects with the
Roman poets. After their example, the moderns seem to have been
enamoured with those two Grecian heroes. Racine has displayed the
former, in his tragedy of Iphigenia, and the late Mr. Thomson in a
performance of great merit, entitled Agamemnon. Corneille, and, the
late Mr. Glover, thought Jason and Medea worthy of their talents.
[b] Saleius Bassus has been already mentioned, s. v. note [a]. It may
be added in this place, that the critics of his time concurred in
giving him the warmest praise, not only as a good and excellent man,
but also as an eminent and admirable poet. He was descended from a
family of distinction, but was poor and often distressed. Whether he
or Cæsius Bassus was the friend of Persius, is not perfectly clear. Be
the fact as it may, the satirist describes a fine poet, and his verses
were applicable to either of them:
Jamne lyrâ, et tetrico vivunt tibi pectine chordæ?
Mire opifex numeris veterum primordia rerum,
Atque marem strepitum fidis intendisse Latinæ;
Mox juvenes agitare jocos, et pollice honesto
Egregios lusisse senes.
PERSIUS, sat. vi.
[c] Before the invention of printing, copies were not easily
multiplied. Authors were eager to enjoy their fame, and the pen of the
transcriber was slow and tedious. Public rehearsals were the road to
fame. But an audience was to be drawn together by interest, by
solicitation, and public advertisements. Pliny, in one of his letters,
has given a lively description of the difficulties which the author
had to surmount. This year, he says, has produced poets in great
abundance. Scarce a day has passed in the month of April, without the
recital of a poem. But the greater part of the audience comes with
reluctance; they loiter in the lobbies, and there enter into idle
chat, occasionally desiring to know, whether the poet is in his
pulpit? has he begun? is his preface over? has he almost finished?
They condescended, at last, to enter the room; they looked round with
an air of indifference, and soon retired, some by stealth, and others
with open contempt. Hence the greater praise is due to those authors,
who do not suffer their genius to droop, but, on the contrary, amidst
the most discouraging circumstances, still persist to cultivate the
liberal arts. Pliny adds, that he himself attended all the public
readings, and, for that purpose, staid longer in the city than was
usual with him. Being, at length, released, he intended, in his rural
retreat, to finish a work of his own, but not to read it in public,
lest he should be thought to claim a return of the civility which he
had shewn to others. He was a bearer, and not a creditor. The favour
conferred, if redemanded, ceases to be a favour. _Magnum proventum
poetarum annus hic attulit. Toto mense Aprili nullus fere dies, quo
non recitaret aliquis. Tametsi ad audiendum pigre coitur. Plerique in
stationibus sedent, tempusque audiendis fabulis conterunt, ac subinde
sibi nuntiari jubent, an jam recitator intraverit, an dixerit
præfationem, an ex magná parte evolverit librum? Tum demum, ac tune
quoque lentè, cunctanterque veniunt, nec tamen remanent, sed ante
finem recedunt; alii dissimulanter, ac furtim, alii, simpliciter, ac
liberè. Sed tanto magis laudandi probandique sunt, quos a scribendi
recitandique studio hæc auditorum vel desidia, vel superbia non
retardat. Equidem prope nemini defui: his ex causis longius, quam
destinaveram, tempus in urbe consumpsi. Possum jam repetere secessum,
et scribere aliquid, quod non recitem, ne videar, quorum
recitationibus affui, non auditor fuisse, sed creditor. Nam, ut in
cæteris rebus, ita in audiendi officio, perit gratia si reposcatur._
Pliny, lib. i. ep. 13. Such was the state of literature under the
worst of the emperors. The Augustan age was over. In the reigns of
Tiberius and Caligula learning drooped, but in some degree revived
under the dull and stupid Claudius. Pliny, in the letter above cited,
says of that emperor, that, one day hearing a noise in his palace, he
enquired what was the cause, and, being informed that Nonianus was
reciting in public, went immediately to the place, and became one of
the audience. After that time letters met with no encouragement from
the great. Lord Shaftesbury says, he cannot but wonder how the Romans,
after the extinction of the _Cæsarean_ and _Claudian_ family, and a
short interval of princes raised and destroyed with much disorder and
public ruin, were able to regain their perishing dominion, and
retrieve their sinking state, by an after-race of wise and able
princes, successively adopted, and taken from a private state to rule
the empire of the world. They were men, who not only possessed the
military virtues, and supported that sort of discipline in the
highest degree; but as they sought the interest of the world, they
did what was in their power to restore liberty, and raise again the
perishing arts, and the decayed virtue of mankind. But the season was
past: _barbarity_ and _gothicism_ were already entered into the arts,
ere the savages made an impression on the empire. See _Advice to an
Author_, part. ii. s. 1. The _gothicism_, hinted at by Shaftesbury,
appears manifestly in the wretched situation to which the best authors
were reduced. The poets who could not hope to procure an audience,
haunted the baths and public walks, in order to fasten on their
friends, and, at any rate, obtain a hearing for their works. Juvenal
says, the plantations and marble columns of Julius Fronto resounded
with the vociferation of reciting poets:
Frontonis platani convulsaque marmora clamant
Semper, et assiduo ruptæ lectore columnæ.
Expectes eadem a summo minimoque poetâ.
SAT. i. ver. 12.
The same author observes, that the poet, who aspired to literary
fame, might borrow an house for the purpose of a public reading; and
the great man who accommodated the writer, might arrange his friends
and freedmen on the back seats, with direction not to be sparing of
their applause; but still a stage or pulpit, with convenient benches,
was to be procured, and that expence the patrons of letters would not
supply.
----At si dulcedine famæ
Contentus recites, Maculonus commodat ædes.
Scit dare libertos extremâ in parte sedentes
Ordinis, et magnas comitum disponere voces.
Nemo dabit procerum, quanti subsellia constent.
SAT. vii. ver. 39.
Statius, in Juvenal's time, was a favourite poet. If he announced a
reading, his auditors went in crowds. He delighted all degrees and
ranks of men; but, when the hour of applause was over, the author was
obliged to sell a tragedy to Paris, the famous actor, in order to
procure a dinner,
Curritur ad vocem jucundam, et carmen amicæ?
Thebaidos, lætam fecit cum Statius urbem?
Promisitque diem: tantâ dulcedine vulgi
Auditur; sed cum fregit subsellia versu,
Esurit, intactam Paridi nisi vendit Agaven.
SAT. vii. ver. 82.
This was the hard lot of poetry, and this the state of public reading,
which Aper describes to his friend Maternus.