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If the cruelty of Nero be allowed entirely voluntary, and not rather the effect of constant fear and resentment; it is evident that Tigellinus, preferably to Seneca or Burrhus, must have possessed his steady and uniform approbation.
Nero, Agrippina, Narcissus, and Burrhus, are so accurately sketched, and finished with such light touches and such delicate colouring, that, in respect to character, it yields, perhaps, to no French tragedy whatever. Racine has here possessed the art of giving us to understand much that is left unsaid, and enabling us to look forward into futurity.
Agrippina, then, with the assistance of Seneca and Burrhus, had kept the highest office in the state in the family of Augustus, and she had done so by a bold move which had not been without its dangers.
The senate resumed its ancient functions; and governed by Seneca, Burrhus, and Agrippina in conjunction with the senate, the empire seemed to be progressing wonderfully, and in the eyes of the senators the entire government was in a better way than it ever yet had been. But the situation soon changed.
It is, perhaps, as a psychologist that Racine has achieved his most remarkable triumphs; and the fact that so subtle and penetrating a critic as M. Lemaître has chosen to devote the greater part of a volume to the discussion of his characters shows clearly enough that Racine's portrayal of human nature has lost nothing of its freshness and vitality with the passage of time. On the contrary, his admirers are now tending more and more to lay stress upon the brilliance of his portraits, the combined vigour and intimacy of his painting, his amazing knowledge, and his unerring fidelity to truth. M. Lemaître, in fact, goes so far as to describe Racine as a supreme realist, while other writers have found in him the essence of the modern spirit. These are vague phrases, no doubt, but they imply a very definite point of view; and it is curious to compare with it our English conception of Racine as a stiff and pompous kind of dancing-master, utterly out of date and infinitely cold. And there is a similar disagreement over his style. Mr. Bailey is never tired of asserting that Racine's style is rhetorical, artificial, and monotonous; while M. Lemaître speaks of it as 'nu et familier, and Sainte-Beuve says 'il rase la prose, mais avec des ailes, The explanation of these contradictions is to be found in the fact that the two critics are considering different parts of the poet's work. When Racine is most himself, when he is seizing upon a state of mind and depicting it with all its twistings and vibrations, he writes with a directness which is indeed naked, and his sentences, refined to the utmost point of significance, flash out like swords, stroke upon stroke, swift, certain, irresistible. This is how Agrippine, in the fury of her tottering ambition, bursts out to Burrhus, the tutor of her son: Prétendez-vous longtemps me cacher l'empereur? Ne le verrai-je plus qu'
It was like a thunderbolt to Nero, and he lost his head: he saw his mother hurrying on to Rome, denouncing the abominable attempt to Senate and people, rousing against him the Prætorian guard and the legions. Thoroughly frightened, he summoned Seneca and Burrhus and laid before them the terrible situation. It is easy to imagine the shock of the old preceptors.
Burrhus died about the same time, and Seneca alone could not restrain the Emperor from his foolish vanity. He would descend into the arena of the great amphitheatre and sing to the lyre his own compositions; and he showed off his charioteering in the circus before the whole assembled city, letting no one go away till the performance was over.
As in them, there is less beauty than vigor and spirit: the dialogue is strewn with expressions as striking as they are simple. Speaking of Claudius's murder, Burrhus says: And Agrippina, startled, pushed him down The dark declivity to death. Agrippina herself to Nero: Oh what a day it was When, with a shout that seemed to rend the air, The army hailed you Cæsar!
Through the help of Seneca and Burrhus, the plan developed by Agrippina was carried out with rapidity and success. On the thirteenth of October, after matters had been arranged with the troops, the doors of the imperial palace were thrown open at noon; Nero, accompanied by Burrhus, advanced to the cohort which was on guard.
"Firmus! Carinus! the Centurions Plancus! Tatius! Burrhus! Valens! Crispinus!" "Guards! seize them and hew them down. Soldiers! to your tents." The legions fell back as tumultuously as they had come together; the faster, as the dying groans of the slaughtered ringleaders fell upon their ears. 'The tent of the Emperor was once more restored to order.
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