# Lays of Ancient Rome/Introduction to Horatius

There can be little doubt that among those parts of early Roman history which had a poetical origin was the legend of Horatius Cocles. We have several versions of the story, and these versions differ from each other in points of no small importance. Polybius, there is reason to believe, heard the tale recited over the remains of some Consul or Prætor descended from the old Horatian patricians; for he introduces it as a specimen of the narratives with which the Romans were in the habit of embellishing their funeral oratory. It is remarkable that, according to him, Horatius defended the bridge alone, and perished in the waters. According to the chronicles which Livy and Dionysius followed, Horatius had two companions, swam safe to shore, and was loaded with honors and rewards.
These discrepancies are easily explained. Our own literature, indeed, will furnish an exact parallel to what may have taken place at Rome. It is highly probably that the memory of the war of Porsena was preserved by compositions much resembling the two ballads which stand first in the Relics of Ancient English Poetry. In both those ballads the English, commanded by the Percy, fight with the Scots, commanded by the Douglas. In one of the ballads the Douglas is killed by a nameless English archer, and the Percy by a Scottish spearman; in the other, the Percy slays the Douglas in single combat, and is himself made prisoner. In the former, Sir Hugh Montgomery is shot through the heart by a Northumbrian bowman; in the latter he is taken and exchanged for the Percy. Yet both the ballads relate to the same event, and that event which probably took place within the memory of persons who were alive when both the ballads were made. One of the Minstrels says:—
"Old men that knowen the grounde well yenoughe  Call it the battell of Otterburn:  At Otterburn began this spurne  Upon a monnyn day.  Ther was the dougghte Doglas slean:  The Perse never went away."
The other poet sums up the event in the following lines:
 "Thys fraye bygan at Otterborne  Bytwene the nyghte and the day:  Ther the Doglas lost hys lyfe,  And the Percy was lede away."
It is by no means unlikely that there were two old Roman lays about the defence of the bridge; and that, while the story which Livy has transmitted to us was preferred by the multitude, the other, which ascribed the whole glory to Horatius alone, may have been the favorite with the Horatian house.
The following ballad is supposed to have been made about a hundred and twenty years after the war which it celebrates, and just before the taking of Rome by the Gauls. The author seems to have been an honest citizen, proud of the military glory of his country, sick of the disputes of factions, and much given to pining after good old times which had never really existed. The allusion, however, to the partial manner in which the public lands were allotted could proceed only from a plebeian; and the allusion to the fraudulent sale of spoils marks the date of the poem, and shows that the poet shared in the general discontent with which the proceedings of Camullus, after the taking of Veii, were regarded.
The penultimate syllable of the name Porsena has been shortened in spite of the authority of Niebuhr, who pronounces, without assigning any ground for his opinion, that Martial was guilty of a decided blunder in the line,
"Hanc spectare manum Porsena non potuit."
It is not easy to understand how any modern scholar, whatever his attainments may be,—and those of Niebuhr were undoubtedly immense,—can venture to pronounce that Martial did not know the quantity of a word which he must have uttered, and heard uttered, a hundred times before he left school. Niebuhr seems also to have forgotten that Martial has fellow culprits to keep him in countenance. Horace has committed the same decided blunder; for he give us, as a pure iambic line,—
"Minacis aut Etrusca Porsenæ dextram;"
Silius Italicus has repeatedly offended in the same way, as when he says,—"Clusinum vulgus, cum, Porsena magne, jubebas." A modern writer may be content to err in such company.
Niebuhr's supposition that each of the three defenders of the bridge was the representative of one of the three patrician tribes is both ingenious and probable, and has been adopted in the following poem.