The History of Roman Literature Part 29

This interesting letter, which was sent to Tacitus for insertion in his history, gives a fine description of the eruption. Another, still more graphic, is given in a later letter of the same book. [5] A third [6]

informs us of the extraordinary studiousness and economy of time practised by the philosopher, which enabled him in a life by no means long to combine a very active business career with an amount of reading and writing only second to that of Varro. Pliny's admiration for his uncle's unwearied diligence makes him delight to dwell on these particulars:

"After the Vulca.n.a.lia (the 23d of August) he always began work at dead of night, in winter at 1 A.M., never later than 2 A.M., often at midnight. He was most sparing of sleep; at times it would catch him unawares while studying. After his interview with Vespasian was over, he went to business, then to study for the rest of the day. After a light meal, which like our ancestors he ate by day, he would in summer, if he had any leisure, lie in the sun, while some one read to him and he made notes or extracts. He never read without making extracts; no book, he said, was so bad but that something might be gained from it. After sunning himself he would take a cold bath, then a little food, then a short nap. Then, as if it were a new day, he studied till supper. During this meal a book was read, he all the while making notes. I remember once, when the reader misp.r.o.nounced a word, that one of our friends compelled him to repeat it. My uncle asked him if he had not understood the word. On his replying, yes, my uncle said sharply, 'Then why did you interrupt him? we have lost more than ten lines;' so frugal was he of his time. He rose from supper before dark in summer, before 7 P.M. in winter; and this habit was law to him. Such was his life in town; but in the country his one and only interruption from study was the bath. I mean the actual _bathing_; for while he was being rubbed he always either dictated, or listened to reading. On a journey, having nothing else to do, he gave himself wholly to study; at his side was an amanuensis, who in winter wore gloves, that his master's work might not be interrupted by the cold.

Even in Rome he always travelled in a sedan. I remember his chiding me for taking a walk, saying, "you might have saved those hours"--for every moment not given to study he thought lost time. By this application he contrived to compose that vast array of volumes which we possess, besides bequeathing to me 160 rolls of selected notes, each roll written on both sides and in the smallest possible hand, which practically doubles their number. To call myself studious with his example before me is absurd; compared with him, I am an idle vagabond."

In the earlier part of this letter, Pliny gives a list of his uncle's works. Besides those mentioned in the text, we find a treatise on eloquence called _Studiosus_, and a continuation of the history of Aufidius Ba.s.sus in thirty books, dedicated to the emperor t.i.tus. The _Natural History_, in thirty-seven books, is the sole monument of Pliny's industry that has descended to us. The fortunes of this portentous work have greatly varied; while in the Middle Ages it was reverenced as a kind of encyclopaedia of all secular knowledge, in our own day, except to antiquarians, it is an unknown book. Many who know Virgil almost by heart have never read through its tiresome and conceited preface. Yet there is an immensity of interesting matter discussed in the work. Independently of its vast learning, for it contains, according to its author's statement, twenty thousand facts, and excerpts or redactions from two thousand books or treatises, its range of subjects is such as to include something attractive to every taste. Strictly speaking, many topics enter which do not belong to natural history at all, _e.g._, the account of the use made of natural substances in the applied sciences and the useful or fine arts; but as these are decidedly the best-written parts of the work, and full of chatty, pleasant anecdotes, we should be much worse off if they had been omitted. The confused arrangement also, which mars its utility as a compendium of knowledge, may be due in great measure to the indefinite state of science at the time, to the gaps in its affinities which the discovery of so many new sciences has helped to fill up, and the consequent mingling together of branches which are separate and distinct.

It is questionable whether Pliny ever had any originality. If he had, it was stamped out long before he began his book by the weight of his c.u.mbrous erudition. He cannot compare his materials, nor select them, nor a.n.a.lyse them, nor make them explain themselves by lucid arrangement. Nor has his review of human knowledge taught him the great truth that science is progressive, that each age corrects the errors of the past, and prepares the way for the improvements of the next. Seneca, with all his affected contempt for science, learnt the lesson of it better than Pliny.

He has in the first place no fixed canon of truth. One thing does not seem to him more probable than another. A statement has only to come forward under the testimony of a respectable ancient, and it is at once put down as a fact. Here, however, we must make a distinction, for fear of invalidating Pliny's authority beyond what is just. It is only in strictly scientific matters that this credulity and lack of penetration is found.

