Opening
A HISTORY OF ROMAN LITERATURE: FROM THE EARLIEST PERIOD TO THE DEATH OF MARCUS AURELIUS
BY CHARLES THOMAS CRUTTWELL, M.A.
TO THE VENERABLE J. A. HESSEY, D.O.L ARCHDEACON OF MIDDLESEX, THIS WORK IS AFFECTIONATELY INSCRIBED BY HIS FORMER PUPIL, THE AUTHOR.
Preface
The present work is designed mainly for Students at our Universities and Public Schools, and for such as are preparing for the Indian Civil Service or other advanced Examinations. The author hopes, however, that it may also be acceptable to some of those who, without being professed scholars, are yet interested in the grand literature of Rome, or who wish to refresh their memory on a subject that perhaps engrossed their early attention, but which the many calls of advancing life have made it difficult to pursue.
All who intend to undertake a thorough study of the subject will turn to Teuffel's admirable History, without which many chapters in the present work could not have attained completeness; but the rigid severity of that exhaustive treatise makes it fitter for a book of reference for scholars than for general reading even among students. The author, therefore, trusts he may be pardoned for approaching the History of Roman Literature from a more purely literary point of view, though at the same time without sacrificing those minute and accurate details without which criticism loses half its value. The continual references to Teuffel's work, excellently translated by Dr. W. Wagner, will bear sufficient testimony to the estimation in which the author holds it, and the obligations which he here desires to acknowledge.
He also begs to express his thanks to Mr. John Wordsworth, of B. N. C., Oxford, for many kind suggestions, as well as for courteous permission to make use of his Fragments and Specimens of Early Latin; to Mr. H. A. Redpath, of Queen's College, Oxford, for much valuable assistance in correction of the proofs, preparation of the index, and collation of references, and to his brother, Mr. W. H. G. Cruttwell, for verifying citations from the post-Augustan poets.
To enumerate all the sources to which the present Manual is indebted would occupy too much space here, but a few of the more important may be mentioned. Among German writers, Bernhardy and Ritter--among French, Boissier, Champagny, Diderot, and Nisard--have been chiefly used. Among English scholars, the works of Dunlop, Conington, Ellis, and Munro, have been consulted, and also the History of Roman Literature, reprinted from the Encyclopaedia Metropolitana, a work to which frequent reference is made, and which, in fact, suggested the preparation of the present volume.
It is hoped that the Chronological Tables, as well as the list of Editions recommended for use, and the Series of Test Questions appended, will materially assist the Student.
OXFORD, November, 1877.
Introduction
Roman and Greek Literature have their periods of study--Influence of each --Exactness of Latin language--Greek origin of Latin literature--Its three great periods: (1) The Ante-Classical Period; (2) The Golden Age; (3) The Decline.
Chapter I
On the Earliest Remains of the Latin Language.
Early inhabitants of Italy--Italic dialects--Latin--Latin alphabet--Later innovations--Pronunciation--Spelling--Early Monuments--Song of Fratres Arvales--Salian Hymn--Law of Romulus--Laws of Twelve Tables--Treaty between Rome and Carthage--Columna Rastrata--Epitaphs of the Scipios-- Senatus Consultum de Bacchanalibus--Break-up of the language.
APPENDIX.--Examples of late corrupted dialects
Chapter II
On the Beginnings of Roman Literature.
The Latin character--Romans a practical people--Their religion unromantic --Primitive culture of Latium--Germs of drama and epos--No early historians--Early speeches--Ballad literature--No early Roman epos--Poets despised--Fescenninae--Saturae--Mime or Planipes--Atellanae- Saturnian metre--Early interest in politics and law as giving the germs of oratory and jurisprudence.
Chapter III
The Introduction of Greek Literature--Livius and Naevius (240-204 B.C.).
Introduction of Greek literature to Rome--Its first translators--Livius Andronicus--His translation of the Odyssey, Tragedies, &c.--Cn. Naevius--Inventor of Praetextae--Style--A politician--Writer of the first national epic poem--His exile and death--Cicero's opinion of him-- His epitaph.
Chapter IV
Roman Comedy--Plautus to Turpilius (254-103 B.C.).
The Roman theatre--Plan of construction--Comedy--Related to Athenian Middle and New Comedy--Plautus--His plays--Their plots and style-- Palliatae and Togatae--His metres--Caecilius--Admires Terence-- Terence--His intimate friends--His style--Use of contamination--Lesser comedians.
Chapter V
Roman Tragedy: Ennius--Accius (233-94 B.C.).
Contrast between Greek and Roman tragedy--Oratorical form of Latin tragedy--Ennius--The father of Roman poetry--His humamitas--Relations with Scipio--A follower of Pythagoras--His tragedies--Pacuvius--Painter and tragedian--Cicero's criticism of his Niptra--His epitaph--L. Accius --The last tragic writer--A reformer of spelling.
APPENDIX.--On some fragments of Sueius or Suevius.
Chapter VI
Epic Poetry: Ennius--Furius (200-100 B.C.).
Naevius and Ennius--Olympic deities and heroes of Roman story--Hexameter of Ennius--Its treatment--Matius--Hostius--Furius.
Chapter VII
The Early History of Satire: Ennius to Lucilius (200-103 B.C.).
Roman satire a native growth--Origin of word "Saturae"--It is didactic--Not necessarily poetical in form--Ennius--Pacuvius--Lucilius-- The objects of his attack--His popularity--His humility--His style and language.
Chapter VIII
_The Minor Departments of Poetry--The Atellanae (Pomponius and Novius, circ. 90 B.C.) and the Epigram (Ennius--Callus, 100 B. C.)._
Atellanae--Oscan in origin--Novius--Pomponius--Mummius--Epigrammatists-- Catulus--Porcius Licinius--Pompilius--Valerius Aedituus.
Chapter IX
Prose Literature--History. Fabius Pictor--Macer (210-80 B.C.).
Early records--Annales, Libri Lintei, Commentarii, &c.--Narrow view of history--Fabius--Cincius Alimentus--Cato--Creator of Latin prose--His orations--His Origines--His treatise on agriculture--His miscellaneous writings--Catonis dicta--Calpurnius Piso--Sempronius Asellio--Claudius Quadrigarius Valerius Antias--Licinius Macer.
APPENDIX.--On the Annales Pontificum.
Chapter X
The History of Oratory before Cicero.
Comparison of English, Greek, and Roman oratory--AppiusCornelius Cethegus--Cato--Laelius--The younger Scipio--Galba--Carbo--The Gracchi-- Self-praise of ancient orators--Aemilius Scaurus--Rutilius--Catulus--A violent death often the fate of a Roman orator--M. Antonius--Crassus--The Roman law-courts--Bribery and corruption prevalent in them--Feelings and prejudices appealed to--Cotta and Sulpicius--Carbo the younger-- Hortensius--His friendship for Cicero--Asiatic and Attic styles.
Chapter XI
Other kinds of Prose Literature: Grammar, Rhetoric, and Philosophy (147-63 B.C.).
Legal writers--P. Mucius Scaevola--Q. Mucius Scaevola--Rhetoric-- Plotius Gallus--Cornificius--Grammatical science--Aelius Stilo-- Philosophy--Amafinius--Rabirius--Relation of philosophy to religion.
Book II
THE GOLDEN AGE. FROM THE CONSULSHIP OF CICERO TO THE DEATH OF AUGUSTUS (63 B.C.-l4 A.D.).
Part I
THE REPUBLICAN PERIOD.
Chapter I
Varro.
The two Divisions of this culminating period--Classical authors--Varro --His life, his character, his encyclopaedic mind--His Menippean Satires--Logistorici-Antiquities Divine and Human--Imagines--De Lingua Latina--De Re Rustica.
APPENDIX.--Note I. The Menippean Satires of Varro, " II. The Logistorici, " III. Fragments of Atacinus, " IV. The Jurists, Critics, and Grammarians of less note.
Chapter II
Oratory and Philosophy--Cicero (106-43 B.C.).
Cicero--His life--Pro Roscio--In Verrem--Pro Cluentio--Pro lege Manilia--Pro Rabirio--Cicero and Clodius--His exile--Pro Milone--His Philippics--Criticism of his oratory--Analysis of Pro Milone--His Philosophy, moral and political--On the existence of God and the human soul--List of his philosophical works--His rhetorical works--His letters-- His contemporaries and successors.
APPENDIX.--Poetry of M. and Q. Cicero.
Chapter III
Historical and Biographical Composition--Caesar--Nepos--Sallust.
Roman view of history--Caesar's Commentaries--Trustworthiness of his statements--His style--A. Hirtius--Other writers of commentaries--Caesar's oratorical and scientific position--Cornelius Nepos--C. Sallustius Crispus--Tubero.
APPENDIX.--On the Acta Diurna and Acta Senatus.
Chapter IV
The History of Poetry to the Close of the Republic--Rise of Alexandrinism--Lucretius---Catullus.
The Drama--J. Caesar Strabo--The Mimae--D. Laberius--Publilius Syrus--Matius--Pantomimi--Actors--The poetry of Cicero and Caesar-- Alexandria and its writers--Aratus--Callimachus--Apollonius Rhodius-- Euphorion--Lucretius--His philosophical opinions and style--Bibaculus-- Varro Atacinus--Calvus--Catullus--Lesbia.
APPENDIX.--Note I. On the Use of Alliteration in Latin Poetry, " II. Some additional details on the History of the Mimus, " III. Fragments of Valerius Soranus.
Part II
THE AUGUSTAN EPOCH (42 B.C.-l4 A.D.).
Chapter I
General Characteristics.
Common features of the Augustan authors--Augustus's relation to them --Maecenas--The Apotheosis of the emperor--Rhetoricians not orators-- Historians--Jurists--Poets--Messala--Varius--Anser--Macer.
Chapter II
Virgil (70-19 B.C.)
Virgil--His earliest verses--His life and character--The minor poems --The Eclogues--The Georgics--Virgil's love of Nature--His aptitude for epic poetry--The scope of the Aeneid--The Aeneid a religious poem --Its relation to preceding poetry.
APPENDIX.--Note I. Imitations of Virgil in Propertius, Ovid, and Manilius, " II. On the shortening of final o in Latin poetry, " III. On parallelism in Virgil's poetry, " IV. On the Legends connected with Virgil.
Chapter III
Horace (65-8 B.C.).
Horace--His life--The dates of his works--Two aspects: a lyric poet and a man of the world--His Odes and Epodes--His patriotic odes--Excellences of the odes--The Satires and Epistles--Horace as a moralist--The Ars Poetica--Horace's literary criticism--Lesser poets.
Chapter IV
The Elegiac Poets--Gratius--Manilius.
Roman elegy--Cornelius Callus--Domitius Marsus--Tibullus--Propertius-- Ovid--His life--The Art of Love--His exile--Doubtful and spurious poems --Lesser erotic and epic poets--Gratius--Manilius.
Chapter V
Prose Writers of the Augustan Age.
Oratory Neglected--Declamation takes its place--Porcius Latro--Annaeus Seneca--History--Livy--Opportune appearance of his work--Criticism of his method--Pompeius Trogus--Vitruvius--Grammarians--Fenestella--Verrius Flaccus--Hyginus--Law and philosophy.
APPENDIX.--Note I. A Suasoria translated from Seneca, " II. Some Observations on the Theory of Rhetoric, from Quintilian, Book III.
Book III
THE DECLINE. FROM THE ACCESSION OF TIBERIUS TO THE DEATH OF M. AURELIUS, A.D. 14-180.
Chapter I
The Age of Tiberius (14-37 A.D.).
Sudden collapse of letters--Cause of this--Tiberius--Changed position of literature--Vellius Paterculus--Valerius Maximus--Celsus--Remmius Palaemon--Germanicus--Phaedrus--Pomponius Secundus the tragedian.
Chapter II
The Reigns of Caligula, Claudius, and Nero (37-68 A.D.).
1. Poets.
The Neronian period an epoch--Peculiar characteristics of its writers --Literary pretensions of Caligula--of Claudius--of Nero--Poem on Calpurnius Piso--Relation of philosophy to life--Cornutus--Persius--Lucan --Criticism of the Pharsalia--Eclogues of Calpurnius--The poem on Etna-- Tragedies of Seneca--The apokolokuntosis.
Chapter III
The Reigns of Caligula, Claudius, and Nero.
2. Prose Writers--Seneca.
His importance--Life and writings--Influence of his exile--Relations with Nero--His death--Is he a Stoic?--Gradual convergence of the different schools of thought--Seneca a teacher more than anything else--His conception of philosophy--Supposed connection with Christianity--Estimate of his character and style.
Chapter IV
The Reigns of Caligula, Claudius, and Nero.
3. Other Prose Writers.
Domitius Corbulo--Quintus Curtius--Columella--Pomponius Mela-- Valerius Protius--Petronius Arbiter--Account of his extant fragments.
APPENDIX.--Note I. The Testamentum Porcelli, " II. On the MS. of Petronius.
Chapter V
The Reigns of the Flavian Emperors (69-96 A.D.).
1. Prose Writers.
A new literary epoch--Marked by common characteristics--Decay of national genius--Pliny the elder--Account of his death translated from the younger Pliny--His studious habits--The Natural History--Its character and value--Quintilian--Account of his book de Institutione Oratoria-- Frontinus--A valuable and accurate writer--Grammatical studies.
APPENDIX.--Quintilian's Criticism on the Roman Authors.
Chapter VI
The Reigns of Vespasian, Titus, and Domitian (69-96 A.D.).
2. Poets.
Reduced scope of poetry--Poetry the most dependent on external conditions of any form of written literature--Valerius Flaccus--Silius--His death as described by Pliny--His poem--The elder Statius--Statius--An extempore poet--His public recitations--The Silvae--The Thebaid and Achilleid --His similes--Arruntius Stella--Martial--His death as recounted by Pliny --The epigram--Other poets.
APPENDIX.--On the Similes of Virgil, Lucan, and Statius.
Chapter VII
The Reigns of Nerva and Trajan (96-117 A.D.).
Pliny the younger--His oratory--His correspondence--Letter to Trajan --Velius Longus--Hyginus--Balbus--Flaccus--Juvenal--His life--A finished declaimer--His character--His political views--Style--Tacitus--Dialogue on eloquence--Agricola--Germania--Histories--Annals_ --Intended work on Augustus's reign--Style.
Chapter VIII
The Reigns of Hadrian and the Antonines (117-180 A.D.).
Era of African Latinity--Differs from the Silver Age--Hadrian's poetry --Suetonius--His life--List of writings--Lives of the Caesars--His account of Nero's death--Florus--Salvius Julianus and Sextus Pomponius--Fronto-- His relations with Aurelius--List of his works--Gellius--Gaius--Poems of the period--Pervigilium Veneris--Apuleius--De Magia--Metamorphoses or Golden Ass--Cupid and Psyche--His philosophical works.
Chapter IX
State of Philosophical and Religious Thought during the Period of the Antonines--Conclusion.
Greek eloquence revives in the Sophists--Itinerant rhetors--Cynic preachers of virtue--The better class of popular philosophers--Dio Chrysostom--Union of philosophy and rhetoric--Greek now the language of general literature--Reconciliation of philosophy with religion--The Platonist school--Apuleius--Doctrine of daemons--Decline of thought-- General review of the main features of Roman literatureConclusion.
CHRONOLOGICAL TABLE
LIST OF EDITIONS RECOMMENDED
QUESTIONS OR SUBJECTS FOR ESSAYS, &c.
Introduction
In the latter part of the seventeenth century, and during nearly the whole of the eighteenth, the literature of Rome exercised an imperial sway over European taste. Pope thought fit to assume an apologetic tone when he clothed Homer in an English dress, and reminded the world that, as compared with Virgil, the Greek poet had at least the merit of coming first. His own mind was of an emphatically Latin order. The great poets of his day mostly based their art on the canons recognised by Horace. And when poetry was thus affected, it was natural that philosophy, history, and criticism should yield to the same influence. A rhetorical form, a satirical spirit, and an appeal to common sense as supreme judge, stamp most of the writers of western Europe as so far pupils of Horace, Cicero, and Tacitus. At present the tide has turned. We are living in a period of strong reaction. The nineteenth century not only differs from the eighteenth, but in all fundamental questions is opposed to it. Its products have been strikingly original. In art, poetry, science, the spread of culture, and the investigation of the basis of truth, it yields to no other epoch of equal length in the history of modern times. If we go to either of the nations of antiquity to seek for an animating impulse, it will not be Rome but Greece that will immediately suggest itself to us. Greek ideas of aesthetic beauty, and Greek freedom of abstract thought, are being disseminated in the world with unexampled rapidity. Rome, and her soberer, less original, and less stimulating literature, find no place for influence. The readiness with which the leading nations drink from the well of Greek genius points to a special adaptation between the two. Epochs of upheaval, when thought is rife, progress rapid, and tradition, political or religious, boldly examined, turn, as if by necessity, to ancient Greece for inspiration. The Church of the second and third centuries, when Christian thought claimed and won its place among the intellectual revolutions of the world, did not disdain the analogies of Greek philosophy. The Renaissance owed its rise, and the Reformation much of its fertility, to the study of Greek. And the sea of intellectual activity which now surges round us moves ceaselessly about questions which society has not asked itself since Greece started them more than twenty centuries age. On the other hand, periods of order, when government is strong and progress restrained, recognise their prototypes in the civilisation of Rome, and their exponents in her literature. Such was the time of the Church's greatest power: such was also that of the fully developed monarchy in France, and of aristocratic ascendancy in England. Thus the two literatures wield alternate influence; the one on the side of liberty, the other on the side of government; the one as urging restless movement towards the ideal, the other as counselling steady acceptance of the real.
From a more restricted point of view, the utility of Latin literature may be sought in the practical standard of its thought, and in the almost faultless correctness of its composition. On the former there is no need to enlarge, for it has always been amply recognised. The latter excellence fits it above all for an educational use. There is probably no language which in this respect comes near to it. The Romans have been called with justice a nation of grammarians. The greatest commanders and statesmen did not disdain to analyse the syntax and fix the spelling of their language. From the outset of Roman literature a knowledge of scientific grammar prevailed. Hence the act of composition and the knowledge of its theory went hand in hand. The result is that among Roman classical authors scarce a sentence can be detected which offends against logical accuracy, or defies critical analysis. In this Latin stands alone. The powerful intellect of an Aeschylus or Thucydides did not prevent them from transgressing laws which in their day were undiscovered, and which their own writing helped to form. Nor in modern times could we find a single language in which the idioms of the best writers could be reduced to conformity with strict rule. French, which at first sight appears to offer such an instance, is seen on a closer view to be fuller of illogical idioms than any other language; its symmetrical exactness arises from clear combination and restriction of single forms to a single use. English, at least in its older form, abounds in special idioms, and German is still less likely to be adduced. As long, therefore, as a penetrating insight into syntactical structure is considered desirable, so long will Latin offer the best field for obtaining it. In gaining accuracy, however, classical Latin suffered a grievous loss. It became a cultivated as distinct from a natural language. It was at first separated from the dialect of the people, and afterwards carefully preserved from all contamination by it. Only a restricted number of words were admitted into its select vocabulary. We learn from Servius that Virgil was censured for admitting avunculus into epic verse; and Quintilian says that the prestige of ancient use alone permits the appearance in literature of words like balare, hinnire, and all imitative sounds. [1] Spontaneity, therefore, became impossible, and soon invention also ceased; and the imperial writers limit their choice to such words as had the authority of classical usage. In a certain sense, therefore, Latin was studied as a dead language, while it was still a living one. Classical composition, even in the time of Juvenal, must have been a labour analogous to, though, of course, much less than, that of the Italian scholars of the sixteenth century. It was inevitable that when the repositaries of the literary idiom were dispersed, it should at once fall into irrecoverable disuse; and though never properly a dead language, should have remained as it began, an artificially cultivated one. [2] An important claim on our attention put forward by Roman literature is founded upon its actual historical position. Imitative it certainly is. [3] But it is not the only one that is imitative. All modern literature is so too, in so far as it makes a conscious effort after an external standard. Rome may seem to be more of a copyist than any of her successors; but then they have among other models Rome herself to follow. The way in which Roman taste, thought, and expression have found their way into the modern world, makes them peculiarly worthy of study; and the deliberate method of undertaking literary composition practised by the great writers and clearly traceable in their productions, affords the best possible study of the laws and conditions under which literary excellence is attainable. Rules for composition would be hard to draw from Greek examples, and would need a Greek critic to formulate them. But the conscious workmanship of the Romans shows us technical method as separable from the complex aesthetic result, and therefore is an excellent guide in the art.
