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Rh most systematic exposition. Its execution was the work of a life prolonged through the languor and dissolution following so soon upon the promise of the new era, during which time the past became glorified by contrast with the disheartening aspect of the present. The value of the work consists not in any power of critical investigation or weighing of historical evidence but in the intense sympathy of the writer with the national ideal, and the vivid imagination with which under the influence of this sympathy he gives life to the events and personages, the wars and political struggles, of times remote from his own. He makes us feel more than any one the majesty of the Roman state, of its great magistracies, and of the august council by which its policy was guided. And, while he makes the words senatus populusque Romanus full of significance for all times, no one realizes with more enthusiasm all that is implied in the words imperium Romanum, and the great military qualities of head and heart by which that empire was acquired and maintained. The vast scale on which the work was conceived and the thoroughness of artistic execution with which the details are finished are characteristically Roman. The prose style of Rome, as a vehicle for the continuous narration of events coloured by a rich and picturesque imagination and instinct with dignified emotion, attained its perfection in Livy.

Fourth Period: The Silver Age, from 17 to about 130.

For more than a century after the death of Augustus Roman literature continues to flow in the old channels. Though drawing from the provinces, Rome remains the centre of the literary movement. The characteristics of the great writers are essentially national, not provincial nor

cosmopolitan. In prose the old forms—oratory, history, the epistle, treatises or dialogues on ethical and literary questions—continue to be cultivated. Scientific and practical subjects, such as natural history, architecture, medicine, agriculture, are treated in more elaborate literary style. The old Roman satura is developed into something like the modern prose novel. In the various provinces of poetry, while there is little novelty or inspiration, there is abundance of industry and ambitious effort. The national love of works of large compass shows itself in the production of long epic poems, both of the historic and of the imitative Alexandrian type. The imitative and rhetorical tastes of Rome showed themselves in the composition of exotic tragedies, as remote in spirit and character from Greek as from Roman life, of which the only extant specimens are those attributed to the younger Seneca. The composition of didactic, lyrical and elegiac poetry also was the accomplishment and pastime of an educated dilettante class, the only extant specimens of any interest being some of the Silvae of Statius. The only voice with which the poet of this age can express himself with force and sincerity is that of satire and satiric epigram. We find now only imitative echoes of the old music created by Virgil and others, as in Statius, or powerful declamation, as in Lucan and Juvenal. There is a deterioration in the diction as well as in the music of poetry. The elaborate literary culture of the Augustan age has done something to impair the native force of the Latin idiom. The language of literature, in the most elaborate kind of prose as well as poetry, loses all ring of popular speech. The old oratorical tastes and aptitudes find their outlet in public recitations and the practice of declamation. Forced and distorted expression, exaggerated emphasis, point and antithesis, an affected prettiness, are studied with the view of gaining the applause of audiences who thronged the lecture and recitation rooms in search of temporary excitement. Education is more widely diffused, but is less thorough, less leisurely in its method, derived less than before from the purer sources of culture. The precocious immaturity of Lucan’s career affords a marked contrast to the long preparation of Virgil and Horace for their high office. Although there are some works of this so-called Silver Age of considerable and one at least of supreme interest, from the insight they afford into the experience of a century of organized despotism and its effect on the spiritual life of the ancient world, it cannot be doubted that the steady literary decline which characterized the last centuries of paganism was beginning before the death of Ovid and Livy.

The influences which had inspired republican and Augustan literature were the artistic impulse derived from a familiarity with the great works of Greek genius, becoming more intimate with every new generation, the spell of Rome over the imagination of the kindred Italian races, the charm of Italy, and the vivid sensibility of the Italian temperament. These influences were certainly much less operative in the first century of the empire. The imitative impulse, which had much of the character of a creative impulse, and had resulted in the appropriation of the forms of poetry suited to the Roman and Italian character and of the metres suited to the genius of the Latin language, no longer stimulated to artistic effort. The great sources of Greek poetry were no longer regarded, as they were by Lucretius and Virgil, as sacred, untasted springs, to be approached in a spirit of enthusiasm tempered with reverence. We have the testimony of two men of shrewd common sense and masculine understanding—Martial and Juvenal—to the stale and lifeless character of the art of the Silver Age, which sought to reproduce in the form of epics, tragedies and elegies the bright fancies of the Greek mythology.

The idea of Rome, owing to the antagonism between the policy of the government and the sympathies of the class by which literature was favoured and cultivated, could no longer be an inspiring motive, as it had been in the literature of the republic and of the Augustan age. The spirit of Rome appears only as animating the protest of Lucan, the satire of Persius and Juvenal, the sombre picture which Tacitus paints of the annals of the empire. Oratory is no longer an independent voice appealing to sentiments of Roman dignity, but the weapon of the “informers” (delatores), wielded for their own advancement and the destruction of that class which, even in their degeneracy, retained most sympathy with the national traditions. Roman history was no longer a record of national glory, stimulating the patriotism and flattering the pride of all Roman citizens, but a personal eulogy or a personal invective, according as servility to a present or hatred of a recent ruler was the motive which animated it.

The charm of Italian scenes still remained the same, but the fresh and inspiring feeling of nature gave place to the mere sensuous gratification derived from the luxurious and artificial beauty of the country villa. The idealizing poetry of passion, which found a genuine voice in Catullus and the elegiac poets, could not prolong itself through the exhausting licence of successive generations. The vigorous vitality which gives interest to the personality of Catullus, Propertius and Ovid no longer characterizes their successors. The pathos of natural affection is occasionally recognized in Statius and more rarely in Martial, but it has not the depth of tenderness found in Lucretius and Virgil. The wealth and luxury of successive generations, the monotonous routine of life, the separation of the educated class from the higher work of the world, have produced their enervating and paralysing effect on the mainsprings of poetic and imaginative feeling.

New elements, however, appear in the literature of this period. As the result of the severance from the active interests of life, a new interest is awakened in the inner life of the individual. The immorality of Roman society not only affords abundant material to the satirist, but

deepens the consciousness of moral evil in purer and more thoughtful minds. To these causes we attribute the pathological observation of Seneca and Tacitus, the new sense of purity in Persius called out by contrast with the impurity around him, the glowing if somewhat sensational exaggeration of Juvenal, the vivid characterization of Martial. The literature of no time presents so powerfully the contrast between moral good and evil. In this respect it is truly representative of the life of the age. Another new element is the influence of a new race. In the two preceding periods the rapid diffusion of literary culture following the Social War and the first Civil War was seen to awaken into new life the elements of original genius in Italy and Cisalpine Gaul. In the first century of the empire a similar