Before going there Antony made and unmade a dozen kings. Then, presently, at Tarsus he ordered Cleopatra to come to him. Indolently, his subject obeyed.

Caesar claimed descent from Venus. Antony's tutelary G.o.d was Bacchus, but he claimed descent from Hercules, whom in size and strength he resembled.

The strength was not intellectual. He was an understudy of genius, a soldier of limited intelligence, who tried to imitate Caesar and failed to understand him, a big barbarian boy, by accident satrap and G.o.d.

At Rome he had seen Cleopatra. Whether she had noticed him is uncertain.

But the gilded galley with the purple sails, its silver oars, its canopy of enchantments in which she went to him at Tarsus, has been told and retold, sung and painted.

At the approach of Isis, the Tarsians crowded the sh.o.r.e. Bacchus, deserted on his throne, sent an officer to fetch her to him. Cleopatra insisted that he come to her. Antony, amused at the impertinence, complied. The infinite variety of this woman, that made her a suite of surprises, instantly enthralled him. From that moment he was hers, a lion in leash, led captive into Alexandria, where, initiated by her into the inimitable life, probably into the refinements of the savoir-vivre as well, Bacchus developed into Osiris, while Isis transformed herself anew. She drank with him, fished with him, hunted with him, drilled with him, played tricks on him, and, at night, in slave's dress, romped with him in Rhakotis--a local slum--broke windows, beat the watch, captivating the captive wholly.[20]

Where she had failed with Caesar she determined to succeed with him, and would have succeeded, had Antony been Caesar. Octavius was not Caesar, either. Any man of ability, with the power and resources of which Antony disposed, could have taken the Occident from him and, with Cleopatra, ruled the world.

Together they dreamed of it. It was a beautiful dream, inimitable like their life. Rumors of the one and of the other reached Octavius. He waited, not impatiently and not long. Meanwhile Antony was still the husband of Octavia. But Cleopatra had poisoned her brother-husband. There being, therefore, no lawful reason why she and Antony should not marry, they did. Together, in the splendid palace of the Bruchium--an antique gem of which the historic brilliance still persists--they seated themselves, he as Osiris, she as Isis, on thrones of gold. Their children they declared kings of kings. Armenia, Phoenicia, Media, and Parthea, were allotted to them. To Cleopatra's realm Antony added Syria, Lydia, and Cyprus. These distributions const.i.tuted just so many dismemberments of the res publica, Antony thought them so entirely within the scope of his prerogatives that he sent an account of the proceedings to the senate.

With the account there went to Octavia a bill of divorce. Rome stood by indignant. It was precisely what Octavius wanted.

Octavius had divorced his wife and married a married woman. According to the ethics of the day, he was a model citizen, whereas Antony throning as Osiris with a female Mithridates for consort, was as oblivious of Roman dignity as of conjugal faith. In addition, it was found that he had made a will by which Rome, in the event of capture, was devised as tributary city to Cleopatra. Moreover, a senator, who had visited Antony at the Bruchium, testified that he had seen him upholding the woman's litter like a slave.

It was obvious that he was mad, demented by her aphrodisiacs. But it was obvious also that the G.o.ds of the East were rising, that Isis with her cormorant, her lotos and her spangled arms, was arrayed against the Roman penates.[21]

War was declared. At Actium the clash occurred. Antony might have won. But before he had had time to lose, Cleopatra, with singular clairvoyance, deserted him. Her reasons for believing that he would be defeated are not clear, but her motive in going is obvious. She wanted to rule the world's ruler, whoever he might be, and she thought by prompt defection to find favor with Octavius.

At the sight of her scudding sail Antony lost his senses. Instead of remaining and winning, as he might have, he followed her. Together they reached Alexandria. But there it was no longer the inimitable life that they led, rather that of the inseparables in death, or at least Antony so fancied. Cleopatra intoxicated him with funereal delights while corresponding in secret with Octavius who had written engagingly to her.