The traditional account of the origin of literature at Rome, accepted by the Romans themselves, is that it was entirely due to contact with Greece. Many scholars, however, have advanced the opinion that, at an earlier epoch, Etruria exercised an important influence, and that much of that artistic, philosophical, and literary impulse, which we commonly ascribe to Greece, was in its elements, at least, really due to her. Mommsen's researches have re-established on a firmer basis the superior claims of Greece. He shows that Etruscan civilisation was itself modelled in its best features on the Hellenic, that it was essentially weak and unprogressive and, except in religion (where it held great sway) and in the sphere of public amusements, unable permanently to impress itself upon Rome. [4] Thus the literary epoch dates from the conquest of Magna Graecia. After the fall of Tarentum the Romans were suddenly familiarised with the chief products of the Hellenic mind; and the first Punic war which followed, unlike all previous wars, was favourable to the effects of this introduction. For it was waged far from Roman soil, and so relieved the people from those daily alarms which are fatal to the calm demanded by study. Moreover it opened Sicily to their arms, where, more than in any part of Europe except Greece itself, the treasures of Greek genius were enshrined. A systematic treatment of Latin literature cannot therefore begin before Livius Andronicus. The preceding ages, barren as they were of literary effort, afford little to notice except the progress of the language. To this subject a short essay has been devoted, as well as to the elements of literary development which existed in Rome before the regular literature. There are many signs in tradition and early history of relations between Greece and Rome; as the decemviral legislation, the various consultations of the Delphic Oracle, the legends of Pythagoras and Numa, of Lake Regillus, and, indeed, the whole story of the Tarquins; the importation of a Greek alphabet, and of several names familiar to Greek legend--Ulysses, Poenus, Catamitus, &c.--all antecedent to the Pyrrhic war. But these are neither numerous enough nor certain enough to afford a sound basis for generalisation. They have therefore been merely touched on in the introductory essays, which simply aim at a compendious registration of the main points; all fuller information belonging rather to the antiquarian department of history and to philology than to a sketch of the written literature. The divisions of the subject will be those naturally suggested by the history of the language, and recently adopted by Teuffel, i.e.--
1. The sixth and seventh centuries of the city (240-80 B.C.), from Livius to Sulla.
2. The Golden Age, from Cicero to Ovid (80 B.C.-A.D. 14).
3. The period of the Decline, from the accession of Tiberius to the death of Marcus Aurelius (14-180 A.D.).
These Periods are distinguished by certain strongly marked characteristics. The First, which comprises the history of the legitimate drama, of the early epos and satire, and the beginning of prose composition, is marked by immaturity of art and language, by a vigorous but ill-disciplined imitation of Greek poetical models, and in prose by a dry sententiousness of style, gradually giving way to a clear and fluent strength, which was characteristic of the speeches of Gracchus and Antonius. This was the epoch when literature was popular; or at least more nearly so than at any subsequent period. It saw the rise and fall of dramatic art: in other respects it merely introduced the forms which were carried to perfection in the Ciceronian and Augustan ages. The language did not greatly improve in smoothness, or adaptation to express finished thought. The ancients, indeed, saw a difference between Ennius, Pacuvius, and Accius, but it may be questioned whether the advance would be perceptible by us. Still the labor limae unsparingly employed by Terence, the rules of good writing laid down by Lucilius, and the labours of the great grammarians and orators at the close of the period, prepared the language for that rapid development which it at once assumed in the masterly hands of Cicero.
The Second Period represents the highest excellence in prose and poetry. The prose era came first, and is signalised by the names of Cicero, Sallust, and Caesar. The celebrated writers were now mostly men of action and high position in the state. The principles of the language had become fixed; its grammatical construction was thoroughly understood, and its peculiar genius wisely adapted to those forms of composition in which it was naturally capable of excelling. The perfection of poetry was not attained until the time of Augustus. Two poets of the highest renown had indeed flourished in the republican period; but though endowed with lofty genius they are greatly inferior to their successors in sustained art, e.g. the constructions of prose still dominate unduly in the domain of verse, and the intricacies of rhythm are not fully mastered. On the other hand, prose has, in the Augustan age, lost somewhat of its breadth and vigour. Even the beautiful style of Livy shows traces of that intrusion of the poetic element which made such destructive inroads into the manner of the later prose writers. In this period the writers as a rule are not public men, but belong to what we should call the literary class. They wrote not for the public but for the select circle of educated men whose ranks were gradually narrowing their limits to the great injury of literature. If we ask which of the two sections of this period marks the most strictly national development, the answer must be--the Ciceronian; for while the advancement of any literature is more accurately tested by its prose writers than by its poets, this is specially the case with the Romans, whose genius was essentially prosaic. Attention now began to be bestowed on physical science, and the applied sciences also received systematic treatment. The rhetorical element, which had hitherto been overpowered by the oratorical, comes prominently forward; but it does not as yet predominate to a prejudicial extent.
The Third Period, though of long duration, has its chief characteristics clearly defined from the beginning. The foremost of these is unreality, arising from the extinction of freedom and consequent loss of interest in public life. At the same time, the Romans, being made for political activity, did not readily content themselves with the less exciting successes of literary life. The applause of the lecture-room was a poor substitute for the thunders of the assembly. Hence arose a declamatory tone, which strove by frigid and almost hysterical exaggeration to make up for the healthy stimulus afforded by daily contact with affairs. The vein of artificial rhetoric, antithesis, and epigram, which prevails from Lucan to Fronto, owes its origin to this forced contentment with an uncongenial sphere. With the decay of freedom, taste sank, and that so rapidly that Seneca and Lucan transgress nearly as much against its canons as writers two generations later. The flowers which had bloomed so delicately in the wreath of the Augustan poets, short-lived as fragrant, scatter their sweetness no more in the rank weed-grown garden of their successors.
The character of this and of each epoch will be dwelt on more at length as it comes before us for special consideration, as well as the social or religious phenomena which influenced the modes of thought or expression. The great mingling of nationalities in Rome during the Empire necessarily produced a corresponding divergence in style, if not in ideas. Nevertheless, although we can trace the national traits of a Lucan or a Martial underneath their Roman culture, the fusion of separate elements in the vast capital was so complete, or her influence so overpowering, that the general resemblance far outweighs the differences, and it is easy to discern the common features which signalise unmistakeably the writers of the Silver Age.
I. ON THE EARLIEST REMAINS OF THE LATIN LANGUAGE
The question, Who were the earliest inhabitants of Italy? is one that cannot certainly be answered. That some lower race, analogous to those displaced in other parts of Europe [1] by the Celts and Teutons, existed in Italy at a remote period is indeed highly probable; but it has not been clearly demonstrated. At the dawn of the historic period, we find the Messapian and Iapygian races inhabiting the extreme south and south-west of Italy; and assuming, as we must, that their migrations had proceeded by land across the Apennines, we shall draw the inference that they had been gradually pushed by stronger immigrants into the furthest corner of the Peninsula. Thus we conclude with Mommsen that they are to be regarded as the historical aborigines of Italy. They form no part, however, of the Italian race. Weak and easily acted upon, they soon ceased to have any influence on the immigrant tribes, and within a few centuries they had all but disappeared as a separate nation. The Italian races, properly so called, who possessed the country at the time of the origin of Rome, are referable to two main groups, the Latin and the Umbrian. Of these, the Latin was numerically by far the smaller, and was at first confined within a narrow and somewhat isolated range of territory. The Umbrian stock, including the Samnite or Oscan, the Volscian and the Marsian, had a more extended area. At one time it possessed the district afterwards known as Etruria, as well as the Sabellian and Umbrian territories. Of the numerous dialects spoken by this race, two only are in some degree known to us (chiefly from inscriptions) the Umbrian and the Oscan. These show a close affinity with one another, and a decided, though more distant, relationship with the Latin. All three belong to a well-marked division of the Indo-European speech, to which the name of Italic is given. Its nearest congener is the Hellenic, the next most distant being the Celtic. The Hellenic and Italic may thus be called sister languages, the Celtic standing in the position of cousin to both, though, on the whole, more akin to the Italic. [2]
The Etruscan language is still a riddle to philologists, and until it is satisfactorily investigated the ethnological position of the people that spoke it must be a matter of dispute. The few words and forms which have been deciphered lend support to the otherwise more probable theory that they were an Indo-Germanic race only remotely allied to the Italians, in respect of whom they maintained to quite a late period many distinctive traits. [3] But though the Romans were long familiar with the literature and customs of Etruria, and adopted many Etruscan words into their language, neither of these causes influenced the literary development of the Romans in any appreciable degree. Italian philology and ethnology have been much complicated by reference to the Etruscan element. It is best to regard it, like the Iapygian, as altogether outside the pale of genuine Italic ethnography.
The main points of correspondence between the Italic dialects as a whole, by which they are distinguished from the Greek, are as follow:--Firstly, they all retain the spirants S, J (pronounced Y), and V, e.g. sub, vespera, janitrices, beside upo, espera, einateres. Again, the Italian u is nearer the original sound than the Greek. The Greeks sounded u like ii, and expressed the Latin u for the most part by ou. On the other hand the Italians lost the aspirated letters th, ph, ch, which remain in Greek, and frequently omitted the simple aspirate. They lost also the dual both in nouns and verbs, and all but a few fragmentary forms of the middle verb. In inflexion they retain the sign of the ablative (d), and, at least in Latin, the dat. plur. in bus. They express the passive by the letter r, a weakened form of the reflexive, the principle of which is reproduced in more than one of the Romance languages.
On the other hand, Latin differs from the other Italian dialects in numerous points. In pronouns and elsewhere Latin q becomes p in Umbrian and Oscan (pis = quis). Again, Oscan had two vowels more than Latin and was much more conservative of diphthongal sounds; it also used double consonants, which old Latin did not. The Oscan and Umbrian alphabets were taken from the Etruscan, the Latin from the Greek; hence the former lacked O Q X, and used [Symbol] or [Symbol] (san or soft z) for z (zeta = ds). They possessed the spirant F which they expressed by [Symbol] and used the symbol [Symbol] to denote V or W. They preserved the old genitive in as or ar (Lat. ai, ae) and the locative, both which were rarely found in Latin; also the Indo-European future in so (didest, herest) and the infin. in um (e.g. ezum = esse).
The old Latin alphabet was taken from the Dorian alphabet of Cumae, a colony from Chaleis, and consisted of twenty-one letters, A B C D E F Z H I K L M N O P Q R S T V X, to which the original added three more, O or [Symbol] (th), [Symbol] (ph), and [Symbol] (ch). These were retained in Latin as numerals though not as letters, [Symbol] in the form of C=100, [Symbol] or M as 1000, and [Symbol] or L as 50.
Of these letters Z fell out of use at an early period, its power being expressed by S (Saguntum = Zákunthos) or SS (massa = máza). Its rejection was followed by the introduction, of G. Plutarch ascribes this change to Sp. Carvilius about 231 B.C., but it is found on inscriptions nearly fifty years earlier. [4] In many words C was written for G down to a late period, e.g. CN. was the recognised abbreviation for Gnaeus.
In Cicero's time Z was taken into use again as well as the Greek Y, and the Greek combinations TH, PH, CH, chiefly for purposes of transliteration. The Emperor Claudius introduced three fresh symbols, two of which appear more or less frequently on monuments of his time. They are [Symbol] or [Symbol], the inverted digamma, intended to represent the consonantal V: [Symbol], or anti-sigma, to represent the Greek psi, and [Symbol] to represent the Greek upsilon with the sound of the French u or German ü. The second is not found in inscriptions.
Other innovations were the doubling of vowels to denote length, a device employed by the Oscans and introduced at Rome by the poet Accius, though Quintilian [5] implies that it was known before his time, and the doubling of consonants which was adopted from, the Greek by Ennius. In Greek, however, such doubling generally, though not always, has a philological justification. [6]
The pronounciation of Latin has recently been the subject of much discussion. It seems clear that the vowels did not differ greatly, if at all, from the same as pronounced by the modern Italians. The distinction between E and I, however, was less clearly marked, at least in the popular speech. Inscriptions and manuscripts afford abundant instances of their confusion. Menerva leber magester are mentioned by Quintilian, [7] and the employment of ei for the i of the dat. pl. of nouns of the second declension and of nobis vobis, and of e and i indifferently for the acc. pl. of nouns of the third declension, attest the similarity of sound. That the spirant J was in all cases pronounced as Y there is scarcely room for doubt. The pronunciation of V is still undetermined, though there is a great preponderance of evidence in favour of the W sound having been the original one. After the first century A.D. this semi-vowel began to develop into the labiodental consonant v, the intermediate stage being a labial v, such as one may often hear in South Germany at the present day, and which to ordinary ears would seem undistinguishable from w.
There is little to remark about the other letters, except that S, N, and M became very weak when final and were often entirely lost. S was rehabilitated in the literary dialect in the time of Cicero, who speaks of the omission to reckon it as subrusticum; but final M is always elided before a vowel. An illustration of the way in which final M and N were weakened may be found in the nasalised pronunciation of them in modern French (main, faim). The gutturals C and G have by some been supposed to have had from the first a soft sibilant sound before E and I; but from the silence of all the grammarians on the subject, from the transcriptions of C in Greek by kappa, not sigma or tau, and from the inscriptions and MSS. of the best ages not confusing CI with TI, we conclude that at any rate until 200 A.D. C and G were sounded hard before all vowels. The change operated quickly enough afterwards, and to a great extent through the influence of the Umbrian which had used d or ç before E and I for some time.
In spelling much irregularity prevailed, as must always be the case where there is no sound etymological theory on which to base it. In the earliest inscriptions we find many inconsistencies. The case-signs m, d, are sometimes retained, sometimes lost. In the second Scipionic epitaph we have oino (unum) side by side with Luciom. In the Columna Rostrata (260 B.C.) we have c for g, single instead of double consonants, et for it in ornavet, and o for u in terminations, all marks of ancient spelling, contrasted with maximos, maxumos; navebos, navebous; praeda, and other inconsistent or modern forms. Perhaps a later restoration may account for these. In the decree of Aemilius, posedisent and possidere are found. In the Lex Agraria we have pequnia and pecunia, in S. C. de Bacchanalibus, senatuos and nominus (gen. sing.), consoluerunt and cosoleretur, &c., showing that even in legal documents orthography was not fixed. It is the same in the MSS. of ancient authors. The oldest MSS. of Plautus, Lucretius, and Virgil, are consistent in a considerable number of forms with themselves and with each other, but vary in a still larger number. In antiquity, as at present, there was a conflict between sound and etymology. A word was pronounced in one way; science suggested that it ought to be written in another. This accounts for such variations as inperium, imperium; atque, adque; exspecto, expecto; and the like (cases like haud, haut; saxum, saxsum; are different). The best writers could not decide between these conflicting forms. A still greater fluctuation existed in English spelling in the seventeenth and eighteenth centuries, [8] but it has since been overcome. Great writers sometimes introduced spellings of their own. Caesar wrote Pompeiii (gen. sing.) for Pompeii, after the Oscan manner. He also brought the superlative simus into use. Augustus, following in his steps, paid great attention to orthography. His inscriptions are a valuable source of evidence for ascertaining the correctest spelling of the time. During and after the time of Claudius affected archaisms crept in, and the value both of inscriptions and MSS. is impaired, on the one hand, by the pedantic endeavour to bring spelling into accord with archaic use or etymology, and, on the other, by the increasing frequency of debased and provincial forms, which find place even in authoritative documents. In spite of the obscurity of the subject several principles of orthography have been definitely established, especially with regard to the older Latin, which will guide future editors. And the labours of Ritschl, Corssen, and many others, cannot fail to bring to light the most important laws of variability which have affected the spelling of Latin words, so far as the variation has not depended on mere caprice. [9]
With these preliminary remarks we may turn to the chief monuments of the old language, the difficulties and uncertainties of which have been greatly diminished by recent research. They are partly inscriptions (for the oldest period exclusively so), and partly public documents, preserved in the pages of antiquarians. Much may be learnt from the study of coins, which, though less ancient than some of the written literature, are often more archaic in their forms. The earliest of the existing remains is the song of the Arval Brothers, an old rustic priesthood (qui sacra publica faciunt propterea ut fruges ferant arva), [10] dating from the times of the kings. This fragment was discovered at Rome in 1778, on a tablet containing the acts of the sacred college, and was supposed to be as ancient as Romulus. The priesthood was a highly honourable office, its members were chosen for life, and emperors are mentioned among them. The yearly festival took place in May, when the fruits were ripe, and consisted in a kind of blessing of the first-fruits. The minute and primitive ritual was evidently preserved from very ancient times, and the hymn, though it has suffered in transliteration, is a good specimen of early Roman worship, the rubrical directions to the brethren being inseparably united with the invocation to the Lares and Mars. According to Mommsen's division of the lines, the words are--
ENOS, LASES, IUVATE, (ter) NEVE LUE RUE, MARMAR, SINS (V. SERS) INCURRERE IN PLEORES. (ter) SATUR FU, FERE MARS. LIMEN SALI. STA. BERBER. (ter) SEMUNIS ALTERNEI ADVOCAPIT CONCTOS. (ter) ENOS, MARMOR, IUVATO. (ter) TRIUMPE. (Quinquies)
The great difference between this rude dialect and classical Latin is easily seen, and we can well imagine that this and the Salian hymn of Numa were all but unintelligible to those who recited them. [11] The most probable rendering is as follows:--"Help us, O Lares! and thou, Marmar, suffer not plague and ruin to attack our folk. Be satiate, O fierce Mars! Leap over the threshold. Halt! Now beat the ground. Call in alternate strain upon all the heroes. Help us, Marmor. Bound high in solemn measure." Each line was repeated thrice, the last word five times.
As regards the separate words, enos, which should perhaps be written e nos, contains the interjectional e, which elsewhere coalesces with vocatives. [12] Lases is the older form of Lares. Lue rue = luem ruem, the last an old word for ruinam, with the case-ending lost, as frequently, and the copula omitted, as in Patres Conscripti, &c. Marmar, Marmor, or Mamor, is the reduplicated form of Mars, seen in the Sabine Mamers. Sins is for sines, as advocapit for advocabitis. [13] Pleores is an ancient form of plures, answering to the Greek pleionas in form, and to tous pollous, "the mass of the people" in meaning. Fu is a shortened imperative. [14] Berber is for verbere, imper. of the old verbero, is, as triumpe from triumpere = triumphare. Semunes from semo (se-homo "apart from man") an inferior deity, as we see from the Sabine Semo Sancus (= Dius Fidius). Much of this interpretation is conjectural, and other views have been advanced with regard to nearly every word, but the above given is the most probable.
The next fragment is from the Salian hymn, quoted by Varro. [15] It appears to be incomplete. The words are:
"Cozeulodoizeso. Omnia vero adpatula coemisse iamcusianes duo misceruses dun ianusve vet pos melios eum recum...," and a little further on, "divum empta cante, divum deo supplicante."
The most probable transcription is:
"Chorauloedus ero; Omnia vero adpatula concepere Iani curiones. Bonus creator es. Bonus Janus vivit, quo meliorem regum [terra Saturnia vidit nullum]"; and of the second, "Deorum impetu canite, deorum deum suppliciter canite."
Here we observe the ancient letter z standing for s and that for r, also the word cerus masc. of ceres, connected with the root creare. Adpatula seems = clara. Other quotations from the Salian hymns occur in Festus and other late writers, but they are not considerable enough to justify our dwelling upon them. All of them will be found in Wordsworth's Fragments and Specimens of early Latin.
There are several fragments of laws said to belong to the regal period, but they have been so modernised as to be of but slight value for the purpose of philological illustration. One or two primitive forms, however, remain. In a law of Romulus, we read Si nurus ... plorassit ... sacra divis parendum estod, where the full form of the imperative occurs, the only instance in the whole range of the language. [16] A somewhat similar law, attributed to Numa, contains some interesting forms:
"Si parentem puer verberit asi ole plorasit, puer divis parentum verberat? ille ploraverit diis sacer esto."
Much more interesting are the scanty remains of the Laws of the Twelve Tables (451, 450 B.C.). It is true we do not possess the text in its original form. The great destruction of monuments by the Gauls probably extended to these important witnesses of national progress. Livy, indeed, tells us that they were recovered, but it was probably a copy that was found, and not the original brass tables, since we never hear of these latter being subsequently exhibited in the sight of the people. Their style is bold and often obscure, owing to the omission of distinctive pronouns, though doubtless this obscurity would be greatly lessened if we had the entire text. Connecting particles are also frequently omitted, and the interdependence of the moods is less developed than in any extant literary Latin. For instance, the imperative mood is used in all cases, permissive as well as jussive, Si nolet arceram ne sternito, "If he does not choose, he need not procure a covered car." The subjunctive is never used even in conditionals, but only in final clauses. Those which seem to be subjunctives are either present indicatives (e.g. escit, vindicit) or second futures (e.g. faxit, rupsit.). The ablative absolute, so strongly characteristic of classical Latin, is never found, or only in one doubtful instance. The word igitur occurs frequently in the sense of "after that," "in that case," a meaning which it has almost lost in the literary dialect. Some portion of each Table is extant. We subjoin an extract from the first.
"1. Si in ius vocat, ito. Ni it, antestamino: igitur em capito. Si calvitur antestetur postea eum frustratur
pedemve struit, manum endo iacito iniicito
2. Rem ubi pacunt orato. Ni pacunt, in comitio aut in foro ante pagunt (cf. pacisci) meridiem caussam coiciunto. Com peroranto ambo praesentes. Una
Post meridiem praesenti litem addicito. Si ambo praesentes, Sol occasus suprema tempestas esto."
The difference between these fragments and the Latin of Plautus is really inconsiderable. But we have the testimony of Polybius [17] with regard to a treaty between Rome and Carthage formed soon after the Regifugium (509 B.C.), and therefore not much anterior to the Decemvirs, that the most learned Romans could scarcely understand it. We should infer from this that the language of the Twelve Tables, from being continually quoted to meet the exigencies of public life, was unconsciously moulded into a form intelligible to educated men; and that this process continued until the time when literary activity commenced. After that it remained untouched; and, in fact, the main portion of the laws as now preserved shows a strong resemblance to the Latin of the age of Livius, who introduced the written literature.
The next specimen will be the Columna Rostrata, or Column of Duillius. The original monument was erected to commemorate his naval victory over the Carthaginians, 260 B.C., but that which at present exists is a restoration of the time of Claudius. It has, however, been somewhat carelessly done, for several modernisms have crept into the language. But these are not sufficient to disprove its claim to be a true restoration of an ancient monument. To consider it a forgery is to disregard entirely the judgment of Quintilian, [18] who takes its genuineness for granted. It is in places imperfect--
"Secestanosque ... opsidioned exemet, lecionesque Cartaciniensis omnis maximosque macistratos luci palam post dies novem castreis exfociunt, magistratus effugiunt Macelamque opidom vi puenandod cepet. Enque eodem macistratud bene rem navebos marid consol primos ceset, copiasque clasesque navales primos gessit ornavet paravetque. Cumque eis navebous claseis Poenicas omnis, item maxumas copias Cartaciniensis, praesented Hanibaled dictatored olorom, illorum inaltod marid puenandod vicet. Vique navis cepet cum socieis septeresmom in alto septiremem unam, quinqueresmosque triresmosque naveis xxx: merset xiii. Aurom mersit captom numci [Symbols] DCC. arcentom captom praeda: numci CCCI[Symbols] CCCI[Symbols]. Omne captom, aes CCCI[Symbols] (plus vicies semel). Primos quoque navaled praedad poplom donavet primosque Cartaciniensis incenuos ingenuos duxit in triumpod."
We notice here C for G, ET for IT, O for V on the one hand: on the other, praeda where we should expect praida, besides the inconsistencies alluded to on p. 13.
The Mausoleum of the Scipios containing the epitaphs was discovered in 1780. The first of these inscriptions dates from 280 B.C. or twenty years earlier than the Columna Rostrata, and is the earliest original Roman philological antiquity of assignable date which we possess. But the other epitaphs on the Scipios advance to a later period, and it is convenient to arrange them all together. The earliest runs thus:--
"Cornéliús Lucíus, | Scípió Barbátus, Gnaivód patré prognátus | fórtis vír sapiénsque, quoiús formá vírtu | teí parísuma fúit, [19] consól censór aídílis | queí fuít apúd vos, Taurásia Cisaúna | Sámnió cépit subigít omné Loucánam | ópsidésque abdoúcit."
The next, the title of which is painted and the epitaph graven, refers to the son of Barbatus. Like the preceding, it is written in Saturnian verse:
"Honc oíno ploírumé co | séntiónt Romái duonóro óptumó fu | íse viró viróro Lucíom Scípióne. | Fíliós Barbáti consól censór aidílis | híc fuét apúd vos hec cépit Córsica 'Aleri | áque urbé pugnándod, dedét Témpestátebus | aíde méretod vótam."
The more archaic character of this inscription suggests the explanation that the first was originally painted, and not engraven till a later period, when, as in the case of the Columna Rostrata, some of its archaisms (probably the more unintelligible) were suppressed. In ordinary Latin it would be:
"Hunc unum plurimi consentiunt Romani (or Romae) bonorum optimum fuisse virum virorum, Lucium Scipionem. Filius (erat) Barbati, Consul, Censor. Aedilis hic fuit apud vos. Hic cepit Corsicam Aleriamque urbem pugnando; dedit tempestatibus aedem merito votam."
The third epitaph is on P. Corn. Scipio, probably son of the great Africanus, and adopted father of Scipio Aemilianus:--
"Quei ápice insígne diális | fláminís gesístei mors pérfecít tua ut éssent | ómniá brévia honós famá virtúsque | glória átque ingénium: quibús sei in lónga lícui | sét tíbi útier víta facilé factís superásses | glóriám maiórum. quaré lubéns te in grémiu | Scípió récipit terrá, Publí, prognátum | Públió Cornéli."
The last which will be quoted here is that of L. Corn. Scipio, of uncertain date:
"Magná sapiéntiá mul | tásque vírtútes Aetáte quóm párva | póssidét hoc sáxsum, quoieí vitá defécit | nón honós honóre. Is híc sitús, qui núnquam | víctus ást virtúteí. Annós gnatús vigínti | ís Diteíst mandátus, ne quaíratís honóre | queí minus sít mandátus."
These last two are written in clear, intelligible Latin, the former showing in addition a genuine literary inspiration. Nevertheless, the student will perceive many signs of antiquity in the omission of the case- ending m, in the spellings gesistei, quom ( = cum. prep.) in the old long quantities omnia fama facile and the unique quairatis. There are no less than five other inscriptions in the Mausoleum, one of which concludes with four elegiac lines, but they can hardly be cited with justice among the memorials of the old language.
The Senatus Consultum de Bacchanalibus, or, as some scholars prefer to call it, Epistola Consulum ad Teuranos (186 B.C.), found at Terra di Teriolo, in Calabria, in 1640, is quite in its original state. It is easily intelligible, and except in orthography, scarcely differs from classical Latin. We subjoin it entire, as it is a very complete and important specimen of the language, and with it we shall close our list:--
"1. Q. Marcius L. f. S(p) Postumius L. f. cos senatum consoluerunt n. Oct- 2. ob. apud aedem | Duelonai. Sc. arf. M. Claudi(us) M. f. Bellonae Scribendo adfuerunt L. Valeri(us) P.f.Q. Minuci(us) C. f.-- 3. De Bacanalibus quei foideratei | esent ita exdeicendum censuere. 4. Neiquis eorum Bacanal habuise velet. Sei ques | esent quei vellet Si qui sibei deicerent necesus ese Bacanal habere, eeis utei 5. ad pr(aetorem) urbanum | Romam venirent deque eeis rebus, 6. ubei eorum verba audita esent, utei senatus | noster decerneret, dum ne minus Senatorbus C adesent, quom ea adessent 7. res cosoleretur | Bacas vir nequis adiese velet ceivis Roma- 8. nus neve nominus Latini neve socium | quisquam, nisei pr(aetorem) urbanum adiesent, isque de senatuos sententiad, adiissent 9. dum ne | minus Senatoribus C adesent, quom ea res cosoleretur, iousiset. Censuere. | 10. Sacerdos nequis vir eset. Magister neque vir neque mulier 11. quisquam eset. | Neve pecuniam quisquam eorum comoinem ha- communem 12. buise velet, neve magistratum | neve pro magistratud, neque 13. virum neque mulierem quiquam fecise velet. | Neve posthac inter sed coniourase 14. neve comvovise neve conspondise | neve compromesise velet, neve quis- 15. quam fidem inter sed dedise velet | Sacra in oquoltod ne quisquam occulto 16. fecise velet, neve in poplicod neve in | preivatod neve exstrad urbem 17. sacra quisquam fecise velet,--nisei | pr(aetorem) urbanum adieset isque 18. de senatuos sententiad, dum ne minus | senatoribus C adesent, uom es res cocoleretur, iousiset. Censuere. 19. Homines plous V oinversei virei atque mulieres sacra ne quisquam | universi 20. fecise velet, neve inter ibei virei plous duobus mulieribus plous tri- 21. bus | arfuise velent, nisei de pr(aetoris) urbani senatuosque sententiad, 22. utei suprad | scriptam est. 23. Haice utei in coventionid exdeicatis ne minus trinum | noundinum contione 24. senatuosque sententiam utei scientes esetis--eorum | sententia ita fuit: 25. Sei ques esent, quei arvorsum ead fecisent, quam suprad | scriptum adversum ea 26. est, eeis rem caputalem faciendam censuere--atque utei | hoce in 27. tabolam abenam inceideretis, ita senatus aiquom censuit; | uteique eam aequum 28. figier ioubeatis ubei facilumed gnoscier potisit;--atque | utei ea Ba- 29. canalia, sei qua sunt, exstrad quam sei quid ibei sacri est | ita utei suprad scriptum est, in diebus x. quibus vobis tabelai datai 30. erunt, | faciatis utci dismota sient--in agro Teurano." Tauriano
We notice that there are in this decree no doubled consonants, no ablatives without the final d (except the two last words, which are probably by a later hand), and few instances of ae or i for the older ai, ei; oi and ou stand as a rule for oe, u; ques, eeis, for qui, ii. On the other hand us has taken the place of os as the termination of Romanus, Postumius, &c., and generally u is put instead of the older o. The peculiarities of Latin syntax are here fully developed, and the language has become what we call classical. At this point literature commences, and a long succession of authors from Plautus onwards carry the history of the language to its completion; but it should be remembered that few of these authors wrote in what was really the speech of the people. In most cases a literature would be the best criterion of a language. In Latin it is otherwise. The popular speech could never have risen to the complexity of the language of Cicero and Sallust. This was an artificial tongue, based indeed on the colloquial idiom, but admitting many elements borrowed from the Greek. If we compare the language and syntax of Plautus, who was a genuine popular writer, with that of Cicero in his more difficult orations, the difference will at once be felt. And after the natural development of classical Latin was arrested (as it already was in the time of Augustus), the interval between the colloquial and literary dialects became more and more wide. The speeches of Cicero could never have been unintelligible even to the lowest section of the city crowd, but in the third and fourth centuries it is doubtful whether the common people understood at all the artificially preserved dialect to which literature still adhered. Unfortunately our materials for tracing the gradual decline of the spoken language are scanty. The researches of Mommsen, Ritschl, and others, have added considerably to their number. And from these we see that the old language of the early inscriptions was subjected to a twofold process of growth. On the one hand, it expanded into the literary dialect under the hands of the Graecising aristocracy; on the other, it ran its course as a popular idiom, little affected by the higher culture for several centuries until, after the decay of classical Latin, it reappears in the fifth century, strikingly reminding us in many points of the earliest infancy of the language. The lingua plebeia, vulgaris, or rustica, corrupted by the Gothic invasions, and by the native languages of the other parts of the empire which it only partially supplanted, became eventually distinguished from the Lingua Latina (which was at length cultivated, even by the learned, only in writing,) by the name of Lingua Romana. It accordingly differed in different countries. The purest specimens of the old Lingua Romana are supposed to exist in the mountains of Sardinia and in the country of the Grisons. In these dialects many of the most ancient formations were preserved, which, repudiated by the classical Latin, have reappeared in the Romance languages, bearing testimony to the inherent vitality of native idiom, even when left to work out its own development unaided by literature.
Appendix
Examples of the corrupted dialect of the fifth and following centuries. [20]
1. An epitaph of the fifth century.
"Hic requiescit in pace domna domina
Bonusa quix ann. xxxxxx et Domo quae vixit Domino
Menna quixitannos ... Eabeat anatema a Juda si quis alterum qui vixit annos Habeat anathema
omine sup. me posuerit. Anatema abeas da trecenti decem et hominem super habeas de trecentis
octo patriarche qui chanones esposuerunt et da s ca Xpi patriarchis canones exposuerunt sanctis Christi
quatuor Eugvangelia" Evangeliis
2. An instrument written in Spain under the government of the Moors in the year 742, a fragment of which is taken from Lanzi. The whole is given by P. Du Mesnil in his work on the doctrine of the Church.
"Non faciant suas missas misi portis cerratis: sin peiter seratis (minus) pendant
decem pesantes argenti. Monasterie quae sunto in eo mando ... faciunt nummos Monasteriae faciant
Saracenis bona acolhensa sine vexatione neque forcia: vendant sine vectigalia? vi
pecho tali pacto quod non vadant tributo foras de nostras terras." nostris terris
3. The following is the oath of fealty taken by Lewis, King of Germany, in 842 A.D.
"Pro Deo amur et pro Christian poble et nostro comun salvament Dei amore Christiano populo nostra communi salute
dist di enavant in quant de isto die in posterum quantum
Dis saver et podirme dunat: si salverat eo cist meon fradre Karlo Deus scire posse donet: sic (me) servet ei isti meo fratri Carolo
et in adjudha et in cadhuna cosa si cum om per adjumento qualicunque caussa sic quomodo homo per
dreit son fradra salvar distino: quid il mi altre rectum (=jure) suo fratri salvare destine: quod ille mihi ex altera (parte)
si fazet; et abludher nul plaid nunquam prendrai, qui sic faciet; ab Lothario nullum consilium unquam accipiam, quod
meon vol cist meon fradra Karlo in damno sit." mea voluntate isti meo fratri Carolo damnum
II. ON THE BEGINNINGS OF ROMAN LITERATURE
Mommsen has truly remarked that the culminating point of Roman development was the period which had no literature. Had the Roman people continued to move in the same lines as they did before coming in contact with the works of Greek genius, it is possible that they might have long remained without a literature. Or if they had wrought one out for themselves, it would no doubt have been very different from that which has come down to us. As it is, Roman literature forms a feature in human history quite without a parallel. We see a nation rich in patriotic feeling, in heroes legendary and historical, advancing step by step to the fullest solution then known to the world of the great problems of law and government, and finally rising by its virtues to the proud position of mistress of the nations, which yet had never found nor, apparently, even wanted, any intellectual expression of its life and growth, whether in the poet's inspired song or in the sober narrative of the historian.
The cause of this striking deficiency is to be sought in the original characteristics of the Latin race. The Latin character, as distinguished from the Greek, was eminently practical and unimaginative. It was marked by good sense, not by luxuriant fancy: it was "natum rebus agendis." The acute intellect of the Romans, directing itself from the first to questions of war and politics, obtained such a clear and comprehensive grasp of legal and political rights as, united with an unwavering tenacity of purpose, made them able to administer with profound intelligence their vast and heterogeneous empire. But in the meantime reflective thought had received no impulse.
The stern and somewhat narrow training which was the inheritance of the governing class necessarily confined their minds to the hard realities of life. Whatever poetical capacity the Romans may once have had was thus effectually checked. Those aspirations after an ideal beauty which most nations that have become great have embodied in "immortal verse"--if they ever existed in Rome--faded away before her greatness reached its meridian, only to be rekindled into a shadowy and reflected brightness when Rome herself had begun to decay.
There is nothing that so powerfully influences literature as the national religion. Poetry, with which in all ages literature begins, owes its impulse to the creations of the religious imagination. Such at least has been the case with those Aryan races who have been most largely endowed with the poetical gift. The religion of the Roman differed from that of the Greek in having no background of mythological fiction. For him there was no Olympus with its half-human denizens, no nymph-haunted fountain, no deified heroes, no lore of sacred bard to raise his thoughts into the realm of the ideal. His religion was cold and formal. Consisting partly of minute and tedious ceremonies, partly of transparent allegories whereby the abstractions of daily life were clothed with the names of gods, it possessed no power over his inner being. Conceptions such as Sowing (Saturnus), War (Bellona), Boundary (Terminus), Faithfulness (Fides), much as they might influence the moral and social feelings, could not be expanded into material for poetical inventions. And these and similar deities were the objects of his deepest reverence. The few traces that remained of the ancient nature-worship, unrelated to one another, lost their power of producing mythology. The Capitoline Jupiter never stood to the Romans in a true personal relation. Neither Mars nor Hercules (who were genuine Italian gods) was to Rome what Apollo was to Greece. Whatever poetic sentiment was felt centred rather in the city herself than in the deities who guarded her. Rome was the one name that roused enthusiasm; from first to last she was the true Supreme Deity, and her material aggrandisement was the never-exhausted theme of literary, as it had been the consistent goal of practical, effort.
The primitive culture of Latium, in spite of all that has been written about it, is still so little known, that it is hard to say whether there existed elements out of which a native art and literature might have been matured. But it is the opinion of the highest authorities that such elements did exist, though they never bore fruit. The yearly Roman festival with its solemn dance, [1] the masquerades in the popular carnival, [2] and the primitive litanies, afforded a basis for poetical growth almost identical with that which bore such rich fruit in Greece. It has been remarked that dancing formed a more important part of these ceremonies than song. This must originally have been the case in Greece also, as it is still in all primitive stages of culture. But whereas in Greece the artistic cultivation of the body preceded and led up to the higher conceptions of pure art, in Rome the neglect of the former may have had some influence in repressing the existence of the latter.
If the Romans had the germ of dramatic art in their yearly festivals, they had the germ of the epos in their lays upon distinguished warriors. But the heroic ballad never assumed the lofty proportions of its sister in Greece. Given up to women and boys it abdicated its claim to widespread influence, and remained as it had begun, strictly "gentile." The theory that in a complete state place should be found for the thinker and the poet as well as for the warrior and legislator, was unknown to ancient Rome. Her whole development was based on the negation of this theory. It was only when she could no longer enforce her own ideal that she admitted under the strongest protest the dignity of the intellectual calling. This will partly account for her singular indifference to historical study. With many qualifications for founding a great and original historical school, with continuous written records from an early date, with that personal experience of affairs without which the highest form of history cannot be written, the Romans yet allowed the golden opportunity to pass unused, and at last accepted a false conception of history from the contemporary Greeks, which irreparably injured the value of their greatest historical monuments. Had it been customary for the sober-minded men who contributed to make Roman history for more than three centuries, to leave simple commentaries for the instruction of after generations, the result would have been of incalculable value. For that such men were well qualified to give an exact account of facts is beyond doubt. But the exclusive importance attached to active life made them indifferent to such memorials, and they were content with the barren and meagre notices of the pontifical annals and the yearly registers of magistrates in the temple of Capitoline Jupiter.
These chronicles and registers on the one hand, and the hymns, laws, [3] and formulas of various kinds on the other, formed the only written literature existing in the times before the Punic wars. Besides these, there, were a few speeches, such as that of Ap. Claudius Caecus (280 B.C.) against Pyrrhus, published, and it is probable that the funeral orations of the great families were transmitted either orally or in writing from one generation to another, so as to serve both as materials for history and models of style.
Much importance has been assigned by Niebuhr and others to the ballad literature that clustered round the great names of Roman history. It is supposed to have formed a body of national poetry, the complete loss of which is explained by the success of the anti-national school of Ennius which superseded it. The subjects of this poetry were the patriots and heroes of old Rome, and the traditions of the republic and the struggles between the orders were faithfully reflected in it. Macaulay's Lays of Ancient Rome are a brilliant reconstruction of what he conceived to be the spirit of this early literature. It was written, its supporters contend, in the native Saturnian, and, while strongly leavened with Greek ideas, was in no way copied from Greek models. It was not committed to writing, but lived in the memory of the people, and may still be found embedded in the beautiful legends which adorn the earlier books of Livy. Some idea of its scope may be formed from the fragments that remain of Naevius, who was the last of the old bards, and bewailed at his own death the extinction of Roman poetry. Select lays were sung at banquets either by youths of noble blood, or by the family bard; and if we possessed these lays, we should probably find in them a fresher and more genuine inspiration than in all the literature which followed.
This hypothesis of an early Roman epos analogous to the Homeric poems, but preserved in a less coherent shape, has met with a close investigation at the hands of scholars, but is almost universally regarded as "not proven." The scanty and obscure notices of the early poetry by no means warrant our drawing so wide an inference as the Niebuhrian theory demands. [4] All they prove is that the Roman aristocracy, like that of all other warlike peoples, listened to the praises of their class recited by minstrels during their banquets or festive assemblies. But so far from the minstrel being held in honour as in Greece and among the Scandinavian tribes, we are expressly told that he was in bad repute, being regarded as little better than a vagabond. [5] Furthermore, if these lays had possessed any merit, they would hardly have sunk into such complete oblivion among a people so conservative of all that was ancient. In the time of Horace Naevius was as well known as if he had been a modern; if, therefore, he was merely one, though, the most illustrious, of a long series of bards, it is inconceivable that his predecessors should have been absolutely unknown. Cicero, indeed, regrets the loss of these rude lays; but it is in the character of an antiquarian and a patriot that he speaks, and not of an appraiser of literary merit. The really imaginative and poetical halo which invests the early legends of Rome must not be attributed to individual genius, but partly to patriotic impulse working among a people for whom their city and her faithful defenders supplied the one material for thought, and partly, no doubt, though we know not in what degree, to early contact with the legends and culture of Greece. The epitaphs of the first two Scipios are a good criterion of the state of literary acquirement at the time. They are apparently uninfluenced by Greek models, and certainly do not present a high standard either of poetical thought or expression.
The fact, also, that the Romans possessed no native term for a poet is highly significant. Poeta, which we find as early as Naevius, [6] is Greek; and vates, which Zeuss [7] traces to a Celtic root, meant originally "soothsayer," not "poet." [8] Only in the Augustan period does it come into prominence as the nobler term, denoting that inspiration which is the gift of heaven and forms the peculiar privilege of genius. [9] The names current among the ancient Romans, librarius, scriba, were of a far less complimentary nature, and referred merely to the mechanical side of the art. [10] These considerations all tend to the conclusion that the true point from which to date the beginning of Roman literature is that assigned by Horace, [11] viz. the interval between the first and second Punic wars. It was then that the Romans first had leisure to contemplate the marvellous results of Greek culture, revealed to them by the capture of Tarentum (272 B.C.), and still more conspicuously by the annexation of Sicily in the war with Carthage. In Sicily, even more than in Magna Graecia, poetry and the arts had a splendid and enduring life. The long line of philosophers, dramatists, and historians was hardly yet extinct. Theocritus was still teaching his countrymen the new poetry of rustic life, and many of the inhabitants of the conquered provinces came to reside at Rome, and imported their arts and cultivation; and from this period the history of Roman poetry assumes a regular and connected form. [12]
Besides the scanty traces of written memorials, there were various elements in Roman civilisation which received a speedy development in the direction of literature and science as soon as Greek influence was brought to bear on them. These may be divided into three classes, viz. rudimentary dramatic performances, public speaking in the senate and forum, and the study of jurisprudence.
The capacity of the Italian nations for the drama is attested by the fact that three kinds of dramatic composition were cultivated in Rome, and if we add to these the semi-dramatic Fescenninae, we shall complete the list of that department of literature. This very primitive type of song took its rise in Etruria; it derives its name from Fescennium, an Etrurian town, though others connect it with fascinum, as if originally it were an attempt to avert the evil eye. [13] Horace traces the history of this rude banter from its source in the harvest field to its city developments of slander and abuse, [14] which needed the restraint of the law. Livy, in his sketch of the rise of Roman drama, [15] alludes to these verses as altogether unpolished, and for the most part extemporaneous. He agrees with Horace in describing them as taking the form of dialogue (alternis), but his account is meagre in the extreme. In process of time the Fescennines seem to have modified both their form and character. From being in alternate strains, they admitted a treatment as if uttered by a single speaker,--so at least we should infer from Macrobius's notice of the Fescennines sent by Augustus to Pollio, [16] which were either lines of extempore raillery, or short biting epigrams, like that of Catullus on Vatinius, [17] owing their title to the name solely to the pungency of their contents. In a general way they were restricted to weddings, and we have in the first Epithalamium of Catullus, [18] and some poems by Claudian, highly-refined specimens of this class of composition. The Fescennines owed their popularity to the light-hearted temper of the old Italians, and to a readiness at repartee which is still conspicuous at the present day in many parts of Italy.
With more of the dramatic element than the Fescennines, the Saturae appear to have early found a footing in Rome, though their history is difficult to trace. We gather from Livy [19] that they were acted on the stage as early as 359 B.C. Before this the boards had been occupied by Etruscan dancers, and possibly, though not certainly, by improvisers of Fescennine buffooneries; but soon after this date Saturae were performed by one or more actors to the accompaniment of the flute. The actors, it appears, sang as well as gesticulated, until the time of Livius, who set apart a singer for the interludes, while he himself only used his voice in the dialogue. The unrestrained and merry character of the Saturae fitted them for the after-pieces, which broke up the day's proceedings (exodium); but in later times, when tragedies were performed, this position was generally taken by the Atellana or the Mime. The name Satura (or Satira) is from lanx saturu, the medley or hodge-podge, "quae referta variis multisque primitiis in sacro apud priscos diis inferebatur." Mommsen supposes it to have been the "masque of the full men" (saturi), enacted at a popular festival, while others have connected it with the Greek Satyric Drama. In its dramatic form it disappears early from history, and assumes with Ennius a different character, which has clung to it ever since.
Besides these we have to notice the Mime and the Atellanae. The former corresponds roughly with our farce, though the pantomimic element is also present, and in the most recent period gained the ascendancy. Its true Latin name is Planipes (so Juvenal Planipedes audit Fabios [20] in allusion to the actor's entering the stage barefoot, no doubt for the better exhibition of his agility). Mimes must have existed from very remote times in Italy, but they did not come into prominence until the later days of the Republic, when Laberius and Syrus cultivated them with marked success. We therefore defer noticing them until our account of that period.
There still remain the fabulae Atellanae, so called from Atella, an Oscan town of Campania, and often mentioned as Osci Ludi. These were more honourable than the other kinds, inasmuch as they were performed by the young nobles, wearing masks, and giving the reins to their power of improvisation. Teuffel (L. L. § 9) considers the subjects to have been "comic descriptions of life in small towns, in which the chief personages gradually assumed a fixed character." In the period of which we are now treating, i.e. before the time of a written literature, they were exclusively in the hands of free-born citizens, and, to use Livy's expression, were not allowed to be polluted by professional actors. But this hindered their progress, and it was not until several centuries after their introduction, viz., in the time of Sulla, that they received literary treatment. They adopted the dialect of the common people, and were more or less popular in their character. More details will be given when we examine them in their completer form. All such parts of these early scenic entertainments as were not mere conversation or ribaldry, were probably composed in the Saturnian metre.
This ancient rhythm, the only one indigenous to Italy, presents some points worthy of discussion. The original application of the name is not agreed upon. Thompson says, "The term Saturnius seems to have possessed two distinct applications. In both of these, however, it simply meant 'as old as the days of Saturn,' and, like the Greek Ogugios, was a kind of proverbial expression for something antiquated. Hence (1) the rude rhythmical effusions, which contained the early Roman story, might be called Saturnian, not with reference to their metrical law, but to their antiquity; and (2) the term Saturnius was also applied to a definite measure on the principles of Greek prosody, though rudely and loosely moulded--the measure employed by Naevius, which soon became antiquated, when Ennius introduced the hexameter--and which is the metrum Saturnium recognised by the grammarians." [21] Whether this measure was of Italian origin, as Niebuhr and Macaulay think, or was introduced from Greece at an early period, it never attained to anything like Greek strictness of metrical rules. To scan a line of Livius or Naevius, in the strict sense of the word, is by no means an easy task, since there was not the same constancy of usage with regard to quantity as prevailed after Ennius, and the relative prominence of syllables was determined by accent, either natural or metrical. By natural accent is meant the higher or lower pitch of the voice, which rests on a particular syllable of each word e.g. Lúcius; by metrical accent the ictus or beat of the verse, which in the Greek rhythms implies a long quantity, but in the Saturnian measure has nothing to do with quantity. The principle underlying the structure of the measure is as follows. It is a succession of trochaic beats, six in all, preceded by a single syllable, as in the instance quoted by Macaulay:
"The | queén was ín her chámber eáting bréad and hóney,"
So in the Scipionic epitaph,
"Qui | bús si in lónga lícuisét tibi útier víta."
These are, doubtless, the purest form of the measure. In these there is no break, but an even continuous flow of trochaic rhythm. But even in the earliest examples of Saturnians there is a very strong tendency to form a break by making the third trochaic beat close a word, e.g.
"Cor | néliús Lucíus || Scípió Barbátus,"
and this structure prevailed, so that in the fragments of Livius and Naevius by far the greater number exhibit it.
When Greek patterns of versification were introduced, the Saturnian rhythm seems to have received a different explanation. It was considered as a compound of the iambic and trochaic systems. It might be described as an iambic hepthemimer followed by a trochaic dimeter brachycatalectic. The latter portion was preserved with something like regularity, but the former admitted many variations. The best example of this Graecised metre is the celebrated line--
"Dabunt malum Metelli | Naevio poetae."
If, however, we look into the existing fragments of Naevius and Livius, and compare them with the Scipionic epitaphs, we shall find that there is no appreciable difference in the rhythm; that whatever theory grammarians might adopt to explain it, the measure of these poets is the genuine trochaic beat, so natural to a primitive people, [22] and only so far elaborated as to have in most cases a pause after the first half of the line. The idea that the metre had prosodiacal laws, which, nevertheless, its greatest masters habitually violated, [23] is one that would never have been maintained had not the desire to systematise all Latin prosody on a Greek basis prevailed almost universally. The true theory of early Latin scansion is established beyond a doubt by the labours of Ritschl in regard to Plautus. This great scholar shows that, whereas after Ennius classic poetry was based on quantity alone, before him accent had at least as important a place; and, indeed, that in the determination of quantity, the main results in many cases were produced by the influence of accent.
Accent (Gr. prosodia) implied that the pronunciation of the accented syllable was on a higher or lower note than the rest of the word. It was therefore a musical, not a quantitative symbol. The rules for its position are briefly as follows. No words but monosyllables or contracted forms have the accent on the last; dissyllables are therefore always accented on the first, and polysyllables on the first or second, according as the penultimate is short or long, Lúcius, cecídi. At the same time, old Latin was burdened with a vast number of suffixes with a long final vowel. The result of the non-accentuation of the last syllable was a continual tendency to slur over and so shorten these suffixes. And this tendency was carried in later times to such an extent as to make the quantity of all final vowels after a short syllable bearing the accent indifferent. There were therefore two opposing considerations which met the poet in his capacity of versifier. There was the desire to retain the accent of every- day life, and so make his language easy and natural, and the desire to conform to the true quantity, and so make it strictly correct. In the early poets this struggle of opposing principles is clearly seen. Many apparent anomalies in versification are due to the influence of accent over-riding quantity, and many again to the preservation of the original quantity in spite of the accent. Ennius harmonised with great skill the claims of both, doing little more violence to the natural accent in his elaborate system of quantity than was done by the Saturnian and comic poets with their fluctuating usage. [24]
To apply these results to the Saturnian verses extant, let us select a few examples:
"Gnaivód patré prognátus | fórtis vír sapiénsque."
patre or patred retains its length by position, i.e. its metrical accent, against the natural accent pátre. In the case of syllables on which the ictus does not fall the quantity and accent are indifferent. They are always counted as short, two syllables may stand instead of one--
per liquidum máre sudántes | dítem véxárant.
or the unaccented syllable may be altogether omitted, as in the second half of the line--
"dítem véxárant."
In a line of Naevius--
"Runcús atqué Purpúreus | fílií térras."
we have in Purpúreus an instance of accent dominating over quantity. But the first two words, in which the ictus is at variance with both accent and quantity, show the loose character of the metre. An interesting table is given by Corssen proving that the variance between natural and metrical accent is greater in the Saturnian verses than in any others, and in Plautus than in subsequent poets, and in iambics than in trochaics. [25] We should infer from these facts (1) that the trochaic metre was the one most naturally suited to the Latin language; (2) that the progress in uniting quantity and accent, which went on in spite of the great inferiority of the poets, proves that the early poets did not understand the conditions of the problem which they had set before them. To follow out this subject into detail would be out of place here. The main point that concerns our present purpose is, that the great want of skill displayed in the construction of the Saturnian verse [26] shows the Romans to have been mere novices in the art of poetical composition.
The Romans, as a people, possessed a peculiar talent for public speaking. Their active interest in political life, their youthful training and the necessity of managing their own affairs at an age which in most countries would be wholly engrossed with boyish sports, all combined to make readiness of speech an almost universal acquirement. The weighty earnestness (gravitas) peculiar to the national character was nowhere more conspicuously displayed than in the impassioned and yet strictly practical discussions of the senate. Taught as boys to follow at their father's side, whether in the forum, at the law courts, in the senate at a great debate, or at home among his agricultural duties, they gained at an early age an insight into public business and a patient aptitude for work, combined with a power of manly and natural eloquence, which nothing but such daily familiarity could have bestowed. In the earlier centuries of Rome the power of speaking was acquired solely by practice. Eloquence was not reduced to the rules of an art, far less studied through manuals of rhetoric. The celebrated speech of Appius Claudius when, blind, aged, and infirm, he was borne in a litter to the senate-house, and by his burning words shamed the wavering fathers into an attitude worthy of their country, was the greatest memorial of this unstudied native eloquence. When Greek letters were introduced, oratory, like everything else, was profoundly influenced by them; and although it never, during the republican period, lost its national character, yet too much of mere display was undoubtedly mixed up with it, and the severe self-restraint of the native school disappeared, or was caricatured by antiquarian imitators. The great nurse of Roman eloquence was Freedom; when that was lost, eloquence sank, and while that existed, the mere lack of technical dexterity cannot have greatly abated from the real power of the speakers.
The subject which the Romans wrought out for themselves with the least assistance from Greek thought, was Jurisprudence. In this they surpassed not only the Greeks, but all nations ancient and modern. From the early formulae, mostly of a religious character, which existed in the regal period, until the publication of the Decemviral code, conservatism and progress went hand in hand. [27] After that epoch elementary legal knowledge began to be diffused, though the interpretation of the Twelve Tables was exclusively in the hands of the Patricians. But the limitation of the judicial power by the establishment of a fixed code, and the obligation of the magistrate to decide according to the written letter, naturally encouraged a keen study of the sources which in later times expanded into the splendid developments of Roman legal science. The first institution of the table of legis actiones, attributed to Appius Claudius (304 B.C.), must be considered as the commencement of judicial knowledge proper. The responsa prudentium, at the giving of which younger men were present as listeners, must have contributed to form a legal habit of thought among the citizens, and prepared a vast mass of material for the labours of the philosophic jurists of a later age.
But inasmuch as neither speeches nor legal decisions were generally committed to writing, except in the bare form of registers, we do not find that there was any growth of regular prose composition. The rule that prose is posterior to poetry holds good in Rome, in spite of the essentially prosaic character of the people. It has been already said that religious, legal, and other formulae were arranged in rhythmical fashion, so as to be known by the name of carmina. And conformably to this we see that the earliest composers of history, who are in point of time the first prose writers of Rome, did not write in Latin at all, but in Greek. The history of Latin prose begins with Cato. He gave it that peculiar colouring which it never afterwards entirely lost. Having now completed our preliminary remarks, we shall proceed to a more detailed account of the earliest writers whose names or works have come down to us.
Chapter III
THE INTRODUCTION OF GREEK LITERATURE--LIVIUS AND NAEVIUS (240-204 B.C.).
It is not easy for us to realise the effect produced on the Romans by their first acquaintance with Greek civilisation. The debt incurred by English theology, philosophy, and music, to Germany, offers but a faint parallel. If we add to this our obligations to Italy for painting and sculpture, to France for mathematical science, popular comedy, and the culture of the salon, to the Jews for finance, and to other nations for those town amusements which we are so slow to invent for ourselves, we shall still not have exhausted or even adequately illustrated the multifarious influences shed on every department of Roman life by the newly transplanted genius of Hellas. It was not that she merely lent an impulse or gave a direction to elements already existing. She did this; but she did far more. She kindled into life by her fruitful contact a literature in prose and verse which flourished for centuries. She completely undermined the general belief in the state religion, substituting for it the fair creations of her finer fancy, or when she did not substitute, blending the two faiths together with sympathetic skill; she entwined herself round the earliest legends of Italy, and so moulded the historical aspirations of Rome that the great patrician came to pride himself on his own ancestral connection with Greece, and the descent of his founder from the race whom Greece had conquered. Her philosophers ruled the speculations, as her artists determined the aesthetics, of all Roman amateurs. Her physicians held for centuries the exclusive practice of scientific medicine; while in music, singing, dancing, to say nothing of the lighter or less reputable arts of ingratiation, her professors had no rivals. The great field of education, after the break up of the ancient system, was mainly in Greek hands; while her literature and language were so familiar to the educated Roman that in his moments of intensest feeling it was generally in some Greek apophthegm that he expressed the passion which moved him. [1]
It would, therefore, be scarcely too much to assert that in every field of thought (except that of law, where Rome remained strictly national) the Roman intellect was entirely under the ascendancy of the Greek. There are, of course, individual exceptions. Men like Cato, Varro, and in a later age perhaps Juvenal, could understand and digest Greek culture without thereby losing their peculiarly Roman ways of thought; but these patriots in literature, while rewarded with the highest praise, did not exert a proportionate influence on the development of the national mind. They remained like comets moving in eccentric orbs outside the regular and observed motion of the celestial system.
The strongly felt desire to know something about Greek literature must have produced within a few years a pioneer bold enough to make the attempt, if the accident of a schoolmaster needing text-books in the vernacular for his scholars had not brought it about. The man who thus first clothed Greek poetry in a Latin dress, and who was always gratefully remembered by the Romans in spite of his sorry performance of the task, was LIVIUS ANDRONICUS (285-204? B.C.), a Greek from Tarentum, brought to Rome 275 B.C., and made the slave probably of M. Livius Salinator. Having received his freedom, he set up a school, and for the benefit of his pupils translated the Odyssey into Saturnian verse. A few fragments of this version survive, but they are of no merit either from a poetical or a scholastic point of view, being at once bald and incorrect. [2] Cicero [3] speaks slightingly of his poems, as also does Horace, [4] from boyish experience of their contents. It is curious that productions so immature should have kept their position as text-books for near two centuries; the fact shows how conservative the Romans were in such matters.
Livius also translated tragedies from the Greek. We have the names of the Achilles, Aegisthus, Ajax, Andromeda, _Danae, Equus Trojanus, Tereus, Hermione. In this sphere also he seems to have written from a commendable motive, to supply the popular want of a legitimate drama. His first play was represented in 240 B.C. He himself followed the custom, universal in the early period, [5] of acting in his own dramas. In them he reproduced some of the simpler Greek metres, especially the trochaic; and Terentianus Maurus [6] gives from the Ino specimens of a curious experiment in metre, viz. the substitution of an iambus for a spondee in the last foot of a hexameter. As memorials of the old language these fragments present some interest; words like perbitere (= perire), anculabant ( =hauriebant), nefrendem (= infantem), dusmus (= dumosus), disappeared long before the classical period.
His plodding industry and laudable aims obtained him the respect of the people. He was not only selected by the Pontifices to write the poem on the victory of Sena (207 B.C.), [7] but was the means of acquiring for the class of poets a recognised position in the body corporate of the state. His name was handed down to later times as the first awakener of literary effort at Rome, but he hardly deserves to be ranked among the body of Roman authors. The impulse which he had communicated rapidly bore fruit. Dramatic literature was proved to be popular, and a poet soon arose who was fully capable of fixing its character in the lines which its after successful cultivation mainly pursued. CN. NAEVIUS, (269?-204 B.C.) a Campanian of Latin extraction and probably not a Roman citizen, had in his early manhood fought in the first Punic war. [8] At its conclusion he came to Rome and applied himself to literary work. He seems to have brought out his first play as early as 235 B.C. His work mainly consisted of translations from the Greek; he essayed both tragedy and comedy, but his genius inclined him to prefer the latter. Many of his comedies have Latin names, Dolus, Figulus, Nautae, &c. These, however, were not togatae but palliatae, [9] treated after the same manner as those of Plautus, with Greek costumes and surroundings. His original contribution to the stage was the Praetexta, or national historical drama, which thenceforth established itself as a legitimate, though rarely practised, branch of dramatic art. We have the names of two Praetextae by him, Clastidium and Romulus or Alimonium Romuli et Remi.
The style of his plays can only be roughly inferred from the few passages which time has spared us. That it was masculine and vigorous is clear; we should expect also to find from the remarks of Horace as well as from his great antiquity, considerable roughness. But on referring to the fragments we do not observe this. On the contrary, the style both in tragedy and comedy is simple, natural, and in good taste. It is certainly less laboured than that of Ennius, and though it lacks the racy flavour of Plautus, shows no inferiority to his in command of the resources of the language. [10] On the whole, we are inclined to justify the people in their admiration for him as a genuine exponent of the strong native humour of his day, which the refined poets of a later age could not appreciate.
Naevius did not only occupy himself with writing plays. He took a keen interest in politics, and brought himself into trouble by the freedom with which he lampooned some of the leading families. The Metelli, especially, were assailed by him, and it was probably through their resentment that he was sent to prison, where he solaced himself by composing two comedies. [11] Plautus, who was more cautious, and is by some thought to have had for Naevius some of the jealousy of a rival craftsman, alludes to this imprisonment [12]:--
"Nam os columnatum poetae esse indaudivi barbaro, Quoi bini custodes semper totis horis accubant."
The poet, however, did not learn wisdom from experience. He lampooned the great Scipio in some spirited verses still extant, and doubtless made many others feel the shafts of his ridicule. But the censorship of literary opinion was very strict in Rome, and when he again fell under it, he was obliged to leave the city. He is said to have retired to Utica, where he spent the rest of his life and died (circ. 204 B.C.). It was probably there that he wrote the poem which gives him the chief interest for us, and the loss of which by the hand of time is deeply to be regretted. Debarred from the stage, he turned to his own military experience for a subject, and chose the first Punic war. He thus laid the foundation of the class of poetry known as the "National Epic," which received its final development in the hands of Virgil. The poem was written in Saturnian verse, perhaps from a patriotic motive; and was not divided into books until a century after the poet's death, when the grammarian Lampadio arranged it in seven books, assigning two to the mythical relations of Rome and Carthage, and the remainder to the history of the war. The narrative seems to have been vivid, truthful, and free from exaggerations of language. The legendary portion contained the story of Aeneas's visit to Carthage, which Virgil adopted, besides borrowing other single incidents. What fragments remain are not very interesting and do not enable us to pronounce any judgment. But Cicero's epithet "luculente scripsit" [13] is sufficient to show that he highly appreciated the poet's powers; and the popularity which he obtained in his life-time and for centuries after his death, attests his capacity of seizing the national modes of thought. He had a high opinion of himself; he held himself to be the champion of the old Italian school as opposed to the Graecising innovators. His epitaph is very characteristic: [14]
"Mortales immortales si foret fas flere, Flerent Divae Camenae Naevium poetam. Itaque postquamst Orcino traditus thesauro Obliti sunt Romae loquier Latina lingua."
IV. ROMAN COMEDY--PLAUTUS TO TURPILIUS (254-103 B.C.)
Before entering upon any criticism of the comic authors, it will be well to make a few remarks on the general characteristics of the Roman theatre. Theatrical structures at Rome resembled on the whole those of Greece, from which they were derived at first through the medium of Etruria, [1] but afterwards directly from the great theatres which Magna Graecia possessed in abundance. Unlike the Greek theatres, however, those at Rome were of wood not of stone, and were mere temporary erections, taken down immediately after being used. On scaffoldings of this kind the plays of Plautus and Terence were performed. Even during the last period of the Republic, wooden theatres were set up, sometimes on a scale of profuse expenditure little consistent with their duration. [2] An attempt was made to build a permanent stone theatre, 135 B.C., but it was defeated by the Consul Scipio Nasica. [3]
The credit of building the first such edifice is due to Pompey (55 B.C.), who caused it to have accommodation for 40,000 spectators. Vitruvius in his fifth book explains the ground-plan of such buildings. They were almost always on the same model, differing in material and size. On one occasion two whole theatres of wood, placed back to back, were made to turn on a pivot, and so being united, to form a single amphitheatre. [4] In construction, the Roman theatre differed from the Greek in reserving an arc not exceeding a semicircle for the spectators. The stage itself was large and raised not more than five feet. But the orchestra, instead of containing the chorus, was filled by senators, magistrates, and distinguished guests. [5] This made it easier for the Romans to dispense with a chorus altogether, which we find, as a rule, they did. The rest of the people sat or stood in the great semicircle behind that which formed the orchestra. The order in which they placed themselves was not fixed by law until the later years of the Republic, and again, with additional safeguards, in the reign of Augustus. [6] But it is reasonable to suppose that the rules of precedence were for the most part voluntarily observed.
It would appear that in the earliest theatres there were no tiers of seats (cunei), but merely a semicircle of sloping soil, banked up for the occasion (cavea) on which those who had brought seats sat down, while the rest stood or reclined. The stage itself is called pulpitum or proscaenium, and the decorated background scaena. Women and children were allowed to be present from the earliest period; slaves were not, [7] though it is probable that many came by the permission of their masters. The position of poets and actors was anything but reputable. The manager of the company was generally at best a freedman; and the remuneration given by the Aediles, if the piece was successful, was very small; if it failed, even that was withheld. The behaviour of the audience was certainly none of the best. Accustomed at all times to the enjoyment of the eye rather than the ear, the Romans were always impatient of mere dialogue. Thus Terence tells us that contemporary poets resorted to various devices to produce some novel spectacle, and he feels it necessary to explain why he himself furnishes nothing of the kind. Fair criticism could hardly be expected from so motley an assembly; hence Terence begs the people in each case to listen carefully to his play and then, and not till then, if they disapprove, to hiss it off the stage. [8] In the times of Plautus and Ennius the spectators were probably more discriminating; but the steady depravation of the spectacles furnished for their amusement contributed afterwards to brutalise them with fearful rapidity, until at the close of the Republican period dramatic exhibitions were thought nothing of in comparison with a wild-beast fight or a gladiatorial show.
At first, however, comedy was decidedly a favourite with the people, and for one tragic poet whose name has reached us there are at least five comedians. Of the three kinds of poetry cultivated in this early period, comedy, which, according to Quintilian [9] was the least successful, has been much the most fortunate. For whereas we have to form our opinion of Roman tragedy chiefly from the testimony of ancient authors, we can estimate the value of Roman comedy from the ample remains of its two greatest masters. The plays of Plautus are the most important for this purpose. Independently of their greater talent, they give a truer picture of Roman manners, and reflect more accurately the popular taste and level of culture. It is from them, therefore, that any general remarks on Roman comedy would naturally be illustrated.
Comedy, being based on the fluctuating circumstances of real life, lends itself more easily than tragedy to a change of form. Hence, while tragic art after once passing its prime slowly but steadily declines, comedy seems endued with greater vitality, and when politics and religion are closed to it, readily contents itself with the less ambitious sphere of manners. Thus, at Athens, Menander raised the new comedy to a celebrity little if at all inferior to the old; while the form of art which he created has retained its place in modern literature as perhaps the most enduring which the drama has assumed. In Rome there was far too little liberty of speech for the Aristophanic comedy to be possible. Outspoken attacks in public on the leading statesmen did not accord with the senatorial idea of government. Hence such poets as possessed a comic vein were driven to the only style which could be cultivated with impunity, viz. that of Philemon and Menander. But a difficulty met them at the outset. The broad allusions and rough fun of Aristophanes were much more intelligible to a Roman public than the refined criticism and quiet satire of Menander, even supposing the poet able to reproduce these. The author who aspired to please the public had this problem before him,--while taking the Middle and New Comedy of Athens for his model, to adapt them to the coarser requirements of Roman taste and the national rather than cosmopolitan feeling of a Roman audience, without drawing down the wrath of the government by imprudent political allusions.
It was the success with which Plautus fulfilled these conditions that makes him pre-eminently the comic poet of Rome; and which, though purists affected to depreciate him, [10] excited the admiration of such men as Cicero, [11] Varro, and Sisenna, and secured the uninterrupted representation of his plays until the fourth century of the Empire.
The life of Plautus, which extended from 254 to 184 B.C. presents little of interest. His name used to be written M. ACCIUS, but is now, on the authority of the Ambrosian MS. changed to T. MACCIUS PLAUTUS. He was by birth an Umbrian from Sassina, of free parents, but poor. We are told by Gellius [12] that he made a small fortune by stage decorating, but lost it by rash investment; he was then reduced to labouring for some years in a corn mill, but having employed his spare time in writing, he established a sufficient reputation to be able to devote the rest of his life to the pursuit of his art. He did not, however, form a high conception of his responsibility. The drudgery of manual labour and the hardships under which he had begun his literary career were unfavourable to the finer susceptibilities of an enthusiastic nature. So long as the spectators applauded he was satisfied. He was a prolific writer; 130 plays are attributed to him, but their genuineness was the subject of discussion from a very early period. Varro finally decided in favour of only 21, to which he added 19 more as probably genuine, the rest he pronounced uncertain. We may join him in regarding it as very probable that the plays falsely attributed to Plautus were productions of his own and the next generation, which for business reasons the managers allowed to pass under the title of "Plautine." Or, perhaps, Plautus may have given a few touches and the benefit of his great name to the plays of his less celebrated contemporaries, much as the great Italian painters used the services of their pupils to multiply their own works.
Of the 20 plays that we possess (the entire Varronian list, except the Vidularia, which was lost in the Middle Ages) all have the same general character, with the single exception of the Amphitruo. This is more of a burlesque than a comedy, and is full of humour. It is founded on the well- worn fable of Jupiter and Alcmena, and has been imitated by Molière and Dryden. Its source is uncertain; but it is probably from Archippus, a writer of the old comedy (415 B.C.). Its form suggests rather a development of the Satyric drama.
The remaining plays are based on real life; the real life that is pourtrayed by Menander, and by no means yet established in Rome, though soon to take root there with far more disastrous consequences the life of imbecile fathers made only to be duped, and spendthrift sons; of jealous husbands, and dull wives; of witty, cunning, and wholly unscrupulous slaves; of parasites, lost to all self-respect; of traffickers in vice of both sexes, sometimes cringing, sometimes threatening, but almost always outwitted by a duplicity superior to their own; of members of the demi- monde, whose beauty is only equalled by their shameless venality, though some of them enlist our sympathies by constancy in love, others by unmerited sufferings (which, however, always end happily); and, finally, of an array of cooks, go-betweens, confidantes, and nondescripts, who will do any thing for a dinner--a life, in short, that suggests a gloomy idea of the state into which the once manly and high-minded Athenians had sunk.
It may, however, be questioned whether Plautus did not exceed his models in licentiousness, as he certainly fell below them in elegance. The drama has always been found to exercise a decided influence on public morals; and at Rome, where there was no authoritative teaching on the subject, and no independent investigation of the foundations of moral truth, a series of brilliant plays, in which life was regarded as at best a dull affair, rendered tolerable by coarse pleasures, practical jokes, and gossip, and then only as long as the power of enjoyment lasts, can have had no good effect on the susceptible minds of the audience. The want of respect for age, again, so alien to old Roman feeling, was an element imported from the Greeks, to whom at all times the contemplation of old age presented the gloomiest associations. But it must have struck at the root of all Roman traditions to represent the aged father in any but a venerable light; and inimitable as Plautus is as a humourist, we cannot regard him as one who either elevates his own art, or in any way represents the nobler aspect of the Roman mind.
The conventional refinement with which Menander invested his characters, and which was so happily reproduced by Terence, was not attempted by Plautus. His excellence lies rather in the bold and natural flow of his dialogue, fuller, perhaps, of spicy humour and broad fun than of wit, but of humour and fun so lighthearted and spontaneous that the soberest reader is carried away by it. In the construction of his plots he shows no great originality, though often much ingenuity. Sometimes they are adopted without change, as that of the Trinummus from the Thaesauros of Philemon; sometimes they are patched together [13] from two or more Greek plays, as is probably the case with the Epidicus and Captivi; sometimes they are so slight as to amount to little more than a peg on which to hang the witty speeches of the dialogue, as, for example, those of the Persa and Curculio.
The Menaechmi and Trinummus are the best known of his plays; the former would be hard to parallel for effective humour: the point on which the plot turns, viz. the resemblance between two pairs of brothers, which causes one to be mistaken for the other, and so leads to many ludicrous scenes, is familiar to all readers of Shakespeare from the Comedy of Errors. Of those plays which border on the sentimental the best is the Captivi, which the poet himself recommends to the audience on the score of its good moral lesson, adding with truth--
"Huiusmodi paucas poetae reperiunt comoedias Ubi boni meliores fiant."
We are told [14] that Plautus took the greatest pleasure in his Pseudolus, which was also the work of his old age. The Epidicus also must have been a favourite with him. There is an allusion to it in the Bacchides, [15] which shows that authors then were as much distressed by the incapacity of the actors as they are now.
"Non herus sed actor mihi cor odio sauciat. Etiam Epidicum quam ego fabulum aeque ac me ipsum amo Nullam aeque invitus specto, si agit Pellio."
The prologues prefixed to nearly all the plays are interesting from their fidelity to the Greek custom, whereas those of Terence are more personal, and so resemble the modern prologue. In the former we see the arch insinuating pleasantry of Plautus employed for the purpose of ingratiating himself with the spectators, a result which, we may be sure, he finds little difficulty in achieving. Among the other plays, the Poenulus possesses for the philologist this special attraction, that it contains a Phoenician passage, which, though rather carelessly transliterated, is the longest fragment we possess of that important Semitic language. [16] All the Plautine plays belong to the Palliatae, i.e. those of which the entire surroundings are Greek, the name being taken from the Pallium or Greek cloak worn by the actors. There was, however, in the Italian towns a species of comedy founded on Greek models but national in dress, manners, and tone, known as Comoedia Togata, of which Titinius was the greatest master. The Amphitruo is somewhat difficult to class; if, as has been suggested above, it be assigned to the old comedy, it will be a Palliata. If, as others think, it be rather a specimen of the Hilaro- tragodia [17] or Rhinthonica (so called from Rhinthon of Tarentum), it would form the only existing specimen of another class, called by the Greeks Italikae komodia. Horace speaks of Plautus as a follower of Epicharmus, and his plots were frequently taken from mythological subjects. With regard, however, to the other plays of Plautus, as well as those of Caecilius, Trabea, Licinius Imbrex, Luscius Lavinius, Terence and Turpilius, there is no ground for supposing that they departed from the regular treatment of palliatae. [18]
Plautus is a complete master of the Latin language in its more colloquial forms. Whatever he wishes to say he finds no difficulty in expressing without the least shadow of obscurity. His full, flowing style, his inexhaustible wealth of words, the pliancy which in his skilful hands is given to the comparatively rude instrument with which he works, are remarkable in the highest degree. In the invention of new words, and the fertility of his combinations, [19] he reminds us of Shakespeare, and far exceeds any other Latin author. But perhaps this faculty is not so much absent from subsequent writers as kept in check by them. They felt that Latin gained more by terse arrangement and exact fitness in the choice of existing terms, than by coining new ones after the Greek manner. Plautus represents a tendency, which, after him, steadily declines; Lucretius is more sparing of new compounds than Ennius, Virgil than Lucretius, and after Virgil the age of creating them had ceased.
It must strike every reader of Plautus, as worthy of note, that he assumes a certain knowledge of the Greek tongue on the part of his audience. Not only are many (chiefly commercial) terms directly imported from the Greek, as dica, tarpessita, logi, sycophantia, agoranomus, but a large number of Greek adjectives and adverbs are used, which it is impossible to suppose formed part of the general speech--e.g. thalassicus, euscheme, dulice, dapsilis: Greek puns are introduced, as "opus est Chryso Chrysalo" in the Bacchides; and in the Persa we have the following hybrid title of a supposed Persian grandee, "Vaniloquidorus Virginisvendonides Nugipolyloquides Argentiexterebronides Tedigniloquides Nummorumexpalpouides Quodsemelarripides Nunquamposteareddides!"
Nevertheless, Plautus never uses Greek words in the way so justly condemned by Horace, viz. to avoid the trouble of thinking out the proper Latin equivalent. He is as free from this bad habit as Cato himself: all his Graecisms, when not technical terms, have some humourous point; and, as far as we can judge, the good example set by him was followed by all his successors in the comic drama. Their superiority in this respect may be appreciated by comparing them with the extant fragments of Lucilius.
In his metres he follows the Greek systems, but somewhat loosely. His iambics admit spondees, &c. into all places but the last; but some of his plays show much more care than others: the Persa and Stichus being the least accurate, the Menaechmi peculiarly smooth and harmonious. The Trochaic tetrameter and the Cretic are also favourite rhythms; the former is well suited to the Latin language, its beat being much more easily distinguishable in a rapid dialogue than that of the Iambic. His metre is regulated partly by quantity, partly by accent; but his quantities do not vary as much as has been supposed. The irregularities consist chiefly of neglect of the laws of position, of final long vowels, of inflexional endings, and of double letters, which last, according to some grammarians, were not used until the time of Ennius. His Lyric metres are few, and very imperfectly elaborated. Those which he prefers are the Cretic and Bacchiac, though Dactylic and Choriambic systems are not wholly unknown. His works form a most valuable storehouse of old Latin words, idioms, and inflexions; and now that the most ancient MSS. have been scientifically studied, the true spelling of these forms has been re-established, and throws the greatest light on many important questions of philology. [20]
After Plautus the most distinguished writer of comedy was STATIUS CAECILIUS (219-166? B.C.), a native of Insubria, brought as a prisoner to Rome, and subsequently (we know not exactly when) manumitted. He began writing about 200 B.C., when Plautus was at the height of his fame. He was, doubtless, influenced (as indeed could not but be the case) by the prestige of so great a master; but, as soon as he had formed his own style, he seems to have carried out a treatment of the originals much more nearly resembling that of Terence. For while in Plautus some of the oddest incongruities arise from the continual intrusion of Roman law-terms and other everyday home associations into the Athenian agora or dicasteries, in Terence this effective but very inartistic source of humour is altogether discarded, and the comic result gained solely by the legitimate methods of incident, character, and dialogue. That this stricter practice was inaugurated by Caecilius is probable, both from the praise bestowed on him in spite of his deficiency in purity of Latin style by Cicero, [21] and also from the evident admiration felt for him by Terence. The prologue to the Hecyra proves (what we might have well supposed) that the earlier plays of such a poet had a severe struggle to achieve success. [22] The actor, Ambivius Turpio, a tried servant of the public, maintains that his own perseverance had a great deal to do with the final victory of Caecilius; and he apologises for bringing forward a play which had once been rejected, by his former success in similar circumstances. Horace implies that he maintained during the Augustan age the reputation of a dignified writer. [23] Of the thirty-nine titles of his plays, by far the larger number are Greek, though a few are Latin, or exist in both languages. Those of Plautus and Naevius, it will be observed, are almost entirely Latin. This practice of retaining the Greek title, indicating, as it probably does, a closer adherence to the Greek style, seems afterwards to have become the regular custom. In his later years Caecilius enjoyed great reputation, and seems to have been almost dictator of the Roman stage, if we may judge from the story given by Suetonius in his life of Terence. One evening, he tells us, as Caecilius was at dinner, the young poet called on him, and begged for his opinion on the Andria, which he had just composed. Unknown to fame and meanly dressed, he was bidden to seat himself on a bench and read his work. Scarcely had he read a few verses, when Caecilius, struck by the excellence of the style, invited his visitor to join him at table; and having listened to the rest of the play with admiration, at once pronounced a verdict in his favour. This anecdote, whatever be its pretensions to historical accuracy, represents, at all events, the conception entertained of Caecilius's position and influence as introducer of dramatic poets to the Roman public. The date of his death is uncertain: he seems not to have attained any great age.
The judgment of Caecilius on TERENCE was ratified by the people. When the Andria was first presented at the Megalesian games (166 B.C.) it was evident that a new epoch had arisen in Roman art. The contempt displayed in it for all popular methods of acquiring applause is scarcely less wonderful than the formed style and mature view of life apparent in the poet of twenty-one years.
It was received with favour, and though occasional failures afterwards occurred, chiefly through the jealousy of a rival poet, the dramatic career of Terence may, nevertheless, be pronounced as brilliantly successful as it was shortlived. His fame increased with each succeeding play, till at the time of his early death, he found himself at the head of his profession, and, in spite of petty rivalries, enjoying a reputation almost equal to that of Plautus himself.
The elegance and purity of his diction is the more remarkable as he was a Carthaginian by birth, and therefore spoke an idiom as diverse as can be conceived from the Latin in syntax, arrangement, and expression. He came as a boy to Rome, where he lived as the slave of the senator Terentius Lucanus, by whom he was well educated and soon given his freedom. The best known fact about him is his intimate friendship with Scipio Africanus the younger, Laelius, and Furius, who were reported to have helped him in the composition of his plays. This rumour the poet touches on with great skill, neither admitting nor denying its truth, but handling it in such a way as reflected no discredit on himself and could not fail to be acceptable to the great men who were his patrons. [24] We learn from Suetonius that the belief strengthened with time. To us it appears most improbable that anything important was contributed by these eminent men. They might have given hints, and perhaps suggested occasional expressions, but the temptation to bring their names forward seems sufficiently to account for the lines in question, since the poet gained rather than lost by so doing. It has, however, been supposed that Scipio and his friends, desiring to elevate the popular taste, really employed Terence to effect this for them, their own position as statesmen preventing their coming forward in person as labourers in literature; and it is clear that Terence has a very different object before him from that of Plautus. The latter cares only to please; the former is not satisfied unless he instructs. And he is conscious that this endeavour gains him undeserved obloquy. All his prologues speak of bitter opposition, misrepresentation, and dislike; but he refuses to lower his high conception of his art. The people must hear his plays with attention, throw away their prejudices, and pronounce impartially on his merits. [25] He has such confidence in his own view that he does not doubt of the issue. It is only a question of time, and if his contemporaries refuse to appreciate him, posterity will not fail to do so. This confidence was fully justified. Not only his friends but the public amply recognised his genius; and if men like Cicero, Horace, and Caesar, do not grant him the highest creative power, they at least speak with admiration of his cultivated taste. The criticism of Cicero is as discriminating as it is friendly: [26]
"Tu quoque, qui solus lecto sermone, Terenti, Conversum espressumque Latina voce Menandrum In medio populi sedatis vocibus effers; Quidquid come loquens atque omnia dulcia dicens."
Caesar, in a better known epigram, [27] is somewhat less complimentary, but calls him puri sermonis amator ("a well of English undefiled"). Varro praises his commencement of the Andria above its original in Menander; and if this indicates national partisanship, it is at least a testimony to the poet's posthumous fame.
The modern character of Terence, as contrasted with Plautus, is less apparent in his language than in his sentiments. His Latin is substantially the same as that of Plautus, though he makes immeasurably fewer experiments with language. He never resorts to strange words, uncouth compounds, puns, or Graecisms for producing effect; [28] his diction is smooth and chaste, and even indelicate subjects are alluded to without any violation of the proprieties; indeed it is at first surprising that with so few appeals to the humourous instinct and so little witty dialogue, Terence's comic style should have received from the first such high commendation. The reason is to be found in the circumstances of the time. The higher spirits at Rome were beginning to comprehend the drift of Greek culture, its subtle mastery over the passions, its humanitarian character, its subversive influence. The protest against traditional exclusiveness begun by the great Scipio, and powerfully enforced by Ennius, was continued in a less heroic but not less effective manner by the younger Scipio and his friends Lucilius and Terence. All the plays of Terence are written with a purpose; and the purpose is the same which animated the political leaders of free thought. To base conduct upon reason rather than tradition, and paternal authority upon kindness rather than fear; [29] to give up the vain attempt to coerce youth into the narrow path of age; to grapple with life as a whole by making the best of each difficulty when it arises; to live in comfort by means of mutual concession and not to plague ourselves with unnecessary troubles: such are some of the principles indicated in those plays of Menander which Terence so skilfully adapted, and whose lessons he set before a younger and more vigorous people. The elucidation of these principles in the action of the play, and the corresponding interchange of thought naturally awakened in the dialogue and expressed with studied moderation, [30] form the charm of the Terentian drama. In the bolder elements of dramatic excellence it must be pronounced deficient. There is not Menander's many-sided knowledge of the world, nor the racy drollery of Plautus, nor the rich humour of Molière, nor the sparkling wit of Sheridan,--all is toned down with a severe self-restraint, creditable to the poet's sense of propriety, but injurious to comic effect. His characters also lack variety, though powerfully conceived. They are easily classified; indeed, Terence himself summarises them in his prologue to the Eanuchus, [31] and as a rule is true to the distinctions there laid down. Another defect is the great similarity of names. There is a Chremes in four plays who stands for an old man in three, for a youth in one; while the names Sostrata, Sophrona, Bacchis, Antipho, Hegio, Phaedria, Davus, and Dromo, all occur in more than one piece. Thus we lose that close association of a name with a character, which is a most important aid towards lively and definite recollection. The characters become not so much individuals as impersonations of social or domestic relationships, though drawn, it is true, with a life-like touch. This defect, which is shared to a great extent by Plautus, is doubtless due to the imitative nature of Latin comedy. Menander's characters were analysed and classified by the critics, and the translator felt bound to keep to the main outlines of his model. It is said that Terence was not satisfied with his delineation of Greek life, but that shortly before his death he started on a voyage to Greece, to acquaint himself at first hand with the manners he depicted. [32] This we can well believe, for even among Roman poets Terence is conspicuous for his striking realism. His scenes are fictitious, it is true, and his conversation is classical and refined, but both breathe the very spirit of real life. There is, at least, nothing either ideal or imaginative about them. The remark of Horace [33] that "Pomponius would have to listen to rebukes like those of Demea if his father were living; that if you broke up the elegant rhythmical language you would find only what every angry parent would say under the same circumstances," is perfectly just, and constitutes one of the chief excellences of Terence,--one which has made him, like Horace, a favourite with experienced men of the world.
Terence as a rule does not base his play upon a single Greek original, but levies contributions from two or more, and exercises his talent in harmonising the different elements. This process is known as contamination; a word that first occurs in the prologue to the Andria, and indicates an important and useful principle in imitative dramatic literature. The ground for this innovation is given by W. Wagner as the need felt by a Roman audience for a quick succession of action, and their impatience of those subtle dialogues which the Greeks had so much admired, and which in most Greek plays occupy a somewhat disproportionate length. The dramas in which "contamination" is most successfully used are, the Eunuchus, Andria, and Adelphoe; the last-mentioned being the only instance in which the two models are by different authors, viz. the Adelphoi of Menander and the Synapothnaeskontes of Diphilus. So far as the metre and language went, Terence seems to have followed the Greek much more closely than Plautus, as was to be expected from his smaller inventive power. Quintilian, in commending him, expresses a wish that he had confined himself to the trimeter iambic rhythm. To us this criticism is somewhat obscure. Did the Romans require a more forcible style when the long iambic or the trochaic was employed? or is it the weakness of his metrical treatment that Quintilian complains of? Certainly the trochaics of Terence are less clearly marked in their rhythm than those of Ennius or Plautus.
Terence makes no allusion by name to any of his contemporaries; [34] but a line in the Andria [35] is generally supposed to refer to Caecilius, and to indicate his friendly feeling, somewhat as Virgil indicates his admiration for Ennius in the opening of the third Georgic. [36] And the "vetus poeta," (Luscius Lavinius) or "quidam malevoli," are alluded to in all the prologues as trying to injure his fame. His first play was produced in the year that Caecilius died, 166 B.C.; the Hecyra next year; the Hauton Timorumenos in 163; the Eunuchus and Phormio in 161; the Adelphoe in 160; and in the following year the poet died at the age of twenty-six, while sailing round the coast of Greece. The maturity of mind shown by so young a man is very remarkable. It must be remembered that he belonged to a race whose faculties developed earlier than among the Romans, that he had been a slave, and was therefore familiar with more than one aspect of life, and that he had enjoyed the society of the greatest in Rome, who reflected profoundly on social and political questions. His influence, though imperfectly exercised in his lifetime, increased after his death, not so much through the representation as the reading of his plays. His language became one of the chief standards of classical Latin, and is regarded by Mr. Munro as standing on the very highest level--the same as that of Cicero, Caesar, and Lucretius. His moral character was assailed soon after his death by Porcius Licinius, but probably without good grounds. More might be said against the morality of his plays--the morality of accommodation, as it is called by Mommsen. There is no strong grasp of the moral principle, but decency and propriety should be respected; if an error has been committed, the best way is, if possible, to find out that it was no error after all, or at least to treat it as such. In no point does ancient comedy stand further apart from modern ideas than in its view of married life; the wile is invariably the dull legal partner, love for whom is hardly thought of, while the sentiment of love (if indeed it be worthy of the name) is reserved for the Bacchis and Thais, who, in the most popular plays turn out to be Attic citizens, and so are finally united to the fortunate lover.
But defective and erroneous as these views are, we must not suppose that Terence tries to make vice attractive. On the contrary, he distinctly says that it is useful to know things as they really are for the purpose of learning to choose the good and reject the evil. [37] Moreover, his lover is never a mere profligate, but proves the reality of his affection for the victim of his wrong-doing by his readiness and anxiety in all cases to become her husband.
Terence has suggested many modern subjects. The Eunuchus is reflected in the Bellamira of Sir Charles Sedley and Le Muet of Brueys; the Adelphi in Molière's Ecole des Maris and Baron's L'Ecole des Pères; and the Phormio in Molière's Les Fourberies de Scapin.
We need do no more than just notice the names of LUSCIUS LAVINIUS, [38] the older rival and detractor of Terence; ATILIUS, whose style is characterised by Cicero [39] as extremely harsh; TRABEA, who, like ATILIUS, was a contemporary of Caecilius, and LICINIUS IMBREX, who belonged to the older generation; TURPILIUS, JUVENTIUS, and VALERIUS, [40] who lived to a considerably later period. The former died as late as 103 B.C., having thus quite outlived the productiveness of the legitimate dramatic art. He seems to have been livelier and more popular in his diction than Terence; it is to be regretted that so little of him remains.
The earliest cultivation of the national comedy (togata) [41] seems to date from after the death of Terence. Its first representative is TITINIUS, about whom we know little or nothing, except that he based his plays on the Attic comedy, changing, however, the scene and the costumes. The pieces, according to Mommsen, were laid in Southern Latium, e.g. Setia, Ferentinum, or Velitrae, and delineated with peculiar freshness the life of these busy little towns. The titles of his comedies are--Coccus, Fullones, Hortensius, Quintius, Varus, Gemina, Iurisperita, Prilia, Privigna, Psaltria, Setina, Tibicina, Velitema, Ulubrana. From these we should infer that his peculiar excellence lay in satirizing the weaknesses of the other sex. As we have before implied, this type of comedy originally arose in the country towns and maintained a certain antagonism with the Graecized comedy of Rome. In a few years, however, we find it established in the city, under T. QUINTIUS ATTA and L. AFRANIUS. Of the former little is known; of the latter we know that he was esteemed the chief poet of togatae, and long retained his hold on the public. Quintilian [42] recognises his talent, but condemns the morality of his plays. Horace speaks of him as wearing a gown which would have fitted Menander, but this is popular estimation, not his own judgment. Nevertheless, we may safely assert that the comedies of Afranius and Titinius, though often grossly indecent, had a thoroughly rich vein of native humour, which would have made them very valuable indications of the average popular culture of their day.
V. ROMAN TRAGEDY (ENNIUS--ACCIUS, 239-94 B.C.)
As the Italian talent for impromptu buffoonery might perhaps have in time created a genuine native comedy, so the powerful and earnest rhetoric in which the deeper feelings of the Roman always found expression, might have assumed the tragic garb and woven itself into happy and original alliance with the dramatic instinct. But what actually happened was different. Tragedy, as well as comedy, took its subjects from the Greek; but though comedy had the advantage of a far greater popularity, and also of a partially native origin, there is reason to believe that tragedy came the nearer of the two to a really national form of art. In the fullest and noblest sense of the word Rome had indeed no national drama; for a drama, to be truly representative, must be based on the deepest chords of patriotic and even religious feeling. And that golden age of a people's history when Patriotism and Religion are still wedded together, seeming but varying reflections from the mirror of national life, is the most favourable of all to the birth of dramatic art. In Greece this was pre- eminently the case. The spirit of patriotism is ever present--rarely, indeed, suggesting, as in the Persae of Aeschylus, the subject of the play, but always supplying a rich background of common sympathy where poet and people can feel and rejoice together. Still more, if possible, is the religious spirit present, as the animating influence which gives the drama its interest and its vitality. The great moral and spiritual questions which occupy the soul of man, in each play or series of plays, try to work out their own solution by the natural human action of the characters, and by those reflections on the part of the chorus to which the action naturally gives rise. But with the transplanted tragedy of the Romans this could no longer be the case. The religious ideas which spoke straight to the Athenian's heart, spoke only to the acquired learning of the Roman. The idea of man, himself free, struggling with a destiny which he could not comprehend or avert, is foreign to the Roman conception of life. As Schlegel has observed, a truly Roman tragic drama would have found an altogether different basis. The binding force of "Religio," constraining the individual to surrender himself for the good of the Supreme State, and realising itself in acts of patriotic self-devotion; such would have been the shape we should have expected Roman tragedy to take, and if it failed to do this, we should not expect it in other respects to be a great success.
The strong appreciation which, notwithstanding its initial defects, tragedy did meet with and retain for many generations, is a striking testimony to the worth and talent of the men who introduced it. Their position as elevators of the popular taste was not the less real because they themselves were men of provincial birth, and only partially polished minds. Both in the selection of their models and in the freedom of treating them they showed that good sense which was characteristic of the nation. As a rule, instead of trying to familiarise the people with Aeschylus and Sophocles, poets who are essentially Athenian, they generally chose the freethinking and cosmopolitan Euripides, who was easily intelligible, and whose beauties did not seem so entirely to defy imitation. What Euripides was to Greek tragedy Menander was to comedy. Both denationalised their respective fields of poetry; both thereby acquired a vast ascendancy over the Roman mind, ready as it was to be taught, and only awaiting a teacher whose views it could understand. Now although Livius actually introduced, and Naevius continued, the translation of tragedies from the Greek, it was Ennius who first rendered them with a definitely conceived purpose. This purpose was--to raise the aesthetic sense of his countrymen, to set before them examples of heroic virtue, and, above all, to enlighten their minds with what he considered rational views on subjects of morals and and religion; though, after all, the fatal facility with which the sceptical theories of Euripides were disseminated and embraced was hardly atoned for by the gain to culture which undoubtedly resulted from the tragedian's labours. Mommsen says with truth that the stage is in its essence anti-Roman, just as culture itself is anti-Roman; the one because it consumes time and interest on things that interfere with the serious business of life, the other because it creates degrees of intellectual position where the constitution intended that all should be alike. But amid the vast change that came over the Roman habits of thought, which men like Cato saw, resisted, and bewailed, it mattered little whether old traditions were violated. The stage at once became a powerful engine of popular education; and it rested with the poet to decide whether it should elevate or degrade. Political interests, it is true, were carefully guarded. The police system, with which senatorial narrowness environed the stage as it did all corporations or voluntary societies, rigidly repressed and made penal anything like liberty of speech. But it was none the less possible to inculcate the stern Roman virtues beneath the mask of an Ajax or Ulysses; and Sellar has brought out with singular clearness in his work on the poets of the Republic the national features which are stamped on this early tragedy, making it in spite of its imperfections worthy of the great Republic.
The oratorical mould in which all Latin poetry except satire and comedy is to a great extent cast, is visible from the beginning in tragedy. Weighty sentences follow one another until the moral effect is reached, or the description fully turned. The rhythm seems to have been much more often trochaic [1] than iambic, at least than trimeter iambic, for the tetrameter is more frequently employed. This is not to be wondered at, since even in comedy, where such high-flown cadences are out of place, the people liked to hear them, measuring excellence by stateliness of march rather than propriety of diction.
The popular demand for grandiloquence ENNIUS (209-169 B.C.) was well able to satisfy, for he had a decided leaning to it himself, and great skill in attaining it. Moreover he had a vivid power of reproducing the original emotion of another. That reflected fervour which draws passion, not direct from nature, but from nature as mirrored in a great work of art, stamps Ennius as a genuine Roman in talent, while it removes him from the list of creative poets. The chief sphere of his influence was epic poetry, but in tragedy he founded a school which only closed when the drama itself was silenced by the bloody massacres of the civil wars. Born at Rudiae in Calabria, and so half Greek, half Oscan, he served while a young man in Sardinia, where he rose to the rank of centurion, and was soon after brought to Rome by Cato. There is something striking in the stern reactionist thus introducing to Rome the man who was more instrumental than any other in overthrowing his hopes and fixing the new culture beyond possibility of recall. When settled at Rome, Ennius gained a living by teaching Greek, and translating plays for the stage. He also wrote miscellaneous poems, and among them a panegyric on Scipio which brought him into favourable notice. His fame must have been established before B.C. 189, for in that year Fulvius Nobilior took him into Aetolia to celebrate his deeds a proceeding which Cato strongly but ineffectually impugned. In 184 B.C., the Roman citizenship was conferred on him. He alluded to this with pride in his annals--
"Nos sumus Romani qui fuvimus ante Rudini."
During the last twenty years of his life his friendship with Scipio and Fulvius must have ensured him respect and sympathy as well as freedom from distasteful labour. But he was never in affluent circumstances; [2] partly through his own fault, for he was a free liver, as Horace tells us [3]--
"Ennius ipse pater nunquam nisi potus ad arma Prosiluit dicenda;"
and he himself alludes to his lazy habits, saying that he never wrote poetry unless confined to the house by gout. [4] He died in the seventieth year of his age and was buried in the tomb of the Scipios, where a marble statue of him stood between those of P. and L. Scipio.
Ennius is not merely "the Father of Roman Poetry;" he held also as a man a peculiar and influential position, which we cannot appreciate, without connecting him with his patron and friend, the great Scipio Africanus. Nearly of an age, united by common tastes and a common spiritual enthusiasm, these two distinguished men wrought together for a common object. Their familiarity with Greek culture and knowledge of Greek religious ideas seem to have filled both with a high sense of their position as teachers of their countrymen. Scipio drew around him a circle of aristocratic liberals. Ennius appealed rather to the people at large. The policy of the elder Scipio was continued by his adopted son with far less breadth of view, but with more refined taste, and more concentrated effort. Where Africanus would have sought his inspiration from the poetry, Aemilianus went rather to the philosophy, of Greece; he was altogether of a colder temperament, just as his literary friends Terence and Lucilius were by nature less ardent than Ennius. Between them they laid the foundation of that broader conception of civilisation which is expressed by the significant word humanitas, and which had borne its intellectual fruit when the whole people raised a shout of applause at the line in the Hautontimorumenos--
"Homo sum: humani nihil a me alienum puto."
This conception, trite as it seems to us, was by no means so when it was thus proclaimed: if philosophers had understood it (apas anthropos anthropo oikeion kai philon.--Ar. Eth. N. lib. 9), they had never made it a principle of action; and the teachers who had caused even the uneducated Roman populace to recognise its speculative truth must be allowed to have achieved something great. Some historians of Rome have seen in this attitude a decline from old Roman exclusiveness, almost a treasonable conspiracy against the Roman idea of the State. Hence they have regarded Ennius with something of that disfavour which Cato in his patriotic zeal evinced for him. The justification of the poet's course, if it is to be sustained at all, must be sought in the necessity for an expansion of national views to meet the exigences of an increasing foreign empire. External coercion might for a time suffice to keep divergent nationalities together; but the only durable power would be one founded on sympathy with the subject peoples on the broad ground of a common humanity. And for this the poet and his patron bore witness with a consistent and solemn, though often irreverent, earnestness. Ennius had early in life shown a tendency towards the mystic speculations of Pythagoreanism: traces of it are seen in his assertion that the soul of Homer had migrated into him through a peacock, [5] and that he had three souls because he knew three languages; [6] while the satirical notice of Horace seems to imply that he, like Scipio, regarded himself as specially favoured of heaven--
"Leviter curare videtur Quo promissa caadant et somnia Pythagorea." [7]
At the same time he studied the Epicurean system, and in particular, the doctrines of Euhemerus, whose work on the origin of the gods he translated. His denial of Divine Providence is well known [8]--
"Ego deum genus esse dixi et dicam semper caelitum: Sed eos non curare opinor quid agat humanum genus. Nam si curent, bene bonis sit, male malis, quod nunc abest."
Of these two inconsistent points of view, the second, as we should expect in a nature so little mystical, finally prevailed, so that Ennius may well be considered the preacher of scepticism or the bold impugner of popular superstition according to the point of view which we assume. In addition to these philosophic aspirations he had a strong desire to reach artistic perfection, and to be the herald of a new literary epoch. Conscious of his success and proud of the power he wielded over the minds of the people, he alludes more than once to his performances in a self-congratulatory strain--
"Enni poeta salve, qui mortalibus Versus propinas flammeos medullitus."
"Hail! poet Ennius, who pledgest mankind in verses fiery to the heart's core." And with even higher confidence in his epitaph--
"Aspicite, o cives, senis Enni imagini' formam: Hic vostrum panxit maxima faeta patrum. Nemo me lacrimis decoret nec funera fletu Faxit. Cur? volito vivu' per ora virum."
We shall illustrate the above remarks by quoting one or two passages from the fragments of his tragedies, which, it is true, are now easily accessible to the general reader, but nevertheless will not be out of place in a manual like the present, which is intended to lead the student to study historically for himself the progress of the literature. The first is a dialogue between Hecuba and Cassandra, from the Alexander. Cassandra feels the prophetic impulse coming over her, the symptoms of which her mother notices with alarm:
"HEC. "Sed quid oculis rabere visa es derepente ar dentibus? Ubi tua illa paulo ante sapiens virginali' modestia?
CAS. Mater optumarum multo mulier melior mulierum, Missa sum superstitiosis ariolationibus. Namque Apollo fatis fandis dementem invitam ciret: Virgines aequales vereor, patris mei meum factmn pudet, Optimi viri. Mea mater, tui me miseret, me piget: Optumam progeniem Priamo peperisti extra me: hoc dolet: Men obesse, illos prodesse, me obstare, illos obsequi!"
She then sees the vision--
* * * * * "Adest adest fax obvoluta sanguine atque incendio! Multos annos latuit: cives ferte opem et restinguite! Iamque mari magno classis cita Texitur: exitium examen rapit: Advenit, et fera velivolantibus Navibus complebit manus litora."
This is noble poetry. Another passage from the Telamo is as follows:--
"Sed superstitiosi vates impudentesque arioli, Aut inertes aut insani aut quibus egestas imperat, Qui sibi semitam non sapiunt, alteri monstrant viam, Quibus divitias pollicentur, ab eis drachumam ipsi petunt. De his divitiis sibi deducant drachumam, reddant cetera."
Here he shows, like so many of his countrymen, a strong vein of satire. The metre is trochaic, scanned, like these of Plautus and Terence, by accent as much as by quantity, and noticeable for the careless way in which whole syllables are slurred over. In the former fragment the fourth line must be scanned--
___ ___ ____ "Vírgi | nés ae | qúales | vércor | pátris mei | meúm fac | túm pudet."
Horace mentions the ponderous weight of his iambic lines, which were loaded with spondees. The anapaestic measure, of which he was a master, has an impetuous swing that carries the reader away, and, while producing a different effect from its Greek equivalent, in capacity is not much inferior to it. Many of his phrases and metrical terms are imitated in Virgil, though such imitation is much more frequently drawn from his hexameter poems. He wrote one Praetexta and several comedies, but these latter were uncongenial to his temperament, and by no means successful. He had little or no humour. His poetical genius was earnest rather than powerful; probably he had less than either Naevius or Plautus; but his higher cultivation, his serious view of his art, and the consistent pursuit of a well-conceived aim, placed him on a dramatic level nearly as high as Plautus in the opinion of the Ciceronian critics. His literary influence will be more fully discussed under his epic poems.
His sister's son PACUVIUS (220-132 B.C.), next claims our attention. This celebrated tragedian, on whom the complimentary epithet doctus [9] was by general consent bestowed, was brought up at Brundisium, where amid congenial influences he practised with success the art of a painter. At what time he came to Rome is not known, but he gained great renown there by his paintings before attaining the position of chief tragic poet. Pliny tells us of a picture in the Temple of Hercules in the Forum Boarium, which was considered as only second to that of Fabius Pictor. With the enthusiasm of the poet he united that genial breadth of temper which among artists seems peculiarly the painter's gift. Happy in his twofold career (for he continued to paint as well as to write), [10] free from jealousy as from want, successful as a poet and as a man, he lived at Rome until his eightieth year, the friend of Laelius and of his younger rival Accius, and retired soon after to his native city where he received the visits of younger writers, and died at the great age of eighty-eight (132 B.C.). His long career was not productive of a large number of works. We know of but twelve tragedies and one praetexta by him. The latter was called Paullus, and had for its hero the conqueror of Perseus, King of Macedonia, but no fragments of it survive. The great authority which the name of Pacuvius possessed was due to the care with which he elaborated his writings. Thirteen plays and a few saturae in a period of at least thirty years [11] seems but a small result; but the admirable way in which he sustained the dramatic situations made every one of them popular with the nation. There were two, however, that stood decidedly above the rest-- the Antiopa and the Dulorestes. Of the latter Cicero tells the anecdote that the people rose as one man to applaud the noble passage in which Pylades and Orestes contend for the honour of dying for one another. [12] Of the former he speaks in the highest terms, though it is possible that in his admiration for the severe and truly Roman sentiments it inculcated, he may have been indulgent to its artistic defects. The few lines that have come down to us resemble that ridiculed by Persius [13] for its turgid mannerisms. A good instance of the excellences which a Roman critic looked for in tragedy is afforded by the praise Cicero bestows on the Niptra, a play imitated from Sophocles. The passage is so interesting that it may well be added here. [14] Cicero's words are--
"The wise Greek (Ulysses) when severely wounded does not lament overmuch; he curbs the expression of his pain. 'Forward gently,' he says, 'and with quiet effort, lest by jolting me you increase the pangs of my wound.' Now, in this Pacuvius excels Sophocles, who makes Ulysses give way to cries and tears. And yet those who are carrying him, out of consideration for the majesty of him they bear, do not hesitate to rebuke even this moderate lamentation. 'We see indeed, Ulysses, that you have suffered grievous hurt, but methinks for one who has passed his life in arms, you show too soft a spirit.' The skilful poet knows that habit is a good teacher how to bear pain. And so Ulysses, though in extreme agony, still keeps command over his words. 'Stop! hold, I say! the ulcer has got the better of me. Strip off my clothes. O, woe is me! I am in torture.' Here he begins to give way; but in a moment he stops--'Cover me; depart, now leave me in peace; for by handling me and jolting me you increase the cruel pain.' Do you observe how it is not the cessation of bodily anguish, but the necessity of chastening the expression of it that keeps him silent? And so, at the close of the play, while himself dying, he has so far conquered himself that he can reprove others in words like these,--'It is meet to complain of adverse fortune, but not to bewail it. That is the part of a man; but weeping is granted to the nature of woman.' The softer feelings here obey the other part of the mind, as a dutiful soldier obeys a stern commander."
We can go with Cicero in admiring the manly spirit that breathes through these lines, and feel that the poet was justified in so far leaving the original as without prejudice to the dramatic effect to inculcate a higher moral lesson.
As to the treatment of his models we may say, generally, that Pacuvius used more freedom than Ennius. He was more of an adapter and less of a translator. Nevertheless this dependence on his own resources for description appears to have cramped rather than freed his style. The early Latin writers seem to move more easily when rendering the familiar Greek originals than when essaying to steer their own path. He also committed the mistake of generally imitating Sophocles, the untransplantable child of Athens, instead of Euripides, to whom he could do better justice, as the success of his Euripidean plays prove. [15] His style, though emphatic, was wanting in naturalness. The author of the treatise to Herennius contrasts the sententiae of Ennius with the periodi of Pacuvius; and Lucilius speaks of a word "contorto aliquo ex Pacuviano exordio."
Quintilian [16] notices the inelegance of his compounds, and makes the just remark that the old writers attempted to reproduce Greek analogies without sufficient regard for the capacities of their language; thus while the word kyrtauchaen is elegant and natural, its Latin equivalent incurvicervicus, borders on the ludicrous. [17] Some of his fragments show the same sceptical tendencies that are prominent in Ennius. One of them contains a comprehensive survey of the different philosophic systems, and decides in favour of blind chance (temeritas) as the ruling power, on the ground of sudden changes in fortune like that of Orestes, who in one day was metamorphosed from a king into a beggar. Pacuvius either improved his later style, or else confined its worst points to his tragedies, for nothing can be more classical and elegant than his epitaph, which is couched in diction as refined as that of Terence--
Adulescens, tametsi properas, te hoc saxum vocat Ut sese aspicias, delude quod scriptumst legas. Hic sunt poetae Pacuvi Marci sita Ossa. Hoc volebam nescius ne esses. Vale.
When Pacuvius retired to Brundisium he left a worthy successor in L. ATTIUS or ACCIUS (170-94 B.C.), whom, as before observed, he had assisted with his advice, showing kindly interest as a fellow-workman rather than jealousy as a rival. Accius's parents belonged to the class of libertini; they settled at Pisaurum. The poet began his dramatic career at the age of thirty with the Atreus, and continued to exhibit until his death. He forms the link between the ante-classical and Ciceronian epochs; for Cicero when a boy [18] conversed with him, and retained always a strong admiration for his works. [19] He had a high notion of the dignity of his calling. There is a story told of his refusing to rise to Caesar when he entered the Collegium Poetarum; but if by this Julius be meant, the chronology makes the occurrence impossible. Besides thirty-seven tragedies, he wrote Annales (apparently mythological histories in hexameters, something of the character of Ovid's Fasti), Didascalia, or a history of Greek and Roman poetry, and other kindred works, as well as two Praetextae.
The fragments that have reached us are tolerably numerous, and enable us to select certain prominent characteristics of his style. The loftiness for which he is celebrated seems to be of expression rather than of thought, e.g.
"Quid? quod videbis laetum in Parnasi iugo Bicipi inter pinos tripudiantem in circulis Concutere thyrsos ludo, taedis fulgere;"
but sometimes a noble sentiment is simply and emphatically expressed--
"Non genus virum ornat, generi vir fortis loco." [20]
He was a careful chooser of words, e.g.
"Tu pertinaciam esse, Antiloche, hanc praedicas, Ego pervicaciam aio et ea me uti volo: Haec fortis sequitur, illam indocti possident.... Nam pervicacem dici me esse et vincere Perfacile patior, pertinaciam nil moror." [21]
These distinctions, obvious as they are to us, were by no means so to the early Romans. Close resemblance in sound seemed irresistibly to imply some connexion more than that of mere accident; and that turning over the properties of words, which in philosophy as well as poetry seems to us to have something childish in it, had its legitimate place in the development of each language. Accius paints action with vigour. We have the following spirited fragment--
"Constituit, cognovit, sensit, conlocat sese in locum Celsum: hinc manibus rapere raudus saxeum et grave."
and again--
"Heus vigiles properate, expergite, Pectora tarda, sopore exsurgite!"
He was conspicuous among tragedians for a power of reasoned eloquence of the forensic type; and delighted in making two rival pleaders state their case, some of his most successful scenes being of this kind. His opinions resembled those of Ennius, but were less irreverent. He acknowledges the interest of the gods in human things--
"Nam non facile sine deum opera humana propria [22] sunt bona,"
and in a fragment of the Brutus he enforces the doctrine that dreams are often heaven-sent warnings, full of meaning to those that will understand them. Nevertheless his contempt for augury was equal to that of his master--
"Nil credo auguribus qui auris verbis divitant Alienas, suas ut auro locupletent domos."
The often-quoted maxim of the tyrant oderint dum metuant is first found in him. Altogether, he was a powerful writer, with less strength perhaps, but more polish than Ennius; and while manipulating words with greater dexterity, losing but little of that stern grandeur which comes from the plain utterance of conviction. His general characteristics place him altogether within the archaic age. In point of time little anterior to Cicero, in style he is almost a contemporary of Ennius. The very slight increase of linguistic polish during the century and a quarter which comprises the tragic art of Rome, is somewhat remarkable. The old- fashioned ornaments of assonance, alliteration, and plays upon words are as frequent in Accius as in Livius, or rather more so; and the number of archaic forms is scarcely smaller. We see words like noxitudo, honestitudo, sanctescat, topper, domuitio, redhostire, and wonder that they could have only preceded by a few years the Latin of Cicero, and were contemporary with that of Gracchus. Accius, like so many Romans, was a grammarian; he introduced certain changes into the received spelling, e.g. he wrote aa, ee, etc. when the vowel was long, reserving the single a, e, etc. for the short quantity. It was in acknowledgment of the interest taken by him in these studies that Varro dedicated to him one of his many philological treatises. The date of his death is not quite certain; but it may be safely assigned to about 90 B.C. With him died tragic writing at Rome: scarcely a generation after we find tragedy has donned the form of the closet drama, written only for recitation. Cicero and his brother assiduously cultivated this rhetorical art. When writing failed, however, acting rose, and the admirable performances of Aesopus and Roscius did much to keep alive an interest in the old works. Varius and Pollio seem for a moment to have revived the tragic muse under Augustus, but their works had probably nothing in common with this early but interesting drama; and in Imperial times tragedy became more and more confused with rhetoric, until delineation of character ceased to be an object, and declamatory force or fine point was the chief end pursued.
VI. EPIC POETRY. ENNIUS--FURIUS (200-100 B.C.)
We must now retrace our steps, and consider Ennius in the capacity of epic poet. It was in this light that he acquired his chief contemporary renown, that he accredits himself to posterity in his epitaph, and that he obtained that commanding influence over subsequent poetic literature, which, stereotyped in Virgil, was never afterwards lost. The merit of discerning the most favourable subject for a Roman epic belongs to Naevius; in this department Ennius did but borrow of him; it was in the form in which he cast his poem that his originality was shown. The legendary history of Rome, her supposed connection with the issues of the Trojan war, and her subsequent military achievements in the sphere of history, such was the groundwork both of Naevius's and Ennius's conception. And, however unsuitable such a consecutive narrative might be for a heroic poem, there was something in it that corresponded with the national sentiment, and in a changed form it re-appears in the Aeneid. Naevius had been contented with a single episode in Rome's career of conquest. Ennius, with more ambition but less judgment, aspired to grasp in an epic unity the entire history of the nation; and to achieve this, no better method occurred to him than the time-honoured and prosaic system of annals. The difficulty of recasting these in a poetic mould might well have staggered a more accomplished master of song; but to the enthusiastic and laborious bard the task did not seem too great. He lived to complete his work in accordance with the plan he had proposed, and though, perhaps, the manus ultima may have been wanting, there is nothing to show that he was dissatisfied with his results. We may perhaps smile at the vanity which aspired to the title of Roman Homer, and still more at the partiality which so willingly granted it; nevertheless, with all deductions on the score of rude conception and ruder execution, the fragments that remain incline us to concur with Scaliger in wishing that fate had spared us the whole, and denied us Silius, Statius, Lucan, "et tous ces garçons là." The whole was divided into eighteen books, of which the first contained the introduction, the earliest traditions, the foundation of Rome, and the deification of Romulus; the second and third contained the regal period; the fourth began the history of the Republic and carried it down to the burning of the city by the Gauls; the fifth comprised the Samnite wars; the sixth, that with Pyrrhus; the seventh, the first Punic war; the eighth and ninth, the war with Hannibal; the tenth and eleventh, that with Macedonia; the twelfth, thirteenth, and fourteenth, that with Syria; the fifteenth, the campaign of Fulvius Nobilior in Aetolia, and ended apparently with the death of the great Scipio. The work then received a new preface, and continued the history down to the poet's last years, containing many personal notices, until it was finally brought to a close in 172 B.C. after having occupied its author eighteen years. [1] "The interest of this last book," says Conington, [2] "must have centred, at least to us, in the discourse about himself, in which the old bard seems to have indulged in closing this his greatest poem. Even now we may read with sympathy his boastful allusion to his late enrolment among the citizens of the conquering city; we may be touched by the mention he appears to have made of the year of his age in which he wrote, bordering closely on the appointed term of man's life; and we may applaud as the curtain falls on his grand comparison of himself to a victorious racer laden with Olympian honours, and now at last consigned to repose:--
'Sicut fortis equus, spatio qui saepe supremo Vicit Olimpia, nunc senio confectus quiescit.'"
He was thus nearly fifty when he began to write, a fact which strikes us as remarkable. We are accustomed to associate the poetic gift with a highly-strung nervous system, and unusual bodily conditions not favourable to long life, as well as with a precocious special development which proclaims unmistakably in the boy the future greatness of the man. None of these conditions seem to have been present in the early Roman school. Livius was a quiet schoolmaster, Naevius a vigorous soldier, Ennius a self-indulgent but hard-working litterateur, Plautus an active man, whose animal spirits not even the flour-mill could quench, Pacuvius a steady but genial student, Accius and Terence finished men of the world; and all, except Terence (and he probably met his early death through an accident), enjoyed the full term of man's existence. Moreover, few of them began life by being poets, and some, as Ennius and Plautus, did not apply themselves to poetry until they had reached mature years. With these facts the character of their genius as a rule agrees. We should not expect in such men the fine inspiration of a Sophocles, a Goethe, or a Shelley, and we do not find it. The poetic frenzy, so magnificently described in the Phaedrus of Plato, which caused the Greeks to regard the poet in his moments of creation as actually possessed by the god, is nowhere manifest among the early Romans; and if it claims to appear in their later literature, we find it after all a spurious substitute, differing widely from the emotion of creative genius. It is not mere accident that Rome is as little productive in the sphere of speculative philosophy as she is in that of the highest poetry, for the two endowments are closely allied. The problem each sets before itself is the same; to arrest and embody in an intelligible shape the idea that shall give light to the dark questionings of the intellect, or the vague yearnings of the heart. To Rome it has not been given to open a new sphere of truth, or to add one more to the mystic voices of passion; her epic mission is the humbler but still not ignoble one of bracing the mind by her masculine good sense, and linking together golden chains of memory by the majestic music of her verse.
There were two important elements introduced into the mechanism of the story by Ennius; the Olympic Pantheon, and the presentation of the Roman worthies as heroes analogous to those of Greece. The latter innovation was only possible within narrow limits, for the idea formed by the Romans even of their greatest heroes, as Romulus, Numa, or Camillus was different in kind from that of the Greek hero-worshipper. Thus we see that Virgil abstains from applying the name to any of his Italian characters, confining it to such as are mentioned in Homer, or are connected with the Homeric legends. Still we find at a later period Julius Caesar publicly professing his descent on both sides from a superhuman ancestor, for such he practically admits Ancus Martius to be. [3] And in the epic of Silius Italicus the Roman generals occupy quite the conventional position of the hero-leader.
The admission of the Olympic deities as a kind of divine machinery for diversifying and explaining the narrative was much more pregnant with consequences. Outwardly, it is simply adopted from Homer, but the spirit which animates it is altogether different. The Greek, in spite of his intellectual scepticism, retained an aesthetic and emotional belief in his national gods, and at any rate it was natural that he should celebrate them in his verse; but the Roman poet claimed to utilize the Greek Pantheon for artistic purposes alone. He professed no belief in the beings he depicted. They were merely an ornamental, supernatural element, either introduced at will, as in Horace, or regulated according to traditional conceptions, as in Ennius and Virgil. Apollo, Minerva, and Bacchus, were probably no more to him than they are to us. They were names, consecrated by genius and convenient for art, under which could be combined the maximum of beautiful associations with the minimum of trouble to the poet. The custom, which perpetuated itself in Latin poetry, revived again with the rise of Italian art; and under a modified form its influence may be seen in the grand conceptions of Milton. The true nature of romantic poetry is, however, alien to any such mechanical employment of the supernatural, and its comparative infrequency in the highest English and German poetry, stamps these as products of the modern spirit. Had the Romans left Olympus to itself, and occupied themselves only with the rhetorical delineation of human action and feeling, they would have chosen a less ambitious but certainly more original path. Lucretius struggles against the prevailing tendency; but so unable were the Romans to invest their finer fancies with any other shape, that even while he is blaming the custom he unawares falls into it.
It was in the metrical treatment that Ennius's greatest achievement lay. For the first time in any consecutive way he introduced the hexameter into Latin poetry. It is true that Plautus had composed his epitaph in that measure, if we may trust Varro's judgment on its genuineness. [4] And the Marcian oracles, though their rhythm has been disputed, were in all probability written in the same. [5] But these last were translations, and were in no sense an epoch in literature. Ennius compelled the intractable forms of Latin speech to accommodate themselves to the dactylic rhythm. Difficulties of two kinds met him, those of accent and those of quantity. The former had been partially surmounted by the comic writers, and it only required a careful extension of their method to render the deviations from the familiar emphasis of daily life harmonious and acceptable. In respect of quantity the problem was more complex. Plautus had disregarded it in numerous instances (e.g. dari), and in others had been content to recognize the natural length or shortness of a vowel (e.g. senex ipse), neglecting the subordinate laws of position, &c. This custom had, as far as we know, guided Ennius himself in his dramatic poems; but for the epos he adopted a different principle. Taking advantage of the tendency to shorten final vowels, he fixed almost every doubtful case as short, e.g. musa, patre, dare, omnibus, amaveris, pater, only leaving the long syllable where the metre required it, as condiderit. By this means he gave a dactylic direction to Latin prosody which it afterwards, though only slightly, extended. At the same time he observed carefully the Greek laws of position and the doubled letters. He admitted hiatus, but not to any great extent, and chiefly in the caesura. The lengthening of a short vowel by the ictus occurs occasionally in his verses, but almost always in words where it was originally by nature long. In such words the lengthening may take place even in the thesis of the foot, as in--
"non enim rumores ponebat ante salutem."
Elision played a prominent part in his system. This was natural, since with all his changes many long or intractable terminations remained, e.g. enim, quidem, omnium, &c. These were generally elided, sometimes shortened as in the line quoted, sometimes lengthened as in the comedians,--
"inimicitiam agitantes."
Very rarely does he improperly shorten a naturally long vowel, e.g. contra (twice); terminations in o he invariably retains, except ego and modo. The final s is generally elided before a consonant when in the thesis of the foot, but often remains in the arsis (e.g. plenu' fidei, Isque dies). The two chief blots on his versification are his barbarous examples of tmesis,--saxo cere comminuit brum: Massili portant invenes ad litora tanas (= cerebrum, Massilitanas), and his quaint apocope, cael, gau, do (caelum, gaudium, domum), probably reflected from the Homeric do, kri, in which Lucilius imitates him, e.g. nol. (for nolueris). The caesura, which forms the chief feature in each verse, was not understood by Ennius. Several of his lines have no caesura at all; and that delicate alternation of its many varieties which charms us in Homer and Virgil, is foreign to the conception, as it would have been unattainable by the efforts, of the rugged epic bard. Nevertheless his labour achieved a great result. He stamped for centuries the character and almost the details of subsequent versification. [6] If we study the effect of his passages, we shall observe far greater power in single lines or sentences than in a continuous description. The solemn grandeur of some of his verses is unsurpassable, and, enshrined in the Aeneid, their dignity seems enhanced by their surroundings. Such are--
"Tuque pater Tiberine tuo cum ilumino sancto."
"Unus homo nobis cunctando restituit rem."
"Quae neque Dardaniis campis potuere perire Nec quom capta capi, nec quom combusta cremari, Augusto augurio postquam incluta condita Roma est."
On the other hand he sometimes falls into pure prose;
"Cives Romani tum facti sunt Campani,"
and the like, are scarcely metre, certainly not poetry. Later epicists in their desire to avoid this fault over elaborate their commonplace passages. Ennius tries, however clumsily, to copy Homer in dismissing them without ornament. The one or two similes that are preserved are among his least happy efforts. [7] Among battle scenes he is more at home, and these he paints with reality and strength. There are three passages of considerable length, which the reader who desires to judge of his narrative power should study. They are the dream of Ilia and the auspices of Romulus in the first book, and the description of the friend of Servilius in the seventh. This last is generally thought to be a picture of the poet himself, and to intimate in the most pleasing language his relations to his great patron. For a singularly appreciative criticism of these fragments the student is referred to Sellar's Poets of the Republic. The massive Roman vigour of treatment which shone forth in the Annals and made them as it were a rock-hewn monument of Rome's glory, secured to Ennius a far greater posthumous renown than that of any of the other early poets. Cicero extols him, and has no words too contemptuous for those who despise him, Lucretius praises him in the well known words--
"Ennius ut noster cecinit, qui primus amoeno Detulit ex Helicone perenni fronde coronam, Per gentis Italas hominum quae clara clueret." [8]
Virgil, it is true, never mentions him, but he imitates him continually. Ovid, with generous appreciation, allows the greatness of his talent, though he denies him art; [9] and the later imperial writers are even affected in their admiration of him. He continued to be read through the Middle Ages, and was only lost as late as the thirteenth century.
Ennius produced a few scattered imitators, but not until upwards of two generations after his death, if we except the doubtful case of Accius. The first is MATIUS, who translated the Iliad into hexameters. This may be more properly considered as the sequel to Livius, but the few fragments remaining show that his versification was based on that of Ennius. Gellius, with his partiality for all that was archaic, warmly praises this work.
HOSTIUS wrote the Bellum Istricum in three books. This was no doubt a continuation of the great master's Annales. What the war was is not quite certain. Some fix it at 178 B.C.; others as late as 129 B.C. The earlier date is the more probable. We then have to ask when Hostius himself lived. Teuffel inclines to place him before Accius; but most commentators assign him a later date. A few lines are preserved in Macrobius, [10] which seem to point to an early period, e.g.
"non si mihi linguae Centum atque ora sient totidem vocesque liquatae,"
and again,
"Dia Minerva, semol autem tu invictus Apollo Arquitenens Latonius."
His object in quoting these is to show that they were copied by Virgil. A passage in Propertius has been supposed to refer to him, [11]
"Splendidaque a docto fama refulget avo,"
where he would presumably be the grandfather of that Hostia whom under the name of Cynthia so many of Propertius's poems celebrate. Another poet of whom a few lines are preserved in Gellius and Macrobius is A. FURIUS of Antium, which little town produced more than one well-known writer. His work was entitled Annals. Specimens of his versification are--
"Interea Oceani linquens Aurora cubile."
"Quod genus hoc hominum Saturno sancte create?"
"Pressatur pede pes, mucro mucrone, viro vir." [12]
VII. THE EARLY HISTORY OF SATIRE (ENNIUS TO LUCILIUS)
200-103 B.C.
Satire, as every one knows, is the one branch of literature claimed by the Romans as their own. [1] It is, at any rate, the branch in which their excellence is most characteristically displayed. Nor is the excellence confined to the professed satirists; it was rather inherent in the genius of the nation. All their serious writings tended to assume at times a satirical spirit. Tragedy, so far as we can judge, rose to her clearest tones in branding with contempt the superstitions of the day. The epic verses of Ennius are not without traces of the same power. The prose of Cato abounds with sarcastic reflections, pointedly expressed. The arguments of Cicero's theological and moral treatises are largely sprinkled with satire. The whole poem of Lucretius is deeply imbued with it: few writers of any age have launched more fiery sarcasm upon the fear of death, or the blind passion of love than he has done in his third and fourth books. Even the gentle Virgil breaks forth at times into earnest invective, tipped with the flame of satire: [2] Dido's bitter irony, Turnus' fierce taunts, show that he could wield with stern effect this specially Roman weapon. Lucan and Seneca affect a style which, though grotesque, is meant to be satirical; while at the close of the classical period, Tacitus transforms the calm domain of history into satire, more burning because more suppressed than that of any of his predecessors. [3]
The claim to an independent origin advanced by Quintilian has been more than once disputed. The name Satire has been alleged as indicative of a Greek original (Satyrion). [4] It is true this can no longer be maintained. Still some have thought that the poems of Archilochus or the Silli may have suggested the Roman form of composition. But the former, though full of invective, were iambic or personal, not properly satirical. And the Silli, of which examples are found in Diogenes Laertius and Dio Chrysostom, were rather patched together from the verses of serious writers, forming a kind of Cento like the Carmen Nuptiale of Ausonius, than original productions. The Roman Satire differed from these in being essentially didactic. Besides ridiculing the vices and absurdities of individuals or of society, it had a serious practical purpose, viz. the improvement of public culture or morals. Thus it followed the old Comedy of Athens in its plain speaking, and the method of Archilochus in its bitter hostility to those who provoked attack. But it differed from the former in its non-political bias, as well as its non-dramatic form: and from the latter in its motive, which is not personal enmity, but public spirit. Thus the assertion of Horace, that Lucilius is indebted to the old comedians, [5] must be taken in a general sense only, and not be held to invalidate the generally received opinion that, in its final and perfected form, Satire was a genuine product of Rome.
The metres adopted by Satire was originally indifferent. The Saturae of Ennius were composed in trochaics, hexameters, and iambics; those of Varro (called Menippean, from Menippus of Gadara), mingled together prose and verse. [6] But from Lucilius onwards, Satire, accurately so called, was always treated in hexameter verse. [7]
Nevertheless, Horace is unquestionably right in saying that it had more real affinity for prose than for poetry of any kind--
"Primum ego me illorum, dederim quibus esse poetis, Excerpam numero: neque enim concludere versum Dixeris esse satis; neque si quis scribat, uti nos, Sermoni propiora, pates hunc esse poetam." [8]
The essence of satiric talent is that it should be able to understand the complexities of real life, that it should penetrate beneath the surface to the true motives of action, and if these are bad, should indicate by life- like touches their ridiculous or contemptible nature. There is room here for great variety of treatment and difference of personnel. One may have a broad and masculine grasp of the main outlines of social intercourse; another with subtler analysis may thread his way through the intricacies of dissimulation, and lay bare to the hypocrite secrets which he had concealed even from himself; a third may select certain provinces of conduct or thought, and by a good-humoured but discriminating portraiture, throw them into so new and clear a light, as to enable mankind to look at them, free from the prejudices with which convention so often blinds our view.
The qualifications for excelling in this kind of writing are clearly such as have no special connection with poetry. Had the modern prose essay existed at Rome, it is probable the satirists would have availed themselves of it. From the fragments of Lucilius we should judge that he found the trammels of verse somewhat embarrassing. Practice had indeed enabled him to write with unexampled fluency; [9] but except in this mechanical facility he shows none of the characteristics of a poet. The accumulated experience of modern life has pronounced in favour of abandoning the poetic form, and including Satire in the domain of prose. No doubt many celebrated poets in France and England have cultivated verse satire; but in most cases they have merely imitated, whereas the prose essay is a true formation of modern literary art. Conington, in an interesting article, [10] regards the progressive enlargement of the sphere of prose composition as a test of a nation's intellectual advance. Thus considered, poetry is the imperfect attempt to embody in vivid language ideas which have themselves hardly assumed definite form, and necessarily gives way to prose when clearness of thought and sequence of reasoning have established for themselves a more perfect vehicle. However inadequate such a view may be to explain the full nature of poetry, it is certainly true so far as concerns the case at present before us. The assignment of each special exercise of mind to its proper department of literature is undoubtedly a late growth of human culture, and such nations as have not attained to it, whatever may be the splendour of their literary creations, cannot be said to have reached the full maturity of intellectual development.
The conception of Satire by the ancients is illustrated by a passage in Diomedes: [11] "Satira dicitur carmen apud Romanos nunc quidem maledicum et ad carpenda hominum vitia archaeae comoediae charactere compositum, quale scripserunt Lucilius et Horatius et Persius; at olim carmen quod ex variis poematibus constabat satira cocabatur, quale scripserunt Pacuvius et Ennius." This old-fashioned satura of Ennius may be considered as half-way between the early semi-dramatic farce and the classical Satire. It was a genuine medley, containing all kinds of subjects, often couched in the form of dialogue, but intended for recitation, not for action. The poem on Scipio was classed with it, but what this poem was is not by any means clear; from the fragment that remains, describing a calm after storm in sonorous language, we should gather that Scipio's return voyage from Africa may have formed its theme. [12] Other subjects, included in the Saturae of Ennius, were the Hedyphagetica, a humorous didactic poem on the mysteries of gastronomy, which may have suggested similar effusions by Lucilius and Horace; [13] the Epicharmus and Euhemerus, both in trochaics, the latter a free translation of the iera anagraphae, or explanation of the gods as deified mortals; and the Epigrams, among which two on the great Scipio are still preserved, the first breathing the spirit of the Republic, the second asserting with some arrogance the exploits of the hero, and his claims to a place among the denizens of heaven. [14]
Of the Saturae of Pacuvius nothing is known. C. LUCILIUS (148-103 B.C.), the founder of classical Satire, was born in the Latin town of Suessa Aurunca in Campania. He belonged to an equestrian family, and was in easy circumstances. [15] He is supposed to have fought under Scipio in the Numantine war (133 B.C.) when he was still quite a youth; and it is certain from Horace that he lived on terms of the greatest intimacy, both with him, Laelius, and Albinus. He is said to have possessed the house which had been built at the public expense for the son of King Antiochus, and to have died at Naples, where he was honoured with a public funeral, in the forty-sixth year of his age. His position, at once independent and unambitious (for he could not hold office in Rome), gave him the best possible chance of observing social and political life, and of this chance he made the fullest use. He lived behind the scenes: he saw the corruption prevalent in high circles; he saw also the true greatness of those who, like Scipio, stood aloof from it, and he handed down to imperishable infamy each most signal instance of vice, whether in a statesman, as Lupus, [16] Metellus, or Albucius, or in a private person, as the glutton Gallonius.
It is possible that he now and then misapplied his pen to abuse his own enemies or those of his friends, for we know that the honourable Mucius Scaevola was violently attacked by him; [17] and there is a story that being once lampooned in the theatre in a libellous manner, the poet sued his detractor, but failed in obtaining damages, on the ground that he himself had done the same to others. Nevertheless, there can be no doubt whatever that on the whole he nobly used the power he possessed, that his trenchant pen was mainly enlisted on the side of patriotism, virtue, and enlightenment, and that he lashed without mercy corruption, hypocrisy, and ignorance. The testimony of Horace to his worth, coming from one who himself was not easily deceived, is entitled to the highest consideration; [18] that of Juvenal, though more emphatic, is not more weighty, [19] and the opinion, blamed by Quintilian, [20] that he should be placed above all other poets, shows that his plain language did not hinder the recognition of his moral excellence.
Although a companion of the great, he was strictly popular in his tone. He appealed to the great public, removed on the one hand from accurate learning, on the other from indifference to knowledge. "Nec doctissimis," he says, [21] "Manium Persium haec legere nolo, Junium Congum volo." And in another passage quoted by Cicero, [22] he professes to desire that his readers may be the Tarentines, Consentines, and Sicilians,--those, that is, whose Latin grammar and spelling most needed improvement. But we cannot extend this humility [23] to his more famous political allusions. Those at any rate would be nothing if not known to the parties concerned; neither the poet's genius nor the culprit's guilt could otherwise be brought home to the individual.
In one sense Lucilius might be called a moderniser, for he strove hard to enlarge the people's knowledge and views; but in another and higher sense he was strictly national: luxury, bribery, and sloth, were to him the very poison of all true life, and cut at the root of those virtues by which alone Rome could remain great. This national spirit caused him to be preferred to Horace by conservative minds in the time of Tacitus, but it probably made his critics somewhat over-indulgent. Horace, with all his admiration for him, cannot shut his eyes to his evident faults, [24] the rudeness of his language, the carelessness of his composition, the habit of mixing Greek and Latin words, which his zealous admirers construed into a virtue, and, last but not least, the diffuseness inseparable from a hasty draft which he took no trouble to revise. Still his elegance of language must have been considerable. Pliny speaks of him as the first to establish a severe criticism of style, [25] and the fragments reveal beneath the obscuring garb of his uncouth hexameters, a terse and pure idiom not unlike that of Terence. His faults are numerous, [26] but do not seriously detract from his value. The loss of his works must be considered a serious one. Had they been extant we should have found useful information in his pictures of life and manners in a state of moral transition, amusement in such pieces as his journal of a progress from Rome to Capua, [27] and material for philological knowledge in his careful distinctions of orthography and grammar.
As a favourable specimen of his style, it will be sufficient to quote his definition of virtue:
"Virtus, Albine, est pretium persolvere verum Quis in versamur, quis vivimus rebus potesse. Virtus est homini scire id quod quaeque habeat res. Virtus scire homini rectum, utile, quid sit honestum, Quae bona, quae mala item, quid inutile, turpe, inhonestum. Virtus, quaerendae finem rei scire modumque; Virtus divitiis pretium persolvere posse. Virtus, id dare quod reipsa debetur honori, Hostem esse atque inimicum hominum morumque malorum Contra, defensorem hominum morumque bonorum; Magnificare hos, his bene velle, his vivere amicum; Commoda praeterea patriai prima putare, Deinde parentum, tertia iam postremaque nostra."
We see in these lines a practical and unselfish standard--that of the cultivated but still truly patriotic Roman, admitting the necessity of knowledge in a way his ancestors might have questioned, but keeping steadily to the main points of setting a true price upon all human things, and preferring the good of one's country to personal advantage. This is a morality intelligible to all, and if it falls below the higher enlightenment of modern, knowledge, it at least soars above the average practice. We are informed [28] that Lucilius did not spare his immediate predecessors and contemporaries in literature any more than in politics. He attacked Accius for his unauthorised innovations in spelling, Pacuvius and Ennius for want of a sustained level of dignity. His satire seems to have ranged over the whole field of life, so far as it was known to him; and though his learning was in no department deep, [29] it was sound so far as it went, and was guided by natural good taste. He will always retain an interest for us from the charming picture given by Horace of his daily life; how he kept his books beside him like the best of friends, as indeed they were, and whatever he felt, thought, or saw, intrusted to their faithful keeping, whence it comes that the man's life stands as vividly before one's eyes as if it had been painted on a votive tablet. Then the way in which Laelius and Scipio unbent in his company, mere youth as he was compared to them, gives us a pleasing notion of his social gifts; he who could make the two grave statesmen so far forget their decorum as to romp in the manner Horace describes, must at least have been gifted with contagious light-heartedness. This genial humour Horace tried with success to reproduce, but he is conscious of inferiority to the master. In English literature Dryden is the writer who most recalls him, though rather in his higher than in his more sportive moods.
Chapter VIII
THE MINOR DEPARTMENTS OF POETRY--THE ATELLANAE (POMPONIUS AND NOVIUS, CIRC. 90 B.C.) AND THE EPIGRAM (ENNIUS--CATULUS, 100 B.C.).
The last class of dramatic poets whom we shall mention in the first period are the writers of Atellanae. These entertainments originated at the little town of Atella, now St Arpino, between Capua and Naples in the Oscan territory, and were at first composed in the Oscan dialect. Their earliest cultivation at Rome seems to date not long after 360 B.C., in which year the Etruscan histriones were first imported into Rome. The novelty of this amusement attracted the Roman youths, and they began to imitate both the Etruscan dancers and the Oscan performers, who had introduced the Atellane fables into Rome. After the libellous freedom of speech in which they at first indulged had been restrained by law, the Atellanae seem to have established themselves as a privileged form of pleasantry, in which the young nobles could, without incurring the disgrace of removal from their tribe or incapacity for military service, indulge their readiness of speech and impromptu dramatic talent. [1] During rather more than two centuries this custom continued, the performance consisting of detached scenes without any particular connection, but full of jocularity, and employing a fixed set of characters. The language used may have been the Oscan, but, considering the fact that a knowledge of that dialect was not universal at Rome, [2] it was more probably the popular or plebeian Latin interspersed with Oscan elements. No progress towards a literary form is observable until the time of Sulla, but they continued to receive a countenance from the authorities that was not accorded to other forms of the drama. We find, for example, that when theatrical representations were interdicted, an exception was made in their favour. [3] Though coarse and often obscene, they were considered as consistent with gentlemanly behaviour; thus Cicero, in a well-known passage in one of his letters, [4] contrasts them with the Mimes, secundum Oenomaum Accii non, ut olim solebat, Atellanam, sed, ut nunc fit, mimum introduxisti; and Valerius Maximus implies that they did not carry their humour to extravagant lengths, [5] but tempered it with Italian severity. From the few fragments that remain to us we should be inclined to form a different opinion, and to suspect that national partiality in contrasting them with the Graecized form of the Mimi kept itself blind to their more glaring faults. The characters that oftenest reappear in them are Maccus, Bucco, and Pappus; the first of these is prefixed to the special title, e.g. Maccus miles, Maccus virgo. He seems to have been a personage with an immense head, who, corresponding to our clown or harlequin, came in for many hard knocks, but was a general favourite. Pappus took the place of pantaloon, and was the general butt.
NOVIUS (circ. 100 B.C.), whom Macrobius [6] calls probatissimus Atellanarum scriptor, was the first to reduce this species to the rules of art, giving it a plot and a written dialogue. Several fragments remain, but for many centuries they were taken for those of Naevius, whence great confusion ensued. A better known writer is L. POMPONIUS (90 B.C.) of Bononia, who flourished in the time of Sulla, and is said to have persuaded that cultured sensualist to compose Atellanae himself. Upwards of thirty of his plays are cited; [7] but although a good many lines are preserved, no fragments are long enough to give a good notion of his style. The commendations, however, with which Cicero, Seneca, Gellius, and Priscian load him, prove that he was classed with good writers. From the list given below, it will be seen that the subjects were mostly, though not always, from low life; some remind us of the regular comedies, as the Syri and Dotata. The old-fashioned ornaments of puns and alliteration abound in him, as well as extreme coarseness. The fables, which were generally represented after the regular play as an interlude or farce, are mentioned by Juvenal in two of his satires: [8]
"Urbicus exodio risum movet Atellanae Gestibus Autonoes;"
and in his pretty description of a rustic fete--
"Ipsa dierum Festorum herboso colitur si quando theatro Maiestas, tandemque redit ad pulpita notum Exodium, cum personae pallentis hiatum In gremio matris formidat rusticus infans; Aequales habitus illic, similemque videbis Orchestram et populum...."
They endured a while under the empire, when we hear of a composer named MUMMIUS, of some note, but in the general decline they became merged in the pantomime, into which all kinds of dramatic art gradually converged.
If the Atellanae were the most indigenous form of literature in which the young nobles indulged, the different kinds of love-poem were certainly the least in accordance with the Roman traditions of art. Nevertheless, unattainable as was the spontaneous grace of the Greek erotic muse, there were some who aspired to cultivate her.
Few kinds of verse more attracted the Roman amateurs than the Epigram. There was something congenial to the Roman spirit in the pithy distich or tetrastich which formed so considerable an element in the "elegant extracts" of Alexandria. The term epigram has altered its meaning with the lapse of ages. In Greek it signified merely an inscription commemorative of some work of art, person, or event; its virtue was to be short, and to be appropriate. The most perfect writer of epigrams in the Greek sense was Simonides,--nothing can exceed the exquisite simplicity that lends an undying charm to his effusions. The epigrams on Leonides and on Marathon are well known. The metre selected was the elegiac, on account of its natural pause at the close of the second line. The nearest approach to such simple epigrams are the epitaphs of Naevius, Ennius, and especially Pacuvius, already quoted. This natural grace, however, was, even in Greek poetry, superseded by a more artificial style. The sparkling epigram of Plato addressed to a fair boy has been often imitated, and most writers after him are not satisfied without playing on some fine thought, or turning some graceful point; so that the epigram by little and little approached the form which in its purest age the Italian sonnet possessed. In this guise it was cultivated with taste and brilliancy at Alexandria, Callimachus especially being a finished master of it. The first Roman epigrammatists imitate the Alexandrine models, and, making allowance for the uncouth hardness of their rhythm, achieve a fair success. Of the epigrams of Ennius, only the three already quoted remain. [9] Three authors are mentioned by Aulus Gellius [10] as having raised the Latin Epigram to a level with Anacreon in sweetness, point, and neatness. This is certainly far too high praise. Nor, even if it were so, can we forget that the poems he quotes (presumably the best he could find) are obvious imitations, if not translations, from the Greek. The first is by Q. LUTATIUS CATULUS, and dates about 100 B.C. It is entitled Ad Theotimum:
"Aufugit mi animus; credo, ut solet, ad Theotimum Devenit: sic est: perfugium illud habet. Quid si non interdixem ne illuc fugitivum Mitteret ad se intro, sed magis eiiceret? Ibimus quaesitum: verum ne ipsi teneamur Formido: quid ago? Da, Venus, consilium."
A more pleasing example of his style, and this time perhaps original, is given by Cicero. [11] It is on the actor Roscius, who, when a boy, was renowned for his beauty, and is favourably compared with the rising orb of day:
"Constiteram exorientem Auroram forte salutans, Cum subito e laeva Roscius exoritur. Pace mihi liceat, caelestes, dicere vestra: Mortalis visust pulcrior esse deo."
This piece, as may be supposed, has met with imitators both in French and Italian literature. A very similar jeu d'esprit of PORCIUS LICINUS is quoted:
"Custodes ovium, teneraeque propaginis agnûm, Quaeritis ignem? ite huc: Quaeritis? ignis homo est. Si digito attigero, incendam silvam simul omnem, Omne pecus: flamma est omnia quae video."
This Porcius wrote also on the history of literature. Some rather ill- natured lines on Terence are preserved in Suetonius. [12] He there implies that the young poet, with all his talent, could not keep out of poverty, a taunt which we have good reason for disbelieving as well as disapproving. Two lines on the rise of poetry at Rome deserve quotation--
"Poenico bello secundo Musa pinnato gradu Intulit se bellicosam Romuli in gentem feram."
A certain POMPILIUS is mentioned by Varro as having epigrammatic tastes; one distich that is preserved gives us no high notion of his powers--
"Pacvi [13] discipulus dicor: porro is fuit Enni: Ennius Musarum: Pompilius clueor."
Lastly, VALERIUS AEDITUUS, who is only known by the short notices in Varro and Gellius, wrote similar short pieces, two of which are preserved.
AD PAMPHILAM.
"Dicere cum conor curam tibi, Pamphila, cordis, Quid mi abs te quaeram? verba labris abeunt Per pectus miserum manat subito mihi sudor. Si tacitus, subidus: duplo ideo pereo."
AD PUERUM PHILEROTA.
"Quid faculam praefers, Phileros, qua nil opus nobis? Ibimus, hoc lucet pectore flamma satis. Illam non potis est vis saeva exstinguere venti, Aut imber caelo candidus praecipitans. At contra, hunc ignem Veneris, si non Venus ipsa, Nulla est quae possit vis alia opprimare."
We have quoted these pieces, not from their intrinsic merit, for they have little or none, but to show the painful process by which Latin versification was elaborated. All these must be referred to a date at least sixty years after Ennius, and yet the rhythm is scarcely at all improved. The great number of second-rate poets who wrought in the same laboratory did good work, in so far that they made the technical part less wearisome for poets like Lucretius and Catullus. With mechanical dexterity taste also slowly improved by the competing effort of many ordinary minds; but it did not make those giant strides which nothing but genius can achieve. The later developments of the Epigram will be considered in a subsequent book.