Randolph Faries

“ We have spoken of the fact that no novel of Roman life can be successful, if it makes Christ the central figure or character. Ben Hur does not do so; but its author shows enough of the life and death of the lowly Nazarene to convince one of His Divine Influence upon the Roman world, which has become the world of today. Ben Hur as he listened to the preaching of Jesus, and gazed upon His wonderful countenance, remembered having seen Him before. ”

“ A Friend of Caesar is a very scholarly piece of work by a very scholarly man; and it is absolutely accurate in its history, presenting everything which a school-boy may be expected to learn in his study of Roman history and life of a definite period. Yet, while it is very slightly expurgated of grosser elements, it is in no sense a book for boys alone, but a novel which can satisfy the taste of the most mature readers. ”

“ Kingsley wished to show “the connection of the old and new” in important phases of life and thought; and incidentally that in any portrayal of life, thought must be considered an essential part of life. He succeeded admirably in this, in writing Hypatia.
In his desire to “show the connection of old and new,” and to portray “a richer and more picturesque life,” Kingsley naturally turned to the times of the Roman Empire. Why he did not select the city of Rome for his scene, has already been suggested. Nevertheless, Hypatia may well be called a novel of Roman life. ”

“ Pan and the Twins is not a great novel, but one that contains much beautiful writing. The scenes which it portrays are selected chiefly for their esthetic appeal, but are real, none the less; not inconsistent [120] with life, past or present. It is not necessarily either “pagan” or Christian; but seems to undertake to show that beauty cannot be defined entirely in terms of morality, Christianity, or paganism. Pan and the Twins ranks far below such a consummate piece of art as Marius the Epicurean, but successfully presents the esthetic, in terms more readily appreciated by the popular taste. ”

“ Of even greater importance to the historical novel was Scott’s determination to do for the people of Scotland, what Miss Edgeworth had done for the people of Ireland,—to bring before his readers real Scotch people of all ranks and conditions of society, to portray human life in his pages. Scott is especially a realist when dealing with characters taken from lowly life; but his realism is not confined to lowly life alone, as some critics would have us believe. ”

“ Such novels of Roman life as George Gissing’s Veranilda, (1904) , and Mr. Eden Phillpotts’ Pan and the Twins, (1922) , have derived much inspiration from both the substance and quality of Pater’s work. Such a thorough classical scholar and ardent lover of the classics as Lionel Johnson could say of its exactness, in Post Liminium: “Readers, accustomed by long experience to use Marius for a text-book,—exact, precise, rigorous, well warranted and attested,—of the Antonine age, do not need to be told that Mr. Pater never writes without his facts and evidences.” ”

“ He has not once yielded to the temptation to display his eruditions at the expense of the story, a temptation to which so many learned men succumb when they try to write historical fiction. They succumb because they lack the instinct of the story teller, and do not realize that a novel must be a human drama first, whatever else it may be, whether a study of manners or of morals or a picture of the world in a historical epoch.... ”

“ Though the subject-matter of Veranilda is somewhat different from that of Marius the Epicurean, there is much similarity between the two books in the way subjects are presented, and at times Gissing’s purity of style approaches that of Pater. In many respects Veranilda is the greatest novel of its kind. Not only does it show thoroughness and accuracy in scholarship, but it has very genuine characterization and atmosphere. The spirit of Veranilda is the spirit of the time it describes,—the spirit of disillusion, unrest, and uncertainty amid scenes of strife, sorrow, and decay. ”

“ Pater’s aim in Marius the Epicurean had something in common with the aim of some of the best novels of Roman life, that have been considered, however unique his method may have been. He purposes to show a young man in an age similar to our own, and one who exhibited “a sort of religious phase possible for the modern mind.” Marius is like Pater in his serious and refined nature, and his esthetic delight in religious ceremonial, but represents better Pater’s ideal. ”

“ The Last Days of Pompeii was a new thing of its kind; it represents a new departure in the historical novel, and in the novel of Roman life. It is true that there remain in it certain elements of the Byronism, which was still so prevalent in the novel of the day, but these elements cannot merely be dismissed as defects. There is the Byronic passion for the terrible in nature, which reaches its height in the unsurpassed description of the eruption of Vesuvius, and its terrible effects. ”

“ In the time which Hypatia describes, it is true, Rome was no longer mistress of the world, but there remains an all-pervading sense of her former greatness. Alexandria, though a city possessing its own distinctive characteristics, had not escaped the universal stamp of Roman influence. A few short years before Kingsley’s story opens, the Goths, under Alaric, had sacked Rome, (410 A. D.) , and Alexandria furnishes in some ways a better example of the many-sided life of the declining Roman empire than does Rome itself. There is, in short, an abundance of “Roman life” in Alexandria. ”

“ The Gothic romance served to show that literature is not merely utilitarian; even in its wildest forms, it retained certain marks of the realistic novel, and added testimony to the fact that realism and romance are, after all, inseparable. While not making a thorough study of mediæval times, it pointed the [19] way for Scott, in dealing with this period of the past. It also had an important effect on the novel of Roman life in its formative stage, as will be seen.
The so-called “Oriental” romance is really a development of the Gothic. ”

“ In presenting the facts of life in the Roman world, in Behold the Woman, he is making a simple statement of the truth. Piety of imagination is indeed displayed in the story of Mary’s conversion and life of penitence in the desert. But even in such a scene as that in which the supposed room of the Lord’s Supper is desecrated by the orgy of the fallen monks, the author shows no impiety of thought. Nor, if one sets aside questions of religion, and rests his faith on mere morality, can the charge of immorality be brought against Behold the Woman with any sincerity whatever. ”