Where he deals with historical, biographical, or agricultural questions, he is a competent, and for the most part trustworthy, compiler. His work is a most valuable storehouse for the antiquarian or historian of ancient literature or art, and generally for the current opinions on nearly every topic. Though genuinely devoted to learning, he has still enough of the "old Adam" of rhetoric about him to complain of the dryness of his material, and its unsuitableness for ornamental treatment; but this cannot surprise us, when we remember that even Tacitus with infinitely less reason bewailed the monotony of the events he had taken upon him to record.

What partly accounts for Pliny's uncritical credulity is the unsatisfactory theory of the universe which he adopts, and with commendable candour sets before us at the outset. [7] He is a materialistic pantheist. The world is for him deity, self-created and eternal, incomprehensible by man, moving ceaselessly without reference to him. So far there is nothing unscientific, except the hypothesis of self- creation; but he goes on to imply that the laws of its action, being incomprehensible, need not be regular, at any rate, as we consider regularity. The things which militate against our experience may be the result of other laws, or of chance contingencies of which no account can be given. Hence he never rejects a fact on the ground of its being marvellous. The most ludicrous and inconceivable monstrosities find an easy place in his system. He does not attach any superst.i.tious meaning to them; on the contrary, he ridicules the idea that omens or portents are sent by the G.o.ds, but he has no touchstone by which to test the rare but possible results of real experience as distinguished from the figments of the imagination or ordinary travellers' stories. In the zoological part he gives the reins to his love of the marvellous; all kinds of absurdities are narrated with the utmost gravity; and his accounts descended through the mediaeval period as the accredited authority on the subject. In the literature of Prester John will be seen many a reflection from the writings of Pliny; in the fables of the _Arabian Nights_ many more, with characteristic additions equally creditable to human weakness or ingenuity. It is truly lamentable to reflect that while the rational and on the whole truthful descriptions of Aristotle and Theophrastus were extant and accessible, Pliny's nonsense should in preference have gained the ear of mankind.

As a stylist Pliny recalls two very different writers, Seneca and Cato. In those parts where he speaks as a moralist (and they are extremely numerous), he strives to reproduce the point of Seneca; in those where he treats of husbandry, which are perhaps the most naturally written in the work, his stern brevity often recalls the old censor. Like Seneca, he considers physical science as food for edification; continually he deserts his theme to preach a sermon on the folly or ignorance of mankind. And like Cato he is never weary of extolling the wisdom and virtues of the harsh infancy of the Republic, and blaming the degeneracy of its feeble and luxurious descendants who refuse to till the soil, and add acre to acre of their overgrown estates.

Pliny has a strong vein of satire, and its effect is increased by a certain sententious quaintness which gives a racy flavour to many otherwise dull enumerations of facts. But his satire is not of a pleasing type; it is built too much on despair of his kind; his whole view of the universe is querulous, and shows a mind unequal to cope with the knowledge it has acquired.

He was considered the most learned man of his day, and with reason. He at least knew the value of first-hand acquaintance with the original authorities, instead of drawing a superficial culture from manuals and abridgments, or worse still, the empty declamations of the rhetorical schools. And after all it is his age which must bear the blame of his failure rather than himself. For while he was not great enough to rise above his surroundings and investigate, compare, and conclude on a method planned by himself, he was just the man who would have profited to the full by being trained in a sound public system of education, and perhaps, had he lived in the Ciceronian period, would have risen to a much higher place as a permanent contributor to the journal of human knowledge.

Among the younger contemporaries of Pliny, the most celebrated is M.

FABIUS QUINTILIa.n.u.s (35-95 A.D.), [8] a native of Calagurris in Spain, but educated in Rome, and long established there as a popular and influential public professor of eloquence. He was intrusted by Domitian with the education of his two grand-nephews, an honour to which he owed his subsequent elevation to the consuls.h.i.+p. His time had been so fully occupied with lecturing as to allow no leisure for publis.h.i.+ng anything until the closing years of his career. This gave him the great advantage of being a ripe writer before he challenged the judgment of the world; and, in truth, Quintilian's knowledge and love of his subject are thorough in the highest degree. His first essay was a treatise on the causes of the decay of eloquence, [9] and the last (which we still possess) a work in twelve books on the complete training of an orator. [10] This celebrated work, to which Quintilian devoted the a.s.siduous labour of two whole years, interrupted only by the lessons given to his royal pupils, represents the maturest treatment of the subject which we possess. The author was modest enough to express a strong unwillingness to write it, either fearing to come forward as an author so late in life, or judging the ground preoccupied already. However, it was produced at last, and no sooner known than it at once a.s.sumed the high position that has been accorded to it ever since. The treatment is exhaustive; as much more thorough than the popular treatises of Cicero as it is more attractive than the purely technical one of Cornificius. At the same time it has the defects inseparable from the unreal age in which its author lived. While minutely providing for all the future orator's formal requirements, it omits the material one without which the finished rhetorician is but a tinkling cymbal, how to _think_ as an orator. No one knew better than Quintilian that this comes from zest in life, not from rules of art. There will be more stimulus given to one who pants for distinction in the delightful pages of Cicero's _Brutus_, than in all that Quintilian and such as he ever wrote or ever will write. But this is not the fault of the man; as a formal rhetorician of good principle, sound orthodoxy, and love for his art, Quintilian stands high in the list of cla.s.sical authors.

