The Works of Lord Byron Volume II Part 84

But we must not be so much dazzled with his surpa.s.sing glory, or with his magnanimous, his amiable qualities, as to forget the decision of his impartial countrymen:--

HE WAS JUSTLY SLAIN.[653]

27.

Egeria! sweet creation of some heart Which found no mortal resting-place so fair As thine ideal breast.

Stanza cxv. lines 1, 2, and 3.

The respectable authority of Flaminius Vacca would incline us to believe in the claims of the Egerian grotto.[654] He a.s.sures us that he saw an inscription in the pavement, stating that the fountain was that of Egeria, dedicated to the nymphs. The inscription is not there at this day, but Montfaucon quotes two lines[655] of Ovid [_Fast._, iii. 275, 276] from a stone in the Villa Giustiniani, which he seems to think had been brought from the same grotto.

This grotto and valley were formerly frequented in summer, and particularly the first Sunday in May, by the modern Romans, who attached a salubrious quality to the fountain which trickles from an orifice at the bottom of the vault, and, overflowing the little pools, creeps down the matted gra.s.s into the brook below. The brook is the Ovidian Almo, whose name and qualities are lost in the modern Aquataccio. The valley itself is called Valle di Caffarelli, from the dukes of that name who made over their fountain to the Pallavicini, with sixty _rubbia_ of adjoining land.

There can be little doubt that this long dell is the Egerian valley of Juvenal, and the pausing place of Umbritius, notwithstanding the generality of his commentators have supposed the descent of the satirist and his friend to have been into the Arician grove, where the nymph met Hippolitus, and where she was more peculiarly wors.h.i.+pped.

The step from the Porta Capena to the Alban hill, fifteen miles distant, would be too considerable, unless we were to believe in the wild conjecture of Vossius, who makes that gate travel from its present station, where he pretends it was during the reign of the Kings, as far as the Arician grove, and then makes it recede to its old site with the shrinking city.[656] The tufo, or pumice, which the poet prefers to marble, is the substance composing the bank in which the grotto is sunk.

The modern topographers[657] find in the grotto the statue of the nymph, and nine niches for the Muses; and a late traveller[658] has discovered that the cave is restored to that simplicity which the poet regretted had been exchanged for injudicious ornament. But the headless statue is palpably rather a male than a nymph, and has none of the attributes ascribed to it at present visible. The nine Muses could hardly have stood in six niches; and Juvenal certainly does not allude to any individual cave.[659] Nothing can be collected from the satirist but that somewhere near the Porta Capena was a spot in which it was supposed Numa held nightly consultations with his nymph, and where there was a grove and a sacred fountain, and fanes once consecrated to the Muses; and that from this spot there was a descent into the valley of Egeria, where were several artificial caves. It is clear that the statues of the Muses made no part of the decoration which the satirist thought misplaced in these caves; for he expressly a.s.signs other fanes (_delubra_) to these divinities above the valley, and moreover tells us that they had been ejected to make room for the Jews. In fact, the little temple now called that of Bacchus, was formerly thought to belong to the Muses, and Nardini[660] places them in a poplar grove, which was in his time above the valley.

It is probable from the inscription and position, that the cave now shown may be one of the "artificial caverns," of which, indeed, there is another a little way higher up the valley, under a tuft of alder bushes; but a _single_ grotto of Egeria is a mere modern invention, grafted upon the application of the epithet Egerian to these nymphea in general, and which might send us to look for the haunts of Numa upon the banks of the Thames.

Our English Juvenal was not seduced into mistranslation by his acquaintance with Pope: he carefully preserves the correct plural--

"Thence slowly winding down the vale we view The Egerian _grots_: oh, how unlike the true!"

The valley abounds with springs,[661] and over these springs, which the Muses might haunt from their neighbouring groves, Egeria presided: hence she was said to supply them with water; and she was the nymph of the grottos through which the fountains were taught to flow.