In the Bruchium the nights were festivals. By day she experimented on slaves with different poisons. Antony believed that she was preparing to die with him. She had no such intention. She was preparing to be rid of him. Then, suddenly, the enemy was at the gates. Antony challenged Octavius to single combat. Octavius sent him word that there were many other ways in which he could end his life. At that the lion roared. Even then he thought he might demolish him. He tried. He went forth to fight.

But Cleopatra had other views. The infantry, the cavalry, the flotilla, joined the Roman forces. The viper of the Nile had betrayed him. Bacchus had also. The night had been stirred by the hum of harps and the cries of bacchantes bearing the tutelary G.o.d to the Romans.

Antony, staggering back to the palace, was told that Cleopatra had killed herself. She had not, but fearful lest he kill her, she had hidden with her treasure in a temple. Antony, after the Roman fashion, kept always with him a slave who should kill him when his hour was come. The slave's name, Plutarch said, was Eros. Antony called him. Eros raised a sword, but instead of striking his master, struck himself. Antony reddened and imitated him. Another slave then told him that Cleopatra still lived. He had himself taken to where she was, and died while attempting to console this woman who was preparing for the consolations of Octavius.

It is said that she received the conqueror magnificently. But his engaging letters had been _ruses de guerre_. They had triumphed. The new Caesar wanted to triumph still further. He wanted Cleopatra, a chain about her neck, dragged after his chariot through Rome. He wanted in that abjection to triumph over the entire East. Instead of yielding to her, as she had expected, he threatened to kill her children if she eluded him by killing herself. The threat was horrible. But more horrible still was the thought of the infamy to be.

Shortly, on a bed of gold, dressed as for nuptials, she was found dead among her expiring women, one of whom even then was putting back on her head her diadem which had fallen. At last the cormorant had cried "Enough!"

Said Horace: "Nunc est bibendum."

IX

THE IMPERIAL ORGY

Death, in taking Cleopatra, closed the doors of the temple Ja.n.u.s. After centuries of turmoil, there was peace. The reign of the Caesars had begun.

Octavius became Augustus, the rest of the litter divine. The triumvirs of war were succeeded by the triumvirs of love. These were the poets.

Catullus had gone with the republic. In verse he might have been primus.

He was too negligent. His microscopic masterpieces form but a brief bundle of pastels. The face repeated there is Lesbia's. He saw her first lounging in a litter that slaves carried along the Sacred Way. Immediately he was in love with her. The love was returned. In the delight of it the poet was born. His first verses were to her, so also were his last. But Lesbia wearied of song and kisses, at least of his. She eloped with his nearest friend. In the _Somnambula_ the tenor sings _O perche non posso odiarte_--Why can I not hate thee? The song is but a variant on that of Catullus. Odi et amo, I love and hate you, he called after her. But, if she heard, she heeded as little as Beatrice did when Dante cursed the day he saw her first. Dante ceased to upbraid, but did not cease to love. He was but following the example of Catullus, with this difference: Beatrice went to heaven, Lesbia to h.e.l.l, to an earthly h.e.l.l, the worst of any, to a horrible inn on the Tiber where sailors brawled. She descended to that, fell there, rather. Catullus still loved her.

At the sight of Cynthia another poet was born. What Lesbia pulchra had been to Catullus, Cynthia pulchrior became to Propertius. He swore that she should be his sole muse, and kept his word, in so far as verse was concerned. Otherwise, he was less constant. It is doubtful if she deserved more, or as much. Never did a girl succeed better in tormenting a lover, never was there a lover so poetically wretched as he. In final fury he flung at her farewells that were maledictions, only to be recaptured, beaten even, subjugated anew. She made him love her. When she died, her death nearly killed him. Nearly, but not quite. He survived, and, first among poets, intercepted the possibility of reunion there where all things broken are made complete, and found again things vanished--_Lethum non omnia finit_.

