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

The history of the alphabet among the Hellenes turns essentially on the fact that—assuming the primitive alphabet of 23 letters, that is to say, the Phoenician alphabet vocalized and enlarged by the addition of the -"id:u" —proposals of very various kinds were made to supplement and improve it, and each of these proposals has a history of its own. The most important of these, which it is interesting to keep in view as bearing on the history of Italian writing, are the following:—I. The introduction of special signs for the sounds —"id:xi" —"id:phi" —"id:chi". This proposal is so old that all the Greek alphabets—with the single exception of that of the islands Thera, Melos, and Crete—and all alphabets derived from the Greek without exception, exhibit its influence. At first probably the aim was to append the signs —"id:CHI" = —"id:xi iota", —"id:PHI" = —"id:phi iota", and —"id:PSI"= —"id:chi iota" to the close of the alphabet, and in this shape it was adopted on the mainland of Hellas—with the exception of Athens and Corinth—and also among the Sicilian and Italian Greeks. The Greeks of Asia Minor on the other hand, and those of the islands of the Archipelago, and also the Corinthians on the mainland appear, when this proposal reached them, to have already had in use for the sound —"id:xi iota" the fifteenth sign of the Phoenician alphabet —"id:XI" (Samech); accordingly of the three new signs they adopted the —"id:PHI" for —"id:phi iota", but employed the —"id:CHI" not for —"id:xi iota", but for —"id:chi iota". The third sign originally invented for —"id:chi iota" was probably allowed in most instances to drop; only on the mainland of Asia Minor it was retained, but received the value of —"id:psi iota". The mode of writing adopted in Asia Minor was followed also by Athens; only in its case not merely the —"id:psi iota", but the —"id:xi iota" also, was not received and in their room the two consonants continued to be written as before.—II. Equally early, if not still earlier, an effort was made to obviate the confusion that might so easily occur between the forms for —"id:iota S" and for —"id:s E"; for all the Greek alphabets known to us bear traces of the endeavour to distinguish them otherwise and more precisely. Already in very early times two such proposals of change must have been made, each of which found a field for its diffusion. In the one case they employed for the sibilant—for which the Phoenician alphabet furnished two signs, the fourteenth ( —"id://") for —"id:sh" and the eighteenth (—"id:E") for —"id:s" —not the latter, which was in sound the more suitable, but the former; and such was in earlier times the mode of writing in the eastern islands, in Corinth and Corcyra, and among the Italian Achaeans. In the other case they substituted for the sign of —"id:i" the simple stroke —"id:I", which was by far the more usual, and at no very late date became at least so far general that the broken —"id:iota S" everywhere disappeared, although individual communities retained the —"id:s" in the form —"id://" alongside of the —"I".—III. Of later date is the substitution of —"id:/" for —"id:/" (—"id:lambda") which might readily be confounded with —"id:GAMMA gamma". This we meet with in Athens and Boeotia, while Corinth and the communities dependent on Corinth attained the same object by giving to the —"id:gamma" the semicircular form —"id:C" instead of the hook-shape.—IV. The forms for —"id:p" —"id:P (with broken-loop)" and —"id:r" —"id:P", likewise very liable to be confounded, were distinguished by transforming the latter into —"id:R"; which more recent form was not used by the Greeks of Asia Minor, the Cretans, the Italian Achaeans, and a few other districts, but on the other hand greatly preponderated both in Greece proper and in Magna Graecia and Sicily. Still the older form of the —"id:r" —"id:P" did not so early and so completely disappear there as the older form of the —"id:l"; this alteration therefore beyond doubt is to be placed later.—V. The differentiating of the long and short -e and the long and short -o remained in the earlier times confined to the Greeks of Asia Minor and of the islands of the Aegean Sea.

All these technical improvements are of a like nature and from a historical point of view of like value, in so far as each of them arose at a definite time and at a definite place and thereafter took its own mode of diffusion and found its special development. The excellent investigation of Kirchhoff (-Studien zur Geschichte des griechischen Alphabets-), which has thrown a clear light on the previously so obscure history of the Hellenic alphabet, and has also furnished essential data for the earliest relations between the Hellenes and Italians—establishing, in particular, incontrovertibly the previously uncertain home of the Etruscan alphabet—is affected by a certain one-sidedness in so far as it lays proportionally too great stress on a single one of these proposals. If systems are here to be distinguished at all, we may not divide the alphabets into two classes according to the value of the —"id:X" as —"id:zeta" or as —"id:chi", but we shall have to distinguish the alphabet of 23 from that of 25 or 26 letters, and perhaps further in this latter case to distinguish the Ionic of Asia Minor, from which the later common alphabet proceeded, from the common Greek of earlier times. In dealing, however, with the different proposals for the modification of the alphabet the several districts followed an essentially eclectic course, so that one was received here and another there; and it is just in this respect that the history of the Greek alphabet is so instructive, because it shows how particular groups of the Greek lands exchanged improvements in handicraft and art, while others exhibited no such reciprocity. As to Italy in particular we have already called attention to the remarkable contrast between the Achaean agricultural towns and the Chalcidic and Doric colonies of a more mercantile character (x. Iono-Dorian Towns); in the former the primitive forms were throughout retained, in the latter the improved forms were adopted, even those which coming from different quarters were somewhat inconsistent, such as the —"id:C" —"id:gamma" alongside of the —"id:/" —"id:l". The Italian alphabets proceed, as Kirchhoff has shown, wholly from the alphabet of the Italian Greeks and in fact from the Chalcidico-Doric; but that the Etruscans and Latins received their alphabet not the one from the other but both directly from the Greeks, is placed beyond doubt especially by the different form of the —"id:r". For, while of the four modifications of the alphabet above described which concern the Italian Greeks (the fifth was confined to Asia Minor) the first three were already carried out before the alphabet passed to the Etruscans and Latins, the differentiation of —"id:p" and —"id:r" had not yet taken place when it came to Etruria, but on the other hand had at least begun when the Latins received it; for which reason the Etruscans do not at all know the form -"id:R" for -"id:r", whereas among the Faliscans and the Latins, with the single exception of the Dressel vase (xiv. Note 14 ), the younger form is met with exclusively.

