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We have spent the last few weeks reading the remarkable novel, Memoirs of
Hadrian. I found this an extraordinary book, ingenious, intellectual,
interesting, and in many ways, beautiful.
The book has an immediate and forceful impact for many of us. It says
much to us who must die sooner or, (as we hope), later and who are
reviewing and contemplating his or her own life and who might intend to
write an accounting some day when, as they say, if one can get around to it.
Alas, for most of us that day will never be. But if we could, a memoir like
the one written for Hadrian would be a fine model.
In any case, we need not be an enlightened Aristotelian monarch nor match
the talented and poetic Marguerite Yourcenar to empathize with the aging
Hadrian, (Publius Aelius Hadrianus). His basic inner thoughts are closer to
ours than we might expect. Yourcenars exquisite skill allows us to clearly
understand Hadrian who is concerned with the judgment of posterity,
welfare of heirs, condition of the world, and who especially tries to learn
more about himself.
Certainly this book follows the concept of self-examination. Yourcenars
literary ancestor, Michel de Montaignes motto was, que sais-je? (What do
I know?). Proust, a more recent French forbearer, also sought better to know
himself and the world around him. His memorable novel of free association,
a deliciously constructed multilevel remembrance that contained enormously
insightful commentary, must have influenced Yourcenar.
Yourcenar in her notes writes that in the 16th century her work might rather
be set as an essay, and perhaps as a play during the 17th or 18th centuries. In
the 20th century, the novel form seemed to her most appropriate. Her
sensitive fiction allows her to expand and enter Hadrians psyche. It makes
him real to the modern reader.
A memoir in an epistolary form was used by earlier French authors
Choderlos de Laclos (Les Liaisons Dangereuses), and Montesquieu
(Persian Letters). Yourcenars use of these two forms creates an effect both
intimate and honest. The first person singular that she employs for Hadrian
also causes an internal and personal effect.

Memoirs of Hadrian is more than merely an historical novel. It is more

factual and far less fanciful than earlier historical novels like those of Walter
Scott (Ivanhoe), Victor Hugo (Hunchback of Notre Dame), Gustave Flaubert
(Salambo), and Alexander Dumas, (Three Musketeers).
As a philosophical novel, it follows several slightly earlier works such as
Walter Paters Marius the Epicurean and Ernest Renans, Life of Jesus. Like
Robert Graves (I, Claudius 1934) and Herman Broch, (Death of Virgil
1945), Yourcenar has had a great influence on later authors like Mary
Renault, Colleen McCullough, Leon Uris, and Herman Wouk.
Marguerite Yourcenar has done very careful and extensive research for this
book. Fortunately she provides a tone of unpretentious erudition. In novels,
historical precision is not essential, but nevertheless in Memoirs of Hadrian
factuality is comfortingly present. Historians might dispute its details, but in
general, Yourcenar created a valid history and a significantly vivid and
honest portrait of the Emperor. As a result, Hadrians putative recollections
and musings are quite believable.
Hadrians opinions and basic ideals are an amalgam of Roman virtues,
Greek Philosophy, and Humanism. Indeed, Western Civilization is still
saturated with these concepts. Historian Arnold Toynbee in Civilization on
Trial says, Whatever chronology might say, Thucydides world and my
world have proved to be contemporary.
II
The actual Meditations of Marcus Aurelius exists today. Yourcenar carefully
used this short set of reflections and comments written some 40 years after
Hadrians death by Marcus Aurelius shortly before his own death in 180.
The Meditations and Memoirs of Hadrian are so close in spirit that one feels
the communication between Hadrian and Aurelius, which this book is meant
to be, and is plausible, genuine, and reasonable.
Marcus Aurelius mentions Hadrian in a minor way only a few times in his
own text. Marcus extensively thanks and praises many people in his
Meditations, including his immediate predecessor Antoninus Pius but there
is no such adulation for Hadrian. Hadrian willed that the control of Rome
go to Aurelius after the death of Pius. It is interesting in view of what we
know about Hadrians personal life that Aurelius specifically praises Pius
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abhorrence of pederasty. Yourcenar adds no insight into Marcus neglect of