He begins his orator's training from the cradle. He rightly ascribes the greatest importance to early impressions, even the very earliest; ill.u.s.trating his position by the influence of Cornelia who trained her sons to eloquence from childhood, and other similar cases known to Roman history. A good nurse must be selected; an _eloquent_ one would, doubtless, be hard to find. The boy who is destined to greatness has now outgrown the nursery, and the great question arises, Is he to be sent to school? With the Romans as with us this difficulty admitted of two solutions. The lad might be educated at home under tutors, or he might be sent to learn the world at a public school. Those who at the present day shrink from sending their children to school generally profess to base their unwillingness on a fear lest the influence of bad example may corrupt the purity of youth; Quintilian on the very same ground, strongly recommends a parent to send his son to school. By this means, he says, _his tender years will be saved from the daily contamination which the scenes of home life afford_. A sad commentary on the state of Roman society and the pernicious effects of slave-labour!

After school, the youth is to attend the lectures of a rhetorician. This is of course a matter of great importance, and in the second book the writer handles its various bearings with excellent judgment. Having described the duties of the professor and his pupil, and the various tasks which will be gone through, he proceeds in the next book to discuss the different departments of oratory. In this great subject he follows Aristotle, here, as always, going back to the most established authorities, and adapting them with signal tact to the changed requirements of a later age and a different nation. The points connected with this, the central theme of the treatise, carry us through the five next books. They are the most technical in the work, and not adapted for general reading. The eighth begins the interesting topic of style, which is continued in the ninth, where trope, metaphor, amplification, and other _figurae orationis_ are ill.u.s.trated at length. Throughout these books there are a large number of quotations, and continual references to the practice of celebrated masters in the art, besides frequent introduction of pa.s.sages from the poets and historians. But it is in the tenth book that these are concentrated into one focus. To acquire a "firm facility"

(_exis_) of speech it is necessary to have read widely and with discernment. This leads him to enumerate the Greek and Roman authors likely to be most useful to an orator. The criticisms he offers on the salient qualities of almost all the great cla.s.sics may seem to us trite and common-place. They certainly are not remarkable for brilliancy, but they are just and sober, and have stood the test of ages, and perhaps their apparent dulness results from their having been always familiar words. Their utility to the student of literature is so considerable, that we have thought it worth while to append a translation of them to the present chapter. [11]

The eleventh book chiefly turns on memory, which the Romans cultivated with extreme diligence, and several remarkable instances of which have been noticed in the course of this work. It was to them a much more vital excellence than to us, who have adopted the practice of using rough notes or other a.s.sistance to it. Delivery, too, is in the eleventh book fully discussed; and these chapters will be read with interest as showing the extreme and minute care bestowed by the Romans on the smallest details of action as means of producing effect. Generally, their oratory was of a vehement type. Gesture was freely used, and the voice raised to its fullest pitch. Trachalus had such a noisy organ that it drowned the pleaders in the other courts. Even after the decay of freedom the fiery gestures that had been once its language were not discarded; at the same time perfect modulation and symmetry were aimed at, so that even in the most _empresse_ pa.s.sages decorum was not violated. The systematized rhetorical training at present general in France, and practised by all who aspire to arouse the feeling of an a.s.sembly, is probably the nearest, though it may be but a faint, equivalent of the vigorous action of the Roman courts. The twelfth book treats of the moral qualifications necessary for a great speaker. Quintilian insists strongly on these. The good orator must be a good man. The highest talents are nothing if distorted by evil thoughts. We thus see that he took a worthy view of his profession, and would never have degraded it to be the instrument of tyranny or a means of saturating the ears of the idle with seductive and complaisant theories of life, by which a spurious popularity is so cheaply obtained. He was a high-minded man "_quantum licuit_;" _i.e._, as far as a debased age allowed of high-mindedness. His domestic life was clouded by sorrow. His first wife died at the early age of nineteen, leaving him two sons, the younger of whom only lived to the age of seven, and the elder (for whose instruction he wrote the book, and whose precocious talent and goodness of disposition he recounts with pardonable pride) only survived his brother about four years. His death was an irremediable blow, which the orator bewails in the preface to his sixth book. The pa.s.sage is instructive as revealing the taste of the day. The paternal regret clothes itself in such a profusion of ant.i.thesis, trope, and hyperbole, that, did we not know from other sources the excellence of his heart, we might fancy he was exercising his talents in the sphere of professional _advertis.e.m.e.nt_. Before his endowment as professor, which appears to have brought him about 800 a year, he had occasionally pleaded in the courts; he appears to have written declamations in various styles, but those now current under his name are improperly ascribed to him.

