The History of Rome - Theodor Mommsen (free e books to read .txt) 📗

as indeed even the sacred earnestness of Thucydides has found no unworthy echo in one of the best-known sections of this Roman poem. As Ennius draws his wisdom from Epicharmus and Euhemerus, so Lucretius borrows the form of his representation from Empedocles, "the most glorious treasure of the richly gifted Sicilian isle"; and, as to the matter, gathers "all the golden words together from the rolls of Epicurus," "who outshines other wise men as the sun obscures the stars." Like Ennius, Lucretius disdains the mythological lore with which poetry was overloaded by Alexandrinism, and requires nothing from his reader but a knowledge of the legends generally current.(16) In spite of the modern purism which rejected foreign words from poetry, Lucretius prefers to use, as Ennius had done, a significant Greek word in place of a feeble and obscure Latin one. The old Roman alliteration, the want of due correspondence between the pauses of the verse and those of the sentence, and generally the older modes of expression and composition, are still frequently found in Lucretius' rhythms, and although he handles the verse more melodiously than Ennius, his hexameters move not, as those of the modern poetical school, with a lively grace like the rippling brook, but with a stately slowness like the stream of liquid gold. Philosophically and practically also Lucretius leans throughout on Ennius, the only indigenous poet whom his poem celebrates. The confession of faith of the singer of Rudiae(17)—

   -Ego deum genus esse semper dixi et dicam caelitum,
   Sed eos non curare opinor, quid agat humanum genus-:—

describes completely the religious standpoint of Lucretius, and not unjustly for that reason he himself terms his poem as it were the continuation of Ennius:—

   -Ennius ut noster cecinit, qui primus amoeno
   Detulit ex Helicone perenni fronde coronam,
   Per gentis Italas hominum quae clara clueret-.

Once more—and for the last time—the poem of Lucretius is resonant with the whole poetic pride and the whole poetic earnestness of the sixth century, in which, amidst the images of the formidable Carthaginian and the glorious Scipiad, the imagination of the poet is more at home than in his own degenerate age.(18) To him too his own song "gracefully welling up out of rich feeling" sounds, as compared with the common poems, "like the brief song of the swan compared with the cry of the crane";—with him too the heart swells, listening to the melodies of its own invention, with the hope of illustrious honours—just as Ennius forbids the men to whom he "gave from the depth of the heart a foretaste of fiery song," to mourn at his, the immortal singer's, tomb.

It is a remarkable fatality, that this man of extraordinary talents, far superior in originality of poetic endowments to most if not to all his contemporaries, fell upon an age in which he felt himself strange and forlorn, and in consequence of this made the most singular mistake in the selection of a subject. The system of Epicurus, which converts the universe into a great vortex of atoms and undertakes to explain the origin and end of the world as well as all the problems of nature and of life in a purely mechanical way, was doubtless somewhat less silly than the conversion of myths into history which was attempted by Euhemerus and after him by Ennius; but it was not an ingenious or a fresh system, and the task of poetically unfolding this mechanical view of the world was of such a nature that never probably did poet expend life and art on a more ungrateful theme. The philosophic reader censures in the Lucretian didactic poem the omission of the finer points of the system, the superficiality especially with which controversies are presented, the defective division, the frequent repetitions, with quite as good reason as the poetical reader frets at the mathematics put into rhythm which makes a great part of the poem absolutely unreadable. In spite of these incredible defects, before which every man of mediocre talent must inevitably have succumbed, this poet might justly boast of having carried off from the poetic wilderness a new chaplet such as the Muses had not yet bestowed on any; and it was by no means merely the occasional similitudes, and the other inserted descriptions of mighty natural phenomena and yet mightier passions, which acquired for the poet this chaplet. The genius which marks the view of life as well as the poetry of Lucretius depends on his unbelief, which came forward and was entitled to come forward with the full victorious power of truth, and therefore with the full vigour of poetry, in opposition to the prevailing hypocrisy or superstition.

   -Humana ante oculos foede cum vita iaceret
   In terris oppressa gravi sub religione,
   Quae caput a caeli regionibus ostendebat
   Horribili super aspectu mortalibus instans,
   Primum Graius homo mortalis tendere contra
   Est oculos ausus primusque obsistere contra.
   Ergo vivida vis animi pervicit, et extra
   Processit longe flammantia moenia mundi
   Atque omne immensum peragravit mente animoque-.

