XV. The same confusion of ideas with respect to the Indian Ocean, and pointing to identity of authorship, is found in the last, as well as in the first, part of the Annals, when the Hyrcanian ambassadors returning home from Rome have a military escort as far as the shores (it is said) "of the Red Sea," which they are to pass over in order to avoid the territories of the enemy:—"eos regredientes Corbulo, ne Euphraten transgressi hostium custodiis circumvenirentur, dato praesidio ad littora 'Maris Rubri' deduxit, unde vitatis Parthorum finibus, patrias in sedes remeavere" (An. XIV. 25). Here the "Red Sea" clearly means the Caspian Sea, because the Parthians lived to the south of the Hyrcanians, and there was no means of the ambassadors by crossing the Euphrates or going southwards, getting into their country without passing through the territory of their enemies, but by travelling northwards they would pass through Media across the Caspian Sea to their own shores. It is difficult to determine whether Bracciolini did not give the name of "Mare Rubrum" to any large body of water which he believed communicated with the Indian Ocean, which he may have thought was the case with the Caspian, in common with Strabo, and before Strabo Eratosthenes, and after Strabo Pomponius Mela: or Bracciolini may have thought that the Caspian had no communication with any other sea,—was perfectly mediterranean, and that being in the midst of land, it ought to have the same name given to it as the lndian Ocean, that neither mingled with nor joined any other sea. Let the error have originated as it might, it is of a character so cognate with that in the second book, as to induce one to believe that both parts of the Annals proceeded from the same hand, and that that could not have been the hand of Tacitus, as in his day the Romans spoke specifically of the Euxine and the Caspian Sea, so that if he had written the Annals, he would have written in the first instance, "ad Pontum Euxinum," and in the second,"Caspii Maris."

XVI. But if my theory be accepted that Bracciolini forged both parts of the Annals, these errors are not at all to be wondered at; for at the commencement of the fifteenth century, even his countrymen, the Italians, especially the rich merchants of his native city, Florence, as well as the other wealthy traders of Venice and Genoa, who dealt in spices and other Oriental productions, alone practised navigation and cultivated commerce in the countries of Asia, and though better informed of those parts of the world than the other nations of Europe, had yet but a confused and false conception of the Red Sea and the waters in the East.

There ought, further, to be no surprise that Bracciolini possessed this limited geographical knowledge of the lands and waters of Asia, considering that, up to his time, only a few travellers, such as Carpin and Asevlino, Rubrequis, Marco Polo and Conti, had penetrated into the central portions of that continent:—as to Africa, its very shape was unknown, for navigation scarcely extended beyond the Mediterranean: at the commencement of the fifteenth century, indeed, not only information about the different quarters of the globe, but letters, arts, the sciences, and the greater part of our present ideas, were all prostrate, —crushed beneath the weight of weapons and silent amid the din of arms, for everybody thought of nothing but wars.

XVII. While treating of maritime matters, I may refer to a passage in the second book of the Annals, which forcibly impresses me as being penned by Bracciolini, in whose declining years Prince Henry of Portugal, with a passion for voyages and discoveries, gave a new direction to the genius of his age by laying the foundation for a revolution which must be for ever memorable in modern history. On Prince Henry giving the signal, navigation spread its sails; discovery followed discovery with amazing, speed; successes attended every expedition; each started after the other rapidly, and soon in all directions; the navigators returning home brought news so strange,—so animating all minds,—so inspiring all imaginations,—of the fresh lands they had seen that we can easily imagine a writer living in the midst of all these stirring accounts, who was desirous of producing as much effect as possible in a history that he was forging, writing thus of mariners on their "return from a long distance": "they talk about wonders, the power of whirlwinds and unheard of birds, monsters of the deep having the forms of half men and half beasts,—things either actually seen or else believed under the influence of excitement": —Lipsius adds in a note, "rather based on pure fancy,"—"vanitate efficta";—had the great Dutch critic for a moment dreamt that Bracciolini had forged the "Annals of Tacitus," he would have known that the observation, as far as concerned the author's own period, was founded on fact, the English having then had the good fortune to discover,—(or, as it was known to the Romans, more properly, re-discover) Madeira; for the first time, in modern days, the French nobleman in the service of Spain, Jean de Bethencourt, reached the Canaries; the Flemings, too, for the first time got as far as the Azores; above all, Gilianez, in 1433, doubling Cape Boyador, or Nun, arrived on the West Coast of Africa to a few degrees above the equator: every one of them returned with wonderful news of his voyage which was looked upon as something marvellous:—accordingly their great contemp- orary, Bracciolini, wrote thus, thinking of the miraculous narrative that was told by each adventurous navigator of his time:—"Ut quis ex longinquo venerat, miracula narrabant, vim turbinum, et inauditas volucres, monstra maris, ambiguas hominum et belluarum formas, —visa, sive ex motu credita" (An. II. 24). Nothing was going on in the days of Tacitus, which could have put such a notion in his head; nor is the passage from which it is taken at all in his style, as will be admitted when I immediately proceed to compare and contrast certain passages in Bracciolini and himself with the view of examining the graphic powers which they both possessed.



CHAPTER THE LAST.

FURTHER PROOFS OF BRACCIOLINI BEING THE AUTHOR OF THE FIRST SIX

BOOKS OF THE ANNALS.

I. The descriptive powers of Bracciolini and Tacitus.—II. The different mode of writing of both.—III. Their different manners of digressing.—IV. Two Statements in the Fourth Book of the Annals that could not have been made by Tacitus.—V. The spirit of the Renaissance shown in both parts of the Annals.—VI. That both parts proceeded from the same hand shown in the writer pretending to know the feelings of the characters in the narrative.—VII. The contradictions in the two parts of the Annals and in the works of Bracciolini.—VIII. The Second Florence MS. a forgery.—IX. Conclusion.

I. The graphic powers possessed by Tacitus and Bracciolini were considerably influenced by their respective characters, which were widely different: no one can read the works of Tacitus, and not come to the conclusion that he was unassuming; whereas no one can read the works of Bracciolini, without being struck by his inordinate vanity, no matter what he maybe doing, describing the Ruins of Rome, discoursing on the Unhappiness of Princes, moralizing on Avarice or wailing in rhetorical magniloquence over the remains of friends: still he displays himself for admiration. The same thing occurs throughout the Annals. From the first to the last the author stands before his reader on account of the extraordinary manner of his narrative which is ever filling one with surprize from Emperors and Generals, like Tiberius and Germanicus, weeping like Homer's heroes, and Queens and captive women, like Boadicea and the wife of Armin, exhibiting none of the frailties of their sex, being above the timorous passions, and not shedding a tear even when they are made prisoners, but conducting themselves with all the insolence of conquerors. Roman knights and senators, of the stamp of Lucanus, Senecio and Quinctianus (XV. 49-57) betray the dearest pledges they have in blood and friendship, while slaves, and wantons such as Epicharis, undergo the fury of stripes and tortures to protect those not bound to them by ties of kindred and not even personally known to them. Not only do we find the heroic in malefactors and the criminal in heroes;—the spirited where we expect to come across the sordid, and the mean where we look for the grand, but the supernatural and magical mingle with the real and practical;—the sound of trumpets comes from hills where it is known there are no musical instruments; shrieks of departed ghosts issue from the tombs of mothers; incidents by sea and land are accompanied by wonderfully sublime circumstances; shipwrecks have whatever make up such scenes in their worst appearances.

The whole of this proceeds from Bracciolini indulging his fancy in a latitude which is denied the historian, and allowed only to the poet; hence he sometimes carries circumstances to bounds that border upon extravagance. Tacitus, on the other hand, always maintains his dignity; holding command over his fancy he carries circumstances to their due length, and only to their due extent.

This will be seen in the passages which I shall now select to illustrate the correctness of this remark; and beginning with Bracciolini, I will take his account of a marine disaster in the second book of the Annals.

The picture opens with a scene of beauty: "a thousand ships propelled by creaking oars or flapping sails float over a calm sea: all of a sudden a hailstorm bursts from a circular rack of clouds: simultaneously billows rolling to uncertain heights before shifting squalls that blow from every quarter shut out the view and impede navigation: the soldiers, in their alarm and knowing nothing of the dangers of the deep, get in the way of the sailors, or rendering services not required, undo the work of the skilful seaman: from this point the whole welkin and the whole sea are given up to a hurricane that rages from an enormous mass of clouds sweeping down from the swelling hilltops and deep rivers of Germany: the hurricane made more dreadful by freezing blasts from the neighbouring North, lays hold of the ships which it scatters into the open ocean or among islands perilous with precipitous cliffs or hidden shoals; the fleet, narrowly escaping shipwreck among them, is borne onwards, after the change of tide, in the direction whither the wind is blowing."