12. I. XIII. Etrusco-Attic and Latino-Sicilian Commerce

13. That the Etruscans always were without the koppa, seems not doubtful; for not only is no sure trace of it to be met with elsewhere, but it is wanting in the model alphabet of the Galassi vase. The attempt to show its presence in the syllabarium of the latter is at any rate mistaken, for the syllabarium can and does only take notice of the Etruscan letters that were afterwards in common use, and to these the koppa notoriously did not belong; moreover the sign placed at the close cannot well from its position have any other value than that of the -f, which was in fact the last letter in the Etruscan alphabet, and which could not be omitted in a syllabarium exhibiting the variations of that alphabet from its model. It is certainly surprising that the koppa should be absent from the Greek alphabet that came to Etruria, when it otherwise so long maintained its place in the Chalcidico-Doric ; but this may well have been a local peculiarity of the town whose alphabet first reached Etruria. Caprice and accident have at all times had a share in determining whether a sign becoming superfluous shall be retained or dropped from the alphabet; thus the Attic alphabet lost the eighteenth Phoenician sign, but retained the others which had disappeared from the -u.

14. The golden bracelet of Praeneste recently brought to light (Mitth. der rom. Inst. 1887), far the oldest of the intelligible monuments of the Latin language and Latin writing, shows the older form of the -"id:m"; the enigmatic clay vase from the Quirinal (published by Dressel in the Annali dell Instituto, 1880) shows the older form of the -"id:r".

15. At this period we shall have to place that recorded form of the Twelve Tables, which subsequently lay before the Roman philologues, and of which we possess fragments. Beyond doubt the code was at its very origin committed to writing; but that those scholars themselves referred their text not to the original exemplar, but to an official document written down after the Gallic conflagration, is proved by the story of the Tables having undergone reproduction at that time. This enables us easily to explain how their text by no means exhibited the oldest orthography, which was not unknown to them; even apart from the consideration that in the case of such a written document, employed, moreover, for the purpose of being committed to memory by the young, a philologically exact transmission cannot possibly be assumed.

16. This is the inscription of the bracelet of Praeneste which has been mentioned at xiv, note 14. On the other hand even on the Ficoroni cista -"id:C" has the later form of -"id:K".

17. Thus -"id:C" represents -Gaius-; -"id:CN" -Gnaeus-; while -"id:K" stands for -Kaeso-. With the more recent abbreviations of course this is not the case; in these -"id:gamma" is represented not by -"id:C", but by -"id:G" (-GAL- -Galeria-), —"id:kappa", as a rule, by -"id:C" (-C- -centum- -COS- -consul; -COL -Collina-), or before -"id:a" by -"id:K" (-KAR- -karmetalia-; -MERK- -merkatus-). For they expressed for a time the sound —k before the vowels -e -i -o and before all consonants by -"id:C", before -a on the other hand by -"id:K", before -u by the old sign of the koppa -"id:Q".

18. If this view is correct, the origin of the Homeric poems (though of course not exactly that of the redaction in which we now have them) must have been far anterior to the age which Herodotus assigns for the flourishing of Homer (100 before Rome); for the introduction of the Hellenic alphabet into Italy, as well as the beginning of intercourse at all between Hellas and Italy, belongs only to the post-Homeric period.

19. Just as the old Saxon -writan- signifies properly to tear, thence to write.

20. The enigma as to how the Latins came to employ the Greek sign corresponding to -v for the -f quite different in sound, has been solved by the bracelet of Praeneste (xiv. Developments Of Alphabets in Italy, note) with its -fhefhaked- for -fecit-, and thereby at the same time the derivation of the Latin alphabet from the Chalcidian colonies of Lower Italy has been confirmed. For in a Boeotian inscription belonging to the same alphabet we find in the word -fhekadamoe-(Gustav Meyer, Griech. Grammatik, sec. 244, ap. fin.) the same combination of sound, and an aspirated v might certainly approximate in sound to the Latin -f.

20. -Ratio Tuscanica,: cavum aedium Tuscanicum.-

21. When Varro (ap. Augustin. De Civ. Dei, iv. 31; comp. Plutarch Num. 8) affirms that the Romans for more than one hundred and seventy years worshipped the gods without images, he is evidently thinking of this primitive piece of carving, which, according to the conventional chronology, was dedicated between 176 and 219, and, beyond doubt, was the first statue of the gods, the consecration of which was mentioned in the authorities which Varro had before him. Comp, above, XIV. Development of Alphabets in Italy.

22. I. XIII. Handicrafts

23. I. XII. Nature of the Roman Gods

24. I. XII. Pontifices

Chapter XV

Art

Artistic Endowment of the Italians

Poetry is impassioned language, and its modulation is melody. While in this sense no people is without poetry and music, some nations have received a pre-eminent endowment of poetic gifts. The Italian nation, however, was not and is not one of these. The Italian is deficient in the passion of the heart, in the longing