Among his pupils was the younger Pliny, who alludes to him with grat.i.tude in one of his letters; [12] he was well thought of during his life, and is frequently mentioned by Statius, Martial, and Juvenal, both as the cleverest of rhetoricians, and the best and most trusted of teachers; [13]

by Juvenal also as a bright instance of good fortune very rare among the brethren of the craft. [14]

The style of Quintilian is modelled on that of Cicero, and is intended to be a return to the usages of the best period. He had a warm love for the writers of the republican age, above all for Cicero, whom he is never tired of praising; and he preached a crusade against the tinsel ornaments of the new school whose viciousness, he thought, consisted chiefly in a corrupt following of Seneca. It was necessary, therefore, to impugn the authority of his brilliant compatriot, and this he appears to have done with such warmth as to give rise to the opinion that he had a personal grudge against him. Some critics have noticed that Quintilian, even when blaming, often falls into the pointed ant.i.thetical style of his time. This is true. But it was unavoidable; for no man can detach himself from the mode of speaking common to those with whom he lives. It is sufficient if he be aware of its worse faults, point out their tendency, and strive to avoid them. This undoubtedly Quintilian did.

Among prose writers of less note we may mention LICINIUS MUCIa.n.u.s, CLUVIUS RUFUS, who both wrote histories; and VIPSTa.n.u.s MESSALA, an orator of the reactionary school, who, like Quintilian, sought to restore a purer taste, and devoted some of his time to historical essays on the events he had witnessed. M. APER and JULIUS SECUNDUS are important as being two of the speakers introduced into Tacitus's dialogue on oratory, the former taking the part of the modern style, the latter mediating between the two extreme views, but inclining towards the modern. All these belonged to the reigns of Vespasian and t.i.tus, and lived into the first years of Domitian.

An important writer for students of ancient applied science is s.e.x. JULIUS FRONTINUS, whose career extends from about 40 A.D. to the end of the first century. He was praetor urba.n.u.s 70 A.D., and was employed in responsible military posts in Gaul and Britain. In the former country he reduced the powerful tribe of the Lingones, in Britain, as successor to Petilius Cerealis, he distinguished himself against the Silures, showing, says Tacitus, qualities as great as it was safe to show at that time. He was thrice consul, once under Domitian, again under Nerva (97 A.D.), and lastly under Trajan (100 A.D.), when he had for colleague the emperor himself. He died 103 A.D. or perhaps in the following year. Pliny the younger knew him well, and has several notices of him in his letters.

Throughout his active life he was above all things a man of business: literature and science, though he was a proficient in both, were made strictly subservient to the ends of his profession. His character was cautious but independent, and he is the only contemporary writer we possess who does not flatter Domitian. The work on gromatics, which originally contained two books, has descended to us only in a few short excerpts, which treat _de agrorum gualitate, de controversiis, de limitibus, de controversiis aquarum_. This was written early in the reign of Domitian. Another work of the same period was a theoretical treatise on tactics, alluded to in the more popular work which we possess, and quoted by Vegetius who followed him. In this he examined Greek theories of warfare as well as Roman, and apparently with discrimination; for Aelian, in his account of the Greek strategical writers, a.s.signs Frontinus a high place. The comprehensive manual called _Strategematon_ (_sollertia duc.u.m facta_) is intended for general reading among those who are interested in military matters. The books are arranged according to their subjects, but in the distribution of these there is no definite plan followed. Many interpolations have been inserted, especially in the fourth and last book which is a kind of appendix, adding general examples of strategic sayings and doings (_strategematica_) to the specifically-selected instances of the strategic art which are treated in the first three. Its introduction, as Teuffel remarks, is written in a boastful style quite foreign to Frontinus, and the arrangement of anecdotes under various moral headings reminds us of a rhetorician like Valerius Maximus, rather than of a man of affairs. The entire fourth book appears to be an accretion, perhaps as early as the fourth century. The last treatise by Frontinus which we possess is that _De Aquis Urbis Romae_, or with a slightly different t.i.tle, _De Aquaeductu_, or _De Cura Aquarum_, published under Trajan soon after the death of Nerva. In an admirable preface he explains that his invariable custom when intrusted with any work was to make himself thoroughly acquainted with the subject in all its bearings before beginning to act; he could thus work with greater prompt.i.tude and despatch, and besides gained a theoretical knowledge which might have escaped him amid the mult.i.tude of practical details. Frontinus's account of the water-supply of Rome is complete and valuable: recent explorers have found it thoroughly trustworthy, and have been aided by it in reconstructing the topography of the ancient city. [15] The architecture of Rome has been reproached with some justice for bestowing its finest achievements on buildings destined for amus.e.m.e.nt, or on mere private dwellings. But if from the amphitheatres, the villas, the baths, we turn to the roads, the sewers, and the aqueducts, we shall agree with Frontinus in deeply admiring so grand a combination of the artistic with the useful.