appreciation of Hadrian his benefactor.
Yourcenar works hard to create and support an aura of veracity. We know
that Hadrian wrote a number of poems and other items, most lost or in
fragments. People in the book are those that actually lived and interacted
with Hadrian such as Phlegon, Arrian, Celer, Fronto, and even Juvenal and
Suitonius. She portrays these characters with attributes derived from various
ancient letters, poems, accounts, and inscriptions. This makes for an
enormous verisimilitude and gives the book believable insight into the
Hadrians life and times.
Yourcenar of course composes Hadrians reflections in this book. Although
she tries very carefully to place herself inside of her subject, she cannot but
put something of herself into Hadrian expressing his irony, explanations, and
philosophy.
This 1st person approach mostly succeeds but occasionally produces stiff,
erudite, and mannered expressions. Yourcenar uses relatively modern words
like bourgeoisie and has Hadrian ponder social problems, such as the great
disparity between the rich and poor, not a major concern during his era.
Also his concern about Christianity, its sects and practioners, which Hadrian
surely would consider infra dignitatem, are Yourcenars. Hadrians
comments on nature, divinity, denial, renunciation, and death are, in our time
and his, important topics. Yourcenar has much to say through Hadrian.
Although Yourcenar has inserted her own modern agenda, she seems to be
almost at one with the persona of Hadrian. His intellect, his spirit,
philosophy, his sexuality, his dominance and power, his discipline, honesty,
love of beauty, and his approach to mankind, all intrigue this author and us
as well.
In Yourcenars notes regarding the Memoirs, she is furious at critics who
considered the reflections as hers personally rather than those of Hadrian.
She calls this utterly fatuous. She doesnt say however, if her own
passions and disposition are so different from his. Is this also utterly
fatuous? An insightful, yet unwritten biography might contain the answer.
One learns that Hadrian did institute reforms against the worst elements of
slavery, torture, child sacrifice, and the status of women. He says many
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cogent things regarding his ardent desire for peace. He also states somewhat
cynically, Peace was my aim, but not at all my idol; even to call it my ideal
would displease as too remote from reality.
More importantly Yourcenar shows us a complete Hadrian, a stoic, a
sensualist, optimist, realist, cynic; an administrator, warrior, politician, and a
superstitious yet incisive prognosticator and perceptive interpreter of his
world. We may be astounded that Hadrian was so deep, but we believe it
because the author has Hadrian put his thoughts in ways an imaginative, and
freethinking Emperor would.
We learn what Hadrian has done; his travels, problem solving, building, and
reforming. We know Hadrian as a literate, expressive, wise, and remarkable
fellow. He is someone imperious and disciplined someone brutal and
superstitious yet one possessing honest and blunt introspection.
III
Both Yourcenar and our member, George Weimer, have said one must be a
certain age and have a certain amount of experience before reading or even
writing certain books. Yourcenar could not even complete the beginning of
this book when she was under 30. As in the case of Proust, an author or a
reader must be at least close to or beyond middle age to get the most benefit
from such a book. Some books are not for the young. Conversely, some
books are not for the old either. This book is about a summing up of life and
has much meaning to those who are at that point in their lives.
Yourcenars use of language from the earliest pages, though not simple, is
often a thing of beauty and worth savoring. In it we find especial brilliance
and graceful expression. Perhaps too poetic for some, occasionally too
dense, and arguably, in some cases, slightly banal, still I find her work
passionate and beautifully wrought.
At the opening of the book, she has Hadrian say, Like a traveler sailing the
Archipelago who sees the luminous mists lift toward evening, and little by
little makes out the shore, I begin to discern the profile of my death, then at
the very end she translates Hadrians well-known poem and has him
conclude, let us try, if we can, to enter into death with open eyes. This
kind of skill and careful writing is found overwhelmingly often in this book.