The reader is now left to the resources of his imagination; he has to supply a missing link in the chain of the description,—the mooring of the ships; though how or where that could be done it is impossible to conceive; we are, nevertheless, told that the vessels "cannot hold by their anchors"—("non adhaerere anchoris ... poterant"), "nor draw off the water that rushes into them. Horses, beasts of burden, baggage and even arms are thrown overboard to lighten the hulls with their leaking sides and seas breaking over them."

Here the terrible character of the calamity is poetically heightened by the writer observing that, "though there might be greater tempests in other parts of the Ocean, and Germany was unsurpassed for its convulsions of the elements, yet this disaster was worse than those for the novelty and magnitude of its dangers —the surrounding shores being inhabited by enemies, and the sea so boundless and unfathomable that it was taken to be without a shore, and the last in the world": whence we way infer that the ships had got well out into the Atlantic, which must have presented to the eyes of the Romans pretty much the same appearance that it presented to Bracciolini's contemporaries, the English, Flemings and Spaniards, when, sailing for days together out of sight of land, they were making their way for the first time to (in the language in the Annals) "islands situated a very long way off":—"insulas longius sitas",—Madeira, the Azores and the Canaries.

On such far-away islands described as deserted, "the majority of the ships are cast ashore, the remainder having foundered in the deep; there the soldiers, deprived of the means of existence, perish from starvation, except those who survive by eating the dead horses that are thrown up on the sands"; though it is beyond the reach of the mind to conjecture whence the dead horses could have come after such a description.

"Germanicus, whose galley alone is saved by being thrown on the country of the Chauci, roams about the rocky coast and promontories all those days and nights, bitterly blaming himself as the guilty cause of the mighty catastrophe, and is with difficulty prevented by his friends from casting himself into the sea, and thus putting an end to a life made miserable by such self-accusation. At length the swell subsides; a favourable breeze springs up; the shattered ships return, with few oars and garments spread for sails; some are towed by others more efficient; these being hastily repaired are sent to search the distant islands; by these means several" of the surviving soldiers "are with great pains recovered; the Angrivarii, newly received into alliance with the Romans, return others, who had found their way into the interior of their country; and the petty British princes send back the remainder who had been cast upon their shores." Thus all ends as happily as a comedy; everybody and everything are saved; men and ships return: meanwhile Bracciolini has entertained his reader with a pretty, exciting episode, (what British sailors call "a yarn"), without making himself absolutely ridiculous by placing on record that the Romans in the days of Tiberius lost "a thousand ships"; though he certainly gives credit to his reader for considerable credulity by inviting him to believe that the Romans at any time ever had a fleet amounting to such an enormous number of vessels. [Endnote 401]

"Ac primo placidum aequor mille navium remis strepere, aut velis impelli: mox atro nubium globo effusa grando, simul variis undique procellis incerti fluctus prospectum adimere, regimen impedire: milesque pavidus, et casuum maris ignarus, dum turbat nautas, vel intempestive juvat, officia prudentium corrumpebat. omne dehine coelum, et mare omne in austrum cessit, qui tumidis Germaniae terris, profundis amnibus, immenso nubium tractu validus, et rigore vicini septemtrionis horridior, rapuit disjecitque naves in aperta Oceani, aut insulas saxis abruptis vel per occulta vada infestas. quibus paulum aegreque vitatis, postquam mutabat aestus, eodemque quo ventus ferebat; non adhaerere anchoris, non exhaurire inrumpentis undas poterant: equi, jumenta, sarcinae, etiam arma praecipitantur, quo levarentur alvei manantes per latera, et fluctu superurgente.

"Quanto violentior cetero mari Oceanus, et truculentia coeli praestat Germania, tantum illa clades novitate et magnitudine excessit, hostilibus circum litoribus, aut ita vasto et profundo, ut credatur novissimum ac sine terris, mari. pars navium haustae sunt; plures, apud insulas longius sitas ejectae: milesque, nullo illic hominum cultu, fame absumptus, nisi quos corpora equorum eodem elisa toleraverant. sola Germanici triremis Chaucorum terram adpulit, quem per omnes illos dies noctesque apud scopulos et prominentis oras, cum se tanti exitii reum clamitaret, vix cohibuere amici, quo minus eodem mari oppeteret. Tandem relabente aestu, et secundante vento, claudae naves raro remigio, aut intentis vestibus, et quaedam a validioribus tractae, revertere: quas raptim refectas misit, ut scrutarentur insulas. collecti ea cura plerique: multos Angrivarii nuper in fidem accepti, redemptos ab interioribus reddidere: quidam in Britanniam rapti, et remissi a regulis" (An. II. 24, 25).

We have no means of testing by minute and accurate comparison the descriptive powers which Tacitus possessed in dealing with such a subject, because he has no account of a marine disaster in any of his works. We must then do the next best we can, see how he deals with a military calamity,—for, though in the account we are about to give, the Romans had been victorious, we must remember the sentiment of the Duke of Wellington, that next to a defeat there is nothing so miserable as a victory. The passage we shall give is that of the visit of Vitellius to the plains of Bedriacum forty days after a battle had been fought and a victory had been won by the Romans.

"Thence Vitellius turned aside to Cremona, and, after he had seen Caecina's contest of gladiators, longed to visit the plains of Bedriacum, and view the field where a victory had been lately won. Horrible and ghastly spectacle! Forty days after the battle,—and the mangled bodies, lacerated limbs and putrefying corpses of men and horses,—the ground stained with gore,—the trees and the corn levelled;—what a dismal devastation!—nor less painful the part of the road which the people of Cremona,—as if they were the subjects of a king,—had strewn with roses and laurels, altars they had raised and victims they had slain,—signs of gratulation for the moment, which very soon afterwards occasioned their destruction. Valens and Caecina were there, and told the points of the battle:—'Here the columns of the legions rushed to the fray: here the cavalry charged: there the bands of the auxiliaries routed the foe.' The tribunes and prefects then began each to praise his own deeds, and utter a medley of truths and falsehoods,—or exaggerations. The rank and file, too, of the troops with shouts that showed their joy turned from the line of march to behold again the field of battle, and wonder as they looked at the piles of arms and the heaps of bodies. And some, when the various turns of chance occurred to their minds, melted into tears and were heavy at heart from sorrow, but Vitellius did not turn aside his eyes nor shudder at so many thousands of his unburied countrymen: he was even glad, and ignorant of his all but impending fate made an offering to the gods of the place."

"Inde Vitellius Cremonam flexit, et spectato munere Caecinae, insistere Bedriacensibus campis, ac vestigia recentis victoriae lustrare oculis concupivit. Foedum atque atrox spectaculum! Intra quadragesimum pugnae diem lacera corpora, trunci artus, putres virorum equorumque formae, infecta tabo humus, protritis arboribus ac frugibus—dira vastitas: nec minus inhumana pars viae, quam Cremonenses lauro rosisque constraverant, exstructis altaribus caesisque victimis, regium in morem: quae, laeta in praesens, mox perniciem ipsis fecere. Aderant Valens et Caecina, monstrabantque pugnae locos: 'Hinc irrupisse legionum agmen: hinc equites coortos: inde circumfusas auxiliorum manus.' Jam tribuni praefectique, sua quisque facta extollentes; falsa, vera, aut majora vero miscebant. Vulgus quoque militum, clamore et gaudio deflectere via, spatia certaminum recognoscere, aggerem armorum, strues corporum intueri, mirari. Et erant, quos varia fors rerum, lacrimaeque et misericordia subiret; at non Vitellius deflexit oculos, nec tot millia insepultorum civium exhorruit: laetus ultro, et tam propinquae sortis ignarus, instaurabat sacrum diis loci" (Hist. II. 70).

It must be obvious even to the most careless and least perspicacious what a striking contrast there is in the descriptive powers of the two; the objects that Tacitus depicts are not only few in number and telling in character, but seem to be presented to us on the principle of truth, as of actual occurrences; the method he adopts reminds one of that pursued by Sir Walter Scott, no matter whether the descriptive passage occur in one of his poems, as The Lady of the Lake, or in one of his romances, as The Heart of Mid-Lothian: Bracciolini, on the other hand, appears to be inventing,—or, at least, heaping together a number of real circumstances, one or two of which might have happened together, but scarcely all of them at the same time, while he so arranges them as to produce a highly poetic effect: he writes as Lord Byron made up his shipwreck in Don Juan,—as Moore shows us in his Life of the eminent poet,—by selecting here and there a telling incident from the narrative of this or that shipwrecked mariner.

