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Updated: June 22, 2025
Six weeks before the death of Jovian, his infant son had been placed in the curule chair, adorned with the title of Nobilissimus, and the vain ensigns of the consulship. Unconscious of his fortune, the royal youth, who, from his grandfather, assumed the name of Varronian, was reminded only by the jealousy of the government, that he was the son of an emperor.
Many of Lucian's dialogues may also properly be called Varronian satires, particularly his true history; and consequently the "Golden Ass" of Apuleius, which is taken from him. Of the same stamp is the mock deification of Claudius by Seneca, and the Symposium or "Caesars" of Julian the Emperor.
Moreover, the colleges of curule aediles were composed exclusively of patricians in the odd years of the Varronian reckoning, at least down to the close of the sixth century, and they are known for the sixteen years 541, 545, 547, 549, 551, 553, 555, 557, 561, 565, 567, 575, 585, 589, 591, 593. These patrician consuls and aediles are, as respects their -gentes-, distributed as follows:
The new prince, astonished with his own fortune was hastily invested with the Imperial ornaments, and received an oath of fidelity from the generals, whose favor and protection he so lately solicited. The strongest recommendation of Jovian was the merit of his father, Count Varronian, who enjoyed, in honorable retirement, the fruit of his long services.
His satire is of the Varronian kind, though unmixed with prose. The choice of his numbers is suitable enough to his design as he has managed it; but in any other hand the shortness of his verse, and the quick returns of rhyme, had debased the dignity of style.
His pieces experienced but a dull reception from his contemporaries, and the public of later times laid aside Caecilius for Plautus and Terence; and, if nevertheless the critics of the true literary age of Rome the Varronian and Augustan epoch assigned to Caecilius the first place among the Roman editors of Greek comedies, this verdict appears due to the mediocrity of the connoisseur gladly preferring a kindred spirit of mediocrity in the poet to any special features of excellence.
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