Chapter XIV: Literature and Art (3)

The beginnings of scientific culture, and even of authorship relating to it, also fall within this epoch. The instruction hitherto given had been substantially confined to reading and writing and a knowledge of the law of the land.(65) But a closer contact with the Greeks gradually suggested to the Romans the idea of a more general culture; and stimulated the endeavour, if not directly to transplant this Greek culture to Rome, at any rate to modify the Roman culture to some extent after its model.

Grammar

First of all, the knowledge of the mother-tongue began to shape itself into Latin grammar; Greek philology transferred its methods to the kindred idiom of Italy. The active study of grammar began nearly at the same time with Roman authorship. About 520 Spurius Carvilius, a teacher of writing, appears to have regulated the Latin alphabet, and to have given to the letter -g, which was not previously included in it,(66) the place of the -z which could be dispensed with--the place which it still holds in the modern Occidental alphabets. The Roman school-masters must have been constantly working at the settlement of orthography; the Latin Muses too never disowned their scholastic Hippocrene, and at all times applied themselves to orthography side by side with poetry. Ennius especially--resembling Klopstock in this respect also--not only practised an etymological play on assonance quite after the Alexandrian style,(67) but also introduced, in place of the simple signs for the double consonants that had hitherto been usual, the more accurate Greek double writing. Of Naevius and Plautus, it is true, nothing of the kind is known; the popular poets in Rome must have treated orthography and etymology with the indifference which is usual with poets.

Rhetoric and Philosophy

The Romans of this epoch still remained strangers to rhetoric and philosophy. The speech in their case lay too decidedly at the very heart of public life to be accessible to the handling of the foreign schoolmaster; the genuine orator Cato poured forth all the vials of his indignant ridicule over the silly Isocratean fashion of ever learning, and yet never being able, to speak. The Greek philosophy, although it acquired a certain influence over the Romans through the medium of didactic and especially of tragic poetry, was nevertheless viewed with an apprehension compounded of boorish ignorance and of instinctive misgiving. Cato bluntly called Socrates a talker and a revolutionist, who was justly put to death as an offender against the faith and the laws of his country; and the opinion, which even Romans addicted to philosophy entertained regarding it, may well be expressed in the words of Ennius:

-Philosophari est mihi necesse, at paucis, nam omnino haut placet. Degustandum ex ea, non in eam ingurgitandum censeo.-

Nevertheless the poem on Morals and the instructions in Oratory, which were found among the writings of Cato, may be regarded as the Roman quintessence or, if the expression be preferred, the Roman -caput mortuum- of Greek philosophy and rhetoric. The immediate sources whence Cato drew were, in the case of the poem on Morals, presumably the Pythagorean writings on morals (along with, as a matter of course, due commendation of the simple ancestral habits), and, in the case of the book on Oratory, the speeches in Thucydides and more especially the orations of Demosthenes, all of which Cato zealously studied. Of the spirit of these manuals we may form some idea from the golden oratorical rule, oftener quoted than followed by posterity, "to think of the matter and leave the words to follow from it."(68)

Medicine

Similar manuals of a general elementary character were composed by Cato on the Art of Healing, the Science of War, Agriculture, and Jurisprudence--all of which studies were likewise more or less under Greek influence. Physics and mathematics were not much studied in Rome; but the applied sciences connected with them received a certain measure of attention. This was most of all true of medicine. In 535 the first Greek physician, the Peloponnesian Archagathus, settled in Rome and there acquired such repute by his surgical operations, that a residence was assigned to him on the part of the state and he received the freedom of the city; and thereafter his colleagues flocked in crowds to Italy. Cato no doubt not only reviled the foreign medical practitioners with a zeal worthy of a better cause, but attempted, by means of his medical manual compiled from his own experience and probably in part also from the medical literature of the Greeks, to revive the good old fashion under which the father of the family was at the same time the family physician. The physicians and the public gave themselves, as was reasonable, but little concern about his obstinate invectives: at any rate the profession, one of the most lucrative which existed in Rome, continued a monopoly in the hands of the foreigners, and for centuries there were none but Greek physicians in Rome.

Mathematics

Hitherto the measurement of time had been treated in Rome with barbarous indifference, but matters were now at least in some degree improved. With the erection of the first sundial in the Roman Forum in 491 the Greek hour (--ora--, -hora-) began to come into use at Rome: it happened, however, that the Romans erected a sundial which had been prepared for Catana situated four degrees farther to the south, and were guided by this for a whole century. Towards the end of this epoch we find several persons of quality taking an interest in mathematical studies. Manius Acilius Glabrio (consul in 563) attempted to check the confusion of the calendar by a law, which allowed the pontifical college to insert or omit intercalary months at discretion: if the measure failed in its object and in fact aggravated the evil, the failure was probably owing more to the unscrupulousness than to the want of intelligence of the Roman theologians. Marcus Fulvius Nobilior (consul in 565), a man of Greek culture, endeavoured at least to make the Roman calendar more generally known. Gaius Sulpicius Gallus (consul in 588), who not only predicted the eclipse of the moon in 586 but also calculated the distance of the moon from the earth, and who appears to have come forward even as an astronomical writer, was regarded on this account by his contemporaries as a prodigy of diligence and acuteness.

Agriculture and the Art of War

Agriculture and the art of war were, of course, primarily regulated by the standard of traditional and personal experience, as is very distinctly apparent in that one of the two treatises of Cato on Agriculture which has reached our time. But the results of Graeco- Latin, and even of Phoenician, culture were brought to bear on these subordinate fields just as on the higher provinces of intellectual activity, and for that reason the foreign literature relating to them cannot but have attracted some measure of attention.

