grammatically said of the women of that epoch at Rome that "the harp and books of Simonides and Anacreon had replaced the spindle and distaff; and that with a dearth of Lucretias," or chaste matrons, "there was no lack, unfortunately, of Sempronias"[1]—i.e., unchaste blue-stockings. But had Clodia's or Lesbia's culture and cleverness been the head and front of her offending, the poet might less have rued his introduction to a sorceress who, "insatiable of love, and almost incapable of loving," had ambition, vanity, and woman's pride sufficient to covet a name in connection with the foremost lyric poet of the day. On his part there seems to have been no resistance to the toils; and no wonder if, with the ends of her vanity to achieve, she bent her literary talents, as well as her coquetry and natural graces of mien and person, to his captivation. Cicero has recorded that she was talked of, like Juno, as βοῶπις, in compliment to her grand and flashing eyes; and there is no lack of evidence that her beauty, grace, figure, and wit were rare. It might be asked on what certitude this description of Clodia is transferred so confidently to Lesbia. In the first place, let it be admitted that, after the fashion of the Alexandrian poets, the custom prevailed with such Roman writers as Varro, Atacinus, Gallus, Tibullus, Propertius, Ovid, to celebrate their mistresses under the feigned names of Leucadia, Lycoris, Delia, Cynthia, Corinna; and it
- ↑ Sempronia, wife of D. Junius Brutus, was a woman of personal attractions and literary acquirements, but of profligate character.