The poet accordingly was zealous to overthrow the gods, as Brutus had overthrown the kings, and "to release nature from her stern lords." But it was not against the long ago enfeebled throne of Jovis that these flaming words were hurled; just like Ennius, Lucretius fights practically above all things against the wild foreign faiths and superstitions of, the multitude, the worship of the Great Mother for instance and the childish lightning-lore of the Etruscans. Horror and antipathy towards that terrible world in general, in which and for which the poet wrote, suggested his poem. It was composed in that hopeless time when the rule of the oligarchy had been overthrown and that of Caesar had not yet been established, in the sultry years during which the outbreak of the civil war was awaited with long and painful suspense. If we seem to perceive in its unequal and restless utterance that the poet daily expected to see the wild tumult of revolution break forth over himself and his work, we must not with reference to his view of men and things forget amidst what men, and in prospect of what things, that view had its origin. In the Hellas of the epoch before Alexander it was a current saying, and one profoundly felt by all the best men, that the best thing of all was not to be born, and the next best to die. Of all views of the world possible to a tender and poetically organized mind in the kindred Caesarian age this was the noblest and the most ennobling, that it is a benefit for man to be released from a belief in the immortality of the soul and thereby from the evil dread of death and of the gods which malignantly steals over men like terror creeping over children in a dark room; that, as the sleep of the night is more refreshing than the trouble of the day, so death, eternal repose from all hope and fear, is better than life, as indeed the gods of the poet themselves are nothing, and have nothing, but an eternal blessed rest; that the pains of hell torment man, not after life, but during its course, in the wild and unruly passions of his throbbing heart; that the task of man is to attune his soul to equanimity, to esteem the purple no higher than the warm dress worn at home, rather to remain in the ranks of those that obey than to press into the confused crowd of candidates for the office of ruler, rather to lie on the grass beside the brook than to take part under the golden ceiling of the rich in emptying his countless dishes. This philosophico-practical tendency is the true ideal essence of the Lucretian poem and is only overlaid, not choked, by all the dreariness of its physical demonstrations. Essentially on this rests its comparative wisdom and truth. The man who with a reverence for his great predecessors and a vehement zeal, to which this century elsewhere knew no parallel, preached such doctrine and embellished it with the charm of art, may be termed at once a good citizen and a great poet. The didactic poem concerning the Nature of Things, however much in it may challenge censure, has remained one of the most brilliant stars in the poorly illuminated expanse of Roman literature; and with reason the greatest of German philologues chose the task of making the Lucretian poem once more readable as his last and most masterly work.

The Hellenic Fashionable Poetry

Lucretius, although his poetical vigour as well as his art was admired by his cultivated contemporaries, yet remained—of late growth as he was—a master without scholars. In the Hellenic fashionable poetry on the other hand there was no lack at least of scholars, who exerted themselves to emulate the Alexandrian masters. With true tact the more gifted of the Alexandrian poets avoided larger works and the pure forms of poetry—the drama, the epos, the lyric; the most pleasing and successful performances consisted with them, just as with the new Latin poets, in "short- winded" tasks, and especially in such as belonged to the domains bordering on the pure forms of art, more especially to the wide field intervening between narrative and song. Multifarious didactic poems were written. Small half-heroic, half-erotic epics were great favourites, and especially an erudite sort of love-elegy peculiar to this autumnal summer of Greek poetry and characteristic of the philological source whence it sprang, in which the poet more or less arbitrarily interwove the description of his own feelings, predominantly sensuous, with epic shreds from the cycle of Greek legend. Festal lays were diligently and artfully manufactured; in general, owing to the want of spontaneous poetical invention, the occasional poem preponderated and especially the epigram, of which the Alexandrians produced excellent specimens. The poverty of materials and the want of freshness in language and rhythm, which inevitably cleave to every literature not national, men sought as much as possible to conceal under odd themes, far-fetched phrases, rare words, and artificial versification, and generally under the whole apparatus of philologico-antiquarian erudition and technical dexterity. Such was the gospel which was preached to the Roman boys of this period, and they came in crowds to hear and to practise it; already (about 700) the love-poems of Euphorion and similar Alexandrian poetry formed the ordinary reading and the ordinary pieces for declamation of the cultivated youth.(19) The literary revolution took place; but it yielded in the first instance with rare exceptions only premature or unripe fruits. The number of the "new-fashioned poets" was legion, but poetry was rare and Apollo was compelled, as always when so many throng towards Parnassus, to make very short work. The long poems never were worth anything, the short ones seldom. Even in this literary age the poetry of the day had become a public nuisance; it sometimes happened that one's friend would send home to him by way of mockery as a festal present a pile of trashy verses fresh from the bookseller's shop, whose value was at once betrayed by the elegant binding and the smooth paper. A real public, in the sense in which national literature has a public, was wanting to the Roman Alexandrians as well as to the Hellenic; it was thoroughly the poetry of a clique or rather cliques, whose members clung closely together, abused intruders, read and criticised among themselves the new poems, sometimes also quite after the Alexandrian fashion celebrated the successful productions in fresh verses, and variously sought to secure for themselves by clique-praises a spurious and ephemeral renown. A notable teacher of Latin literature, himself poetically active in this new direction, Valerius Cato appears to have exercised a sort of scholastic patronage over the most distinguished men of this circle and to have pronounced final decision on the relative value of the poems. As compared with their Greek models, these Roman poets evince throughout a want of freedom, sometimes a schoolboy dependence; most of their products must have been simply the austere fruits of a school poetry still occupied in learning and by no means yet dismissed as mature. Inasmuch as in language and in measure they adhered to the Greek patterns far more closely than ever the national Latin poetry had done, a greater correctness and consistency in language and metre were certainly attained; but it was at the expense of the flexibility and fulness of the national idiom. As respects the subject-matter, under the influence partly of effeminate models, partly of an immoral age, amatory themes acquired a surprising preponderance little conducive to poetry; but the favourite metrical compendia of the Greeks were also in various cases translated, such as the astronomical treatise of Aratus by Cicero, and, either at the end of this or more probably at the commencement of the following period, the geographical manual of Eratosthenes by Publius Varro of the Aude and the physico-medicinal manual of Nicander by Aemilius Macer. It