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80–42 ] to philosophy but to the literature of philosophy. Though not a philosopher he is an admirable interpreter of those branches of philosophy which are fitted for practical application, and he presents us with the results of Greek reflection vivified by his own human sympathies and his large experience of men. In giving a model of the style in which human interest can best be imparted to abstract discussions, he used his great oratorical gift and art to persuade the world to accept the most hopeful opinions on human destiny and the principles of conduct most conducive to elevation and integrity of character.

The Letters of Cicero are thoroughly natural—colloquia absentium amicorum, to use his own phrase. Cicero’s letters to Atticus, and to the friends with whom he was completely at his ease, are the most sincere and immediate expression of the thought and feeling of the moment. They let us into the secret of his most serious thoughts and cares, and they give a natural outlet to his vivacity of observation, his wit and humour, his kindliness of nature. It shows how flexible an instrument Latin prose had become in his hand, when it could do justice at once to the ample and vehement volume of his oratory, to the calmer and more rhythmical movement of his philosophical meditation, and to the natural interchange of thought and feeling in the everyday intercourse of life.

Among the many rival orators of the age the most eminent were Quintus Hortensius Ortalus and C. Julius Caesar. The former was the leading representative of the Asiatic or florid style of oratory, and, like other members of

the aristocracy, such as C. Memmius and L. Manlius Torquatus, and like Q. Catulus in the preceding generation, was a kind of dilettante poet and a precursor of the poetry of pleasure, which attained such prominence in the elegiac poets of the Augustan age. Of C. Julius Caesar (102–44) as an orator we can judge only by his reputation and by the testimony of his great rival and adversary Cicero; but we are able to appreciate the special praise of perfect taste in the use of language attributed to him. In his Commentaries, by laying aside the ornaments of oratory, he created the most admirable style of prose narrative, the style which presents interesting events in their sequence of time and dependence on the will of the actor, rapidly and vividly, with scarcely any colouring of personal or moral feeling, any oratorical passion, any pictorial illustration. While he shows the persuasive art of an orator by presenting the subjugation of Gaul and his own action in the Civil War in the light most favourable to his claim to rule the Roman world, he is entirely free from the Roman fashion of self-laudation or disparagement of an adversary. The character of the man reveals itself especially in a perfect simplicity of style, the result of the clearest intelligence and the strongest sense of personal dignity. He avoids not only every unusual but every superfluous word; and, although no writing can be more free from rhetorical colouring, yet there may from time to time be detected a glow of sympathy, like the glow of generous passion in Thucydides, the more effective from the reserve with which it betrays itself whenever he is called on to record any act of personal heroism or of devotion to military duty.

In the simplicity of his style, the directness of his narrative, the entire absence of any didactic tendency, Caesar presents a marked contrast to another prose writer of that age—the historian C. Sallustius Crispus or Sallust (c. 87–36).

Like Varro, he survived Cicero by some years, but the tone and spirit in which his works are written assign him to the republican era. He was the first of the purely artistic historians, as distinct from the annalists and the writers of personal memoirs. He imitated the Greek historians in taking particular actions—the Jugurthan War and the Catilinarian Conspiracy—as the subjects of artistic treatment. He wrote also a continuous work, Historiae, treating of the events of the twelve years following the death of Sulla, of which only fragments are preserved. His two extant works are more valuable as artistic studies of the rival parties in the state and of personal character than as trustworthy narratives of facts. His style aims at effectiveness by pregnant expression, sententiousness, archaism. He produces the impression of caring more for the manner of saying a thing than for its truth. Yet he has great value as a painter of historical portraits, some of them those of his contemporaries, and as an author who had been a political partisan and had taken some part in making history before undertaking to write it; and he gives us, from the popular side, the views of a contemporary on the politics of the time. Of the other historians, or rather annalists, who belong to this period, such as Q. Claudius Quadrigarius, Q. Valerius Antias, and C. Licinius Macer, the father of Calvus, we have only fragments remaining.

The period was also remarkable for the production of works which we should class as technical or scientific rather than literary. The activity of one of these writers was so great that he is entitled to a separate mention. This

was M. Terentius Varro, the most learned not only of the Romans but of the Greeks, as he has been called. The list of Varro’s writings includes over seventy treatises and more than six hundred books dealing with topics of every conceivable kind. His Menippeae Saturae, miscellanies in prose and verse, of which unfortunately only fragments are left, was a work of singular literary interest.

Since the Annals of Ennius no great and original poem had appeared. The powerful poetical force which for half a century continued to be the strongest force in literature, and which created masterpieces of art and genius, first

revealed itself in the latter part of the Ciceronian age. The conditions which enabled the poetic genius of Italy to come to maturity in the person of T. Lucretius Carus (96–55) were entire seclusion from public life and absorption in the ideal pleasures of contemplation and artistic production. This isolation from the familiar ways of his contemporaries, while it was, according to tradition and the internal evidence of his poem, destructive to his spirit’s health, resulted in a work of genius, unique in character, which still stands forth as the greatest philosophical poem in any language. In the form of his poem he followed a Greek original; and the stuff out of which the texture of his philosophical argument is framed was derived from Greek science; but all that is of deep human and poetical meaning in the poem is his own. While we recognize in the De Rerum Natura some of the most powerful poetry in any language and feel that few poets have penetrated with such passionate sincerity and courage into the secret of nature and some of the deeper truths of human life, we must acknowledge that, as compared with the great didactic poem of Virgil, it is crude and unformed in artistic design, and often rough and unequal in artistic execution. Yet, apart altogether from its independent value, by his speculative power and enthusiasm, by his revelation of the life and spectacle of nature, by the fresh creativeness of his diction and the elevated movement of his rhythm, Lucretius exercised a more powerful influence than any other on the art of his more perfect successors.

While the imaginative and emotional side of Roman poetry was so powerfully represented by Lucretius, attention was directed to its artistic side by a younger generation, who moulded themselves in a great degree on

Alexandrian models. Such were Valerius Cato also a distinguished literary critic, and C. Licinius Calvus, an eminent orator. Of this small group of poets one only has survived, fortunately the man of most genius among them, the bosom-friend of Calvus, C. Valerius Catullus (84–54). He too was a new force in Roman literature. He was a provincial by birth, although early brought into intimate relations with members of the great Roman families. The subjects of his best art are taken immediately from his own life—his loves, his friendships, his travels, his animosities, personal and political. His most original contribution to the substance of Roman literature was that he first shaped into poetry the experience of his own heart, as it had been shaped by Alcaeus and Sappho in the early days of Greek poetry. No poet has surpassed him in the power of vitally reproducing the pleasure and pain of the passing hour, not recalled by idealizing reflection as in Horace, nor overlaid with mythological ornament as in Propertius, but in all the keenness