It has often been said that he prepared the way for Christianity. But even this is hard to defend. In his enunciation of the brotherhood of man, [48]

of the unholiness of war, [49] of the sanct.i.ty of human life, [50] of the rights of slaves, [51] and their claims to our affection, [52] in his reprobation of gladiatorial shows, he holds the place of a moral pioneer, the more honourable, since none of those before him, except Cicero, had had largeness of heart enough to recognise these truths. By his fierce attacks on paganism, [53] for which (not being a born Roman) he has no sympathy and no mercy, he did good service to the pure creed that was to follow. By his contempt of science, [54] in which he a.s.serts we can never be more than children, he paved the way for a recognition of the supremacy of the moral end; but at the same time his own mind is sceptical quite as much as it is religious. He resembles Cicero far more than Virgil. The current after Augustus ran towards belief and even credulity. Seneca arrests rather than forwards it. His philosophy was the proudest that ever boasted of its claims, "Promitt.i.t ut parem Deo faciat." [55] His popularity was excessive, especially with the young and wealthy members of the new n.o.bility of freedmen. The old Romans avoided him, and his great successors in philosophy, Epictetus and Marcus Aurelius, never even mention his name.

As a man of letters Seneca wielded an incalculable influence. What Lucan did for poetry, he did for prose, or rather, he did far more; while Lucan never superseded Virgil as a model except for expression, Seneca not only superseded Cicero, but set the style in which every succeeding author either wrote, tried to write, or tried _not_ to write. To this there is one exception--the younger Pliny. But Florus, Tacitus, Pliny the elder, and Curtius, are deeply imbued with his manner and style. Quintilian, though anxiously eschewing all imitation of him, continually falls into it; there was a charm about those short, incisive sentences which none who had read them could resist; as Tacitus well says, there was in him _ingenium amoenum et temporis eius auribus accommodatum_. It is in vain that Quintilian goes out of his way to bewail his broken periods, his wasted force, his sweet vices. The words of Seneca are like those described in Ecclesiastes, "they are as goads or as nails driven in."

There is no possibility of missing their point, no fear of the attention not being arrested. If he repeats over and over again, that is after all a fault that can be pardoned, especially when each repet.i.tion is more brilliant than its predecessor. And considering the end he proposed to himself, viz., to teach those who as yet were "novices in wisdom," we can hardly regard such a mode of procedure as beside the mark. Where it fails is in what touches Seneca himself, not in what touches the reader. It is a style which does injustice to its author's heart. Its glitter strikes us as false because too brilliant to be true; a man in earnest would not stop to trick his thoughts in the finery of rhetoric; here as ever, the showy stands for the bad. We do not intend to defend the character of the man; if style be the true reflex of the soul, as in all great writers without doubt it is, we allow that Seneca's style shows a mind wanting in gravity, that is, in the highest Roman excellence. His is the bright enthusiasm of display, not the steady one of duty; but though it be lower it need not be less real. There are warriors who meet their death with a song and a gay smile; there are others who meet it with stern and sober resolve. But courage calls both her children. Christian Europe has been kinder and juster to Seneca than was pagan Rome. Rome while she copied, abused him.

Neither as Spaniard nor as Roman can he claim the name of sage. The higher philosophy is denied to both these nations. But in brilliancy of touch, in delicious _abandon_ of sparkling chat, all the more delightful because it does us good in genial human feeling, none the less warm, because it is masked by quaint apophthegms and startling paradoxes, Seneca stands _facile princeps_ among the writers of the Empire. His works are a mine of quotation, of anecdote, of caustic observations on life. In no other writer shall we see so speaking a picture of the struggle between duty and pleasure, between virtue and ambition; from no other writer shall we gain so clear an insight into the hopes, fears, doubts, and deep, abiding dissatisfaction which preyed upon the better spirits of the age.

CHAPTER IV.

THE REIGNS OF CALIGULA, CLAUDIUS, AND NERO.

3. OTHER PROSE WRITERS.

We have dwelt fully on Seneca because he is of all the Claudian writers the one best fitted to appear as a type of the time. There were, however, several others of more or less note who deserve a short notice. There is the historian DOMITIUS CORBULO, [1] who wrote under Caligula (39 A.D.) a history of his campaigns in Asia, and to whom Pliny refers as an authority on topographical and ethnographical questions. He was executed by Nero (67 A.D.) and his wealth confiscated to the crown.