II. Not only in description did Bracciolini fail to imitate the writing of Tacitus; he failed to imitate it also in sequence of ideas. There is unquestionably resemblance in the absence of circumlocution; in such considerable conciseness that words are as sentences; in there being no hyperbole, and in judicious language at all times consonant with the solidity of the instructions conducive to wisdom in political and civil life. But in order to effect this Bracciolini clipped his sentences as a gardener clips hedges: a sentence is now and then like an amputated limb; a word is wanting, like a hand or a foot cut off from an arm or a leg: sometimes the reader sees, what was evidently made with mischievous intent, a great gap in thought, at which he is stopped and disturbed,—as a farmer, when walking in his fields, is brought to a stand-still and overcome with annoyance to see an opening which his cattle have made in his fences, and which he must be at the pains of repairing: so these vacuities in thought require to be botched by the fancy of the reader; the patching may not be the requisite thing to be done: accordingly the gaps cause difficulties in rightly apprehending the meaning of the writer, who, in some passages may, possibly, never be properly understood.

The consequence of this is that no remark is so common as to hear people, especially young persons, say of Tacitus, "How difficult his Latin is!" Even Messrs. Church and Brodripp say so in the Preface to their translation of the "History." Certainly, it is difficult, perhaps impossible, to reproduce in another language the smooth style and polished phrases of Tacitus; but his Latin is easy to follow, whatever he maybe doing,—describing a battle, a riot or a flight;—recording the success of a party, the death of an Emperor, or a disturbance in the Forum. Notwithstanding his fiery, rapid style, he is regular in his connection of thought,— logical in his sequence of ideas, thereby he is always alluring and attractive, while crisp, clear and comprehensible, he dazzles and delights with his picturesque images and glittering beauties. It is otherwise with the author of the Annals, whose style is occasionally enveloped in such Cimmerian obscurities from deficiencies of expression as to beset his work with a formidable opaqueness—anything but Milton's "darkness visible". [Endnote 408]

Many specimens of this might be given, but as the mist is impenetrable, we will turn to one where the light can be seen—the story of the peasant of Termes, who assassinates a praetor, while that officer is passing along a road unattended. The assassin, being on the back of a fleet horse, gallops off to a wood, entering which, after turning his horse loose, he baffles pursuit by clambering over steep and stony parts into the pathless wilderness, "where," continues the writer, "he did not remain long concealed; FOR" (mark the sequence), "his horse having been caught and shown through all the towns round, the people knew whose it was, and that led to his apprehension":—"pernicitate equi profugus, postquam saltuosos locos adtigerat, dimisso equo, per derupta et avia sequentis frustratus est, neque diu fefellit; NAM prehenso ductoque per proximos pagos equo, eujus foret cognitum, et repertus" (An. IV. 45).

The context is not seen. A man who has committed a murder unseen by anybody effects his escape from pursuit by getting into a wood. Of what consequence was it whether his horse was known or not? for how could that help his pursuer to catch him, if, like a maroon negro, having run away safely into the impenetrable thicket, he staid in the bush for the remainder of his days,—or as long as he was not wanted for a breakfast by a hungry wild beast? The author means us to understand, after the fugitive had baffled pursuit by getting into the depth of the forest, that he lay hidden there for a certain number of days, after which, deeming that all was safe, he returned into the towns to his home: then should come the words: "where he did not remain long concealed, for his horse having been caught," &c.

This obscurity increases when the author of the Annals is in the palace of Tiberius, or in the Senate amid the deliberations of the Patres Conscripti. From his inadequate mode of speech he then outstrips the comprehension of the reader; certainly he quite baffles the intelligence of the very young, his meaning being penetrable only by the keen sagacity of ripe age, for he enters into the recesses of the heart, and reveals the secret workings of the bad passions,—envy, hatred, malice and ambition.

As before, we cannot give one of his best gems, because those are hidden in clouds of darkness, through which nobody can see, only one of them that is shrouded in a light mist through which the eye can dimly peer. So take the passage where Tiberius leaves it to the Senate to choose whether Lepidus or Blaesus shall have the government of Africa. Lepidus refuses in very unmistakable terms, alleging as his reasons the bad state of his health, the tender age of his children, and the marriageable condition of his daughter: the writer then goes on: "another reason that Lepidus had, he kept to himself, though it was understood, Blaesus being the uncle of Sejanus, and that was a very powerful reason with him." "Tum audita amborum verba, intentius excusante se Lepido, cum valetudinem corporis, aetatem liberum, nubilem filiam obtenderet: intelligereturque etiam, (quod silebat), avunculum esse Sejani Blaesum, atque eo praevalidum." (An. III. 35). Of course, that was the most powerful reason for Lepidus refusing the honour, because he knew that if he stood in the way of the promotion of the uncle, the nephew, in those corrupt times, would seek a way of wreaking his vengeance upon him. That is easily enough understood, and certainly did not require any further explanation from the historian. But how about the next sentence? "Blaesus in his reply to the Senate made, (but not in the same resolute tone as Lepidus), a show of refusal, and by the assent of the sycophants he was not supported"; and, without another syllable, the author leaves the subject and passes on to another matter. "Respondit Blaesus specie recusantis, sed neque eadem adseveratione; et consensu adulantium haud jutus est." (ibid.) In what was he not supported? And whom were the "sycophants," that is the Senators, flattering? Blaesus? They had no cause to care whether they pleased or displeased him. Tiberius? The Emperor was perfectly indifferent as to which of the two men the Senate selected. The author of the Annals, in order that his full meaning may be brought out, wants the reader to supply, after the words "a show of refusal," some such as the following:—"the Senators could see from the sham of Blaesus that the promotion to the office would be highly acceptable to him, and, as they knew it would please Sejanus, they were desirous of doing what would gratify the minister": then should come the words: "and by the assent of the sycophants he was not supported," that is, in his refusal: accordingly the writer leaves his reader to infer that the Senators gave their universal approval to the appointment of Blaesus as the Proconsul of Africa.

There is no such writing as this in any of the works of Tacitus, who, though curt and concise, is always remarkable for concinnity and clearness of expression as well as for perspicuity and consecutiveness of idea. This can be instanced by any passage in the "History": take this where Galba admonishes Piso whom he has adopted to be careful of himself as the successor to the empire, and beware of the perils to which he was exposed by his new position:—

"You are at the age which shuns the passions of youth: your past life has been such you have nothing to regret. You have endured hardship up to this point: prosperity tries our dispositions with sharper probes; because misfortune is borne, we are spoilt by a brilliant position. With your determined character you will preserve those most precious boons of the human soul, honourable principles, an independent spirit and friendly feelings; but others will undermine these by obsequiousness. Flattery, —fawning,—that worst bane of virtuous inclinations,—will assail you:—everybody seeks his own advancement. To-day you and I converse together quite disinterestedly; others all selfishly pay their court to our fortunes in preference to ourselves. Now to counsel an Emperor what he ought to do is a task of much difficulty: humouring the whims of this or that Emperor does not cost the slightest trouble." "Ea aetas tua, quae cupiditates adolescentiae jam effugerit: ea vita, in qua nihil praeteritum excusandum habeas. Fortunam adhuc adversam tulisti: secundae res acrioribus stimulis animos explorant, quia miseriae tolerantur, felicitate corrumpimur. Fidem, libertatem, amicitiam, praecipua humani animi bona, tu quidem eadem constantia retinebis: sed alii per obsequium imminuent. Irrumpet adulatio,—blanditiae, pessimum veri adfectus venenum,—sua cuique utilitas. Ego ac tu simplicissime inter nos hodie loquimur; ceteri libentius cum fortuna nostra, quam nobiscum. Nam suadere principi quod oporteat multi laboris: adsentatio erga principem quemeunque sine adfectu peragitur." (Hist. I. 15).

It will be seen from this literal version of his text, that, notwithstanding his epigrammatic brevity, Tacitus writes with a precision of thought that leaves nothing to be supplied. It may be that the author of the Annals found it impossible to write thus: at any rate he resorts to quite another kind of composition in order to be on a level with his prototype by making his book hard reading, for he gives his reader as much difficulty in following him by leaving gaps in thought, as Tacitus gives his reader by uncommon terseness. The difference of exertion to which the mind is subjected in understanding the two is pretty much like the difference of exerting the legs which a traveller experiences when moving about a most mountainous region, between toiling painfully up steep but smooth acclivities and taking violent leaps over a succession of ravines.

III. The Rev. Thomas Hunter, in the opening portion of his work entitled "Observations on Tacitus," (to which I have so often referred, and to which I am so much indebted),—misled by giving his assent, as a matter of necessity, to the universal belief that Tacitus and Bracciolini were one,—errs in ascribing to them both a perfect similarity in ambition of pomp and ornament to display learning; Bracciolini bears little or no resemblance in this respect to Tacitus, as may be seen by comparing, or rather contrasting them in any one thing,—say in their digressions. Whenever Tacitus digresses, it is always appropriately,—with taste and judgment. What, for instance, can be more fitting than that he should fall into a little digression about the Temple of Venus in Cyprus, when Titus visits that island (Hist. II. 2 & 3), because Titus had an amorous disposition? or, when he is about to relate such an important event and turning point in the history of the Jews as the destruction of Jerusalem, that he should recount the whole origin of that most mysterious and romantic people (Hist. V. 2)? or, when the Capitol was burnt, give a history of it (ib. III. 71)? On these and other occasions, his digressions are seemly, and afford satisfaction as appertaining closely to the subject.