Horace resembled him very remotely. A little fat man--brevis atque obesus, Suetonius said--he waddled and wallowed in the excesses of the day, telling, in culpable iambics, of fair faces, facile amours, easy epicureanism, rose-crowned locks, yet telling of them--and of other matters less admissible--on a lyre with wonderful chords. At the conclusion of the third book of the _Odes_, he declared that he had completed a monument which the succession of centuries without number could not destroy. "I shall not die," he added. He was right. Because of that flame of fair faces, lovers turn to him still. Because of his iambics, he has a niche in the hearts of the polite. Versatile in love and in verse, his inconstancy and his art are nowhere better displayed than in the incomparable _Donec gratus eram tibi_, which Ponsard rewrote:

HORACE.

Tant que tu m'as aime, que nul autre plus digne N'entourait de ses bras ton col blanc comme un cygne, J'ai vecu plus heureux que Xerxes le grand roi.

LYDIE.

Tant que tu n'as aime personne plus que moi, Quand Chloe n'etait pas preferee a Lydie, J'ai vecu plus ill.u.s.tre et plus fiere qu'Ilie.

HORACE.

J'appartiens maintenant a la blonde Chloe, Qui plait par sa voix douce et son luth enjoue.

Je suis pret a mourir pour prolonger sa vie.

LYDIE.

Calais maintenant tient mon ame a.s.servie, Nous brulons tous les deux de mutuels amours, Et je mourrais deux fois pour prolonger ses jours.

HORACE.

Mais quoi! Si j'ai regret de ma premiere chaine?

Si Venus de retour sous son joug me ramene?

Si je refuse a l'autre, et te rends mon amour?

LYDIE.

Encor que Calais soit beau comme le jour, Et toi plus inconstant que la feuille inconstante, Avec toi je vivrais et je mourrais contente.

Horace was the poet of ease, Catullus of love, Propertius of pa.s.sion, Tibullus of sentiment. Ovid was the poet of pleasure. A man of means, of fashion, of the world, what to-day would be called a gentleman, he might have been laureate of the Empire. Corinna interfered. Corinna was his figurative muse. Whether she were one or many is uncertain, but nominally at least it was for her that he wrote the suite of feverish fancies ent.i.tled the "Art of Love" and which were better ent.i.tled the "Art of not Loving at all." Subsequently, he planned a great Homeric epic. But, if Corinna inspired masterpieces, she gave him no time to complete them. She wanted her poet to herself. She refused to share him even with the G.o.ds.

It is supposed that Corinna was Julia, daughter of Augustus. Because of her eyes, more exactly because of her father's, Ovid was banished among barbarian brutes. It was rather a frightful penalty for partic.i.p.ating in the indiscretions of a woman who had always been the reverse of discreet.

Corinna, as described by Ovid, was a monster of perversity. Julia, as described by Tacitus, yielded to her nothing in that respect.

The epoch itself was strange, curiously fecund in curious things that became more curious still. Rome then, thoroughly h.e.l.lenized, had become very fair. There were green terraces and porphyry porticoes that leaned to a river on which red galleys pa.s.sed, there were bronze doors and garden roofs, glancing villas and temples more brilliant still. There were s.p.a.cious streets, a Forum curtained with silk, the glint and evocations of triumphal war. There were theatres in which a mult.i.tude could jeer at an emperor, and arenas in which an emperor could watch a mult.i.tude die. On the stage, there were tragedies, pantomime, farce. There were races in the circus and in the sacred groves, girls with the Orient in their eyes and slim waists that swayed to the crotals. Into the arenas patricians descended, in the amphitheatre were criminals from Gaul, in the Forum, philosophers from Greece. For Rome's entertainment the mountains sent lions; the deserts giraffes; there were boas from the jungles, bulls from the plains, hippopotami from the rushes of the Nile, and, above them, beasts greater than they--the Caesars.

There had been the first, memory of whose grandiose figure lingered still.

Rome recalled the unforgettable, and recalled, too, his face which incessant debauches had blanched. After him had come Augustus, a pigmy by comparison, yet otherwise more depraved. He gone, there was the spectacle of Tiberius devising infamies so monstrous that to describe them new words were coined. That being insufficient, there followed Caligula, without whom Nero, Claud, Domitian, Commodus, Caracalla, and Heliogabalus could never have been. It was he who gave them both inspiration and incentive.

It was he who built the Cloacus Maximus in which all Rome rolled.

Augustus had done a little digging for it himself, but hypocritically as he did everything, devising ethical laws as a cloak for turpitudes of his own. Mecaenas, his minister and lackey, divorced and remarried twenty times. Augustus repudiated his own marriages, those of his kin as well.

Suetonius said of Caligula that it was uncertain which were viler, the unions he contracted, their brevity, or their cause. With such examples, it was inevitable that commoner people united but to part, and that, insensibly, the law annulled as a caprice a clause that defined marriage as the inseparable life.[22]

Under the Caesars marriage became a temporary arrangement, abandoned and re-established as often as one liked. Seneca said that women of rank counted their years by their husbands. Juvenal said that it was in that fashion that they counted their days. Tertullian added that divorce was the result of marriage. Divorce, however, was not obligatory. Matrimony was. According to the Lex Pappea Poppoea, whoso at twenty-five was not married, whoso, divorced or widowed, did not remarry, whoso, though married, was childless, _ipso facto_ became a public enemy, incapable of inheriting or of serving the State. To this law--an Augustan hypocrisy--only a technical attention was paid. Men married just enough to gain a position or inherit a legacy. The next day they got a divorce. At the moment of need a child was adopted. The moment pa.s.sed the brat was disowned. As with men so with women. The univira became the many-husbanded wife, occasionally a matron with no husband at all, one who, to escape the consequences of the lex Pappea Poppoea, hired a man to loan her his name, and who, with an establishment of her own, was free to do as she liked, to imitate men at their worst, to fight like them and with them for power, to dabble in the b.l.o.o.d.y dramas of State, to climb on the throne and kill there or be killed; perhaps, less ambitiously, whipping her slaves, summoning the headsman to them, quieting her nerves with drink, appearing on the stage, in the arena even, contending as a gladiator there, and remaining a patrician meanwhile.

In those days a sin was a prayer, and a prayer, Perseus said, was an invocation at which a meretrix would blush to hear p.r.o.nounced aloud.

Religion sanctioned anything. The primal G.o.ds, supplemented with the lords and queens of other skies, had made Rome an abridgment of every superst.i.tion, the temple of every crime. Asiatic monsters, which h.e.l.lenic poetry had deodorized, landed there straight from the Orient, their native hideousness unchanged. It was only the graceful Greek myths that Rome transformed. Eros, who in Arcady seemed atiptoe, so delicately did he tread upon the tender places of the soul, acquired, behind the mask of Cupid, a maliciousness that was simian. Aphrodite, whose eyes had been lifted to the north and south, and who in Attica was draped with light, obtained as Venus the leer of the Lampsacene. Long since from Syria Astarte had arrived, as already, torn by Cilician pirates from Persia, Mithra had come, while, from Egypt, had strayed Apis from whose mouth two phalluses issued horizontally.

These were Rome's G.o.ds, the divinities about whom men and maidens a.s.sembled, and to whom pledges were made. There were others, so many, in such hordes had they come, that Petronius said they outnumbered the population. The lettered believed in them no more than we do. But, like the Athenians, they lived among a people that did. Moreover, the lettered were few. Rome, brutal at heart, sanguinary and voluptuous, fought, she did not read. She could applaud, but not create. Her literature, like her G.o.ds, her art, her corruption, had come from afar. Her own b.r.e.a.s.t.s were sterile. When she gave birth, it was to a litter of monsters, by accident to a genius, again to a poet, to Caesar and to Lucretius, the only men of letters ever born within her walls.

Meanwhile, though the Pantheon was obviously but a lupanar, the people clung piously to creeds that justified every disorder, tenaciously to G.o.ds that sanctified every vice, and fervently to Caesars that incarnated them all.