A practical recognition of some of the great sanitary laws seem to have early prevailed at Rome, and might well excite our wonder, if such things had not been as a rule pa.s.sed by in silence by historians. Recent discoveries are tending to set the early civilisation of Rome on a far higher level than it has. .h.i.therto been able to claim.

The style of Frontinus is not so devoid of ornament as might be expected from one so much occupied in business; but the ornament it has is of the best kind. He shuns the conceits of the period, and goes back to the republican authors, of whom (and especially of Caesar's _Commentaries_) his language strongly reminds us. We observe that the very simplicity which Quintilian sought in vain from a lifelong rhetorical training is present unsought in Frontinus; a clear proof that it is the occupation of life and the nature of the man, not the varnish of artistic culture, however elaborately laid on, that determines the main characteristics of the writer.

No other prose authors of any name have come down to us from this epoch. A vast number of persons are flatteringly saluted by Statius and Martial as orators, historians, jurists, &c.; but these venal poets had a stock of complimentary phrases always ready for any one powerful enough to command them. When we read therefore that Tutilius, Regulus, Flavius Ursus, Septimius Severus, were great writers, we must accept the statement only with considerable reductions. Victorius Marcellus, the friend to whom Quintilian dedicates his treatise, was probably a person of some real eminence; his juridical knowledge is celebrated by Statius. The _Silvae_ of Statius and the letters of Pliny imply that there was a very active and generally diffused interest in science and letters; but it is easy to be somebody where no one is great. Among grammarians AEMILIUS ASPER deserves notice. [16] He seems to have been living while Suetonius composed his biography of grammarians, since he is not included in it. He continued the studies of Cornutus and Probus of Berytus, and was best known for his _Quaestiones Virgilianae_ (of which several fragments still remain), and his commentaries on Terence and Sall.u.s.t. LARGUS LICINIUS, the author of _Ciceromastix_, may perhaps be referred to this time. The reiterated commendation of Cicero occurring in Quintilian may have roused the modernising party into active opposition, and drawn out this _brochure_.

History and philosophy both sunk to an extremely low ebb; no writers on these subjects worthy of mention are preserved.

APPENDIX.

_Quintilian's Account of the Roman Authors._

We subjoin a translation of Quintilian's criticism of the chief Roman authors as very important for the student of Latin literature, premising, however, that he judged them solely as regards their utility to one who is preparing to become an orator. The criticism, although thus special, has a permanent value, as embracing the best opinion of the time, temperately stated (Inst. Or. xi. 85-131):--"The same order will be observed in treating the Roman writers. As Homer among the Greeks, so _Virgil_ among our own authors will best head the list; he is beyond doubt the second epic poet of either nation. I will use the words I heard Domitius Afer use when I was a boy. When I asked him who he considered came nearest to Homer, he replied, 'Virgil is the second, but he is nearer the first than the third;' and in truth, while Rome cannot but yield to that celestial and deathless genius, yet we can observe more care and diligence in Virgil; for this very reason, perhaps, that he was obliged to labour more.

And so it is that we make up for the lack of occasional splendour by consistent and equable excellence. All the other epicists will follow at a respectful distance. _Macer_ and _Lucretius_ are indeed worth reading, but are of no value for the phraseology, which is the main body of eloquence.

Each is good in his own subject; but the former is humble, the latter difficult. _Varro Atacinus_, in those works which have gained him fame, appears as a translator by no means contemptible, but is not rich enough to add to the resources of eloquence. _Ennius_ let us reverence as we should groves of holy antiquity, whose grand and venerable trees have more sanct.i.ty than beauty. Others are nearer our own day, and more useful for the matter in hand. _Ovid_ in his heroics is as usual wanton, and too fond of his own talent, but in parts he deserves praise. _Cornelius Severus_, though a better versifier than poet, would still claim the second place, if only he had written all his _Sicilian War_ as well as the first book.