It is not so with the author of the Annals; he cannot speak about a law, but straightway must tell his reader about laws in general, as he does when speaking of the Lex Poppaea, of which had Tacitus spoken, he would have merely mentioned its qualification, then passed on; or, if digressing, confined his statement to the other laws of a similar kind which had been enacted by his countrymen; but the author of the Annals starts off to talk about laws of all kinds that the whole world had witnessed from the Flood of Deucalion to the time of which he is writing,—consequently he talks about the legislation of Minos, Lycurgus and Solon, the law-making of Numa and Tullus Hostilius, Ancus Martius and Servius Tullius, down to what was done in that way by the Emperor Augustus Caesar (III. 26); and when the cities of Asia contend for the honour of building a temple, away he rambles into a discourse about things in general, the wars of Perseus and Aristonicus; the great antiquity of Troy, proclaimed to be the mother of Rome; the love of home of the Lydians; the first names and settlements of the Tyrrhenians; the Sardinians and Etrurians being of the same descent; the divine origin of Tantalus and Theseus; and the Amazons being the founders of some of the cities in Asia (IV. 55 and 56).

This, it must be admitted, is not in the style of Tacitus; it is, however, exactly in the style of Bracciolini—in proof of which I need only point to the historic details which abound in the Dialogue on the Unhappiness of Princes;—the introduction of the particulars into which he enters when drawing up a comparison for a young friend of Ferrara between Julius Caesar and Scipio Africanus, on the question submitted to him, "which was the greater man" (Op. 357 seq.); and when in the Discourse on Nobility he refers to the statues that adorned the garden of a villa, he enters into remarks on the passion possessed by the ancient Romans of ornamenting their homes with the images of their ancestors (Op. 64-83).

IV. Bodinus, in his "Method to an Easy Knowledge of History," first published in 1566, seems to be very much struck at two statements in the Fourth Book of the Annals; in the 33rd chapter the words occur: "we link together cruel orders, continual prosecutions, treacherous alliances, the destruction of the innocent, and trials terminating in similar issues": in the chapter preceding the writer says that he does not narrate "wars, sieges of cities, routings of armies and struggles of politicians and plebeians": Bodinus observes, Tacitus "carefully describes all the wars that occurred in his time; they were conflicts in which he was usually engaged or acted as commander, nor was there after the battle of Actium a single historian who treated so copiously of military and civil affairs":—"Libro quarto profitetur se 'nec bella, nec urbium expugnationes, nec fusos exercitus, nec certamina plebis et optimatium' narrare ... et paulo post: 'nos saeva jussa, continuas accusationes, fallaces amicitias, perniciem innocentium, et easdem exitu causas conjungimus', quanquam omnia bella, quae illis temporibus contigerunt, et quibus fere interfuit aut praefuit, studiose describit: nec post Actiacam victoriam ullus est historicus qui militarem aut forensem rationem copiosius tractavit" (Jo. Bodinus. Methodus ad facilem Historiarum Cognitionem. p. 66. Geneva Ed. 1610).

Can anything be stronger than these simple words of the French Doctor of Civil Law of the sixteenth century towards drawing further the attention of the reader to the truth of the theory maintained in this book? It is not possible that, though Bracciolini thus, as we see, forgot himself for a moment as the imitator of another, Tacitus could have made a slip of this kind. He is always describing battles; he takes a special delight in doing so; it is a species of description in which he particularly excelled, even as it is a species of description in which Bracciolini just as particularly showed weakness; Tacitus could do nothing better, because, as Bodinus says, he was actually engaged in the battles, or else acted in them as a commander. Nor is it true of his History, as it is of the Annals, that it is one perpetual tissue of prosecutions and trials that end in the conviction of innocent persons, treacherous alliances and tyrannical decrees; nor that it avoids all narration of the contentions between the people and the nobles.

V. We seem to be looking at a picture of the middle ages or the Renaissance and not of the first or second century of the Christian aera, when we read the story of Caius Silanus, the Proconsul of Asia, who, accused of malversation and peculation, is first banished to the island of Gyarus, but when the Prince pleads for him, and he is backed by the intercession of a Vestal Virgin of sanctity,—corresponding to a Christian nun or abbess of exemplary piety,—Silanus is removed to the more bearable place of exile, the island of Cythaera (III. 66-9).

Just as we find in the first part of the Annals this picture marking the mediaeval period, we find in the last part a sentiment that strongly denotes the time of the Renaissance, because it is morally wrong: with the greatest coolness Bracciolini states in the eleventh book of the Annals that "employment of stratagem against a deserter and violator of his oath reflects no dishonour on the Roman character": "nec irritae aut degeneres insidiae fuere adversus transfugam et violatorem fidei" (XI. 19): the sentiment would never have proceeded from Tacitus nor any other high-minded Roman of antiquity; but it is strictly in accord with the views and feelings of the Renaissance, or fifteenth and beginning of the sixteenth century: in reading the best writers of that period we every now and then come across maxims which a strict morality condemns: Machiavelli, who better reflects the spirit of his age and Italy than anybody else, except the author of the Annals, occasionally shocks us by such utterances in his Treatise on Livy, as, "it is permissible to deceive for the good of the State, provided that advantage be gained by it"; it is a proper thing "to violate one's word for the good of one's country"; "cruelty which tends to a beneficial end is not blamable and that which profits is praiseworthy"; or in his work entitled "The Prince",—"it is quite enough for a Prince to be virtuous in show, and not in fact"; he should "dissemble to reign well," and "the justice of war is in its utility."

VI. Bracciolini, who was inventing history as well as forging a production, did not deem it necessary to be actuated at all times in his representations by the love of truth: in putting forth supposititious matters as matters of fact, he advanced his own opinions and conjectures as the conjectures and opinions of the persons who figured in his narrative: to give an example: —"Tiberius and Augusta abstained from appearing in public" on the day when the remains of Germanicus were borne to the tomb of Augustus: that may be history; but we are certain that it is not history when we are told what their supposition was about going abroad: "I do not know," says the writer, "whether they supposed that a public expression of sorrow on their part would be derogatory to their imperial dignity, but I rather suspect it was fear that their hypocrisy would be detected when their looks were scrutinised by the eyes of all": "Tiberius atque Augusta publico abstinuere; inferius majestate sua rati, si palam lamentarentur, an ne, omnium oculis vultum eorum scrutantibus, falsi intelligerentur" (Ann. III. 4).

We have another proof here that the whole Annals proceeded from the same hand; this sort of thing goes on as well in the last, as in the first part of that work; in the fourteenth chapter (10), the writer undertakes to describe the state of Nero's punishment after (what may or may not be history) the murder of his mother: we are told, as if Bracciolini possessed the magic of peering into the inmost recesses of the soul, that it was only "at length after Nero had completed the monstrous deed that he became conscious of its enormity": "perfecto demum scelere magnitudo ejus intellecta est". We then follow the Emperor into the privacy of his locked chamber; in the dead of night, we see what he does, when he is hidden from the eyes of all: everybody can pretty well guess (but only guess not positively know) how it fared with him; an evil conscience like a hidden torture wracks the criminal as the vulture fed on the liver of the rock-tied Titan;—the Furies come, causing the guilty to pass sleepless nights, for the Furies are the Demons sent to torture the impious: accordingly Bracciolini thus continues the description:—"during the remainder of the night, he would at one time remain in silence with his eyes fixed immovably, very often springing up out of terror, and with a distracted soul watch for the dawn of day, as if it were to bring death to him":—"reliquo noctis, modo, per silentium defixus soepius pavore exurgens et mentis inops lucem opperiebatur, tanquam exitium allaturam" (L. c.).

Though we all know that investigations of this kind must necessarily be attended with uncertainty, yet in watching Bracciolini's bold proceedings in unfolding the mazes of the human heart by the passions of famous men, we assent readily to his delineations, because the feelings he represents, if not true, seem to be true on account of their being natural and obvious.

This kind of guesswork, nowhere to be found in the pages of Tacitus, has been considered in these days a great improvement in historical composition,—by none more so than by Lord Macaulay, who made Bracciolini, (supposing him to be Tacitus), the object of his adoration. Modern historians reject what Thucydides, Xenophon, Herodotus, Livy, Sallust, Tacitus, and other ancient writers of history, Greek and Roman, did,—ascribing probable words and phrases to eminent persons on grand occasions, as violations of truth and daring assumptions;—nevertheless, they imitate the practice set by Bracciolini of knowing the motives that influenced illustrious characters.