The whole of the monuments in the vicinity of the Egerian valley have received names at will, which have been changed at will. Venuti[662]

owns he can see no traces of the temples of Jove, Saturn, Juno, Venus, and Diana, which Nardini found, or hoped to find. The mutatorium of Caracalla's circus, the temple of Honour and Virtue, the temple of Bacchus, and, above all, the temple of the G.o.d Rediculus, are the antiquaries' despair.

The circus of Caracalla depends on a medal of that emperor cited by Fulvius Ursinus, of which the reverse shows a circus, supposed, however, by some to represent the Circus Maximus. It gives a very good idea of that place of exercise. The soil has been but little raised, if we may judge from the small cellular structure at the end of the Spina, which was probably the chapel of the G.o.d Consus. This cell is half beneath the soil, as it must have been in the circus itself; for Dionysius[663] could not be persuaded to believe that this divinity was the Roman Neptune, because his altar was underground.

28.

Great Nemesis!

Here, where the ancient paid thee homage long.

Stanza cx.x.xii. lines 2 and 3.

We read in Suetonius, that Augustus, from a warning received in a dream,[664] counterfeited, once a year, the beggar, sitting before the gate of his palace with his hand hollowed and stretched out for charity.

A statue formerly in the villa Borghese, and which should be now at Paris, represents the Emperor in that posture of supplication. The object of that self-degradation was the appeas.e.m.e.nt of Nemesis, the perpetual attendant on good fortune, of whose power the Roman conquerors were also reminded by certain symbols attached to their cars of triumph.

The symbols were the whip and the _crotalo_, which were discovered in the Nemesis of the Vatican. The att.i.tude of beggary made the above statue pa.s.s for that of Belisarius: and until the criticism of Winckelmann[665] had rectified the mistake, one fiction was called in to support another. It was the same fear of the sudden termination of prosperity, that made Amasis king of Egypt warn his friend Polycrates of Samos, that the G.o.ds loved those whose lives were chequered with good and evil fortunes. Nemesis was supposed to lie in wait particularly for the prudent; that is, for those whose caution rendered them accessible only to mere accidents; and her first altar was raised on the banks of the Phrygian aesepus by Adrastus, probably the prince of that name who killed the son of Croesus by mistake. Hence the G.o.ddess was called Adrastea.[666]

The Roman Nemesis was _sacred_ and _august_: there was a temple to her in the Palatine under the name of Rhamnusia;[667] so great, indeed, was the propensity of the ancients to trust to the revolution of events, and to believe in the divinity of Fortune, that in the same Palatine there was a temple to the Fortune of the day.[668] This is the last superst.i.tion which retains its hold over the human heart; and, from concentrating in one object the credulity so natural to man, has always appeared strongest in those unembarra.s.sed by other articles of belief.

The antiquaries have supposed this G.o.ddess to be synonymous with Fortune and with Fate;[669] but it was in her vindictive quality that she was wors.h.i.+pped under the name of Nemesis.

29.

He, their sire, Butchered to make a Roman holiday.

Stanza cxli. lines 6 and 7.

Gladiators were of two kinds, compelled and voluntary; and were supplied from several conditions;--from slaves sold for that purpose; from culprits; from barbarian captives either taken in war, and, after being led in triumph, set apart for the games, or those seized and condemned as rebels; also from free citizens, some fighting for hire (_auctorati_), others from a depraved ambition; at last even knights and senators were exhibited,--a disgrace of which the first tyrant was naturally the first inventor.[670] In the end, dwarfs, and even women, fought; an enormity prohibited by Severus. Of these the most to be pitied undoubtedly were the barbarian captives; and, to this species a Christian writer[671] justly applies the epithet "innocent," to distinguish them from the professional gladiators. Aurelian and Claudius supplied great numbers of these unfortunate victims; the one after his triumph, and the other on the pretext of a rebellion.[672] No war, says Lipsius,[673] was ever so destructive to the human race as these sports.

In spite of the laws of Constantine and Constans, gladiatorial shows survived the old established religion more than seventy years; but they owed their final extinction to the courage of a Christian. In the year 404, on the kalends of January, they were exhibiting the shows in the Flavian amphitheatre before the usual immense concourse of people.

