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Updated: June 22, 2025
Another edition in 1711 by Tonson in seven volumes 8vo. containing all the verses in praise of the authors, and supplying a large omission of part of the last act of Thierry and Theodoret. There was also another edition in 1751. The plays of our authors are as follow, Beggars Bush, a Comedy, acted with applause. Bonduca, a Tragedy; the plot from Tacitus's Annals, b. xiv.
The first can hardly be maintained owing to historical difficulties; the second, though an object congenial to the Roman mind, is not lofty enough to have moved the pen of Tacitus; the third, though it may have had some weight with him, would argue a state of scientific curiosity in advance of Tacitus's position and age, and besides is incompatible with his culpable laziness in sifting information on matters of even still greater ethnographic interest.
To doubt his judgment is almost to be false to the conscience of history. Nevertheless, his saturnine portraits have been severely criticised both by English and French historians, and the arguments for the defence put forward with enthusiasm as well as force. The result is, that Tacitus's verdict has been shaken, but not reversed.
Already, in this work, we find that Tacitus has conceived the design of his Historiae, to which, therefore, the Agricola must be considered a preliminary study. As yet, Tacitus's manner is only half-formed.
Origin of Sea-dikes. Dugdale, whose enthusiasm for his subject led him to believe that recovering from the sea land subject to be flooded by it, was of divine appointment, because God said: "Let the waters under the heavens be gathered together unto one place and let the dry land appear," unhesitatingly ascribes the reclamation of the Lincolnshire fens to the Romans, though he is able to cite but one authority, a passage in Tacitus's Life of Agricola which certainly has no such meaning, in support of the assertion.
To have brought this supposed miracle within the limits of comparison with the miracles of Christ, it ought to have appeared that a person of a low and private station, in the midst of enemies, with the whole power of the country opposing him, with every one around him prejudiced or interested against his claims and character, pretended to perform these cures, and required the spectators, upon the strength of what they saw, to give up their firmest hopes and opinions, and follow him through a life of trial and danger; that many were so moved as to obey his call, at the expense both of every notion in which they had been brought up, and of their ease, safety, and reputation; and that by these beginnings a change was produced in the world, the effects of which remain to this day: a case, both in its circumstances and consequences, very unlike anything we find in Tacitus's relation.
"Dear Cynic," laughed Calpurnia, "do we know any more about the populace than Juvenal knows about us?" But in Tacitus's unfortunate figure Quadratilla saw her chance to annoy him by belittling the conversation. To everyone's despair, she intruded maliciously: "To my thinking, the finding of my emerald would show to advantage the cut of our aristocratic wits."
Compare Tacitus's description of the night engagement in the civil war between Vespasian and Vitellius: "Neutro inclinaverat fortuna, donec adulta nocte, LUNA OSTENDERET ACIES, FALERESQUE." Hist.
Indeed, with all his invective he keeps strictly to truth; his painting of the emperors is from the life. It is highly coloured, but not out of drawing. Juvenal's Domitian is nearer to history than Tacitus's Tiberius. It is in his delineations of society that Juvenal is at his greatest.
M. APER and JULIUS SECUNDUS are important as being two of the speakers introduced into Tacitus's dialogue on oratory, the former taking the part of the modern style, the latter mediating between the two extreme views, but inclining towards the modern. All these belonged to the reigns of Vespasian and Titus, and lived into the first years of Domitian.
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