The translation is also superb. What else might one expect from Yourcenar,
who translated Virginia Woolfs The Wave and Henry Jamess What Masie
Knew into French, and for over 10 years lived in the US and taught at Sarah
Lawrence? She and her co-translator and long-term companion, the
American Grace Frick have certainly found les mots justes, the right words,
to connote the sometimes florid, aphoristic, imperial and self-serving
thought and assertions of Hadrian.
IV
The first chapters title are the first three words from Hadrians surviving
poem; Animula, Vagula, Blandula. This sets the tone for the memoir with
a poetic double entendre and a fitting farewell for a sensual, ironic, and
clever man.
Animula Vagula, Blandula,
Hospes comesque corporus,
Quae nunc abibis in loca
Pallidula, Rigida Nudula
Nec, ut Soles dabis locas .
Lets look at this poem. The punctuation is Yourcenars. The first line:
Animula, Vagula, Blandula, indicates a vague, wandering and gentle soul,
wandering about the world, as did Hadrian during his life. He suspects he
will continue to wander after death. The next line says, Hospes comesque,
host and companion of our corporis, our body or essence. Note the dualism
that we are our own constant host and companion. Quae nunc, that now,
abibis in loca, will go off, (the soul that is) and in an altered state, loca
agreeing grammatically with, Pallidula, somewhat pale, Rigida, rigid and
inflexible and Nudula or naked exposed and bare.
There is a dual meaning in these three words, Pallidula . This expected
future state must be compared to his current life. A little pale and somewhat
stiff and naked, in the post-mortem sense of course. One must not neglect
the dissolute emperors past and his hopeful future visceral secondary
meaning. Enthusiastic and avid Novel Club readers of Salters, Roths, and
Smiths crudities will appreciate these vulgarities.
To further support the erotic nuance, he ends with Nec ut, not, as in the
manner of the, Soles, sunny past, abibis, it giving in the future, Iocos or joy.
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The expression, Io can also imply an expression of pain, again another

duality. Hadrian has compared his past and future with these hopeful double
meanings.
In any case, after commencing with the actual poetic and thanos- appropriate
words of Hadrian, Yourcenar creates a powerful veracity, which becomes
more forceful as the book continues. She immediately establishes Hadrians
intelligence, honesty, heroic idealism, and most importantly his modernity
and meaning.
We can empathize with the easily understandable comment that, it is
difficult to remain an emperor in the presence of his physician and difficult
to keep ones essential quality as a man. Also many of us know how true it
is when he muses, as we all have, that his body, a faithful companion that
has served him well is not performing so well lately. These truisms, perhaps
somewhat banal, show another part of Yourcenars range of expression.
The book however at once becomes believable because Hadrian is someone
not so different from us. He tells us that he has reached the age where, life,
for everyman, is to accept defeat. Is he not one of us?
Yourcenar quickly establishes Hadrians reflective, moderate habits, his
morality, and his subscription to the Roman virtues. He is against gluttony,
for water rather than wine, for simplicity, moderation, even in his own
asceticism. He even notes, the egregious behavior of wine snobs. Like us,
he fails at some of his ideals. This makes him even more real.
Yourcenar outlines his musings on love; its power, irrationality, and
mutability. There are five rather dense pages early in the book devoted to
assertions, theories, and praises of the Erotic. This complicated exultation
meant to establish the classical view of love, introduces and describes for us
the sentiments of Hadrian expressed in the central chapter of this book,
called Saeculum Aureum.
One might suspect Yourcenars own sentiments in Hadrians reminiscences
about Antinous. These remembrances are nonetheless an excellently
developed classical and ideal concept of physical and spiritual adoration.
Certainly this ideal still exists in full force today as a component of love.

Comments on the role of the seducer are influenced by Yourcenars Gallic

roots, to wit; de Sade, Leclos, Balzac, Baudelaire, Flaubert, and Proust.
Hadrians approach to love, sex, and seduction seems rather one-sided and
that side his. This is more classical than modern but still exists to a
significant extent.
In reviewing his great passion long after the death of Antinous, Hadrian
says, The same law which ordains that the convalescent, once cured, ceases
to understand the mysterious truths laid bare by illness, and that the prisoner,
set free, forgets his torture, or the conqueror, his triumph past, forgets his
glory. Yourcenar certainly expresses these ironic observations of human
nature fluently.
She gives Hadrian a modern appeal, though expressed by an ancient and
conditioned as we are today by the stoic, the skeptic, and other concepts and
philosophical systems developed since ancient times. Hadrian, ever the
Hellenist seeks beauty everywhere and yet, as Emperor, remains the
practical, serious, and forthright Roman. Are not we too a combination of
realist and passionate esthete? As Alexander Popes poem says about Man,
chaos of thought and passion all confused
Hadrian writes his memoirs to Marcus Aurelius, in order to know himself
better. He finds existing books and other mens opinions faulty and
inadequate. He relies on honest introspection. Yourcenars metaphor of a
person as a mountain range with various materials, veins and accumulations
heaped up pell-mell is an exquisite example of the poetic style that fills the
book.
The chapter called Varius Multiplex Multiformis further establishes
Hadrians background and involves us in his life. His Spanish roots; a
prophetic, protean, and superstitious uncle, a dedicated civil servant father,
and basic items about his family are outlined. He studies in Greece and
joins the army as a very young man.
He becomes a lover of Hellenistic Art and Literature. Yourcenar establishes
Hadrians cultural enthusiasm with his comments such as, Everything men
have said best has been said in Greek. He says further, Im not sure the
discovery of love is necessarily more exquisite than the discovery of poetry.
Nevertheless, it seems his pursuit of love was far more exquisite than his