Another historian is QUINTUS CURTIUS, whose date has been disputed, some placing him as early as Augustus, in direct contradiction to the evidence of his style, which is moulded on that of Seneca, and of his political ideas, which are those of hereditary monarchy. Others again place him as late as the time of Severus, an opinion to which Niebuhr inclined. But it is more probable that he lived in the time of Claudius and the early years of Nero. [2] His work is ent.i.tled _Historiae Alexandri Magni_, and is drawn from c.l.i.tarchus, Timagenes, and Ptolomaeus. It consisted of ten books, of which all but the first two have come down to us. He paid more attention to style than matter, showing neither historical criticism nor original research, but putting down everything that looked well in the relating, even though he himself did not believe it.

Spain was at this time very rich in authors. For more than half a century she gave the Empire most of its greatest names. The entire epoch has been called that of Spanish Latinity. L. JUNIUS MODERATUS COLUMELLA was born at Gades, probably [3] near the beginning of our era. His grandfather was a man of substance in that part of the province, and a most successful farmer; it was from him that he imbibed that love of agricultural pursuits which led him to write his learned and elegant treatise. This treatise, which has come down to us entire, and consists of twelve books, was intended to form part of an exhaustive treatment of the subject of agriculture, including the incidental questions (_e.g._ those of religion) [4] connected with it. It was expanded and improved from a smaller essay, of which we still possess certain fragments. The work is written in a clear, comprehensive way, drawn not only from the best authorities, but from the author's personal experience. Like a true Roman (it is astonishing how fully these provincials entered into the mind of Rome) he descants on the dignity of the subject, on the lapse from old virtue, on the idleness of men who will not labour on their land and draw forth its riches, and on the necessity of taking up husbandry in a practical business-like way. The tenth book, which treats of gardens, is written in smooth verse, closely imitated from the _Georgics_. It is in fact intended as a fifth _Georgic. Virgil had said [5] with reference to gardens:

"Verum haec ipse equidem spatiis exclusus iniqnis Praetereo, atque aliis post me memoranda relinquo."

These words are an oracle to Columella. "I should have written my tenth book in prose," he says, "had not your frequent requests that I would fill up what was wanting to the _Georgics_ got the better of my resolution.

Even so, I should not have ventured on poetry if Virgil had not indicated that he wished it to be done. Inspired, therefore, by his divine influence, I have approached my slender theme." The verses are good, though their poetical merit is somewhat on the level of a university prize poem. They conclude thus:

"Hactenus arvorum cultus Silvine docebam Siderei referens vatis praecepta Maronis."

Among scientific writers we possess a treatise by SCRIBONIUS LARGUS (47 A.D.) on _Compositiones Medicae_, which is characterised by Teuffel as "not altogether nonsensical, and in tolerable style, although tinged with the general superst.i.tion of the period." The critic Q. ASCONIUS PEDIa.n.u.s (3-88 A.D.) is more important. He devoted his life to an elaborate exegesis of the great Latin cla.s.sics, more particularly Cicero. His commentary on the _Orations_, of which we possess considerable fragments, [6] is written with sound sense, and in a clear pointed style. Some commentaries on the _Verrine Speeches_ which bear his name, are the work of a much later hand, though perhaps drawn in great part from him. Another series of notes, extending to a considerable number of orations, was discovered by Mai, [7] but these also have been retouched by a later hand.

An interesting treatise on primitive geography, manners and customs (_Chronographia_) which we still possess, was written by POMPONIUS MELA, of Tingentera in Spain. Like Curtius he has obviously imitated Seneca; his account is too concise, but he intended and perhaps carried out elsewhere a fuller treatment of the subject.

The two studies which despotism had done so much to destroy, oratory and jurisprudence, still found a few votaries. The chief field for speaking was the senate, where men like Crispus, Eprius Marcellus, and Suillius the accuser of Seneca, exercised their genius in adroit flattery. Thrasea, Helvidius, and the opposition, were compelled to study repression rather than fulness. As jurists we hear of few eminent names: Proculus and Ca.s.sius Longinus are the most prominent.