But his early death did not allow his genius to be matured. His boyish works show a great and admirable talent, and a desire for the best style rare at that time of life. We have lately lost much in _Valerius Flaccus_.

The inspiration of _Salcius Ba.s.sus_ was vigorous and poetical, but old age never succeeded in ripening it. _Rabirius_ and _Pedo_ are worth reading, if you have time. _Lucan_ is ardent, earnest, and full of admirably expressed sentiments, and, to give my real opinion, should be cla.s.sed with orators rather than poets. We have named these because Germanicus Augustus (Domitian) has been diverted from his favourite pursuit by the care of the world, and the G.o.ds thought it too little for him to be the first of poets. Yet what can be more sublime, learned, matchless in every way, than the poems in which, giving up empire, he spent the privacy of his youth?

Who could sing of wars so well as he who has so successfully waged them?

To whom would the G.o.ddesses who watch over studies listen so propitiously?

To whom would Minerva, the patroness of his house, more willingly reveal the mysteries of her art? Future ages will recount these things at greater length. For now this glory is obscured by the splendour of his other virtues. We, however, who wors.h.i.+p at the shrine of letters will crave your indulgence, Caesar, for not pa.s.sing the subject by in silence, and will at least bear witness, as Virgil says,

'That ivy wreathes the laurels of your crown.'

"In elegy, too, we challenge the Greeks. The tersest and most elegant author of it is in my opinion _Tibullus_. Others prefer _Propertius_.

_Ovid_ is more luxuriant, _Gallus_ harsher, than either. Satire is all our own. In this _Lucilius_ first gained great renown, and even now has many admirers so wedded to him, as to prefer him not only to all other satirists but to all other poets. I disagree with them as much as I disagree with Horace, who thinks Lucilius flows in a muddy stream, and that there is much that one would wish to remove. For there is wonderful learning in him, freedom of speech with the bitterness that comes therefrom, and an inexhaustible wit. _Horace_ is far terser and purer, and without a rival in his sketches of character. _Persius_ has earned much true glory by his single book. There are men now living who are renowned, and others who will be so hereafter. That earlier sort of satire not written exclusively in verse was founded by _Terentius Varro_, the most learned of the Romans. He composed a vast number of extremely erudite treatises, being well versed in the Latin tongue as well as in every kind of antiquarian knowledge; he will, however, contribute much more to science than to oratory.

"The iambus is not much in vogue among the Romans as a separate form of poetry; it is more often interspersed with other rhythms. Its bitterness is found in _Catullus_, _Bibaculus_, and _Horace_, though in the last the epode breaks its monotony.

"Of lyricists _Horace_ is, I may say, the only one worth reading; for he sometimes rises, and he is always full of sweetness and grace, and most happily daring in figures and expressions. If any one else be added, it must be Caesius Ba.s.sus, whom we have lately seen, but there are living lyricists far greater than he.

"Of the ancient tragedians _Accius_ and _Pacuvius_ are the most renowned for the gravity of their sentiments, the weight of their words, and the dignity of their characters. But brilliancy of touch and the last polish in completing their work seems to have been wanting, not so much to themselves as to their times. Accius is held to be the more powerful writer; Pacuvius (by those who wish to be thought learned) the more learned. Next comes the _Thyestes_ of _Varius_, which may be compared with any of the Greek plays. The _Medea_ of _Ovid_ shows what that poet might have achieved if he had but controlled instead of indulging his inspiration. Of those of my own day _Pomponius Secundus_ is by far the greatest. The old critics, indeed, thought him wanting in tragic force, but they confessed his learning and brilliancy.

"In comedy we halt most lamentably. It is true that Varro declares (after Aelius Stilo) that the muses, had they been willing to talk Latin, would have used the language of Plautus. It is true also that the ancients had a high respect for Caecilius, and that they attributed the plays of Terence to Scipio--plays that are of their kind most elegant, and would be even more pleasing if they had kept within the iambic metre. We can scarcely reproduce in comedy a faint shadow of our originals, so that I am compelled to believe the language incapable of that grace, which even in Greek is peculiar to the Attic, or at any rate has never been attained in any other dialect. _Afranius_ excels in the national comedy, but I wish he had not defiled his plots by licentious allusions.