pursuit of poetry. We realize, what one says often is far from the way one
acts.
At this point, Yourcenar sets forth Hadrians political progress. After the
decline and removal of Domitian and the short reign of Nerva, Trajan,
Hadrians older cousin becomes the first Roman Emperor born outside of
Italy. We learn of the ascent of his Spanish tribe. Hadrian reflects on life
around him as a now mature judge, soldier, and administrator. We learn of
his enemies as he prepares his unmerciful revenge on them.
We begin to see what makes the Emperor tick. For example, clear thinking
Hadrian says, It is not that I despise men. If I did I should have no right,
and no reason, to try to govern. I know them to be vain, ignorant, greedy,
and timorous, capable of almost anything for the sake of success, or for
raising themselves in esteem (even in their own eyes), or simple for
avoidance of suffering This is a cynical and haughty though honest
statement. As a judge, he knows mens foibles. He is however honest
enough to see these same weaknesses in himself.
Yourcenar continually sets the musings and assertions of Hadrian in a
Roman context, as a Roman male and a Roman Emperor. He sees the
glimmering of the divine in Man. Hadrian looks for ways to freedom. He
accepts experience and fate and says, I have finally learned to accept
myself. The Hadrian she paints is highly focused and able to convert
calamity to positive experience using discipline, optimism, and
concentration.
As a frontier soldier he rather casually describes his daring and bravery.
With the help of Trajans wife Plotina and probably, although Yourcenar
does not mention it, the support of the Army, he gains the throne. Plotina is
the most admired woman in Hadrians entire discourse. She must have been
essential in influencing Trajans hesitant choice to seek the crown.
There are few admirable women in this work. Hadrian held no great respect
for women. Yourcenar, writing in the early 50s does not hold current
feminist views. Comments on the role of women, their social intrigues and
cosmetic preoccupations, and their general status, describe the state of
Roman women in the 2nd century. As to how much this still applies, I defer
to our more courageous Novel Club members to reveal.

Hadrian had inherited an overextended empire. The cost of the conquests

and then maintaining the empire were burdensome. He commences peace
talks with the Parthian foe Osroes and begins travels on the frontiers. The
section is entitled Tellus Stabilita, (Stable Earth), a term then used in
Imperial government propaganda which connotes the Genius of the
Pacified Earth. Genius is used in the sense of protector and spiritual
supporter.
Attianus, his patron during his early years in Rome, soon assassinates
Hadrians four major enemies. Attianus is removed from his posts and then
shortly afterwards is reinstated. Hadrian feels that he now has gained
respect because the people and Senate know that there will be no more
political murders. He begins the healing process and calls for morality.
More popularly, he cancelled debts and reduced taxes.
We learn of the reforms and policies of Hadrian. Slavery is one area in
which he reduces the most heinous abuses. He attacks unfair and
burdensome laws. He says, Laws too severe must be broken and those too
complicated are too easy to break. Too much respect for the past and
tradition becomes a pillow for lazy judges.
Forced marriage, inheritance, and the inferior legal status of women will be
improved by the Emperor. Incidentally, Hadrians own arranged marriage
was clearly a self-serving political and unsentimental move.
Hadrian justifies his policies and his role as a great builder. He says
interestingly that colossal effigies gives means of expressing, in true
proportions, those things we most cherish. What better excuse for a
megalomaniac?
Hadrian says very practically that each of us has to choose between endless
striving and wise indignation. He notes that Man has always conceived of
his Gods in terms of providence and worships his representative on earth,
be they priest or king.
Hadrian even feels divine. He humorously says that being divine is more
demanding than being an Emperor. Wisely, Yourcenar quotes many of
Hadrians thoughts on astrology, superstition and cultic practices to remind
us that he was very much a pagan.