Almachius, or Telemachus, an Eastern monk, who had travelled to Rome intent on his holy purpose, rushed into the midst of the arena, and endeavoured to separate the combatants. The Praetor Alypius, a person incredibly attached to these games,[674] gave instant orders to the gladiators to slay him; and Telemachus gained the crown of martyrdom, and the t.i.tle of saint, which surely has never either before or since been awarded for a more n.o.ble exploit. Honorius immediately abolished the shows, which were never afterwards revived. The story is told by Theodoret[675] and Ca.s.siodorus,[676] and seems worthy of credit notwithstanding its place in the Roman martyrology.[677] Besides the torrents of blood which flowed at the funerals, in the amphitheatres, the circus, the forums, and other public places, gladiators were introduced at feasts, and tore each other to pieces amidst the supper tables, to the great delight and applause of the guests. Yet Lipsius permits himself to suppose the loss of courage, and the evident degeneracy of mankind, to be nearly connected with the abolition of these b.l.o.o.d.y spectacles.

30.

Here, where the Roman million's blame or praise Was Death or Life--the playthings of a crowd.

Stanza cxlii. lines 5 and 6.

When one gladiator wounded another, he shouted, "He has it," "Hoc habet," or "Habet." The wounded combatant dropped his weapon, and advancing to the edge of the arena, supplicated the spectators. If he had fought well, the people saved him; if otherwise, or as they happened to be inclined, they turned down their thumbs, and he was slain. They were occasionally so savage that they were impatient if a combat lasted longer than ordinary without wounds or death. The emperor's presence generally saved the vanquished; and it is recorded, as an instance of Caracalla's ferocity, that he sent those who supplicated him for life, in a spectacle, at Nicomedia, to ask the people; in other words, handed them over to be slain. A similar ceremony is observed at the Spanish bull-fights. The magistrate presides; and after the horseman and piccadores have fought the bull, the matadore steps forward and bows to him for permission to kill the animal. If the bull has done his duty by killing two or three horses, or a man, which last is rare, the people interfere with shouts, the ladies wave their handkerchiefs, and the animal is saved. The wounds and death of the horses are accompanied with the loudest acclamations, and many gestures of delight, especially from the female portion of the audience, including those of the gentlest blood. Every thing depends on habit. The author of _Childe Harold_, the writer of this note, and one or two other Englishmen, who have certainly in other days borne the sight of a pitched battle, were, during the summer of 1809, in the governor's box at the great amphitheatre of Santa Maria, opposite to Cadiz. The death of one or two horses completely satisfied their curiosity. A gentleman present, observing them shudder and look pale, noticed that unusual reception of so delightful a sport to some young ladies, who stared and smiled, and continued their applause as another horse fell bleeding to the ground. One bull killed three horses, _off his own horns_. He was saved by acclamations, which were redoubled when it was known he belonged to a priest.

An Englishman who can be much pleased with seeing two men beat themselves to pieces, cannot bear to look at a horse galloping round an arena with his bowels trailing on the ground, and turns from the spectacle and the spectators with horror and disgust.

31.

And afar The Tiber winds, and the broad Ocean laves The Latian coast, etc., etc.

Stanza clxxiv. lines 3 and 4.

The whole declivity of the Alban hill is of unrivalled beauty, and from the convent on the highest point, which has succeeded to the temple of the Latian Jupiter, the prospect embraces all the objects alluded to in the cited stanza; the Mediterranean; the whole scene of the latter half of the _aeneid_, and the coast from beyond the mouth of the Tiber to the headland of Circaeum and the Cape of Terracina.

The site of Cicero's villa may be supposed either at the Grotta Ferrata, or at the Tusculum of Prince Lucien Buonaparte.