"In history at all events, I would not yield the palm to Greece. I should have no fear in matching _Sall.u.s.t_ against Thucydides, nor would Herodotus disdain to be compared with _Livy_--Livy, the most delightful in narration, the most candid in judgment, the most eloquent in his speeches that can be conceived. Everything is perfectly adapted both to the circ.u.mstances and personages introduced. The affections, and, above all, the softer ones, have never (to say the least) been more persuasively introduced by any writer. Thus by a different kind of excellence he has equalled the immortal rapidity of Sall.u.s.t. _Servilius Nonia.n.u.s_ well said to me: 'They are not like, but they are equal.' I used often to listen to his recitations; a man of lofty spirit and full of brilliant sentiments, but less condensed than the majesty of history demands. This condition was better fulfilled by _Aufidius Ba.s.sus_, who was a little his senior, at any rate in his books on the German War, in which the author was admirable in his general treatment, but now and then fell below himself. There still survives and adorns the literary glory of our age a man worthy of an immortal record, who will be named some day, but now is only alluded to.

He has many to admire, none to imitate him, as if freedom, though he clips her wings, had injured him. But even in what he has allowed to remain you can detect a spirit full lofty, and opinions courageously stated. There are other good writers; but at present we are tasting, as it were, the samples, not ransacking the libraries.

"It is the orators who more than any have made Latin eloquence a match for that of Greece. For I could boldly pitch Cicero against any of their champions. Nor am I ignorant how great a strife I should be stirring up (especially as it is no part of my plan), were I to compare him with Demosthenes. This is the less necessary, since I think Demosthenes should be read (or rather learnt by heart) above every one else. Their excellences seem to me to be very similar; there is the same plan, order of division, method of preparation, proof, and all that belongs to invention. In the oratorical style there is some difference. The one is closer, the other more fluent; the one draws his conclusion with more incisiveness, the other with greater breadth; the one always wields a weapon with a sharp edge, the other frequently a heavy one as well; from the one nothing can be taken, to the other nothing can be added; the one shows more care, the other more natural gift. In wit and pathos, both important points, Cicero is clearly first. Perhaps the custom of his state did not allow Demosthenes to use the epilogue, but then neither does the genius of Latin oratory allow us to employ ornaments which the Athenians admire. In their letters, of which both have left several, there can be no comparison; nor in their dialogues, of which Demosthenes has not left any.

In one point we must yield: Demosthenes came first, and of course had a great share in making Cicero what he was. For to me Cicero seems in his intense zeal for imitating the Greeks to have united the force of Demosthenes, the copiousness of Plato, and the sweetness of Isocrates. Nor has he only acquired by study all that was best in each, but has even exalted the majority if not the whole of their excellences by the inexpressible fertility of his glorious talent. For, as Pindar says, he does not collect rain-water, but bursts forth in a living stream; born by the gift of providence that eloquence might put forth and test all her powers. For who can teach more earnestly or move more vehemently? to whom was such sweetness ever given? The very concessions he extorts you think he begs, and while by his swing he carries the judge right across the course, the man seems all the while to be following of his own accord.

Then in everything he advances there is such strength of a.s.sertion that one is ashamed to disagree; nor does he bring to bear the eagerness of an advocate, but the moral confidence of a juryman or a witness; and meanwhile all those graces, which separate individuals with the most constant care can hardly obtain, flow from him without any premeditation; and that eloquence which is so delicious to listen to seems to carry on its surface the most perfect freedom from labour. Wherefore his contemporaries did right to call him 'king of the courts;' and posterity to give him such renown that Cicero stands for the name not of a man but of eloquence itself. Let us then fix our eyes on him; let his be the example we set before us; let him who loves Cicero well know that his own progress has been great. In _Asinius Pollio_ there is much invention, much, according to some, excessive, diligence; but he is so far from the brilliancy and sweetness of Cicero that he might be a generation earlier.

But _Messala_ is polished and open, and in a way carries his n.o.ble birth into his style of eloquence, but he lacks vigour. If _Julius Caesar_ had only had leisure for the forum, he would be the one we should select as the rival of Cicero. He has such force, point, and vehemence of style, that it is clear he spoke with the same mind that he warred. Yet all is covered with a wondrous elegance of expression, of which he was peculiarly studious. There was much talent in _Caelius_, and in accusations chiefly he showed a great urbanity; he was a man worthy of a better mind and a longer life. I have found those who prefer _Calvus_ to any orator; I have found others who thought with Cicero that by too strict criticism of himself he lost real power; but his style is weighty and n.o.ble, guarded, and often vehement. He was an enthusiastic atticist, and his early death may be considered a misfortune, if we can believe that a longer life would have added something to his over concise manner. _Servius Sulpicius_ has earned considerable fame by his three speeches. _Ca.s.sius Severus_ will give many points for imitation if he be read judiciously; if he had added colour and weight to his other good qualities of style, he would be placed extremely high. For he has great talent and wonderful power of satire. His urbanity, too, is great, but he gave himself up to pa.s.sion rather than reason. And as his wit is always bitter, so the very bitterness of it sometimes makes it ludicrous. I need not enumerate the rest of this long list. Of my own contemporaries _Domitius Afer_ and _Julius Africa.n.u.s_ are far the greatest; the former in art and general style, the latter in earnestness, and the sorting of words, which sorting, however, is perhaps excessive, as his arrangements are lengthy and his metaphors immoderate.

