The Story of Rome From the Earliest Times to the End of the Republic, Arthur Gilman [world best books to read .TXT] 📗

was so great that Cicero considered him the prince of Roman song, that Virgil was indebted to him for many thoughts and expressions, and that even the brilliance of the Augustan poets did not lessen his reputation. His utterances were vigorous, bold, fresh, and full of the spirit of the brave old days. He found the language rough, uncultivated, and unformed, and left it softer, more harmonious, and possessed of a system of versification. He was born in 239 B.C., the year after the first plays of Andronicus had been exhibited on the Roman stage, and died just before the complete establishment of the universal empire of Rome as a consequence of the battle of Pydna.

[Footnote: See Page 164.]

 

At the head of the list of Roman prose annalists stands the name of Quintus Fabius Pictor, at one time a senator, who wrote a history of his nation beginning, probably, like other Roman works of its class, with the coming of Æneas, and narrating later events, to the end of the second Punic war, with some degree of minuteness. He wrote in Greek, and made the usual effort to preserve and transmit a sufficiently good impression of the greatness of his own people. That Pictor was a senator proves his social importance, which is still further exemplified by the fact that after the carnage of Cannæ, he was sent to Delphi to learn for his distressed countrymen how they might appease the angry gods. We only know that his history was of great value from the frequent use that was made of it by subsequent investigators in the antiquities of the Roman people, because no manuscript of it has been preserved.

 

Titus Maccius, surnamed, from the flatness of his feet, Plautus, was the greatest among the comic poets of Rome. Of humble origin, he was driven to literature by his necessities, and it was while turning the crank of a baker’s hand-mill that he began the work by which he is now known. He wrote three plays which were accepted by the managers of the public games, and he was thus able to turn his back upon menial drudgery. Born at an Umbrian village during the first Punic war, not far from the year when Regulus was taken, [Footnote: See page 133.] he came to Rome at an early age, and after he began to write, produced a score or more of plays which captivated both the learned and the uneducated by their truth to the life that they depicted, and they held their high reputation long after the death of the author. Moderns have also attested their merit, and our great dramatist in his amusing Comedy of Errors imitated the Menoechmi of this early play-wright.

[Footnote: Rude farces, known as Atellanæ Fabula, were introduced into Rome after the contact with the Campanians, from one of whose towns, Atella, they received their name. Though they were at a later time divided into acts, they seem to have been at first simply improvised raillery and satire without dramatic connection. The Atellan plays were later than the imitations of Etruscan acting mentioned on page 110.]

 

Publius Terentius Afer, commonly known as Terrence, the second and last of the comic poets, was of no higher social position than Plautus, and was no more a Roman than the other writers we have referred to, for he was a native of Carthage, Rome’s great rival, where he was born at the time that Hannibal was a refugee at the court of Antiochus at Ephesus.

In spite of his foreign origin, Terence was of sufficient ability to exchange the slave-pen of Carthage for the society of the best circles in Rome, and he attained to such purity and ease in the use of his adopted tongue that Cicero and Cæsar scarcely surpass him in those respects. His first play, the Andria (the Woman of Andros), was produced in 166 B.C., the year before Polybius and the other Achæans were transported to Rome. [Footnote: See page 164; and portrait, page 141] It has been imitated and copied in modern times, and notably by Sir Richard Steele in his Conscious Lovers. Andria was followed by Hecyra (the Stepmother), Heautontimoroumenos, (the Self-Tormentor), Eunuchus (the Eunuch), Phormio (named from a parasite who is an active agent in the plot), and Adelphi (the Brothers), the plot of which was mainly derived from a Greek play of the same title.

This foreign influence is further shown in the names of these plays, which are Greek.

 

Cato, the Censor, found time among his varied public labors to contribute to the literature of his language. His Origines and other works have already been mentioned. [Footnote: See pages 153 and 239.] The varied literary productions of Cicero have also come under our notice, [Footnote: See page 202] but they deserve more attention, though they are too many to be enumerated. Surpassing all others in the art of public speaking, he was evidently well prepared to write on rhetoric and oratory as he did; but his general information and scholarly taste led him to go far beyond this limit, and he made considerable investigations in the domains of politics, history, and philosophy, law, theology, and morals, besides practising his hand in his earlier years on the manufacture of verses that have not added to his reputation. The writings of Cicero of greatest interest to us now are his orations and correspondence, both of which give us intimate information concerning life and events that is of inestimable value, and it is conveyed in a literary style at once so appropriate and attractive that it is itself forgotten in the impressive interest of the narrative. The period covered by the eight hundred letters of Cicero that have been preserved is one of the utmost importance in Roman history, and the author and his correspondents were in the hottest of the exciting movements of the time.