Jurisprudence

Jurisprudence, on the other hand, was only in a subordinate degree affected by foreign elements. The activity of the jurists of this period was still mainly devoted to the answering of parties consulting them and to the instruction of younger listeners; but this oral instruction contributed to form a traditional groundwork of rules, and literary activity was not wholly wanting. A work of greater importance for jurisprudence than the short sketch of Cato was the treatise published by Sextus Aelius Paetus, surnamed the "subtle" (-catus-), who was the first practical jurist of his time, and, in consequence of his exertions for the public benefit in this respect, rose to the consulship (556) and to the censorship (560). His treatise --the "-Tripartita-" as it was called--was a work on the Twelve Tables, which appended to each sentence of the text an explanation--chiefly, doubtless, of the antiquated and unintelligible expressions--and the corresponding formula of action. While this process of glossing undeniably indicated the influence of Greek grammatical studies, the portion treating of the formulae of action, on the contrary, was based on the older collection of Appius(69) and on the whole system of procedure developed by national usage and precedent.

Cato's Encyclopaedia

The state of science generally at this epoch is very distinctly exhibited in the collection of those manuals composed by Cato for his son which, as a sort of encyclopaedia, were designed to set forth in short maxims what a "fit man" (-vir bonus-) ought to be as orator, physician, husbandman, warrior, and jurist. A distinction was not yet drawn between the propaedeutic and the professional study of science; but so much of science generally as seemed necessary or useful was required of every true Roman. The work did not include Latin grammar, which consequently cannot as yet have attained that formal development which is implied in a properly scientific instruction in language; and it excluded music and the whole cycle of the mathematical and physical sciences. Throughout it was the directly practical element in science which alone was to be handled, and that with as much brevity and simplicity as possible. The Greek literature was doubtless made use of, but only to furnish some serviceable maxims of experience culled from the mass of chaff and rubbish: it was one of Cato's commonplaces, that "Greek books must be looked into, but not thoroughly studied." Thus arose those household manuals of necessary information, which, while rejecting Greek subtlety and obscurity, banished also Greek acuteness and depth, but through that very peculiarity moulded the attitude of the Romans towards the Greek sciences for all ages.

Character and Historical Position of Roman Literature

Thus poetry and literature made their entrance into Rome along with the sovereignty of the world, or, to use the language of a poet of the age of Cicero:

-Poenico bello secundo Musa pennato gradu Intulit se bellicosam Romuli in gentem feram.-

In the districts using the Sabellian and Etruscan dialects also there must have been at the same period no want of intellectual movement Tragedies in the Etruscan language are mentioned, and vases with Oscan inscriptions show that the makers of them were acquainted with Greek comedy. The question accordingly presents itself, whether, contemporarily with Naevius and Cato, a Hellenizing literature like the Roman may not have been in course of formation on the Arnus and Volturnus. But all information on the point is lost, and history can in such circumstances only indicate the blank.

Hellenizing Literature

The Roman literature is the only one as to which we can still form an opinion; and, however problematical its absolute worth may appear to the aesthetic judge, for those who wish to apprehend the history of Rome it remains of unique value as the mirror of the inner mental life of Italy in that sixth century--full of the din of arms and pregnant for the future--during which its distinctively Italian phase closed, and the land began to enter into the broader career of ancient civilization. In it too there prevailed that antagonism, which everywhere during this epoch pervaded the life of the nation and characterized the age of transition. No one of unprejudiced mind, and who is not misled by the venerable rust of two thousand years, can be deceived as to the defectiveness of the Hellenistico-Roman literature. Roman literature by the side of that of Greece resembles a German orangery by the side of a grove of Sicilian orange-trees; both may give us pleasure, but it is impossible even to conceive them as parallel. This holds true of the literature in the mother-tongue of the Latins still more decidedly, if possible, than of the Roman literature in a foreign tongue; to a very great extent the former was not the work of Romans at all, but of foreigners, of half-Greeks, Celts, and ere long even Africans, whose knowledge of Latin was only acquired by study. Among those who in this age came before the public as poets, none, as we have already said, can be shown to have been persons of rank; and not only so, but none can be shown to have been natives of Latium proper. The very name given to the poet was foreign; even Ennius emphatically calls himself a -poeta-(70). But not only was this poetry foreign; it was also liable to all those defects which are found to occur where schoolmasters become authors and the great multitude forms the public. We have shown how comedy was artistically debased by a regard to the multitude, and in fact sank into vulgar coarseness; we have further shown that two of the most influential Roman authors were schoolmasters in the first instance and only became poets in the sequel, and that, while the Greek philology which only sprang up after the decline of the national literature experimented merely on the dead body, in Latium grammar and literature had their foundations laid simultaneously and went hand in hand, almost as in the case of modern missions to the heathen. In fact, if we view with an unprejudiced eye this Hellenistic literature of the sixth century--that poetry followed out professionally and destitute of all productiveness of its own, that uniform imitation of the very shallowest forms of foreign art, that repertoire of translations, that changeling of epos--we are tempted to reckon it simply one of the diseased symptoms of the epoch before us.

But such a judgment, if not unjust, would yet be just only in a very partial sense. We must first of all consider that this artificial literature sprang up in a nation which not only did not possess any national poetic art, but could never attain any such art. In antiquity, which knew nothing of the modern poetry of individual life, creative poetical activity fell mainly within the mysterious period when a nation was experiencing the fears and pleasures of growth: without prejudice to the greatness of the Greek epic and tragic poets we may assert that their poetry mainly consisted in reproducing the primitive stories of human gods and divine men. This basis of ancient poetry was totally wanting in Latium: where the world of gods remained shapeless and legend remained barren, the golden apples of poetry could not voluntarily ripen. To this falls to be added a second and more important consideration.