The cause of a memorable matter of fact,—Luther casting off his allegiance to the Pope,—remains hidden in impenetrable mystery: notwithstanding that, Protestant historians as confidently maintain it was the love of truth, as Catholic biographers boldly assert it was the passion of resentment.

We have the same rash conjectures as to James the Second: after he abdicated the throne of England, he lived to the end of his days in quietness and seclusion, never making an attempt to regain the goodwill of his people, nor breathing a wish for a reconciliation: though that monarch kept his feelings to himself, Lord Macaulay in his History of England (IV. 380), with a comprehensiveness of discernment that is amazing, writes thus: "in his view," that is, King James's, "there could be between him and his subjects no reciprocity of obligation. Their duty was to risk property, liberty, life, in order to replace him on the throne, and then to bear patiently whatever he chose to inflict upon them. They could no more pretend to merit before him than before God. When they had done all they were still unprofitable servants. The highest praise due to the Royalist who shed his blood on the field of battle or on the scaffold for hereditary monarchy was simply that he was not a traitor." When such intimate acquaintance is shown with the senti- ments of the fallen king, one wonders who knew better his intentions and inclinations, Lord Macaulay, his historian, or Peters, his father confessor. In writing thus Lord Macaulay merely imitated the example set by Bracciolini, who, on almost every occasion, pretends to know motives, detect inclinations, explore the causes of events as well as look into the soul, reveal the passions and determine the judgments of powerful men. It is very pretty, but it is not history; and any one who considers how beyond his power it is to ascertain the principles which regulate his own conduct or the behaviour of those with whom he is in familiar and daily intercourse,—whose peculiar habit, too, he knows well,—must see that the task is not only difficult, but superhuman,—comprised in one plain and simple word —impossible.

VII. A thousand authors may be read, and in vain contradictions looked for in any of them. When, therefore, a writer is found contradicting himself, it is a peculiarity to be noted as uncommonly striking; one contradiction being found, several may be looked for. Bracciolini is one of these writers; his contradictions, too, are most remarkable: they are to be found just as well in his acknowledged productions as in both parts of the Annals. Many instances might be given; the following may suffice:—

In the fourth book of the Annals, Tiberius is represented so full of hatred that a man who had been for a long time in exile does not escape his memory, as occurs with Serenus—"non occultante Tiberio vetus odium adversus exulem Serenum" (IV. 29). In the sixth book, however, Tiberius, though still actuated by hatred, is so forgetful that Rubrius Fabatus remains unharmed through oblivion:—"mansit tamen incolumis oblivione magis quam elementia" (VI. 14). What then is the characteristic of Tiberius? Forgetfulness or remembrance in his hatreds?

So in his acknowledged works, Bracciolini speaks in one of his letters, as we have seen, of not having such a very high opinion of the Papacy as the world believed: "Ego minus existimo Pontificatum quam credunt" (Ep. I. 17). But in another of his works, "De Infelicitate Principum," (Op. p. 392), he expresses his belief that "all Princes were in the enjoyment of a large amount of happiness, more particularly the Pope, who was considered the greatest of men, and yet gained his position without any anxiety or any labour, any pains or any peril." "Nam cum omnes principes magna existimem felicitate frui, tum vero maxime Pontifices, cum nulla cura, nullo labore, nulla opera, nullo periculo eum statum adipiscuntur, qui habetur maximus apud mortales." What are we then to suppose? that Bracciolini had formed a very lofty, or a very indifferent estimate of the Papacy?

In both parts of the Annals, he displays the same spirit of contradiction; first he praises, then condemns the same things; in the last part he defends Popular Revels (XIV. 20) and objects to them immediately afterwards (ibid); so in the first part he lauds luxury in the second book (33) and censures it in the third (53).

We find the same contradiction with respect to Augustus and deification; in the first book of the Annals we are told that if a man has temples reared to him and is worshipped in the likeness of a god, he commits a grievous wrong, because he deprives divine beings of all their honours: this it is stated was done by Augustus:—"Nihil Deorum honoribus relictum cum se templis et effigie numinum coli vellet" (An. I. 10). After this we should be mightily surprised, did we not know of the humour of the writer with whom we are dealing, to find it asserted in the fourth book, when the people of Lusitania and Boetica (now Portugal, Andalusia and Granada), offer to erect a temple to Tiberius, and he refuses (IV. 37, 38), that that Emperor "showed degeneracy of spirit, because men of the highest virtue have ever sought the greatest honours: thus Hercules and Bacchus were added to the number of the Gods among the Greeks, and Romulus among the Romans: accordingly that Augustus who hoped for deification chose the nobler part, for when we scorn fame we scorn the virtues:—"quidam, ut degeneris animi, interpretabantur: optumos quippe mortalium altissima cupere. Sic Herculem et Liberum apud Graecos; Quirinum apud nos, deum numero, additos. Melius Augustum, qui speraverit ... contemtu famae, contemni virtutes" (IV. 38).

VIII. A few words, in conclusion, may be said about the oldest manuscript containing the first six, and, consequently, all the books of the Annals. This, which, it has been stated, is the First Florence MS., I take to be the identical one that came out of the Abbey of Corvey through the hands of Arcimboldi, because, like its mendacious brother, the Second Florence, it bears upon it the unmistakable stamp of an impudent forgery. Just as the Second Florence pretends to be of the fourth century, if not earlier, from having the attestation of Salustius the Philosopher, so the First Florence professes to be as old as, at the very least, the twelfth century, from being written in characters, which, Taurellus says (Praef. ad Pand. Floren.), are the same as those in the Florentine MS. of the Pandects of Justinian. Now, the Florentine Pandects, which were found at Amalfi, were plundered from that town and taken to Pisa in 1137 by Lotharius Saxe after his successful war with Pope Innocent II., though the two costly volumes were not first deposited in the Grand Duke's Library at Florence until 1406.

Danesius, Bishop of Lavaur (in Languedoc), also bears testimony to the great antiquity of the First Florence MS. But this was nineteen years after the first publication of all the Annals in Rome, it being in 1534 that Danesius, examining it with other ancient works, pronounced upon its very old age.

Ernesti, in his preface to the works of Tacitus, quotes a passage from a letter of Graevius to his friend Heinsius where the great Hellenist is of opinion that the MS. bore the marks of being copied from a supposititious and half learned original; "exemplar, unde illud fluxit, mendosum et ab semidocto interpolatum" (Tom. IV. Coll. Burm. p. 496). But suppose that the manuscript is no copy, but, as I maintain, an original, then the opinion of Graevius becomes extremely valuable in this inquiry, because it actually corroborates what I have said about the manuscript,—that it was transcribed by an ignorant monk, and that it is an audacious forgery.

We have, then, no evidence whatsoever that can be relied upon of the great antiquity of this manuscript: on the contrary what we do know about it as a fact is utterly subversive of such an assumption: this copy in the Mediceo-Laurentian Library in Florence of all the Annals of Tacitus cannot be traced further back than to the possession of a man who flourished in the days of Leo X. and the Emperor Maximilian I.,—Johannes Jocundus of Verona; so that it turns out, on careful investigation that all positive knowledge of this MS. stops at the commencement of the sixteenth century, exactly as all positive knowledge of the other Florentine MS. stops at the commencement of the fifteenth century.

IX. I have now done; and think that I have said quite enough for the spuriousness of the Annals never to be hereafter argued as a moot point, but accepted as an established fact. I need not go into further consideration; because further consideration cannot give more weight to what has been put forward. I, therefore, pause, assured that with only these few facts and observations placed before him, the reader has come to the same conclusion as myself, that, strange as it may be, yet, nevertheless, there is truth in the theory now started for the first time, I dare say, to the amazement of the reader, as to the amazement of everybody, that Tacitus is, and has been, for century after century, wrongly accredited with the authorship of the Annals. It is to dispel all cavil about this, that I have examined the History and the Annals from every imaginable point of view, so as to enable the reader to see the two works as clearly as they can be seen—not that the reader has seen them as clearly as objects are seen under the open sky by the blaze of the noontide sun; still I hope that he has seen them, as objects in broad day are seen,—where there must he some shadows in corners,—in a room, when all the blinds are drawn up and all the windows are thrown open.

T H E E N D.



