Selected quad for the lemma: war_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
war_n	caesar_n	civil_a	pompey_n	2,660	5	10.9879	5	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A53227	The entertainment of His Most Excellent Majestie Charles II, in his passage through the city of London to his coronation containing an exact accompt of the whole solemnity, the triumphal arches, and cavalcade, delineated in sculpture, the speeches and impresses illustrated from antiquity : to these is added, a brief narrative of His Majestie's solemn coronation : with his magnificent proceeding, and royal feast in Westminster-Hall / by John Ogilby.	Ogilby, John, 1600-1676.; Walker, Edward, Sir, 1612-1677.	1662 (1662)	Wing O171; ESTC R12527	94,501	208

hanc publicus sibi Consul Nè placeat curru servus portatur eodem Da nunc volucrem sceptro quae surgit eburno Illinc Cornicines hinc praecedentia longi Agminis officia niveos ad fraena Quirités Defossa in loculis quos sportula fecit amicos Had he the Praetor in his Chariot spi'd Amidst the dusty Circque in Triumph ride In Joves bright Vest in an imbroider'd Gown Of Tyrian Purple and a mighty Crown For any Head too weighty and too large That is forsooth a sweating Servants charge Least that the Consul in such pomp should pride The Slave and he both in one Chariot ride On th' Ivory Scepter th' Eagle seen displai'd Here Cornets there his friendly Cavalcade Romans in white march neer the Horses Reins Friends by the Basket and their Belly-gains The Army followed the Chariot of their General Plutarch The whole Army was crown'd with Lawrel following the Chariot of their General in their ranks and orders Who usually sang Io TRIUMPHE Ovid speaking of the Triumph of Drusus Germanicus Tempora Phoebeâ lauro cingentur Ioque Miles Io magnâ voce TRIUMPHE canet Io the Army with fresh Lawrel Crown'd Io TRIUMPHE as they march resound Claudian De laud. Stiliconis Ipse albis veheretur equis currumque secutus Laurigerum festo fremuisset carmine miles Drawn with white Steeds with Wreaths his Chariot hung The Army follow'd with a joyfull song as by the Spectators also Lib. iv Od. iii. Horace of Augustus Tuque dum procedis Io TRIUMPHE Non semel dicemus Io TRIUMPHE Io TRIUMPHE whilst you march in state Io TRIUMPHE we reiterate Thus having briefly touched upon the Antiquity and use of Triumphal Arches we shall descend to the illustration of the Descriptions in particular The first ARCH MUNDAY April the two and twentieth His MAIESTY went from the Tower through the City to Whitehall In his passage through Crouched Fryers He was entertained with Musick a Band of eight Waits placed on a Stage Near Algate another Band of six Waits entertain'd him in like manner with Musick from a Balcony built to that purpose In Leaden-Hall Street neer Lime Street End was erected the first Triumphal Arch after the Dorick order On the North-side on a Pedestal before the Arch was a Woman personating REBELLION mounted on an Hydra in a Crimson Robe torn Snakes crawling on her Habit and begirt with Serpents her Hair snaky a Crown of Fire on her Head a bloody Sword in one Hand a charming Rod in the other Her Attendant CONFVSION in a deformed Shape a Garment of severall ill-matched Colours and put on the wrong way on her Head Ruines of Castles torn Crowns and broken Scepters in each Hand THere was no War in the Roman or Greek Common-wealths call'd by any name properly answering to Rebellion which comprehends only the violation of that Natural duty which the Subject owes to the supreme Governour for though we find Rebellio in Tacitus of Subjects that rise against their Prince and Rebellis too in Claudian speaking of Africk a Subject to Rome but then in Arms against the Roman Emperour under Gildo as segetes mirantur Iberas In Eutropium Lib. i. Horrea nec Libyae senserunt damna rebellis Jam Transalpinâ contenti messe Quirites The Roman Grange Iberian Corn admires Nor did rebellious Libya's loss resent But with Transalpine Harvests was content and in another place speaking of the Moors De bello Gildonico Nónne meam fugiet Maurus cùm viderit umbram Quid dubitas exsurge toris invade rebellem Captivum mihi redde meum Will not the Moor fly when he sees my Ghost Why doubt'st Thou rise storm that Rebellious Coast My Captive me restore Yet we find that word attributed also to Alarick and his Army no Subjects of the Roman Empire but only Confederates by the same Authour De VI. Consulat Honorii Oblatum Stilico violato foedere Martem Omnibus arripuit votis ubi Roma peric'lo Jam procul belli medius Padus arbiter ibat Jámque opportunam motu strepuisse rebelli Gaudet perfidiam He freely undertook