The inward mental development and the outward political evolution of Italy had equally reached a point at which it was no longer possible to retain the Roman nationality based on the exclusion of all higher and individual mental culture, and to repel the encroachments of Hellenism. The propagation of Hellenism in Italy had certainly a revolutionary and a denationalizing tendency, but it was indispensable for the necessary intellectual equalization of the nations; and this primarily forms the historical and even the poetical justification of the Romano-Hellenistic literature. Not a single new and genuine work of art issued from its workshop, but it extended the intellectual horizon of Hellas over Italy. Viewed even in its mere outward aspect, Greek poetry presumes in the hearer a certain amount of positive acquired knowledge. That self-contained completeness, which is one of the most essential peculiarities of the dramas of Shakespeare for instance, was foreign to ancient poetry; a person unacquainted with the cycle of Greek legend would fail to discover the background and often even the ordinary meaning of every rhapsody and every tragedy. If the Roman public of this period was in some degree familiar, as the comedies of Plautus show, with the Homeric poems and the legends of Herakles, and was acquainted with at least the more generally current of the other myths,(71) this knowledge must have found its way to the public primarily through the stage alongside of the school, and thus have formed at least a first step towards the understanding of the Hellenic poetry. But still deeper was the effect--on which the most ingenious literary critics of antiquity justly laid emphasis--produced by the naturalization of the Greek poetic language and the Greek metres in Latium. If "conquered Greece vanquished her rude conqueror by art," the victory was primarily accomplished by elaborating from the unpliant Latin idiom a cultivated and elevated poetical language, so that instead of the monotonous and hackneyed Saturnian the senarius flowed and the hexameter rushed, and the mighty tetrameters, the jubilant anapaests, and the artfully intermingled lyrical rhythms fell on the Latin ear in the mother-tongue. Poetical language is the key to the ideal world of poetry, poetic measure the key to poetical feeling; for the man, to whom the eloquent epithet is dumb and the living image is dead, and in whom the times of dactyls and iambuses awaken no inward echo, Homer and Sophocles have composed in vain. Let it not be said that poetical and rhythmical feeling comes spontaneously. The ideal feelings are no doubt implanted by nature in the human breast, but they need favourable sunshine in order to germinate; and especially in the Latin nation, which was but little susceptible of poetic impulses, they needed external nurture. Nor let it be said, that, by virtue of the widely diffused acquaintance with the Greek language, its literature would have sufficed for the susceptible Roman public. The mysterious charm which language exercises over man, and which poetical language and rhythm only enhance, attaches not to any tongue learned accidentally, but only to the mother-tongue. From this point of view, we shall form a juster judgment of the Hellenistic literature, and particularly of the poetry, of the Romans of this period. If it tended to transplant the radicalism of Euripides to Rome, to resolve the gods either into deceased men or into mental conceptions, to place a denationalized Latium by the side of a denationalized Hellas, and to reduce all purely and distinctly developed national peculiarities to the problematic notion of general civilization, every one is at liberty to find this tendency pleasing or disagreeable, but none can doubt its historical necessity. From this point of view the very defectiveness of the Roman poetry, which cannot be denied, may be explained and so may in some degree be justified. It is no doubt pervaded by a disproportion between the trivial and often bungled contents and the comparatively finished form; but the real significance of this poetry lay precisely in its formal features, especially those of language and metre. It was not seemly that poetry in Rome was principally in the hands of schoolmasters and foreigners and was chiefly translation or imitation; but, if the primary object of poetry was simply to form a bridge from Latium to Hellas, Livius and Ennius had certainly a vocation to the poetical pontificate in Rome, and a translated literature was the simplest means to the end. It was still less seemly that Roman poetry preferred to lay its hands on the most worn- out and trivial originals; but in this view it was appropriate. No one will desire to place the poetry of Euripides on a level with that of Homer; but, historically viewed, Euripides and Menander were quite as much the oracles of cosmopolitan Hellenism as the Iliad and Odyssey were the oracles of national Hellenism, and in so far the representatives of the new school had good reason for introducing their audience especially to this cycle of literature. The instinctive consciousness also of their limited poetical powers may partly have induced the Roman composers to keep mainly by Euripides and Menander and to leave Sophocles and even Aristophanes untouched; for, while poetry is essentially national and difficult to transplant, intellect and wit, on which the poetry of Euripides as well as of Menander is based, are in their very nature cosmopolitan. Moreover the fact always deserves to be honourably acknowledged, that the Roman poets of the sixth century did not attach themselves to the Hellenic literature of the day or what is called Alexandrinism, but sought their models solely in the older classical literature, although not exactly in its richest or purest fields. On the whole, however innumerable may be the false accommodations and sins against the rules of art which we can point out in them, these were just the offences which were by stringent necessity attendant on the far from scrupulous efforts of the missionaries of Hellenism; and they are, in a historical and even aesthetic point of view, outweighed in some measure by the zeal of faith equally inseparable from propagandism. We may form a different opinion from Ennius as to the value of his new gospel; but, if in the case of faith it does not matter so much what, as how, men believe, we cannot refuse recognition and admiration to the Roman poets of the sixth century. A fresh and strong sense of the power of the Hellenic world-literature, a sacred longing to transplant the marvellous tree to the foreign land, pervaded the whole poetry of the sixth century, and coincided in a peculiar manner with the thoroughly elevated spirit of that great age. The later refined Hellenism looked down on the poetical performances of this period with some degree of contempt; it should rather perhaps have looked up to the poets, who with all their imperfection yet stood in a more intimate relation to Greek poetry, and approached nearer to genuine poetical art, than their more cultivated successors. In the bold emulation, in the sounding rhythms, even in the mighty professional pride of the poets of this age there is, more than in any other epoch of Roman literature, an imposing grandeur; and even those who are under no illusion as to the weak points of this poetry may apply to it the proud language, already quoted, in which Ennius celebrates its praise:

-Enni poeta, salve, qui mortalibus Versus propinas flammeos medullitus.-

National Opposition

As the Hellenico-Roman literature of this period was essentially marked by a dominant tendency, so was also its antithesis, the contemporary national authorship. While the former aimed at neither more nor less than the annihilation of Latin nationality by the creation of a poetry Latin in language but Hellenic in form and spirit, the best and purest part of the Latin nation was driven to reject and place under the ban of outlawry the literature of Hellenism along with Hellenism itself. The Romans in the time of Cato stood opposed to Greek literature, very much as in the time of the Caesars they stood opposed to Christianity; freedmen and foreigners formed the main body of the poetical, as they afterwards formed the main body of the Christian, community; the nobility of the nation and above all the government saw in poetry as in Christianity an absolutely hostile power; Plautus and Ennius were ranked with the rabble by the Roman aristocracy for reasons nearly the same as those for which the apostles and bishops were put to death by the Roman government. In this field too it was Cato, of course, who took the lead as the vigorous champion of his native country against the foreigners. The Greek literati and physicians were in his view the most dangerous scum of the radically corrupt Greek people,(72) and the Roman "ballad- singers" are treated by him with ineffable contempt.(73) He and those who shared his sentiments have been often and harshly censured on this account, and certainly the expressions of his displeasure are not unfrequently characterized by the bluntness and narrowness peculiar to him; on a closer consideration, however, we must not only confess him to have been in individual instances substantially right, but we must also acknowledge that the national opposition in this field, more than anywhere else, went beyond the manifestly inadequate line of mere negative defence. When his younger contemporary, Aulus Postumius Albinus, who was an object of ridicule to the Hellenes themselves by his offensive Hellenizing, and who, for example, even manufactured Greek verses--when this Albinus in the preface to his historical treatise pleaded in excuse for his defective Greek that he was by birth a Roman--was not the question quite in place, whether he had been doomed by authority of law to meddle with matters which he did not understand? Were the trades of the professional translator of comedies and of the poet celebrating heroes for bread and protection more honourable, perhaps, two thousand years ago than they are now? Had Cato not reason to make it a reproach against Nobilior, that he took Ennius--who, we may add, glorified in his verses the Roman potentates without respect of persons, and overloaded Cato himself with praise--along with him to Ambracia as the celebrator of his future achievements? Had he not reason to revile the Greeks, with whom he had become acquainted in Rome and Athens, as an incorrigibly wretched pack? This opposition to the culture of the age and the Hellenism of the day was well warranted; but Cato was by no means chargeable with an opposition to culture and to Hellenism in general. On the contrary it is the highest merit of the national party, that they comprehended very clearly the necessity of creating a Latin literature and of bringing the stimulating influences of Hellenism to bear on it; only their intention was, that Latin literature should not be a mere copy taken from the Greek and intruded on the national feelings of Rome, but should, while fertilized by Greek influences, be developed in accordance with Italian nationality. With a genial instinct, which attests not so much the sagacity of individuals as the elevation of the epoch, they perceived that in the case of Rome, owing to the total want of earlier poetical productiveness, history furnished the only subject-matter for the development of an intellectual life of their own. Rome was, what Greece was not, a state; and the mighty consciousness of this truth lay at the root both of the bold attempt which Naevius made to attain by means of history a Roman epos and a Roman drama, and of the creation of Latin prose by Cato. It is true that the endeavour to replace the gods and heroes of legend by the kings and consuls of Rome resembles the attempt of the giants to storm heaven by means of mountains piled one above another: without a world of gods there is no ancient epos and no ancient drama, and poetry knows no substitutes. With greater moderation and good sense Cato left poetry proper, as a thing irremediably lost, to the party opposed to him; although his attempt to create a didactic poetry in national measure after the model of the earlier Roman productions --the Appian poem on Morals and the poem on Agriculture--remains significant and deserving of respect, in point if not of success, at least of intention. Prose afforded him a more favourable field, and accordingly he applied the whole varied power and energy peculiar to him to the creation of a prose literature in his native tongue. This effort was all the more Roman and all the more deserving of respect, that the public which he primarily addressed was the family circle, and that in such an effort he stood almost alone in his time. Thus arose his "Origines," his remarkable state-speeches, his treatises on special branches of science. They are certainly pervaded by a national spirit, and turn on national subjects; but they are far from anti-Hellenic: in fact they originated essentially under Greek influence, although in a different sense from that in which the writings of the opposite party so originated. The idea and even the title of his chief work were borrowed from the Greek "foundation- histories" (--ktoeis--). The same is true of his oratorical authorship; he ridiculed Isocrates, but he tried to learn from Thucydides and Demosthenes. His encyclopaedia is essentially the result of his study of Greek literature. Of all the undertakings of that active and patriotic man none was more fruitful of results and none more useful to his country than this literary activity, little esteemed in comparison as it probably was by himself. He found numerous and worthy successors in oratorical and scientific authorship; and though his original historical treatise, which of its kind may be compared with the Greek logography, was not followed by any Herodotus or Thucydides, yet by and through him the principle was established that literary occupation in connection with the useful sciences as well as with history was not merely becoming but honourable in a Roman.

Architecture

Let us glance, in conclusion, at the state of the arts of architecture, sculpture, and painting. So far as concerns the former, the traces of incipient luxury were less observable in public than in private buildings. It was not till towards the close of this period, and especially from the time of the censorship of Cato (570), that the Romans began in the case of the former to have respect to the convenience as well as to the bare wants of the public; to line with stone the basins (-lacus-) supplied from the aqueducts, (570); to erect colonnades (575, 580); and above all to transfer to Rome the Attic halls for courts and business--the -basilicae- as they were called. The first of these buildings, somewhat corresponding to our modern bazaars--the Porcian or silversmiths' hall--was erected by Cato in 570 alongside of the senate-house; others were soon associated with it, till gradually along the sides of the Forum the private shops were replaced by these splendid columnar halls. Everyday life, however, was more deeply influenced by the revolution in domestic architecture which must, at latest, be placed in this period. The hall of the house (-atrium-), court (-cavum aedium-), garden and garden colonnade (-peristylium-), the record-chamber (-tablinum-), chapel, kitchen, and bedrooms were by degrees severally provided for; and, as to the internal fittings, the column began to be applied both in the court and in the hall for the support of the open roof and also for the garden colonnades: throughout these arrangements it is probable that Greek models were copied or at any rate made use of. Yet the materials used in building remained simple; "our ancestors," says Varro, "dwelt in houses of brick, and laid merely a moderate foundation of stone to keep away damp."