[ENDNOTES]

[Endnote 013] Here we find the most learned Father of the Church using "volumen" in an unusual acceptation, not as a whole work, nor a part of a literary composition rolled into a scroll among the ancients, or separately bound among ourselves, but a division of a subject in the same "volume," just as Cornelius Nepos, once, and once only,—in his Life of Atticus (16),—speaks of the sixteen "books" of Letters which Cicero addressed to Atticus: "Sexdecim volumina Epistolarum ... ad Atticum missarum"; yet three or four "books" must have formed a "volumen," when we find Ovid, in his "Tristia" (III. 14, 19) speaking of the "five volumes" that contained his Metamorphoses:—

"Sunt quoque mutatae per quinque volumina formae;"

as the Metamorphoses were divided into fifteen books, three then formed a "volumen."—I cannot avoid calling attention to the curiously incorrect phrase, "voluminibus exaravit." An ancient, speaking of the "volumen," or scroll, would have used "scribere," —"exarare," possibly, when speaking of the "codicillus," or little wooden table made of wax, which he sent as a note or billet-doux to a friend or sweetheart, the figurative verb being applicable to the stylus "ploughing" letters "out" of the wax. The passage, from this blunder alone, seems to be an interpolation, where the forger ridiculously overshoots his mark: he out-Jeromes Jerome; for he makes the saint write bad Latin from a motive that never led St. Jerome astray,—a desire to be poetic. It is strange, too, for the passage to have come from the most learned of the Latin fathers with the loose expression, "post Augustum," to denote a history that began with Galba; and when Tacitus, who confined his attention to affairs of state (to the utter disregard of biographical details of the emperors), is spoken of as writing "Vitas Caesarum." However, the man who made the interpolation knew all that he wanted to accomplish, and would have been eminently successful in his crafty and knavish design, had he only known Latin well enough to have made St. Jerome write it as a bishop would have written it in the fourth century.

[Endnote 019] Nevertheless, Tacitus is uncommonly provoking to believers,—in his version, for example, of what is solemnly recorded in the xviith chapter of Exodus and the xxth of Numbers about the Israelites, when, in their wanderings, they murmured for want of water, and the Lord instructed Moses to "take the rod with which he smote" the waters of the Red Sea: the sacred penman proceeds: "And Moses took the rod from before the Lord, as he commanded him: And Moses and Aaron gathered the congregation together before the rock, and he said unto them, 'Hear now, ye rebels; must we fetch you water out of this rock?' And Moses lifted up his hand, and with his rod he smote the rock twice: and the water came out abundantly, and the congregation drank and their beasts also." (Numbers xx. 9-11). This incident, opposed to the laws of nature, Tacitus shews happened according to the constituted course of things, and makes the miracle ridiculous by introducing asses as the principal performers: he has been speaking of the Jews, ignorant of all the parts through which they were to pass, setting forth on a journey for which they had made no provision; "but nothing distressed them so much," he continues, "as want of water; and they were lying all over the plains, not far from the point of death, when a herd of wild asses quitted the pasture for a rock overgrown with copse and brushwood: Moses followed, and found, as he had conjectured from the spot being covered with verdure, abundant springs of water." "Omnium ignari, fortuitum iter incipiunt: sed nihil aeque quam inopia aquae fatigabat: jamque haud procul exitio, totis campis procubuerant, cum grex asinorum agrestium e pastu in rupem nemore opacam concessit: secutus Moses, conjectura herbidi soli, largas aquarum venas aperit." (Hist. v. 3). Tacitus is infinitely more offensive, and, certainly, most untruthful, when he says that the Jews "kept for worship in their holy of holies the image of an ass, as the animal by whose guidance they had slaked their thirst and brought their wanderings to a happy sequel": "effigiem animalis, quo monstrante errorem sitimque depulerant, penetrali sacravere." (Hist. v. 4)

[Endnote 074] This, I take it, is what the author of the Annals means. "Tibicen" was, of course, not a violin, but species of pipe among the ancients; the Egyptians were not famous for their performances upon this instrument, if they were acquainted with the "tibicen" at all. The question then arises,—Was the author of the Annals cognizant of the existence of such people as "Gipsies"? The last part of the Annals (where, it will be seen, this passage occurs,) was forged after the first quarter of the fifteenth century; was this nomad horde in Europe at that time? If there be one established fact it is that the "Gipsies" (then called "Aegyptiani") came into Europe at the commencement of the fifteenth century in the reign of the Emperor Sigismund. Martin Zeiller in his "Topographia Hassiae" says they were first caught sight of in Hesse in 1414, which is four years earlier than all historians fix the date of their advent into Germany, from following Jacob Thomasius, who makes that statement in the 16th and 17th sections of his "Disputatio de Cingaris." Two years after their arrival in Germany, (that is 1416, according to Zeiller, but 1420, according to Thomasius and the historians,) this curious people, separating into several bands, found their way into Italy. Here they may have attracted the attention of the author of the Annals, as well as in his frequent visits to Germany and the principality of Hesse. In fact, they attracted universal attention by their sporadic habitations, their nomadic lives, their wandering and dwelling, like the Thespians of old, in waggons, their shabby and ragged clothes, yet the heaps of gold and silver they had with them, their trains of horses, mules and asses, their love of music (to this day they are great experts with the violin), their favourite practice of fortune-telling, magic, palmistry, and those arts of sorcery, of which we hear so much in the Annals, the author of which must have been further impressed with their giving out that, though heathens coming from Lower Egypt, they wanted to embrace the Christian faith. This vagabond people had at their head a "king," whom the chroniclers style a "noble Count,"—as Martin Cursius in his Annals of Swabia (sub A.D. 1453): "obiit nobilis Comes Petrus de Minori Egypto, in die Philippi et Jacobi Apostolorum." "Peter" was preceded on the gipsy throne by "Panuel," who, styled also "nobilis Comes" by the chroniclers, died in 1445, his immediate predecessor being "Michael," under whom the immigration into Europe was effected of these "Egyptian" wanderers numbering 14,000 men, women and children.

[Endnote 081] I am indebted for nearly the whole of this to Niebuhr's Essay in the "Rheinisches Museum" on "The Difference between Annals and History." But in saying that Aulus Gellius attempting to solve the same problem showed "more learning than thought," Niebuhr did not know how easy it was to retaliate upon him by saying that in his own investigation he exhibited "more thought than learning" from supposing that a writer in the time of Marcus Antoninus might have had his inquiry suggested to him by Tacitus's "History" and "Annals," when, down to the fifteenth century, as we have shown, one common title, "Imperial History" ("Augusta Historia,") covered the historical productions of Tacitus, now known as "Annales" and "Historiae."

[Endnote 083] No overstatement but a fact. There are only 14 paragraphs in the Life and 8 letters, namely:—1. A letter from the Emperor Verus to Marcus Aurelius (Sec. 1); 2. Marcus Aurelius's Reply (Sec. 2); 3. A letter from Marcus Aurelius to his prefect (Sec. 5); 4. The prefect's reply (ibid); 5. A letter from Marcus Aurelius to Faustina (Sec. 9); 6. From Faustina to Marcus Aurelius (Sec. 10); 7. Marcus Aurelius's Answer (Sec. 11); and 8. A letter from Avidius Cassius to his son-in-law (Sec. 14); which ends the Life and enables the biographer to observe that "that letter showed what a stern and cruel emperor Avidius Cassius must have been": "haec epistola ejus indicat, quam severus et quam tristis futurus fuerit imperator."

[Endnote 136] The name of Emmanuel Chrysolaras must ever be associated with the revival of the Greek language in Western Europe after the study of it had been discontinued since the close of the eighth century, or for six hundred years. One of the earliest pupils of Chrysolaras, Leonardi Bruni, speaks of him in terms of warm admiration in his interesting "Memoirs of Occurrences in Italy during his Time" ("Rerum suo Tempore in Italia Gestarum Commentarius"). Bruni says that Chrysolaras was "the only and sole Professor of Greek, and that if he had been lost sight of, there was no one afterwards who could have taught that tongue": "hic autem unus solusque Literarum Graecarum Doctor, si e conspectu se auferet, a quo postmodum ediscas, nemo reperietur" (Muratori XIX. 920). Chrysolaras was a native of Constantinople, and member of a noble family; the way in which his country was assailed by Bayazid, Sultan of the Turks, and threatened by Tamerlane, Sultan of Samarcand, caused him to leave home, assured, as he was, of the certain downfall of the Byzantine Empire; first he went to Venice, which he reached by sea; while he was there teaching the Greek language his reputation spread to Florence, the inhabitants of which, making him the offer of a public salary, pressed him to come to their city, to teach their young men, numbers of whom were desirous of making themselves masters of his native tongue. It was in the year 1399 when Chrysolaras, thus settling in Florence, revived the study of the Greek language, and thereby gave a new and wonderful impulse to literature, first throughout Italy, and then Spain, Portugal, France, and the other countries of Europe.

