Ancient Metaphorical Limitations
The metaphorical concept of fanning flames into fire (or vice versa) made by a 21st century writer might be an instant sign of amateurism under certain conditions. Keep in mind, however, that writers today have at their disposal a whole busload of metaphorical imagery which simply was not available at the time of Christ. So, in other words, don’t be too critical on the subject of the imaginative powers of Paterculus:
“The long smoldering fires of an Italian war were now fanned into flame by the death of Drusus.”
Paterculus The Poet
Paterculus is telling a history and so perhaps his approach to military engagement was such that he chose to withdraw from utilizing the full extent of his literary aesthetic in describing war. One thing is for sure: he possesses no such self-constraint on the subject of intellectual achievement:
“Genius is fostered by emulation, and it is now envy, now admiration, which enkindles imitation, and, in the nature of things, that which is cultivated with the highest zeal advances to the highest perfection; but it is difficult to continue at the point of perfection, and naturally that which cannot advance must recede.”
The Battle of Actium
Paterculus commences a vivid description of a famous battle located at the nexus of Caesar, Mark Antony and Cleopatra. Cleopatra takes a back seat to the proceedings, however, because, after all, this is the history of Rome. As such, it is the Roman participants who are greatest concern and that is an understatement:
“Then came the day of the great conflict, on which Caesar and Antony led out their fleets and fought, the one for the safety, the other for the ruin, of the world.”
Metaphorical Philosophizing
Paterculus may be no master of the similes of war, but he can enthrall with imagery on topics to which he puts his mind. His literary aestheticism is notably sparked by the more intellectual pursuits of the mind:
“it is usually the case that heaven perverts the judgement of the man whose fortune it means to reverse, and brings it to pass — and this is the wretched part of it — that that which happens by chance seems to be deserved, and accident passes over into culpability.”
Pompey and the Mistress
The author seems to possess a singularly notable soft spot for Pompey, but the real figurative biggie here is his use of a term which has long been a popularly utilized metaphor for Rome and its general acceptance of any culture willing to pay for the privilege:
“Pompey was free from almost every fault, unless it be considered one of the greatest of faults for a man to chafe at seeing anyone his equal in dignity in a free state, the mistress of the world, where he should justly regard all citizens as his equals.”