Plastic Art and Painting

Of Roman plastic art we scarcely encounter any other trace than, perhaps, the embossing in wax of the images of ancestors. Painters and painting are mentioned somewhat more frequently. Manius Valerius caused the victory which he obtained over the Carthaginians and Hiero in 491 off Messana(74) to be depicted on the side wall of the senate- house--the first historical frescoes in Rome, which were followed by many of similar character, and which were in the domain of the arts of design what the national epos and the national drama became not much later in the domain of poetry. We find named as painters, one Theodotus who, as Naevius scoffingly said,

-Sedens in cella circumtectus tegetibus Lares ludentis peni pinxit bubulo;-

Marcus Pacuvius of Brundisium, who painted in the temple of Hercules in the Forum Boarium--the same who, when more advanced in life, made himself a name as an editor of Greek tragedies; and Marcus Plautius Lyco, a native of Asia Minor, whose beautiful paintings in the temple of Juno at Ardea procured for him the freedom of that city.(75) But these very facts clearly indicate, not only that the exercise of art in Rome was altogether of subordinate importance and more of a manual occupation than an art, but also that it fell, probably still more exclusively than poetry, into the hands of Greeks and half Greeks.

On the other hand there appeared in genteel circles the first traces of the tastes subsequently displayed by the dilettante and the collector. They admired the magnificence of the Corinthian and Athenian temples, and regarded with contempt the old-fashioned terra- cotta figures on the roofs of those of Rome: even a man like Lucius Paullus, who shared the feelings of Cato rather than of Scipio, viewed and judged the Zeus of Phidias with the eye of a connoisseur. The custom of carrying off the treasures of art from the conquered Greek cities was first introduced on a large scale by Marcus Marcellus after the capture of Syracuse (542). The practice met with severe reprobation from men of the old school of training, and the stern veteran Quintus Fabius Maximus, for instance, on the capture of Tarentum (545) gave orders that the statues in the temples should not be touched, but that the Tarentines should be allowed to retain their indignant gods. Yet the plundering of temples in this way became of more and more frequent occurrence. Titus Flamininus in particular (560) and Marcus Fulvius Nobilior (567), two leading champions of Roman Hellenism, as well as Lucius Paullus (587), were the means of filling the public buildings of Rome with the masterpieces of the Greek chisel. Here too the Romans had a dawning consciousness of the truth that an interest in art as well as an interest in poetry formed an essential part of Hellenic culture or, in other words, of modern civilization; but, while the appropriation of Greek poetry was impossible without some sort of poetical activity, in the case of art the mere beholding and procuring of its productions seemed to suffice, and therefore, while a native literature was formed in an artificial way in Rome, no attempt even was made to develop a native art.

Notes for Chapter XIV

1. A distinct set of Greek expressions, such as -stratioticus-, -machaera-, -nauclerus-, -trapezita-, -danista-, -drapeta-, - oenopolium-, -bolus-, -malacus-, -morus-, -graphicus-, -logus-, - apologus-, -techna-, -schema-, forms quite a special feature in the language of Plautus. Translations are seldom attached, and that only in the case of words not embraced in the circle of ideas to which those which we have cited belong; for instance, in the -Truculentus- --in a verse, however, that is perhaps a later addition (i. 1, 60) --we find the explanation: --phronesis-- -est sapientia-. Fragments of Greek also are common, as in the -Casina-, (iii. 6, 9):

--Pragmata moi parecheis-- -- -Dabo- --mega kakon--, -ut opinor-.

Greek puns likewise occur, as in the -Bacchides- (240):

-opus est chryso Chrysalo-.

Ennius in the same way takes for granted that the etymological meaning of Alexandros and Andromache is known to the spectators (Varro, de L. L. vii. 82). Most characteristic of all are the half-Greek formations, such as -ferritribax-, -plagipatida-, -pugilice-, or in the -Miles Gloriosus- (213):

-Fuge! euscheme hercle astitit sic dulice et comoedice!-

2. III. VIII. Greece Free

3. One of these epigrams composed in the name of Flamininus runs thus:

--Zenos io kraipnaisi gegathotes ipposunaisi Kouroi, io Spartas Tundaridai basileis, Aineadas Titos ummin upertatos opase doron Ellenon teuxas paisin eleutherian.--

4. Such, e. g, was Chilo, the slave of Cato the Elder, who earned money en bis master's behalf as a teacher of children (Plutarch, Cato Mai. 20).

5. II. IX. Ballad-Singers

6. The later rule, by which the freedman necessarily bore the -praenomen- of his patron, was not yet applied in republican Rome.

7. II. VII. Capture of Tarentum

8. III. VI. Battle of Sena

9. One of the tragedies of Livius presented the line--

-Quem ego nefrendem alui Iacteam immulgens opem.-

The verses of Homer (Odyssey, xii. 16):

--oud ara Kirken ex Aideo elthontes elethomen, alla mal oka elth entunamene ama d amphipoloi pheron aute siton kai krea polla kai aithopa oinon eruthron.--

are thus interpreted:

-Topper citi ad aedis--venimus Circae Simul duona coram(?)--portant ad navis, Milia dlia in isdem--inserinuntur.-

The most remarkable feature is not so much the barbarism as the thoughtlessness of the translator, who, instead of sending Circe to Ulysses, sends Ulysses to Circe. Another still more ridiculous mistake is the translation of --aidoioisin edoka-- (Odyss. xv. 373) by -lusi- (Festus, Ep. v. affatim, p. ii, Muller). Such traits are not in a historical point of view matters of difference; we recognize in them the stage of intellectual culture which irked these earliest Roman verse-making schoolmasters, and we at the same time perceive that, although Andronicus was born in Tarentum, Greek cannot have been properly his mother-tongue.