The former was thought some years ago the actual site, as may be seen from Myddleton's _Life of Cicero_. At present it has lost something of its credit, except for the Domenichinos. Nine monks of the Greek order live there, and the adjoining villa is a cardinal's summer-house. The other villa, called Rufinella, is on the summit of the hill above Frascati, and many rich remains of Tusculum have been found there, besides seventy-two statues of different merit and preservation, and seven busts.

From the same eminence are seen the Sabine hills, embosomed in which lies the long valley of Rustica. There are several circ.u.mstances which tend to establish the ident.i.ty of this valley with the "_Ustica_" of Horace; and it seems possible that the mosaic pavement which the peasants uncover by throwing up the earth of a vineyard may belong to his villa. Rustica is p.r.o.nounced short, not according to our stress upon--"_Usticae cubantis_." It is more rational to think that we are wrong, than that the inhabitants of this secluded valley have changed their tone in this word. The addition of the consonant prefixed is nothing; yet it is necessary to be aware that Rustica may be a modern name which the peasants may have caught from the antiquaries.

The villa, or the mosaic, is in a vineyard on a knoll covered with chestnut trees. A stream runs down the valley; and although it is not true, as said in the guide books, that this stream is called Licenza, yet there is a village on a rock at the head of the valley, which is so denominated, and which may have taken its name from the Digentia.

Licenza contains seven hundred inhabitants. On a peak a little way beyond is Civitella, containing three hundred. On the banks of the Anio, a little before you turn up into Valle Rustica, to the left, about an hour from the _villa_, is a town called Vicovaro, another favourable coincidence with the _Varia_ of the poet. At the end of the valley, towards the Anio, there is a bare hill, crowned with a little town called Bardela. At the foot of this hill the rivulet of Licenza flows, and is almost absorbed in a wide sandy bed before it reaches the Anio.

Nothing can be more fortunate for the lines of the poet, whether in a metaphorical or direct sense:--

"Me quotiens reficit gelidus Digentia rivus, Quem Mandela bibit rugosus frigore pagus."

The stream is clear high up the valley, but before it reaches the hill of Bardela looks green and yellow like a sulphur rivulet.

Rocca Giovane, a ruined village in the hills, half an hour's walk from the vineyard where the pavement is shown, does seem to be the site of the fane of Vacuna, and an inscription found there tells that this temple of the Sabine Victory was repaired by Vespasian. With these helps, and a position corresponding exactly to every thing which the poet has told us of his retreat, we may feel tolerably secure of our site.

The hill which should be Lucretilis is called Campanile, and by following up the rivulet to the pretended Bandusia, you come to the roots of the higher mountain Gennaro. Singularly enough, the only spot of ploughed land in the whole valley is on the knoll where this Bandusia rises.

" ... tu frigus amabile Fessis vomere tauris Praebes, et pecori vago."

The peasants show another spring near the mosaic pavement, which they call "Oradina," and which flows down the hills into a tank, or mill-dam, and thence trickles over into the Digentia.

But we must not hope

"To trace the Muses upwards to their spring,"

by exploring the windings of the romantic valley in search of the Bandusian fountain. It seems strange that any one should have thought Bandusia a fountain of the Digentia--Horace has not let drop a word of it; and this immortal spring has in fact been discovered in possession of the holders of many good things in Italy, the monks. It was attached to the church of St. Gervais and Protais near Venusia, where it was most likely to be found.[678] We shall not be so lucky as a late traveller in finding the "occasional pine" still pendent on the poetic villa. There is not a pine in the whole valley, but there are two cypresses, which he evidently took, or mistook, for the tree in the ode.[679] The truth is, that the pine is now, as it was in the days of Virgil, a garden tree, and it was not at all likely to be found in the craggy acclivities of the valley of Rustica. Horace probably had one of them in the orchard close above his farm, immediately overshadowing his villa, not on the rocky heights at some distance from his abode. The tourist may have easily supposed himself to have seen this pine figured in the above cypresses; for the orange and lemon trees which throw such a bloom over his description of the royal gardens at Naples, unless they have been since displaced, were a.s.suredly only acacias and other common garden shrubs.[680]

32.