[Endnote 145] The letter, from which this extract is made, will be found in Bracciolini's works (Pog. Op. pp. 301-5), as well as in the collection of his Epistles, (of which we have the first volume only,) by the Chevalier de' Tonelli (pp. 11-20);—should the reader be fond of literary curiosities he will also find it reproduced, as if it were his own composition, by Reduxis de Quero in his "Chronicle of Trevigo,"—"Chronicon Tarvisinum,"— preserved in Muratori's Rerum Italicarum Scriptores (tom. XIX. 829-33). As Bracciolini wrote to his friend Leonardo Bruni, Reduxis de Quero, not venturing to alter a word of what he pilfered, for fear of spoiling his pillage, takes his reader into his confidence and affectionately addresses him in the second person, while pretending, to have the exclusive information and personal recollections of Bracciolini, who, present at the Council of Constance, as a member of the court of John XXIII., witnessed the whole of the trial, defence and death of Jerome of Prague. Muratori, in exposing the plagiarism, is surprised at the impudence of Reduxis stating that, at the time he wrote the account, he was enjoying some leisure moments as Castellan of the "great Castle of Brescia":—"nihil enim agens, dum custodiae vacarem Castri magni Brixiae, aliquid agere," &c. The narrative of Bracciolini, light and airy, yet withal touching and graphic, has a wonderful effect in the "Chronicon Tarvisinum": it's not unlike sunlight breaking in and brightly shining between banks of fog. It was, therefore, necessary that a cause should be given for this supreme gleaming amid the general mists of the dull and heavy Chronicle of de Quero; Muratori, accordingly, very properly dispels the wonder of the reader by informing him that he is "here listening to Poggio writing, and in a style," he adds, "which Reduxis was about the last man to imitate":—"itaque heic audis Poggium scribentem, et quidem stylo, quem aequare Redusius minime gentium poterat."

[Endnote 208] Father Hardouin, however, is outrageously extravagant. He will admit that only two Greek authors and four Latin ones —Cicero, Pliny the Elder, (a big part of) Horace (the Satires and Epistles), and (a little bit of) Virgil (the Georgics), have come down to us, along with the sacred writings of the Old and New Testaments. Nothing else is genuine that we have from antiquity,—not even the coins,—certainly, not the productions of the Greek and Latin Fathers of the Church, nor the Ecumenical Councils down to that held at Trent, and to cap the climax of these appalling paradoxes, the parables and prophecies of the Saviour and the Apostles first appeared in Latin. More wondrous still! This wholesale fabrication all occurred in the 13th century, and the forgers were exclusively Benedictine monks. Had the great Jesuit confined his playful erudition to profane people all would have been well with him; but as he trenched upon holy ground in the skittishness of his scepticism the ecclesiastical authorities set over him were bound to interfere: his superiors severely reprimanded him, his promotion in the Church was for ever after stopped, and the supreme French law court,—the Parlement de Paris,—suppressed the book containing the novel raciness:—"Chronologiae ex Nummis Antiquis Restitutae Prolusio de Nummis Herodiadum":—but wedded to his opinions, and stubborn in the maintenance of them, Hardouin reproduced the least reprehensible in his "Ad Censuram Scriptorum Veterum Prologomena." From the manner in which he has been replied to by scholars all over Europe, especially in Holland, France and Germany, conspicuous among whom for pith of argument stand Basnage, Leclerc, Lacroze, Ittig and Bierling, nobody at the present day considers that what he said about the monuments of antiquity is worthy of the slightest attention, though everybody acknowledges his wonderful memory, sagacity, ingenuity, and mastery of all kinds of literature, especially history and chronology, and, above all, theology, of which he was a professor.

[Endnote 231] This I borrow from the Rev. Thomas Hunter, Vicar of Wrexham in the middle of the last century, and author of a book on Tacitus, from which I take the idea in the text. Hunter meant his work to be at once a philological and historical disquisition and a psychological and ethical analysis: he wrote it evidently from being thoroughly disgusted by what he had read in the Annals—(as well he might be);—and he laboured hard but in vain to show that the same faults which he found in that work he detected also in the History. His dissertation ends with a parallel between Livy and Tacitus, drawn expressly to disparage the latter, when every judicious, unbiassed reader who will form his opinion of Tacitus solely from the narrative, maxims, and sentiments met with in his History, must freely admit that he stands on a par with (to the thinking of many, above) Livy as an historian, a moralist and a man, all of which is denied by the ingenious Denbighshire clergyman. By a sort of intuitive knowledge,—or that mental process, known as the evolution of inner consciousness,—the world has long arrived at the conclusion that the Vicar of Wrexham's production is not valuable as a literary venture that aims at imparting truth: accordingly, his small 8vo. of 1752 labelled "Observations on Tacitus" shares the fate of the vast majority of modern volumes—it rests in peace buried in dust upon bookshelves.

[Endnote 251] I know that Hallam says in one of his great books ("Literature of Europe") that nobody now living believes in the authenticity of the Rowley Poems: but poetry was not the forte of Henry Hallam. I am also aware that, towards the close of the last century, a long and heated controversy raged for years among literary men, who may be divided into two distinct classes,— Believers in the Natural,—as Mr. Jacob Bryant, Dr. Jeremiah Milles, the Dean of Exeter, Dr. Langhorne, and Dr. Glynne,—and Believers in the Cock Lane Ghost and the Supernatural as Dr. Johnson, and the Mysterious and Impossible, as Lord Camden and Horace Walpole; and that the world has denied its assent to the theory of the first set who maintained that the poems were Rowley's, agreeing with the other set that they were Chatterton's, who, in consequence of his tender years and ignorance, was placed, for inspiration and intuitive knowledge, on a higher pedestal than Jeremiah. The position of the controversialists which has been accepted amounts to this:—that a child at the age of twelve years wrote the pastoral "Elinoure and Juga," which is marked by finer pathos than anything that proceeded from the passionate soul of Burns: that when a few months or so older this child wrote "Aella," which displays an energy equal, if not superior to Spencer's, and about the same time the "Tournament," which breathes the spirit of the middle ages more intensely than the Ivanhoe of Sir Walter Scott. Marvellous as all this is, it is found to be nearly a trifle by the side of this:—that the infant prodigy, when a lad in his eighteenth year, composed poetry that is not in accord with an improved information, but is a very deteriorated sort of stuff,—a reproduction of old fancies, too, in no new form,—as, to test it anywhere,—I take at random the opening lines of the "Invitation," as good as anything in "Kew Gardens," "Sly Dick," "Fanny of the Hill," or any other piece composed by Chatterton towards the close of his life:

"O God! whose thunder shakes the sky, Whose eye this atom globe surveys, To thee, my only rock, I fly, Thy mercy in thy justice praise.

The mystic mazes of thy will, The shadows of celestial," &c.:

as good as Tate and Brady, to be sure,—but verses so common-place in ideas and so prosaic in expression—that any youth in the sixth form at Eton or Winchester College would be ashamed to produce them as a school exercise. Everything that is marvellous has its history as well as everything that is comprehensible; and the story of the poems is as follows:—A bridge at Bristol was completed in 1768; thereupon a ballad of a friar crossing a Bristol bridge in the reign of Edward IV. was inserted in a local journal as appropriate to the occasion: it was so sweet in its simplicity and rich in poetry while so much judgment tempered the composition and such correctness was shown in every archaeological detail that it struck with amazement all persons of literary taste who read it: the author being inquired after was found to be an attorney's snub-nosed apprentice who copied precedents: the inquirer, becoming the victim of a thousand-fold multiplied admiration and wonder, was astounded that such a queer boy turned out to be the author of such a fine ballad! The world marvelled too, but became, and remains to this day, a believer that Chatterton composed all the fragments which he himself, in the first instance, truly and honestly ascribed to Rowley and other poets, who flourished in different centuries; the consequence of which is that their poems form a very curious and interesting medley of various archaic words belonging to several mediaeval periods. From the poems ascribed to Lydgate (wrongly written by Chatterton, Ladgate) not being printed elsewhere, we must infer that those fragments of his, and, by induction, the fragments of the other poets, were not multiplied in copies; consequently we must conclude that they were all so highly prized by their possessor in the fifteenth century, the rich Bristol merchant, Canynge, the founder of St. Mary Redcliffe, that in his last will he bequeathed the whole of these protographs, to be locked up in strong iron coffers, and deposited for safety in the church he had erected, believing, no doubt, and with much propriety, that if he placed them in a sacred edifice their preservation would be secured for the benefit of posterity. Unfortunately, if so, the stupidity of the Town Clerk and the Mayor and Aldermen of Bristol in 1727 frustrated the intention of the enlightened merchant; for when in that year those civic functionaries examined the papers in the muniment room over the north porch of St. Mary Redcliffe for the purpose of reserving only those that were valuable, they threw away as worthless all but the title deeds relating to the church. They thus secured an immortal fame for Chatterton by enabling him (through the aid of his uncle, the sexton), to get at the contents of the chests, select what parchments he pleased, and place before the world poems which he candidly acknowledged were not his own, but which he seems to have modernised, to have smoothed the verse (his own common-place rhymes showing that he had an exquisite ear for harmony; but nothing else); and here and there to have interpolated (or supplied missing, erased, and undecypherable) words, which spoilt lines, but could not spoil the poems as masterpieces, from the classic form in which they are cast, their power of thought, brilliance and vigour of imagination, happiness of invention, and extraordinary depth of sensibility. One cannot help recalling Dogberry's saying that "good looks come by Fortune and learning by Nature" when contemplating the universal belief that Chatterton wrote the poems of Rowley.