Grammar was successfully cultivated by VALERIUS PROBUS, who undertook the critical revision of the texts of the Latin cla.s.sics, much as the Alexandrine grammarians had done for those of Greece. He was originally destined for public life, but through want of success betook himself to study. After his arrival at Rome he gave public lectures on philology, which were numerously attended, and he seems to have retained the affection of all his pupils. His oral notes were afterwards edited in an epistolary form. The work _De Notis Antiquis_, or at least a portion of it, _De Iuris Notis_, has come down to us in a slightly abridged form; also a short treatise called _Catholica_, treating of the noun and verb, though it is uncertain whether this is authentic. [8] Another work on grammar is attributed to him, but as it is evidently at least three centuries later than this date, several critics have supposed it to be by a second Probus, also a grammarian, who lived at that period.

We shall conclude the chapter with a notice of an extraordinary book, the _Satires_, which pa.s.s under the name of PETRONIUS ARBITER. Who he was is not certainly known; but there was a Petronius in the time of Nero, whose death (66 A.D.), is recorded by Tacitus, [9] and who is generally identified with him. This account has often been quoted; nevertheless we may insert it here: "His days were pa.s.sed in sleep, his nights in business and enjoyment. As others rise to fame by industry, so he by idleness; and he gained the reputation, not like most spendthrifts of a profligate or glutton, but of a cultured epicure. His words and deeds were welcomed as models of graceful simplicity in proportion as they were morally lax and ostentatiously indifferent to appearances. While proconsul, however, in Bithynia he showed himself vigorous and equal to affairs. Then turning to vice, or perhaps simulating it, he became a chosen intimate of Nero, and his prime authority (_arbiter_) in all matters of taste, so that he thought nothing delicate or charming except what Petronius had approved.

This raised the envy of Tigellinus, who regarded him as a rival purveyor of pleasure preferred to himself. Consequently he traded on the cruelty of Nero, a vice to which all others gave place, by accusing Petronius of being a friend to Scaevinus, having bribed a slave to give the information, and removed the means of defence by hurrying almost all Petronius's slaves into prison. Caesar was then in Campania, and Petronius, who had gone to c.u.mae, was arrested there. He determined not to endure the suspense of hope and fear. But he did not hurry out of life; he opened his veins gently, and binding them up from time to time, chatted with his friends, not on serious topics or such as might procure him the fame of constancy, nor did he listen to any conversation on immortality or the doctrines of philosophers, but only to light verses on easy themes. He pensioned some of his slaves, chastised others. He feasted and lay down to rest, that his compulsory death might seem a natural one. In his will he did not, like most of the condemned, flatter Nero, or Tigellinus, or any of the powerful, but satirized the emperor's vices under the names of effeminate youths and women, giving a description of each new kind of debauchery. These he sealed and sent to Nero." Many have thought that in the _Satires_ we possess the very writing to which Tacitus refers. But to this it is a sufficient answer that they consisted of sixteen books, far too many to have been written in two days. They must have been prepared before, and perhaps the most caustic of them were selected for the emperor's perusal. The fragment that remains is from the fifteenth and sixteenth books, and is a mixture of verse and prose in excellent Latinity, but deplorably and offensively obscene. Nothing can give a meaner idea of the social culture of Rome than this production of one of her most accomplished masters of self-indulgence. As, however, it is important from a literary, and still more from an antiquarian point of view, we add a short a.n.a.lysis of its contents.

The hero is one Encolpius, who begins by bewailing to a rhetor named Agamemnon the decline of native eloquence, which his friend admits, and ascribes to the general laxity of education. While the question is under discussion Encolpius is interrupted and carried off through a variety of adventures, of which suffice it to say that they are best left in obscurity, being neither humorous nor moral. Another day, he is invited to dine with the rich freedman Trimalchio, under whom, doubtless, some court favourite of Nero is shadowed forth. The banquet and conversation are described with great vividness. After some preliminary compliments, the host, eager to display his learning, turns the discourse upon philology; but he is suddenly called away, and topics of more general interest are introduced, the guests giving their opinions on each in a sufficiently interesting way. The remarks of one Ganymedes on the sufferings of the lower cla.s.ses, the insufficiency of food, and the lack of healthy industries, are pathetic and true. Meanwhile, Trimalchio returns, orders a boar to be killed and cooked, and while this is in preparation entertains his friends with discussions on rhetoric, medicine, history, art, &c. The scene becomes animated as the wine flows; various ludicrous incidents ensue, which are greeted with extemporaneous epigrams in verse, some rather amusing, others flat and diffuse. The conversation thus turns to the subject of poetry. Cicero and Syrus are compared with some ability of ill.u.s.tration. Jests are freely bandied; ghost stories are proposed, and two marvellous fables related, one on the power of owls to predict events, the other on a soldier who was changed into a wolf. The supernatural is then about to be discussed, when a gentleman named Habinnas and his portly wife Scintilla come in. This lady exhibits her jewels with much complacency, and Trimalchio's wife Fortunata, roused to compet.i.tion, does the same. Trimalchio has now arrived at that stage of the evening's entertainment when mournful views of life begin to present themselves. He calls for the necessary doc.u.ments, and forthwith proceeds to make his will. His kind provision for his relatives and dependants, combined with his after-dinner pathos, bring out the softer side of the company's feelings; every one weeps, and for a time festivities are suspended. The terrible insecurity of life under Nero is here pointedly hinted at.