so just a War The League being broke and Rome from danger far While the Armies Poe divides Stilico Arms Glad of th' occasion those Rebellious swarms In such a place conjoyn'd Wherefore we must look for its Description under Civil Discord and Sedition which Petronius Arbiter in the Civil War betwixt Caesar and Pompey ha's very elegantly delivered Infremuere tubae ac scisso DISCORDIA crine Extulit ad Superos Stygium caput Hujus in ore Concretus sanguis contusáque lumina flebant Stabant atrati scabrâ rubigine dentes Tabo lingua fluens obsessa draconibus ora Atque intertorto laceratam pectore vestem Saguineam tremulâ quatiebat lampada dextrâ The Trumpets sound and Discord with torn hair Her Stygian front advanceth to the air O're her smear'd Visage clotted blood lies spread Her blubber'd Eyes are beat into her Head Her iron Teeth rough with a rusty scale Her Tongue drops gore Serpents her Brows impale Rending her pleited Vest and red Attire Her trembling Hand brandisheth bloody Fire But we cannot better take a view of Sedition and Discord then in the Description of the Authours of it feign'd to be the Furies as Virgil Tu potes unanimes armare in praelia fratres Atque odiis versare domos tu verbera tectis Funereásque inferre faces tibi nomina mille Mille nocendi artes foecundum concute pectus Disjice compositam pacem sere crimina belli Arma velit poscátque simul rapiátque juventus Unanimous Brothers thou canst arm to fight And settled Courts destroy with deadly spight Storm Palaces with Steel and Pitchy Flames Thou hast a thousand wicked Arts and Names Thy Bosom disembogue with Mischief full And Articles concluding Peace annull Then raise a War and with bewitching Charms Make the mad People rage to take up Arms. Statius gives a Description of one of them very correspondent to ours Thebaid Lib. i. Centum illi stantes umbrabant ora Cerastae Turba minor diri capitis Sedet intus abactis Ferrea lux oculis qualis per nubila Phoebes Atraciâ rubet arte labor Suffusa veneno Tenditur ac sanie gliscit cutis igneus atro Ore vapor quo longa sitis morbìque famésque Et populis mors una venit riget horrida tergo Palla caerulei redeunt in pectora nodi Tum geminas quatit illa manus haec igne rogali Fulminat haec vivo manus aëra verberat hydro An hundred Snakes up in a Party made From her dire Head her horrid Temples shade Her fix'd Eyes sunk their Brazen Gleamings shroud So charm'd bright Phaebe blusheth through a Cloud Poyson'd her swoln Skin shines with gore her Breath Ushers in Flame Thirst Famine Plague and Death Her dreadful Robes rough on her Shoulders sit Which on her Bosom Crimson Ribbans knit Then both her hands she shakes with Fun'ral Fire This thunders that

liv'd some years before Pliny Fornix Fabianus arcus est juxta Regiam in Sacra via à Fabio Censore constructus qui à devictis Allobrogibus Allobrox cognominatùs est ibique statua ejus posita propterea est The Fabian Arch is nigh the Palace of Romulus in the Sacred way built by Fabius the Censor who from his Victory over the Allobroges had the sirname of Allobrox for which his Statue was placed there That he triumph'd upon this Victory we have ample testimony from the Marbles not long since digg'd up at Rome formerly preserved in the Capitol Nevertheless those words of Asconius do evidently conclude the contrary for he says expresly built by Fabius Censour His Censourship is referred by Sigonius and Pighius to the Year U.C. DCXLV his Triumph happened anno DCXXXIII as appears from the Marbles now mention'd Q. FABIUS Q. AEMILIANI F.Q.N. AN. DCXXXIII MAXIMUS PROCOS DE. ALLOBRO gibus ET REGE ARVERNORUM BETULTO X. K. Whence it is clear the Arch was built long after his Triumph And I conceive his Statue was plac'd there rather in regard of his expences then of his Victory so long before obtain'd Neither is it strange after the space of above seven hundred years to find this alteration We may observe many other but shall onely take notice of two First The ancient Romans granted not the honour of Triumph to any who had not slain in one pitch'd Field five thousand of their Enemies Jus triumphi datur ei qui quinque millia hostium unâ acie ceciderit Secondly They allowed not Triumph for a Victory over their Fellow-Citizens as Q. Catulus triumph'd not over M. Lepidus Valer Maximus Lib II. cap. viii or L. Antony over Catilin or Sylla over Marius or Cinna over Carbo or Caesar over Pompey Claudian De vi Consulatu Honorii cum Gallica vulgò Praelia jactaret tacuit Pharsalica Caesar Namque inter socias acies cognataque signa Vt vinci miserum nunquam vicisse decorum Of Gallick Fights oft at his Board Boasts Caesar of Pharsalia not a word Though sad the case to fall in Civil War Yet 't is no honour to the Conquerour which he means too in these Verses De Bello Getico Semperab his famae petiere insignia bellis Quae diversa procultuto trans aequora virtus Exercere dabat currus Regumque catenae Inter abundantis fati ludibria ductae They by such Wars sought Fame in Fields remote Beyond Seas Victory by their Valour got Hence Kings in Chains and Chariots march in state ' Mongst various Sports of their abundant Fate De civibus triumphare nefas Ibid. saith the same Valerius Maximus In both which particulars the Romans History affords exceptions Liv. Lib. xl In the first in the Triumph without a War anno Vrbis Cond DLXXIII In the second in the Triumphal Arch yet almost entirely standing of Constantine the Great which the Senate and People of Rome dedicated to him upon his Victory over Maxentius a General of part of the Imperial Forces The Inscription this IMP. CAES. FL. CONSTANTINO MAXIMO P.F. AUGUSTO S.P. Q.R. QUOD INSTINCTU DIVINITATIS MENTIS MAGNITUDINE CUM EXERCITU SUO TAM DE. TYRANNO QUAM DE OMNI EJUS TACTIONE UNO TEMPORE JUSTIS REMPUBLICAM ULTUS EST. ARMIS ARCUM TRIUMPHIS INSIGNEM DICAVIT Three Triumphs of the same nature in one Century of years De vi Consulatu Honorii are reckoned by Claudian who makes Rome to speak thus His annis qui lustra mihi bis dena recensent Nostra ter Augustos intra pomaeria vidi Temporibus variis eadem sed causa Tropaeis Civilis dissensus erat Lustres twice ten with annual Springs and Falls Pass'd since I saw three Emp'rours in our Walls At sev'ral times each on sad Scores did boast Triumphs for Civil Broils Both which particulars comprehend this Triumph of His most Sacred Majesty which was upon a Victory over the Enemies of His Countrey without a Battle These Arches generally bore the name of him that rid in Triumph and had a Title insculp'd to testifie for what Victory they were erected both which appear from this Speech of the City of Rome to Honorius the Emperour Ast ego fraenabam geminos quibus altior ires Claudian ib. Electi candoris equos nominis Arcum Jam molita tui per quem radiante decorus Ingrederere togâ pugnae monumenta dicabam Defensam titulo Libyam testata perenni But I put in your Steeds more white then Snow And of your Name design'd a stately Arch Through which you might in Regal Purple march The Battle too and lasting claim engrav'd Attesting Monuments that you Libya sav'd They were always adorn'd with some Spoils of the Conquered Enemy Claudian Spoliisque micantes Paneg. iv Innumeros arcus Innum'rous Arches rich with glitt'ring Spoils Prudentius Frustrà igitur currus summo miramur in Arcu Quadrijugos stantésque Duces in curribus altis Sub pedibusque Ducum captivos poplite flexo Ad juga depressos manibus que in terga retortis Et suspensa gravi telorum fragmina trunco We Chariots on the Arch admire in vain In them their haughty Leaders standing see And Captives stooping with low-bended knee Their hands behind them ti'd of pond'rous Oke Huge Truncheons hanging of strong Jav'lins broke Sometimes they bore insculp'd the Battle in which the Conquerour had merited his Triumph as those of Septimius Severus and Constantine In others the whole pomp of the Triumph was represented as in that of Vespasian and Titus where are still to be seen led in Triumph the Spoils of the Temple of Jerusalem the Ark of the Covenant the Candlestick with seven Branches the Table of the Shew-Bread the Tables of the Decalogue with the Vessels of pure Gold for the use of the Temple the Captives chain'd the Emperour riding in his Triumphal Chariot c. The order and method of a Triumph among the Romans we will here briefly but distinctly deliver chiefly out of Plutarch in the Life of P. Aemilius The captivated Statues Pictures and Colossusses lead the Van. Plutarch In Romulo of the Triumph of P. Aemilius The first day for this Triumph lasted three scarce sufficed for the passing of the Statues Pictures and Colosses lead in two hundred and fifty Carriages Appian says that Pompey carried the Statues of the Forreign Gods in Triumph The next followed the choicest Arms and Spoils of the Enemy Plutarch The next day were carried the fairest and richest of the Macedonian Weapons upon several Carriages glistering with the Brass and Iron new scowr'd artificially plac'd yet that they seem'd to have been thrown together promiscuously without any order the Head-pieces upon the Shields the Corslets upon the Buskins c. which striking constantly against each other made so terrible a noise that the sight of them though now overcome was a terrour to the Spectatours Statius Ante Ducem spolia duri Mavortis imago Lib. xii