Saeculum Aureum or the Golden Age is the peak of Hadrians career. He

falls for a handsome adolescent Bythnian beau, a moody and pensive
idealist, all in the best tradition of classical romance. He compares their
relationship to that of Patroculus and Achilles and Hephaestion and
Alexander. Thus begins splendor at high noon and the halcyon seasons,
solstice of my days, a special love, not disintegrating to banalities or
indifference. This is also a period of great civic productivity for Hadrian.
Hadrians ephebophilic relationship, although it has all the features of true
love does have its problems. Yourcenars presentation of their love might
appear a little shrill to some readers yet it has had great resonance to the
homophilic community.
This is not the only time Yourcenar has written novels concerning the
conflicts between the hetero and homosexual worlds. Alexis and Coup de
Grace cover abandoned, sadistic, and sad affairs of homosexuals and their
various types of lovers.
One wonders what else there was besides physical attachment and adulation.
What does This graceful hound, avid for caresses and commands, mean?
Does the vulgar argot term, Bull-Dyke apply to Yourcenars approach to
romance?
The quality of this love is in question. When Hadrian relates his attempts to
integrate the young lover into his more exotic erotic endeavors, the young
man, is visibly shocked, but like a compliant and dominated companion does
not object.
Hadrian self-centered interpretation of Antinous suicide deems this act his
lovers attempt to extend his life. Hadrian does all in his power to deify
Antinous by building cities, temples, and establishing a cult to him. This
last love is perhaps more powerful than were it to have lasted longer and
ultimately become transient. Yourcenar demonstrates that none can question
the power of love to expand, transcend, and make ecstatic and agonizing the
course of ones life.
The chapter called Disciplina Augusta and Patiencia lists Hadrians
accomplishments and needs for the future: need of the educated middle
classes, (in spite of their well-known deficiencies), the vital need of
libraries, Christians who hold a doubtful proposition about loving others as
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themselves, the flawed, unnecessary, and brutal suppression of the Jews,

and Hadrians theory of political succession. Much in these musings are
probably Yourcenars own.
Hadrians own plan of succession is questionable. All candidates are from
his Verus clan. Hadrians ex-lover, an artist in pleasure, Lucius Ceionius,
(earlier known as Ceionius Commodus Verus and renamed Aelius Ceasar),
who was Hadrians first choice to succeed him, dies of a lung disease. He
then adopts Antoninus Verus (renamed Antoninus Pius), mentioning his
kindness and level headedness, to succeed him. He assigns the son of the
dead Lucius Ceionius and Marcus Aurelius, earlier known as Annius Verus
as co-rulers when Antoninus Pius dies.
We do get an argument for adoptive succession as opposed to natural
succession. It is questionable that our descendants are worthy or deserving
enough for what we give them. That question was lost on the otherwise
rational and brilliant Marcus Aurelius. Foolishly, Aurelius made his own
only surviving son, the worthless Commodus, Emperor.
Hadrian calmly comments on his death. He says, "meditation on death does
not make it easier. He is content saying all he has implanted in humanity
has taken root. He is no longer angry and ready to die. Uninhibited by his
long life of introspection, he kills his 89-year-old brother-in-law, Julius
Servianus, Julius grandson Fuscus and even a bothersome architect named
Apollodorus. This seems brutal and vindictive, especially at the end of a
rational and sensitively examined life. Yourcenar, to her credit adheres to
historical facts.
V
We have read a novel full of wisdom and poetry and containing a very large,
maybe too large number of subjects. Marguerite Yourcenar has successfully
and vividly set these observations and comments as elegantly expressed by
an educated and experienced monarch who is facing death.
Yourcenars messages in this book though devoted to the classical period are
directed to modern man. These directions are meant to be as applicable to
today as they were in ancient times. The classics refresh and revitalize the
present. We examine the phenomenal heritage of our Western Civilization

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and realize that people have tussled with the same basic questions as we.
Progress has been distressingly slow.
Memoirs of Hadrian provides much. For readers who love History and
especially the Classics this is a chance to enter those times in a manner
which is intimate and informing. For those who love Philosophy, this book
is stimulating and provocative. For those who enjoy passionate, fluent, and
exquisite literature this has been a superb opportunity to read the opulent and
brilliant prose of Marguerite Yourcenar.

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