The will read, Trimalchio takes a bath, and soon returns in excellent spirits, ready to dine again. At this his good lady takes umbrage, and something very like a quarrel ensues, on which Trimalchio bids the musicians strike up a dead march. The tumult with which this is greeted is too much for many of the guests. Encolpius, the narrator, leaves the room, and the party breaks up.

Encolpius on leaving Trimalchio's meets a poet, Eumolpus, who complains bitterly of poverty and neglect. A debate ensues on the causes of the decline in painting and the arts; it is attributed to the love of money. A picture representing the sack of Troy gives occasion for a mock-tragic poem of some length, doubtless aimed at Nero's effusions. The poet is pelted as a bore, and has to decamp in haste. But he is incorrigible. He returns, and this time brings a still longer and more pretentious poem.

Some applaud; others disapprove. Encolpius, seized with a fit of melancholy, thinks of hanging himself, but is persuaded to live by the artless caresses of a fair boy whom he has loved. Several adventures of a similar kind follow, and the book, which towards the end becomes very fragmentary, ends without any regular conclusion. Enough has been given to show its general character. It is something between a Menippean satire and a _Milesian fable_, such as had been translated from the Greek long before by Sisenna, and were to be so successfully imitated in a later age by Apuleius. The narrative goes on from incident to incident without any particular connexion, and allows all kinds of digressions. Poetical insertions are very frequent, some original, others quoted, many of considerable elegance. From its central and by many degrees most entertaining incident the whole satire has been called _The Supper of Trimalchio_. We have a few short pa.s.sages remaining from the lost books, and some allusions in these we possess enable us to reconstruct to some extent their argument. It does not seem to have contained anything specially attractive. If only the book were less offensive, its varied literary scope and polished conversational style would make it truly interesting. As it is, the student of ancient manners finds it a mine of important and out-of-the-way information.

APPENDIX.

NOTE I.--_The Testamentum Porcelli._

Connected with the Milesian fables were the Testamentum Porcelli, short _jeux d'esprit_, generally in the form of comic anecdotes, as a rule licentious, but sometimes harmless, and intended for children. A specimen of the un.o.bjectionable sort is here given. St Jerome, who quotes it, says (contra Rufinum, i. 17, p. 473) "_Quasi non cirratorum turba Milesiarum in scholis figmenta decantet et testamentum suis Bessorum cachinno membra concutiat, atque inter scurrarum epulas nugae istiusmodi frequententur._"

"_Testamentum Porcelli._

"Incipit testamentum porcelli.

"M. Grunnius Corocotta porcellus testamentum fecit; quoniam manu mea scribere non potui, scribendum dictavi. Magirus cocus dixit 'veni huc, eversor domi, solivertiator, fugitive porcelle, et hodie tibi dirimo vitam.' Corocotta porcellus dixit 'si qua feci, si qua peccavi, si qua vascella pedibus meis confregi, rogo, domine coce, vitam peto, concede roganti.' Magirus cocus dixit 'transi, puer affer mihi de cocina cultrum, ut hunc porcellum faciam cruentum.' Porcellus comprehenditur a famulis, ductas sub die xvi. kal. luceminas, ubi abundant cymae, Clibanato et Piperato consulibus, et ut vidit se moriturum esse, horae spatium petiit et coc.u.m rogavit ut testamentum facere posset, clamavit ad se suos parentes, ut de cibariis suis aliquid dimitteret eis. Quid ait:

"'Patri meo Verrino Lardino do lego dari glandis modios x.x.x. et matri meae Veturinae Scrofae do lego dari Laeonicae siliginis modios xl. et sorori meae Quirinae, in euius votum interesse non potui, do lego dari hordei modios x.x.x. et de meis visceribus dabo donabo sutoribus saetas, rixoribus capitinas, surdis auriculas, causidicis et verbosis linguam, bubulariis intestina, isiciariis femora, mulieribus lumbulos, pueris vesicam, puellis caudam, cinaedis musculos, cursoribus et venatoribus talos, latronibus ungulas, et nec nominando coco legato dimitto popiam et pistillum, quae mec.u.m attuleram: de Tebeste usque ad Tergeste liget sibi collo de reste, et volo mihi fieri monumentum aureis litteris scriptum:' M. Grunnius Corocotta porcellus vixit annis DCCCC.XC.VIIII.S. quod si semissem vixisset, mille annos implesset, 'optimi amatores mei vel consules vitae, rogo vos ut cam corpore meo bene faciatis, bene condiatis de bonis condimentis nuclei, piperis et mellis, ut nomen meum in sempiternum nominetur, mei domini vel consobrini mei, qui in medio testamento interfuistis, iubete signari.'

"Lardio signavit, Ofellicus signavit, Cyminatus signavit, Tergillus signavit, Celsinus signavit, Nuptialisus signavit.

"Explicit testamentum porcelli sub die xvi. kal. lucerninas Clibanato et Piperato consulibus feliciter."

Such ridiculous compositions were extremely popular in court circles during the corrupter periods of the Empire. Suetonius (Tib. 42) tells us that Tiberius gave one Asellius Sabinus 1400 for a dialogue in which the mushroom, the beccaficoe, the oyster, and the thrush advanced their respective claims to be considered the prince of delicacies. To this age also belong the collection of epigrams on Priapus called _Priapea_, and including many poems attributed to Virgil, Tibullus, and Ovid. They are mostly of an obscene character, but some few, especially those by Tibullus and Catullus which close the series, are simple and pretty. It is almost inconceivable to us how so disgusting a cultus could have been joined with innocence of life; but as Priapus long maintained his place as a rustic deity we must suppose that the hideous literalism of his surroundings must have been got over by ingenious allegorising, or forgotten by rustic veneration.

NOTE 2.--_On the MS. of Petronius._

From Thomson's Essay on the Post-Augustan Latin Poets, from the _Encyclopaedia Metropolitana_ (_Roman Literature_).

Fragments of Petronius had been printed by Bernardinus de Vitalibus at Venice in 1499, and by Jacobus Thanner at Leipsig in 1508; but in the year 1632, Petrus Pet.i.tus, or as he styled himself, Marinus Statilius, a literary Dalmatian, discovered at Traw a MS. containing a much more considerable fragment, which was afterwards published at Padua and Amsterdam, and ultimately purchased at Rome for the library of the King of France in the year 1703. The eminent Mr. J. B. Gail, one of the curators of this library, politely allowed M. Guerard, a young gentleman of considerable learning employed in the MS. department, to afford us the following circ.u.mstantial information respecting this valuable codex, cla.s.sed in the library as 7989:--"It is a small folio two fingers thick, written on very substantial paper, and in a very legible hand. The t.i.tles are in vermillion; the beginnings of the chapters, &c. are also in vermillion or blue. It contains the poems of Tibullus, Propertius and Catullus, as we have them in the ordinary printed editions; then appears the date of the 20th Nov. 1423. After these comes the letter of Sappho, and then the work of Petronius. The extracts are ent.i.tled 'Petronii Arbitri satyri fragmenta et libro quinto decimo et s.e.xto decimo,' and begin thus: 'c.u.m (not 'num,' as in the printed copies) in alio genere furiarum declamatores inquietantur,' &c. After these fragments, which occupy twenty-one pages of the MS. we have a piece without t.i.tle or mention of its author, which is _The Supper of Trimalcio_. It begins thus: 'Venerat iam tertius dies,' and ends with the words. 'tam plane quam ex incendio fugimus.' This piece is complete by itself, and does not recur in the other extracts. Then follows the _Moretum_, attributed to Virgil, and afterwards the _Phoenix_ of Claudian. The latter piece is in the character of the seventeenth century, while the rest of the MS. is in that of the fifteenth." The publication of this fragment excited a great sensation among the learned, to great numbers of whom the original was submitted, and by far the majority of the judges decided in favour of its antiquity.