10. Such a building was, no doubt, constructed for the Apollinarian games in the Flaminian circus in 575 (Liv. xl. 51; Becker, Top. p. 605); but it was probably soon afterwards pulled down again (Tertull. de Spect. 10).

11. In 599 there were still no seats in the theatre (Ritschl, Parerg. i. p. xviii. xx. 214; comp. Ribbeck, Trag. p. 285); but, as not only the authors of the Plautine prologues, but Plautus himself on various occasions, make allusions to a sitting audience (Mil. Glor. 82, 83; Aulul. iv. 9, 6; Triicul. ap. fin.; Epid. ap. fin.), most of the spectators must have brought stools with them or have seated themselves on the ground.

12. III. XI. Separation of Orders in the Theatre

13. Women and children appear to have been at all times admitted to the Roman theatre (Val. Max. vi. 3, 12; Plutarch., Quaest. Rom. 14; Cicero, de Har. Resp. 12, 24; Vitruv. v. 3, i; Suetonius, Aug. 44,&c.); but slaves were -de jure- excluded (Cicero, de Har. Resp. 12, 26; Ritschl. Parerg. i. p. xix. 223), and the same must doubtless have been the case with foreigners, excepting of course the guests of the community, who took their places among or by the side of the senators (Varro, v. 155; Justin, xliii. 5. 10; Sueton. Aug. 44).

14. III. XII. Moneyed Aristocracy

15. II. IX. Censure of Art

16. It is not necessary to infer from the prologues of Plautus (Cas. 17; Amph. 65) that there was a distribution of prizes (Ritschl, Parerg. i. 229); even the passage Trin. 706, may very well belong to the Greek original, not to the translator; and the total silence of the -didascaliae- and prologues, as well as of all tradition, on the point of prize tribunals and prizes is decisive.

17. The scanty use made of what is called the middle Attic comedy does not require notice in a historical point of view, since it was nothing but the Menandrian comedy in a less developed form. There is no trace of any employment of the older comedy. The Roman tragi-comedy--after the type of the -Amphitruo- of Plautus--was no doubt styled by the Roman literary historians -fabula Rhinthonica-; but the newer Attic comedians also composed such parodies, and it is difficult to see why the Ionians should have resorted for their translations to Rhinthon and the older writers rather than to those who were nearer to their own times.

18. III. VI In Italy

19. Bacch. 24; Trin. 609; True. iii. 2, 23. Naevius also, who in fact was generally less scrupulous, ridicules the Praenestines and Lanuvini (Com. 21, Ribb.). There are indications more than once of a certain variance between the Praenestines and Romans (Liv. xxiii. 20, xlii. i); and the executions in the time of Pyrrhus (ii. 18) as well as the catastrophe in that of Sulla, were certainly connected with this variance. --Innocent jokes, such as Capt. 160, 881, of course passed uncensured. --The compliment paid to Massilia in Cas. v. 4., i, deserves notice.

20. Thus the prologue of the -Cistellaria- concludes with the following words, which may have a place here as the only contemporary mention of the Hannibalic war in the literature that has come down to us:--

-Haec res sic gesta est. Bene valete, et vincite Virtute vera, quod fecistis antidhac; Servate vostros socios, veteres et novos; Augete auxilia vostris iustis legibus; Perdite perduelles: parite laudem et lauream Ut vobis victi Poeni poenas sufferant.-

The fourth line (-augete auxilia vostris iustis Iegibus-) has reference to the supplementary payments imposed on the negligent Latin colonies in 550 (Liv. xxix. 15; see ii. 350).

21. III. XIII. Increase of Amusements

22. For this reason we can hardly be too cautious in assuming allusions on the part of Plautus to the events of the times. Recent investigation has set aside many instances of mistaken acuteness of this sort; but might not even the reference to the Bacchanalia, which is found in Cas. v. 4, 11 (Ritschl, Parerg. 1. 192), have been expected to incur censure? We might even reverse the case and infer from the notices of the festival of Bacchus in the -Casina-, and some other pieces (Amph. 703; Aul. iii. i, 3; Bacch. 53, 371; Mil. Glor. 1016; and especially Men. 836), that these were written at a time when it was not yet dangerous to speak of the Bacchanalia.

23. The remarkable passage in the -Tarentilla- can have no other meaning:--

-Quae ego in theatro hic meis probavi plausibus, Ea non audere quemquam regem rumpere: Quanto libertatem hanc hic superat servitus!-

24. The ideas of the modern Hellas on the point of slavery are illustrated by the passage in Euripides (Ion, 854; comp. Helena, 728):--

--En gar ti tois douloisin alochunen pherei, Tounoma ta d' alla panta ton eleutheron Oudeis kakion doulos, ostis esthlos e.--

25. For instance, in the otherwise very graceful examination which in the -Stichus- of Plautus the father and his daughters institute into the qualities of a good wife, the irrelevant question--whether it is better to marry a virgin or a widow--is inserted, merely in order that it may be answered by a no less irrelevant and, in the mouth of the interlocutrix, altogether absurd commonplace against women. But that is a trifle compared with the following specimen. In Menander's -Plocium- a husband bewails his troubles to his friend:--

--Echo d' epikleron Lamian ouk eireka soi Tout'; eit' ap' ouchi; kurian tes oikias Kai ton agron kai panton ant' ekeines Echoumen, Apollon, os chalepon chalepotaton Apasi d' argalea 'stin, ouk emoi mono, Tio polu mallon thugatri.--pragm' amachon legeis' Eu oida--

In the Latin edition of Caecilius, this conversation, so elegant in its simplicity, is converted into the following uncouth dialogue:--

-Sed tua morosane uxor quaeso est?--Ua! rogas?-- Qui tandem?--Taedet rientionis, quae mihi Ubi domum adveni ac sedi, extemplo savium Dat jejuna anima.--Nil peccat de savio: Ut devomas volt, quod foris polaveris.-

26. Even when the Romans built stone theatres, these had not the sounding-apparatus by which the Greek architects supported the efforts of the actors (Vitruv. v. 5, 8).