[Endnote 297] I cannot help thinking that some confusion may arise in the mind of the reader from misunderstanding the concluding expression of Bracciolini: literally he says: "provision is made for me in the way of food and clothing with which I am satisfied, for out of this very great costliness of the means of living even the king does not get more": from such language one is almost induced to think that, in common with the sovereign, he had the use of the royal kitchen and the royal wardrobe; in other words, that he was living in the royal palace, and faring just as the king himself; but this was not the case: during his stay in England, he resided with Cardinal Beaufort in the London Palace of the Prince Prelate: he means that in eatables and raiment he was as well off as the king: he is alluding to the circumstance that, notwithstanding his means and position, he was not bound down to the style of apparel and meals as regulated by the law, which, for more than half a century, (since the days of Edward III.,) had prohibited all who were not possessed of more than L100 a year (as was the case with himself) from using gold and silver in their dress, and had limited their grandest entertainment to one soup and two dishes.

[Endnote 303] "To place the Moon in the Ram!" Well, the expression certainly in its eccentricity is quite equal to the phraseological excursion to the moon of Madame de Sevigne, who, meaning to speak of attempting an impossibility, writes "lay hold of the moon with the teeth"—prendre la lune avec les dents!" Bracciolini, who, in his letters to Niccoli puts me in mind of Dean Swift in his letters to Dr. Arbuthnot, (as far as using words and inventing terms to bother and perplex his friend,) has here fairly put his editors at a non plus from the first in Basle to the last in Florence; he is up in a balloon—clean out of their sight,—so they all print Aries in the accusative and with a small a—"poneres lunam in arietem,"—which not at all understanding, I have changed the phrase to what it is in the text. Bracciolini by the Ram is referring neither to the male sheep nor the battering instrument of war among the Romans, but the vernal sign: he had evidently read Roger Bacon, and believed with the "Somersetshire Magician," (as the Brother of the Minor Order was styled by his contemporaries), that a man's neck is subject to the power of the Bull, his arms to that of the Twins, and his head or brains to that of the Ram: When "the Moon" then, "is in the Ram," a lunatic is surely doubly mad, suffering, as he does, from the combined influences of the Moon, (especially when full), and of the Ram, —particularly at the beginning of April, the first day of which is amusingly consecrated to fools, and has been so worshippingly set apart in consequence of the belief that was entertained by the Benedictine man of science respecting the Constellation of the Zodiac that is the sign of April—"caput est de complexione Arietis" (Rog. Bacon. Opus Majus. p. 240).

[Endnote 357] The way in which Bracciolini wrote Latin verse will be seen in the following epitaph which he composed in honour of his preceptor in the Greek language, Emanuel Chrysolarus:—

Hic est Emanuel situs Sermonis decus Attici, Qui dum quaerere spem patriae Afflictae studeret, huc iit; Res belle cecidit tuis Votis Italia. Hic tibi Linguae restituit decus, Atticae ante reconditae. Res belle cecidit tuis Votis Emanuel. Solo Constitutus in Italo Aeternum decus, et tibi Quale Graecia non dedit Bello perdita Graecia.

The fact, then, is that,—putting aside false quantities,—he was more eloquent and poetic when he was writing prose than when he was writing poetry.

[Endnote 401] Don Pio Mutio in his "Meditations upon Tacitus" forms a very different estimate of this description; he places the account of this tempest which carried Germanicus into the ocean in that part of his dissertation where he speaks of Tacitus as "marvellous in description",—"nelle descrittioni maraviglioso", —portraying things with such magnificent clearness that you can see them as distinctly on his page as if you were looking at a picture on canvas or cardboard done by an eminent artist;—"portando egli le cose con tanta maesta e chiarezza, che quasi ce le fa vedere nella sua scrittura, come farebbe eccellente pittore in una tela o tavolo" (Considerationi sopra Cornelio Tacito. p. 481 Brescia Ed. 1623). Mutio's "Meditations" are no meditations on Cornelius Tacitus but Poggio Bracciolini; for they are not meditations upon all the historical productions that pass under the name of Tacitus,—not even upon the whole of the Annals, but only the first book of it; almost every passage of which,—certainly, every sentiment is elucidated, or rather, expatiated upon with signal originality and shrewdness of view, so as to have won the admiration and praise in no fewer than five of his epigrams of Benedetto Sossago, Mutio's fellow-countryman and contemporary, well skilled in scholastic acquirements, philosophy and theology, a doctor of the Ambrosian College at Milan, and a writer distinguished principally for poems in Latin,—"Sylvae"; "Opuscula Sacra"; two books of "Odes"; seven books of "Epigrams"; and according to the Abbot Picinelli, in his "Atenco de i Letterati Milanesi", Sossago would have added to these an epic about Borromeo, had he not died in the midst of composing the "Caroleis", which was to have made his name a "familiar household word" to all posterity. The "Biographie Universelle", which Madame Desplaces's editor of it, M. Charles Nodier, says, is "one of the greatest and most useful conceptions of our age" ought, (because it is so useful and great), to have contained a memoir of Mutio, for he was a most accomplished politician: in addition to these "Meditations on Tacitus" which are filled with political wisdom, he wrote another treatise also on politics and also in Italian: he was Abbot of the Benedictine Monastery of Monte Casino, and went on several important embassies to the French Court during the reign of Louis XIII. His work on the First Book of the Annals, —which is a commentary divided into 358 meditations or considerations comprised in a quarto of over 600 closely printed pages,—goes a long way in proving the truth of my theory, because it is one of the half-dozen or so of substantive books, (and bulky tomes, too), which were devoted exclusively to a consideration of the Annals in less than a century after the whole of that work was first placed before the world, showing its remarkable attractiveness, and what great attention MUST have been paid to it, had it been as old as it is generally supposed to be; but, (as I have observed in the text, p. 16), there not having been a word said about it from the second to the fifteenth century is all but proof positive of its non-existence during those 1,300 years.

[Endnote 408: "What has rendered 'Tacitus' obscure", says the Rev. Thomas Hunter in that book of his from which I have so frequently quoted, "is the refinement of his sentiments; which, like some minims in Nature, require uncommon sagacity and artificial power to assist you in the knowledge of." I cannot help thinking that these remarks are much more, if not solely applicable to the author of the Annals, (consequently, Bracciolini), than to Tacitus, as well as these further observations on the difficulty of the Latin:—"Let a reader take Livy in hand without translation or notes, if he is but a moderate adept in the Latin tongue, he will find little difficulty in many chapters together, except where some plodding editor brings in an awkward word to confound common sense and spoil a beautiful antithesis. If he is a proficient in the Roman language, he will read a book from end to end, with little hesitation or doubt concerning his meaning in any place: but a good classical scholar, who sits down to Tacitus, disclaiming the assistance of commentary or translation, will meet with difficulties in every book, and frequently in every page". (Observations upon Tacitus. pp. 218-9.) Archdeacon Browne, speaking of the style of "Tacitus," says (in his "History of Roman Classical Literature," p. 487), "his brevity ... is the necessary condensation of a writer whose thoughts flow more quickly than his tongue could express them. Hence his sentences are suggestive of far more than they express: they are enigmatical hints of deep and hidden meaning, which keep the mind active and the attention alive, and delight the reader with the pleasures of discovery and the consciousness of difficulties overcome." "The thoughts flowing more quickly than the tongue" (that is, the pen) "can express them," is an apt phrase, (without the Archdeacon knowing how truthfully he was speaking), for the embarrassment under which a fabricator labours when endeavouring, not only to write like an ancient, but to assimilate his style to that of another, which being quite different to his own, he is conscious that, strive as he may, he will never come up to a close resemblance to the original. The reader no doubt recalls Bracciolini's own description of his task when he first set about forging the Annals: "Beginnings of any kind are arduous and difficult; as what the ancients did pleasantly, quickly and easily to ME is troublesome, tedious and burdensome":—"In quibusvis quoque rebus principia sunt ardua et difficilia; ut quod antiquioribus in officio sit jucundum, promptum ac leve, MIHI sit molestum, tardum, onerosum." (See pages 192 and 266 of this work).

THE END