Strong as was this external evidence, the internal is yet more valuable; since it is scarcely possible to conceive a forgery of this length, which would not in some point or other betray itself. The difficulty of forging a work like the _Satyricon_ will better appear, when it is considered that such attempts have been actually made. A Frenchman, named Nodot, pretended that the entire work of Petronius had been found at Belgrade in the siege of that town in 1688. The forged MS. was published; but the contempt it excited was no less universal than the consideration which was shown to the MS. of Statilius. Another Frenchman, Lallemand, printed a pretended fragment, with notes and a translation, in 1800, but no one was deceived by it.

CHAPTER V.

THE REIGNS OP THE FLAVIAN EMPERORS (A.D. 69-96).

1. PROSE WRITERS.

With the extinction of the Claudian dynasty we enter on a new literary epoch. The reigns of Vespasian, t.i.tus, and Domitian produced a series of writers who all show the same characteristics, though necessarily modified by the tyranny of Domitian's reign as contrasted with the clemency of those of his two predecessors. Under Vespasian and t.i.tus authors might say what they chose; both these princes disdained to curb freedom of speech or to punish it even when it clamoured for martyrdom. Yet such was the reaction from the excitement of the last epoch, that no writer of genius appeared, and only one of the first eminence in learning. There now comes into Roman literature an unmistakable evidence of reduced talent as well as of decayed taste. Hitherto power at least has not been wanting; but for the future all is on a weaker scale. Only the two great names of Juvenal and Tacitus redeem the ninth century of Rome from total want of creative genius. All other writers move in established grooves, and, as a rule, imitate or feebly rival some of the giants of the past. Learning was still cultivated with a.s.siduity if not with enthusiasm; but the grand hopeful spirit, sure of discovering truth, which animates the erudition of a better age, has now given place to a querulous depreciation even of the labour to which the authors have devoted their lives. This is conspicuous from the first in the otherwise n.o.ble pages of the elder PLINY, and is the secret of that want of critical insight which, in a mind so capaciously stored, strikes us at first as inexplicable.

This laborious and interesting writer was born at Como [1] in the year 23 A.D. He came, it is not known exactly when, to Rome and studied under the rhetorical grammarian Apion, whom Tiberius in mockery of his sounding periods had called "the drum" (_tympanum_). Till his forty-sixth year Pliny's genius remained unknown. An allusion in his work to Lollia Paulina has given rise to the opinion that he was admitted to the court of Caligula, but the grounds for this conclusion are manifestly insufficient.

His nephew states that he composed his treatise _On Doubtful Words_ [2] to escape the jealousy of Nero, who suspected him of less unambitious pursuits. But the evidence of the younger Pliny serves better to establish facts than motives; he is always anxious to swell the importance of his friends; and it is far more likely from Pliny's own silence that he remained in comparative obscurity until Nero's death. At the age of twenty-two he served his first campaign in Africa, and soon after in Germany under Lucius Pomponius, who gave him a cavalry troop, and seems to have befriended him in various other ways. His promotion was perhaps due to the treatise _On Javelin-throwing_ [3] which be wrote about this time.

He showed his grat.i.tude towards Pomponius at a later date by writing his life.

Pliny had always felt a strong interest in science, and determined as soon as opportunity offered to make its advancement the object of his life.

With this end in view he made careful observations of all the countries he visited, and used his military position to secure information that otherwise might have been hard to obtain. He inspected the source of the Danube and travelled among the Chauci on the sh.o.r.es of the German Ocean.

He visited the mouths of the Eber and Weser, the North Sea and the Cimbrian Chersonese, and spent some time among the Roman provinces west of the Rhine. While in Germany he had a vision in which he saw or thought he saw the shade of Drusus, which appeared to him by night and bade him tell the history of all the German wars. Accordingly, he collected materials with industry, and worked them up into a large volume, which is now unfortunately lost. At twenty-nine he left the army and returned to Rome, where he studied for the bar. But his talents were not suitable for forensic display, and he found a more lucrative field in teaching grammar and rhetoric. At what time he was sent out as procurator to Spain is uncertain, but when he returned he found Vespasian on the throne. Pliny, who had known him in Germany, and had been on intimate terms with his son t.i.tus, was now received with the greatest favour. Every morning before day-break, when the busy Emperor rose to finish his correspondence before the work of the day began, he called Pliny to his side, and the two friends chatted awhile together in the plain, homely fashion that Vespasian much preferred to the measured style of court etiquette. Nor was his favour confined to familiar intercourse. He made him admiral of the fleet stationed at Misenum and charged with guarding the Mediterranean ports. It was while here that news was brought him of the eruption of Vesuvius. He sailed to Resina determined to investigate the phenomenon, and, as his nephew in a well-known letter tells us, paid the price of his scientific curiosity with his life. The letter is so charming, and affords so good an example of Pliny the younger's style, that we may be excused for inserting: it here. [4]

"He was at Misenum in command of the fleet. On the 24th August (79 A.D.), about 1 P.M., my mother pointed out to him a cloud of unusual size and shape. He had then sunned himself, had his cold bath, tasted some food, and was lying down reading. He at once asked for his shoes, and mounted a height from which the best view might be obtained. The cloud was rising from a mountain afterwards ascertained to have been Vesuvius; its form was more like a pine-tree than anything else. It was raised into the air by what seemed its trunk, and then branched out in different directions; the reason probably was that the blast, at first irresistible, but afterwards losing strength or unable to counteract gravity, spent itself by spreading out on either side. The cloud was either bright, or dark and spotty, according as earth or ashes were thrown up. As a man of science he determined to inspect the phenomenon more closely. He ordered a light vessel to be prepared, and offered to take me with him. I replied that I would rather study; as it happened, he himself had set me something to write. He was just starting, when a letter was brought from Rectina imploring aid for Naseus who was in imminent danger; his villa lay below, and no escape was possible except by sea. He now changed his plan, and what he had begun, from scientific enthusiasm he carried out with self-sacrificing courage. He launched some quadriremes, and embarked with the intention of succouring not only Rectina but others who lived on that populous and picturesque coast. Thus he hurried to the spot from which all others were flying, and steered straight for the danger, so absolutely devoid of fear that he dictated an account with full comments of all the movements and changing shapes of the phenomenon, each as it presented itself. Ashes were now falling on the decks, and became hotter and denser as the vessel approached. Scorched and blackened pumice-stones and bits of rock split by fire were mingled with them.

The sea suddenly became shallow, and fragments from the mountain filled the coast seeming to bar all further progress. He hesitated whether to return; but on the master strongly advising it, he cried, 'Fortune favours the brave: make for Pomponia.n.u.s's house.' This was at Stabiae, and was cut off from the coast near Vesuvius by an inlet, which had been gradually scooped out by encroachments of the sea. The owner was in sight, intending, should the danger (which was visible, but not immediate) approach so near as to be urgent, to escape by ship. For this purpose he had embarked all his effects and was waiting for a change of wind. My uncle, whom the breeze favoured, soon reached him, and, embracing him with much affection, tried to console his fears. To show his own unconcern he caused himself to be carried to a bath; and having washed, sat down to dinner with cheerfulness or (what is equally creditable to him) with the appearance of it. Meanwhile from many parts of the mountain broad flames burst forth; the blaze shone back from the sky, and a dark night enhanced the lurid glare. To soothe his friend's terror he declared that what they saw was only the deserted villages which the inhabitants in their flight had set on fire. Then he retired to rest, and there can be no doubt that he slept, since the sound of his breathing (which a broad chest made deep and resonant), was clearly heard by those watching at the door. Soon the court which led to the chamber was so choked with cinders and stones that longer delay would have made escape impossible. He was aroused from sleep, and went to Pomponia.n.u.s and the rest who had sat up all night. They debated whether to stay indoors or to wander about in the open. For on the one hand constant shocks of earthquake made the houses rock to and fro, and loosened their foundations; while on the other, the open air was rendered dangerous by the fall of pumice- stones, though these were light and very porous. On the whole they preferred the open air, but what to the rest had been a weighing of fears had to him been a balancing of reasons. They tied cushions over their heads to guard them from the falling stones. Though it was now day elsewhere it was here darker than the darkest night, though the gloom was broken by torches and other lights. They next walked to the sea to try whether it would admit of vessels being launched, but it was still a waste of raging waters. He then spread a linen cloth, and, reclining on it, asked several times for water, which he drank; soon, however, the flames and that sulphurous vapour which preceded them put his companions to flight and compelled him to arise. He rose by the help of two slaves, but immediately fell down dead. His death no doubt arose from suffocation by the dense vapour, as well as from an obstruction of his stomach, apart which had been always weak and liable to inflammation and other discomforts. When daylight returned, _i.e._ after three days, his body was found entire, just as it was, covered with the clothes in which he had died; his appearance was that of sleep rather than of death."