27. III. XIII. Increase of Amusements

28. The personal notices of Naevius are sadly confused. Seeing that he fought in the first Punic war, he cannot have been born later than 495. Dramas, probably the first, were exhibited by him in 519 (Gell. xii. 21. 45). That he had died as early as 550, as is usually stated, was doubted by Varro (ap. Cic. Brut. 15, 60), and certainly with reason; if it were true, he must have made his escape during the Hannibalic war to the soil of the enemy. The sarcastic verses on Scipio (p. 150) cannot have been written before the battle of Zama. We may place his life between 490 and 560, so that he was a contemporary of the two Scipios who fell in 543 (Cic. de Rep. iv. 10), ten years younger than Andronicus, and perhaps ten years older than Plautus. His Campanian origin is indicated by Gellius, and his Latin nationality, if proof of it were needed, by himself in his epitaph. The hypothesis that he was not a Roman citizen, but possibly a burgess of Cales or of some other Latin town in Campania, renders the fact that the Roman police treated him so unscrupulously the more easy of explanation. At any rate he was not an actor, for he served in the army.

29. Compare, e. g., with the verse of Livius the fragment from Naevius' tragedy of -Lycurgus- :--

-Vos, qui regalis cordons custodias Agitatis, ite actutum in frundiferos locos, Ingenio arbusta ubi nata sunt, non obsita-;

Or the famous words, which in the -Hector Profisciscens- Hector addresses to Priam:

-Laetus sum laudari me abs te, pater, a laudato viro;-

and the charming verse from the -Tarentilla-; --

-Alii adnutat, alii adnictat; alium amat, alium tenet.-

30. III. XIV. Political Neutrality

31. III. XIV. Political Neutrality

32. This hypothesis appears necessary, because otherwise the ancients could not have hesitated in the way they did as to the genuineness or spuriousness of the pieces of Plautus: in the case of no author, properly so called, of Roman antiquity, do we find anything like a similar uncertainty as to his literary property. In this respect, as in so many other external points, there exists the most remarkable analogy between Plautus and Shakespeare.

33. III. III. The Celts Conquered by Rome, III. VII. Measures Adopted to Check the Immigration of the Trans-Alpine Gauls

34. III. XIV. Roman Barbarism

35 -Togatus- denotes, in juristic and generally in technical language, the Italian in contradistinction not merely to the foreigner, but also to the Roman burgess. Thus especially -formula togatorum- (Corp. Inscr. Lat., I. n. 200, v. 21, 50) is the list of those Italians bound to render military serviee, who do not serve in the legions. The designation also of Cisalpine Gaul as -Gallia togata-, which first occurs in Hirtius and not long after disappears again from the ordinary -usus loquendi-, describes this region presumably according to its legal position, in so far as in the epoch from 665 to 705 the great majority of its communities possessed Latin rights. Virgil appears likewise in the -gens togata-, which he mentions along with the Romans (Aen. i. 282), to have thought of the Latin nation.

According to this view we shall have to recognize in the -fabula togata-the comedy which laid its plot in Latium, as the -fabula palliata- had its plot in Greece; the transference of the scene of action to a foreign land is common to both, and the comic writer is wholly forbidden to bring on the stage the city or the burgesses of Rome. That in reality the -togata- could only have its plot laid in the towns of Latin rights, is shown by the fact that all the towns in which, to our knowledge, pieces of Titinius and Afranius had their scene--Setia, Ferentinum, Velitrae, Brundisium,--demonstrably had Latin or, at any rate, allied rights down to the Social war. By the extension of the franchise to all Italy the writers of comedy lost this Latin localisation for their pieces, for Cisalpine Gaul, which -de jure- took the place of the Latin communities, lay too far off for the dramatists of the capital, and so the -fabula togata- seems in fact to have disappeared. But the -de jure- suppressed communities of Italy, such as Capua and Atella, stepped into this gap (ii. 366, iii. 148), and so far the -fabula Atellana- was in some measure the continuation of the -togata-.

36. Respecting Titinius there is an utter want of literary information; except that, to judge from a fragment of Varro, he seems to have been older than Terence (558-595, Ritschl, Parerg. i. 194) for more indeed, cannot he inferred from that passage, and though, of the two groups there compared the second (Trabea, Atilius, Caecilius) is on the whole older than the first (Titinius, Terentius, Atta), it does not exactly follow that the oldest of the junior group is to be deemed younger than the youngest of the elder.

37. II. VII. First Steps toward the Latinizing of Italy

38. Of the fifteen comedies of Titinius, with which we are acquainted, six are named after male characters (-baratus-? -coecus-, -fullones-, -Hortensius-, -Quintus-, -varus-), and nine after female (-Gemina-, -iurisperita-, -prilia-? -privigna-, -psaltria- or -Ferentinatis-, -Setina-, -tibicina-, -Veliterna-, -Ulubrana?), two of which, the -iurisperita- and the -tibicina-, are evidently parodies of men's occupations. The feminine world preponderates also in the fragments.

39. III. XIV. Livius Andronicus

40. III. XIV. Audience

41. We subjoin, for comparison, the opening lines of the -Medea- in the original of Euripides and in the version of Ennius:--

--Eith' ophel' 'Apgous me diaptasthai skaphos Kolchon es aian kuaneas sumplegadas Med' en napaisi Pelion pesein pote Tmetheisa peuke, med' epetmosai cheras Andron arioton, oi to pagchruson deros Pelia metelthon ou gar an despoin Medeia purgous ges epleus Iolkias 'Eroti thumon ekplageis' 'Iasonos.--

-Utinam ne in nemore Pelio securibus Caesa accidisset abiegna ad terram trabes, Neve inde navis inchoandae exordium Coepisset, quae nunc nominatur nomine Argo, quia Argivi in ea dilecti viri Vecti petebant pellem inauratam arietis Colchis, imperio regis Peliae, per dolum. Nam nunquam era errans mea domo efferret pedem Medea, animo aegra, amort saevo saucia.-

The variations of the translation from the original are instructive --not only its tautologies and periphrases, but also the omission or explanation of the less familiar mythological names, e. g. the Symplegades, the Iolcian land, the Argo. But the instances in which Ennius has really misunderstood the original are rare.

42. III. XI. Roman Franchise More Difficult of Acquisition

43. Beyond doubt the ancients were right in recognizing a sketch of the poet's own character in the passage in the seventh book of the Annals, where the consul calls to his side the confidant,

-quocum bene saepe libenter Mensam sermonesque suos rerumque suarum Congeriem partit, magnam cum lassus diei Partem fuisset de summis rebus regundis Consilio indu foro lato sanctoque senatu: Cui res audacter magnas parvasque iocumque Eloqueretur, cuncta simul malaque et bona dictu Evomeret, si qui vellet, tutoque locaret. Quocum multa volup ac gaudia clamque palamque, Ingenium cui nulla malum sententia suadet Ut faceret facinus lenis aut malus, doctus fidelis Suavis homo facundus suo contentus beatus Scitus secunda loquens in tempore commodus verbum Paucum, multa tenens antiqua sepulta, vetustas Quem fecit mores veteresque novosque tenentem, Multorum veterum leges divumque hominumque, Prudenter qui dicta loquive tacereve possit.-

In the line before the last we should probably read -multarum leges divumque hominumque.-

44. Euripides (Iph. in Aul. 956) defines the soothsayer as a man,

--Os olig' alethe, polla de pseuon legei Tuchon, otan de me, tuche oioichetai--

This is turned by the Latin translator into the following diatribe against the casters of horoscopes:--

-Astrologorum signa in caelo quaesit, observat, Iovis Cum capra aut nepa aut exoritur lumen aliquod beluae. Quod est ante pedes, nemo spectat: caeli scrutantur plagas.-

45. III. XII. Irreligious Spirit

46. In the -Telephus- we find him saying--

-Palam mutire plebeio piaculum est.-

47. III. XIII. Luxury

48. The following verses, excellent in matter and form, belong to the adaptation of the -Phoenix- of Euripides:--

-Sed virum virtute vera vivere animatum addecet, Fortiterque innoxium vocare adversum adversarios. Ea libertas est, qui pectus purum et firmum gestitat: Aliae res obnoxiosae nocte in obscura latent.-

In the -Scipio-, which was probably incorporated in the collection of miscellaneous poems, the graphic lines occurred:--

-- -- -mundus caeli vastus constitit silentio, Et Neptunus saevus undis asperis pausam dedit. Sol equis iter repressit ungulis volantibus; Constitere amnes perennes, arbores vento vacant.-

This last passage affords us a glimpse of the way in which the poet worked up his original poems. It is simply an expansion of the words which occur in the tragedy -Hectoris Lustra- (the original of which was probably by Sophocles) as spoken by a spectator of the combat between Hephaestus and the Scamander:--

-Constitit credo Scamander, arbores vento vacant,-

and the incident is derived from the Iliad (xxi. 381).

49. Thus in the Phoenix we find the line:--

-- -- -stultust, qui cupita cupiens cupienter cupit,-

and this is not the most absurd specimen of such recurring assonances. He also indulged in acrostic verses (Cic. de Div. ii. 54, iii).

50. III. III. The Celts Conquered by Rome

51. III. IX. Conflicts and Peace with the Aetolians

52. Besides Cato, we find the names of two "consulars and poets" belonging to this period (Sueton. Vita Terent. 4)--Quintus Labeo, consul in 571, and Marcus Popillius, consul in 581. But it remains uncertain whether they published their poems. Even in the case of Cato this may be doubted.

53. II. IX. Roman Historical Composition

54. III. XII. Irreligious Spirit

55. III. XII. Irreligious Spirit

56. The following fragments will give some idea of its tone. Of Dido he says:

-Blande et docte percontat--Aeneas quo pacto Troiam urbem liquerit.-

Again of Amulius:

-Manusque susum ad caelum--sustulit suas rex Amulius; gratulatur--divis-.

Part of a speech where the indirect construction is remarkable:

-Sin illos deserant for--tissumos virorum Magnum stuprum populo--fieri per gentis-.

With reference to the landing at Malta in 498:

-Transit Melitam Romanus--insuiam integram Urit populatur vastat--rem hostium concinnat.-

Lastly, as to the peace which terminated the war concerning Sicily:

-Id quoque paciscunt moenia--sint Lutatium quae Reconcilient; captivos--plurimos idem Sicilienses paciscit--obsides ut reddant.-

57. That this oldest prose work on the history of Rome was composed in Greek, is established beyond a doubt by Dionys. i. 6, and Cicero, de Div. i. 21, 43. The Latin Annals quoted under the same name by Quintilian and later grammarians remain involved in mystery, and the difficulty is increased by the circumstance, that there is also quoted under the same name a very detailed exposition of the pontifical law in the Latin language. But the latter treatise will not be attributed by any one, who has traced the development of Roman literature in its connection, to an author of the age of the Hannibalic war; and even Latin annals from that age appear problematical, although it must remain a moot question whether there has been a confusion of the earlier with a later annalist, Quintus Fabius Maximus Servilianus (consul in 612), or whether there existed an old Latin edition of the Greek Annals of Fabius as well as of those of Acilius and Albinus, or whether there were two annalists of the name of Fabius Pictor.

The historical work likewise written in Greek, ascribed to Lucius Cincius Alimentus a contemporary of Fabius, seems spurious and a compilation of the Augustan age.

58. Cato's whole literary activity belonged to the period of his old age (Cicero, Cat. ii, 38; Nepos, Cato, 3); the composition even of the earlier books of the "Origines" falls not before, and yet probably not long subsequent to, 586 (Plin. H. N. iii. 14, 114).