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Parnloki Amblavius Directory 06
Page 11
At length the wife of Marius, who was Caesar's aunt, died. She had lived in obscurity since her husband's proscription and death, his party having been put down so effectually that it was dangerous to appear to be her friend. Caesar, however, made preparations for a magnificent funeral for her. There was a place in the Forum, a sort of pulpit, where public orators were accustomed to stand in addressing the assembly on great occasions. This pulpit was adorned with the brazen beaks of ships which had been taken by the Romans in former wars The name of such a beak was _rostrum_; in the plural, _rostra_. The pulpit was itself, therefore, called the _Rostra_, that is, The Beaks; and the people were addressed from it on great public occasions.[2] Caesar pronounced a splendid panegyric upon the wife of Marius, at this her funeral, from the Rostra, in the presence of a vast concourse of spectators, and he had the boldness to bring out and display to the people certain household images of Marius, which had been concealed from view ever since his death. Producing them again on such an occasion was annulling, so far as a public orator could do it, the sentence of condemnation which Sylla and the patrician party had pronounced against him, and bringing him forward again as entitled to public admiration and applause. The patrician partisans who were present attempted to rebuke this bold maneuver with expressions of disapprobation, but these expressions were drowned in the loud and long-continued bursts of applause with which the great mass of the assembled multitude hailed and sanctioned it. The experiment was very bold and very hazardous, but it was triumphantly successful.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
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