It did not take me long to realize that I had embarked upon the life of a very great man. From that time on, still more respect for truth, closer attention, and, on my part, ever more silence.
In a sense, every life that is recounted is offered as an example; we write in order to attack or to defend a view of the universe, and to set forth a system of conduct which is our own. It is none the less true, however, that nearly every biographer disqualifies himself by over-idealizing his subject or by deliberate disparagement, by exaggerated stress on certain details or by cautious omission of others. Thus a character is arbitrarily constructed, taking the place of the man to be understood and explained. A human life cannot be graphed, whatever people may say, by two virtual perpendiculars, representing what a man believed himself to be and what he wished to be, plus a flat horizontal for what he actually was; rather, the diagram has to be composed of three curving lines, extended to infinity, ever meeting and ever diverging.
Whatever one does, one always rebuilds the monument in his own way. But it is already something gained to have used only the original stones.
Every being who has gone through the adventure of living is myself.
This Second Century appeals to me because it was the last century, for a very long period of time, in which men could think and express themselves with full freedom. As for us, we are perhaps already very far from such times as that.
On the 26th of December, 1950, on an evening of freezing cold and in the almost polar silence of Mount Desert Island, off the Atlantic shore, I was striving to live again through the smothering heat of a day in July, in the year 138 in Baiae, to feel the weight of a sheet on weary, heavy limbs, and to catch the barely perceptible sound of that tideless sea as from time to time it reached a man whose whole attention was concentrated upon other murmurs, those of his approaching death. I tried to go as far as the last sip of water, the last spasm of pain, the last image in his mind. Now the emperor had but to die.
This book bears no dedication. It ought to have been dedicated to G.F… , and would have been, were there not a kind of impropriety in putting a personal inscription at the opening of a work where, precisely, I was trying to efface the personal. But even the longest dedication is too short and too commonplace to honor a friendship so uncommon. When I try to define this asset which has been mine now for years, I tell myself that such a privilege, however rare it may be, is surely not unique; that in the whole adventure of bringing a book successfully to its conclusion, or even in the entire life of some fortunate writers, there must have been sometimes, in the background, perhaps, someone who will not let pass the weak or inaccurate sentence which we ourselves would retain, out of fatigue; someone who would re-read with us for the twentieth time, if need be, a questionable page; someone who takes down for us from the library shelves the heavy tomes in which we may find a helpful suggestion, and who persists in continuing to peruse them long after weariness has made us give up; someone who bolsters our courage and approves, or sometimes disputes, our ideas; who shares with us, and with equal fervor, the joys of art and of living, the endless work which both require, never easy but never dull; someone who is neither our shadow nor our reflection, nor even our complement, but simply himself; someone who leaves us ideally free, but who nevertheless obliges us to be fully what we are. Hospes Comesque.
In December, 1951, learned of the fairly recent death of the German historian Wilhelm Weber, and in April, 1952, of the death of the scholar Paul Graindor, both of whose works I have so much used. A few days ago talked with G.B… and J.F… , who had known the engraver Pierre Gusman in Rome at the time that he was drawing, with passion, all the different parts of the Villa. The feeling of belonging to a kind of Gens Aelia, of being, as it were, one of the throng of secretaries who had served the great man, of participating in the change of that imperial guard which poets and humanists mount in relay around any great memory. Thus (and it is doubtless the same for specialists in the study of Napoleon, or for lovers of Dante),
over the ages is formed a circle of kindred spirits, moved by the same interests and sympathies, or concerned with the same problems.
The pedants of comedy, Vadius and Blazius still exist, and their fat cousin Basil is ever about. Once and once only have I happened to be confronted with that mixture of insults and coarse jokes; with extracts truncated or skillfully deformed, so as to make our sentences say some absurdity which they do not say; with captious arguments built up by assertions both vague and peremptory enough to win ready credence from the reader respectful of academic trappings and lacking the time, or the desire, to look up the sources for himself. Characteristic, all of it, of a certain species which, fortunately, is rare. On the contrary, what genuine good will have so many scholars shown who could just as readily, in these times of excessive specialization, have disdained outright any literary effort at reconstruction of the past which might seem to them to trespass on their domain… . Too many of them have graciously, and of their own accord, taken trouble to rectify some error already in print, or to confirm a detail, support a hypothesis, expedite new research, for me not to express here a word of gratitude to such well-disposed readers. Each book which sees a new edition owes something to the discriminating people who have read it.
Do the best one can. Do it over again. Then still improve, even if ever so slightly, those retouches. “It is myself that I re-make,” said the poet Yeats in speaking of his revisions.
Yesterday, at the Villa, I thought of the thousands of lives, silent and furtive as those of wild beasts, unthinking as those of plants, who have followed in succession here between Hadrian’s time and ours: gypsies of Piranesi’s day, pillagers of the ruins, beggars, goatherds, and peasants lodged as best they could in some corner of the rubble. At the end of an olive grove, in an ancient corridor partly cleared, G … and I came upon a shepherd’s bed of rushes, with his improvised clothes-peg stuck between two blocks of Roman cement, and the ashes of his fire not yet cold. A sense of intimacy with humble, ordinary things, a little like what one feels at the Louvre when, after closing hour, the cots of the guardians appear in among the statues.
*[Nothing need be changed in 1958 in the preceding paragraph; the clothes-peg of the shepherd is still there, though not his bed. G … and I have again sat resting on the grass of the Vale of Tempe, among the violets, at that sacred moment of the year when everything begins anew, in spite of the threats which man today is everywhere raising overhead. But nevertheless the Villa has suffered pernicious change. Not all of it, to be sure: a whole which the centuries have slowly destroyed, but have also formed, is not so quickly altered. By an error seldom committed in Italy certain dubious “embellishments” have followed in the wake of excavations and necessary repairs. Olive groves have been cut down to make way for a highly conspicuous parking lot, complete with shop and counter service of the type prevalent at exposition grounds, thus transforming the Poecilium’s noble solitude into a city square; visitors may drink from a cement fountain which offers water through an absurd plaster mask, a would-be imitation of the antique; another mask, even more pointless, decorates the wall of the great pool, where a flotilla of ducks now holds forth. Still more plaster graces the Canaclass="underline" casts of the garden statues found here in recent diggings have been placed on pedestals and lined up somewhat arbitrarily along its banks; the originals, fairly average Greco-Roman work, do not deserve the honor of so conspicuous a position, but neither do they merit the indignity of being copied in such hideous material, both swollen and unsubstantial. This new decor gives to the once melancholy Canopus something of the air of a studio set, ready for a film version of “life in Imperial Rome”.