There have been lately some great masters in this line. _Trachalus_ was often sublime, and very open in his manner, a man to whom you gave credit for good motives; but he was much greater heard than read. For he had a beauty of voice such as I have never known in any other, an articulation good enough for the stage, and grace of person and every other external advantage were at their height in him. _Vibius Crispus_ was neat, elegant, and pleasing, better for private than public causes. Had _Julius Secundus_ lived longer, his renown as an orator would be first-rate. For he would have added, as indeed he had already began to add, all the desiderata for the highest ideal. He would have been more combative, and more attentive to the subject, even to an occasional neglect of the manner. Cut off as he was, he nevertheless merits a high place; such is his facility of speech, his charm in explaining what he has to say; his open, gentle, and specious style, his perfect selection of words, even those which are adopted on the spur of the moment; his vigorous application of a.n.a.logies extemporaneously suggested. My successors in rhetorical criticism will have a rich field for praising those who are now living. For there are now great talents at work who do credit to the bar, both finished patrons, worthy rivals of the ancients, and industrious youths, following them in the path of excellence.

"There remain the philosophers, few of whom have attained to eloquence.

_Cicero_, here as ever, is the rival of Plato. _Brutus_ stands in this department much higher than as an orator; he suffices for the weight of his matter; you can see he feels what he says. _Cornelius Celsus_, following the _s.e.xtii_, has written a good deal with point and elegance.

_Plancus_ among the Stoics is useful for his knowledge. Among Epicureans, _Catius_ though a light is a pleasant writer. I have purposely deferred _Seneca_ until the end, because of the false report current that I condemn him, and even personally dislike him. This results from my endeavour to recal to a severer standard a corrupt and effeminate taste. When I began my crusade, Seneca was almost the only writer in the hands of the young.

Nor did I try to 'disestablish' him altogether, but only to prevent his being placed above better men, whom he continually attacked, from a consciousness that his special talents would never allow him to please in the way they pleased. And then his pupils loved him better than they imitated him, and in their imitations fell as much below him as he had fallen below the ancients. I only wish they could have been equals or seconds to such a man. But he pleased them solely through his faults; and it was to reproduce these that they all strove with their utmost efforts, and then, boasting that they spoke in his style, they greatly injured his fame. He, indeed, had many and great excellences; an easy and fertile talent, much study, much knowledge, though in this he was often led astray by those he employed to 'research' for him. He treated nearly the whole cycle of knowledge. For he has left speeches, poems, letters, and dialogues. In philosophy he was not very accurate, but he was a notable rebuker of vice. Many brilliant apophthegms are scattered through his works; much, too, may be read with a moral purpose. But from the point of view of eloquence his style is corrupt, and the more pernicious because he abounds in pleasant faults. One could wish he had used his own talent and another person's judgment. For had he despised some modes of effect, had he not striven after others (_partem_), if he had not loved all that was his own, if he had not broken the weight of his subjects by his short cut- up sentences, he would be approved by the consent of the learned rather than by the enthusiasm of boys. For all this, he should be read, but only by those who are robust and well prepared by a course of stricter models; and for this object, to exercise their judgment on both sides. For there is much that is good in him, much to admire; only it requires picking out, a thing he himself ought to have done. A nature which could always achieve its object was worthy of having striven after a better object than it did."

CHAPTER VI

THE REIGNS OF VESPASIAN, t.i.tUS, AND DOMITIAN (A.D. 69-96).

2. POETS.

The poet is usually credited with a genius more independent of external circ.u.mstances than any other of nature's favourites. His inspiration is more creative, more unearthly, more constraining, more unattainable by mere effort. He seems to forget the world in his own inner sources of thought and feeling. As circ.u.mstances cannot produce him, so they do not greatly affect his genius. He is the product of causes as yet unknown to the student of human progress; he is a boon for which the age that has him should be grateful, a sort of _aerii mellis caelestia dona_. Modern literature is full of this conception. The poet "does but speak because he must; he sings but as the linnets sing." Never has the sentiment been expressed with deeper pathos than by Sh.e.l.ley's well-known lines: