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Every true critic is a hero born, descending in a direct line from a celestial stem, by Momus and Hybris, who begat Zoilus, who begat Tigellius, who begat Etcaetera the elder, who begat Bentley, and Rymer, and Wotton, and Perrault, and Dennis, who begat Etcaetera the younger.
That is not my case. Or can it vex me, that Demetrius carps at me behind my back? or because the trifler Fannius, that hanger-on to Hermogenes Tigellius, attempts to hurt me?
He never mentions Lucretius, though one or two allusions show that he knew and was indebted to his writings; he refers to Catullus only once, and then in evident depreciation, mentioning him and Calvus as the sole literature of a second-rate singer, whom he calls the ape of Hermogenes Tigellius.
Between the contrasts lived men of such position as Horace occupied, but not many. For the great middle element of society is a growth of later centuries, and even Horace himself, as time went on, became attached to Mæcenas and then, more or less, to the person of the Emperor, by a process of natural attraction, just as his butt, Tigellius, gravitated to the common herd that mourned his death.
You, Demetrius, and you, Tigellius, I bid lament among the forms of your female pupils. Go, boy, and instantly annex this Satire to the end of my book. He supposes himself to consult with Trebatius, whether he should desist from writing satires, or not. Trebatius, give me your advice, what shall I do. Be quiet. I should not make, you say, verses at all. I do say so.
Yet could Pomponius, were his father alive, hear less severe reproofs! Wherefore it is not sufficient to write verses merely in proper language; which if you take to pieces, any person may storm in the same manner as the father in the play. No shop nor stall holds my books, which the sweaty hands of the vulgar and of Hermogenes Tigellius may soil.
TIGELLIUS seems to have been the first of these effeminati; he is satirised by Horace, but his influence was inappreciable compared with that of his successors. The pantomimus aspired to render the emotions of terror or love more speakingly by gesture than it was possible to do by speech; and ancient critics, while deploring, seem to have admitted this claim.
The most humourous Character in Horace is founded upon this Unevenness of Temper and Irregularity of Conduct. ... Sardus habebat Ille Tigellius hoc: Caesar qui cogere posset Si peteret per amicitiam patris, atque suam, non Quidquam proficeret: Si collibuisset, ab ovo Usque ad mala citaret, Io Bacche, modo summa Voce, modo hac, resonat quae; chordis quatuor ima.
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