 

When he writes without reserve, he gives his modern readers confidential revelations of the utmost piquancy; and when he words his epistles with diplomatic care, he displays with equal acuteness, to the student familiar with the intrigues of public life at Rome at the time, the sinuosities of contemporary statesmanship and the wiles of the wary politician, and the revelation is all the more entertaining and important because it is an unintentional exhibition. The orations of Cicero are likewise storehouses of details connected with public and private life, gathered with the minute care of an advocate persistently in earnest and determined not to allow any item to pass unnoticed that might affect the decision of his cause.

 

The learned Varro, already mentioned, deserves far more attention than we can afford him. He had the advantage at an early age of the acquaintance of a scholar of high attainments in Greek and Latin literature, who was well acquainted also with the history of his own country, from whom he imbibed a love of intellectual pursuits. During the wars with the pirates (in which he obtained the naval crown) and with Mithridates, he held a high command, and after supporting Pompey and the senate during the civil struggles, he was compelled to surrender to Cæsar (though he was not changed in his opinions), and passed over to Greece, where he was finally overcome by the dictator, and owed his subsequent opportunities for study to the clemency of his conqueror, who gave him pardon after the battle of Pharsalia. All the rest of his life was passed aloof from the storm that raged around him, the circumstances of his proscription and pardon being the only indication of his personal connection with it. He died in the year 28

B.C., after the temple of Janus had been closed the third time, when Augustus had entered upon the enjoyment of his absolute power.

 

Of nearly five hundred works that Varro is said to have written, one only has come down to our time complete, though some portions of another are also preserved. The first is a laboriously methodical and thorough treatise on agriculture. The other work (a treatise on Latin grammar) is of value in its mutilated and imperfect state (it seems never to have received its author’s final revision), because it preserves many terms and forms that would otherwise have been lost, besides much curious information concerning ancient civil and religious usages. In regard to the derivation of words, his principles are sound, but his practice is often amusingly absurd. We must remember, however, that the science of language did not advance beyond infancy until after our own century had opened. The great reputation of Varro was founded upon a work now lost, entitled “Book of Antiquities,” in the first part of which he discussed the creation and history of man, especially of man in Italy from the foundation of the city in 753 B.C. (which date he established), not omitting reference to Æneas, of course, and presenting details of the manners and social customs of the people during all their career. In a second part Varro gave his attention to Divine Antiquities, and as St. Augustine drew largely from it in his “City of God,” we may be said to be familiar with it at second hand. It was a complete mythology of Italy, minutely describing every thing relating to the services of religion, the festivals, temples, offerings, priests, and so on. Probably the loss of the works of Varro may be accounted for by their lack of popular interest, or by their infelicities of style, which rendered them little attractive to readers.

 

Julius Cæsar must be included among the authors of Rome, though most of his works are lost, his Commentaries (mentioned on p. 226) being the only one remaining. This book is written in Latin of great purity, and shows that the author was master of a clear style, though the nature of the work did not admit him to exhibit many of the graces of diction. The Commentaries seem to have been put into form in winter quarters, though roughly written during the actual campaigns. Cæsar always took pleasure in literary pursuits and in the society of men of letters.

 

Valerius Catullus, a contemporary of the writers just named, was born when Cinna was Consul (B.C. 87), and died at the age of thirty or forty, for the dates given as that of his death are quite doubtful. His father was a man of means and a friend of Cæsar, whom he frequently entertained. Catullus owned a villa near Tibur, but he took up his abode at Rome when very young, and mingled freely in the gayest society, the expensive pleasures of which made great inroads upon his moderate wealth. Like other Romans, he looked to a career in the provinces for means of improving his fortune, but was disappointed, and like our own Chaucer, but more frequently, he pours forth lamentations to his empty purse. He was evidently a friend of most of the prominent men of letters of his time, and he entered freely into the debauchery of the period. Thus his verse gives a representation of the debased manners of the day in gay society. His style was remarkably felicitous, and it is said that he adorned all that he touched. Most of his poems are quite short, and their subjects range from a touching outburst of genuine grief for a brother’s death to a fugitive epigram of the most voluptuous triviality. His verses display ease and impetuosity, tumultuous merriment and wild passion, playful grace and slashing invective, vigorous simplicity and ingenious imitation of the learned stiffness and affectation of the Alexandrian school. They are strongly national, despite the author’s use of foreign materials, and made Catullus exceedingly popular among his countrymen.

 

Lucretius (Titus Lucretius Carus) was a native of Italy, whose birth is said to have