“ All elements of permanent value in the novel of Roman life have been given an entirely thorough consideration, the combination of a number of important elements in great novels has been pointed out; but the possibility of a further combination of these important elements into an even greater novel of Roman life than any which has yet been written, is something which the future alone can realize. ”

“ Moreover the aim of the best historical novels is not to escape the present and carry the reader back to the past, but to bring the present and the past face to face,—in short, to portray life as it exists, and always has existed. ”

“ And wherever it is possible to make a scene of realistic effect out of an actual historical event, or to add historical details to a scene which significantly portrays Roman life, the author does so. Yet in spite of the fact that so many scenes in Farrar’s novel are taken from history, it is by no means made heavy or overcrowded, with historical detail. Every detail is made significant and interesting, and put in its proper place, so that the general effort is not one of laborious effort but of consummate art. ”

“ I know of no fiction dealing with Rome or Greece which does not project-back later ideas of duty, right and wrong, morality and such like ethical concepts, into periods far anteceding those in which these conceptions developed. ”

“ Only a few of Farrar’s characters are unimportant historically, while the mere names of the others remind the reader of history. Agrippina, Nero, Seneca, Burrus, Pomponia, Acte, Poppæa, Tigellinus, St. John, and St. Paul are all important historical [58] figures. Farrar relates with accurate historical detail all the necessary facts concerning them; but he really brings them out of the realm of mere history, and makes them stand before one as real men and women like ourselves.
Where Farrar particularly excels is in his portrayal of the development of character ”

“ In fact Pater’s work is so different from most novels of Roman life, and has a [109] literary value so much higher than most novels of any kind, that it is best considered in a class by itself. Nothing has ever been written exactly like Marius the Epicurean, which ranks above Pater’s other literary productions, fine as they are, and furnishes his principal contribution to posterity. It was indeed written for posterity, and not intended to be read as an interesting novel and then forgotten. Marius the Epicurean is the finest piece of pure literature that will be considered in this study. ”

“ He had read widely in Latin and Greek literature; he climbed Mt. Vesuvius and learned all he could by actual observation, filing every detail in huge commonplace books; he studied Roman antiquities, and compared the results of his study with the manners of modern Italians. In short, he realized in his imagination the decadent life of Pompeii as it had actually been just before the eruption of Vesuvius, and reproduced it in the pages of The Last Days of Pompeii. ”

“ We must give full recognition to ancient Greece for her contribution to the world’s culture, yet admit that her influence upon the world today has been overshadowed by the power of Rome. The story of Rome’s power, rather than that of the culture of Greece, has found expression in the modern novel. ”

“ The Christians are portrayed in a natural light, while pagan customs are well explained, and the splendor, display and wealth of Alexandria dazzle the imagination. The labyrinth motive appears in the mystery of the secret passages of the temple of Serapis. Scenes representing gladiators in the arena are characteristically Roman, while the slaughter of the youths in the parade-ground shows the cruelty of Rome and the power of her Emperor. ”

“ Pan and the Twins offers a very strong plea for sanity in religion and life, and suggests that they are one and the same thing. Moreover, in its portrayal of life, it distinctly seeks for elements of beauty. With a few delicate touches, the author presents in his heroine a figure of ideal physical and spiritual beauty, not unlike Gissing’s Veranilda in conception. In portraying Roman life, coarser elements are kept in the background. One is made to feel the existence of the horrors of the amphitheatre, the inconsistencies of the Church, and much of the varied life of Rome. ”

“ If one is assiduous in seeking parallels, it is possible to see in the early life of Raphael traces of the Byronic hero. But just as Kingsley shows the falsity of “Egyptian magic”, which had been made important in earlier novels, so he shows the falsity of any touches of Byronism which the character of Raphael may display. He brings this character out of the mazes of self-conceit and skepticism into something higher and nobler. ”

“ Everywhere is decay, everywhere is to be seen a dying out [115] of the best elements of Roman civilization. Many of the scenes which form the setting for the principal action in the story, are typical of this lingering death of the great city. While everywhere the old Rome is dying out, is there springing up anything new to take its place? Even though the novel is incomplete, one can see that the author means to show conclusively that the Goths will furnish new life, and new strength, to Rome and to civilization. ”

“ But in Ben Hur from the beginning of the story, when the three “wise men,” representing the antiquity of Egypt, the learning of the East, and the culture of Greece, meet and pursue the common purpose of their lives, one perceives that the important events and even minor episodes of the story are to be of such tremendous significance, that they throw off the limitations of time and place. The events of Ben Hur are accurately assigned by the author to different historical places, but they really belong not so much to separate, individual parts of the Roman world, as to the whole of that world. ”

“ Gissing preserves a fine unity of effect in making the events of his story center about Rome, and not about Constantinople. “The Eternal City” lies there as of old, and its inhabitants cannot shake off the feeling that it still is “eternal.” The wise Justinian is to them a foreign tyrant, under whose governor they are harshly oppressed. The great commander Belisarius, though he has temporarily defeated the Goths, has now left Italy, and is no longer thought of as deliverer of Rome; the fame of Totila is spreading. ”

“ Men still live who consider Bulwer among the greatest of English novelists; and if one were to select only one book for which he is especially remembered, I believe The Last Days of Pompeii would have equal claims with such a novel as The Last of the Barons, to which critics usually assign a higher place. ”

“ A novelist who writes of ancient Rome may deal with any period of Rome’s history, from the traditional date of the founding of the city to the time at which Rome ceased to be the head of the western Empire. ”