2. Prophetic verses.
3. Festive and satiric verses, uttered in dialogue or in rude mimetic drama.
4. Short gnomic or didactic verses.
5. Commemorative odes sung or recited at banquets and funerals.
1. The earliest extant specimen of the Latin language is a fragment of the hymn of the Fratres Arvales, a priestly brotherhood, who offered, on every 15th of May, public sacrifices for the fertility of the fields. This fragment is variously written and interpreted, but there can be no doubt that it is the expression of a prayer for protection against pestilence, addressed to the Lares and the G.o.d Mars, and that it was uttered with the accompaniment of dancing. The following is the reading of the fragment, as given by Mommsen:--
Enos, Lases, juvate.
Ne veluerve, Marmar, sins incurrere in pleores.
Satur fu, fere Mars.
Limen sali.
Sta berber.
Semunis alternis advocapit conctos.
Enos, Marmar, juvato.
Triumpe, triumpe, triumpe, triumpe, triumpe[3].
The address to Mars "Satur fu," or, according to another reading, "Satur furere," "be satisfied or done with raging," probably refers to the severity of the winter and early spring[4]. The words have reference to the attributes of the G.o.d in the old Italian religion, in which the powers of Nature were deified and worshipped long before Mars was identified with the Greek Ares. The other expressions in the prayer appear to be, either directions given to the dancers, or the sounds uttered as the dance proceeded.
Another short fragment has been preserved from the hymn of the Salii, also an ancient priesthood, supposed to date from the times of the early kings. The hymn is characterised by Horace, among other specimens of ancient literature, as equally unintelligible to himself and to its affected admirers[5].
From the extreme antiquity of these ceremonial chants it may be inferred that metrical expression among the Romans, as among the Greeks and other ancient nations, owed its origin to a primitive religious worship. But while the early Greek hymns or chants in honour of the G.o.ds soon a.s.sumed the forms of pleasant tales of human adventure, or tragic tales of human suffering, the Roman hymns retained their formal and ritual character unchanged among all the changes of creed and language. In the lines just quoted there is no trace of creative fancy, nor any germ of devotional feeling, which might have matured into lyrical or contemplative poetry. They sound like the words of a rude incantation. They are the obscure memorial of a primitive, agricultural people, living in a blind sense of dependence on their G.o.ds, and restrained by a superst.i.tious formalism from all activity of thought or fancy. Such compositions cannot be attributed to the inspiration or skill of any early poet, but seem to have been copied from the uncouth and spontaneous shouts of a simple, unsophisticated priesthood, engaged in a rude ceremonial dance.
If these hymns stand in any relation to Latin literature, they may perhaps be regarded as springing from the same vein of public sentiment, as called forth the hymn composed by Livius Andronicus during the Second Punic War, and as rude precursors of those composed by Catullus and Horace, and chanted by a chorus of youths and maidens in honour of the protecting Deities of Rome.
2. The verses of the Fauns and Vates spoken of by Ennius, with allusion to the poem of Naevius, in the lines,
Scripsere alii rem, Versibu" quos olim Fauni vatesque canebant,
were probably as far removed from poetry as the ritual chants of the Salii and the Fratres Arvales. The Fauni were the woodland G.o.ds of Italy, and were, besides their other functions, supposed to be endowed with prophetic power[6]. The word _Vates_, till the Augustan age, meant not a poet but a soothsayer. The Camenae or Casmenae (another form of which word appears in Carmenta, the prophetic mother of Evander) were worshipped, not as the inspirers of poetry, but as the foretellers of future events[7]. Both Greeks and Romans sought to obtain a knowledge of the future, either through the interpretation of omens, or through the voice of persons supposed to be divinely endowed with foresight. But the Greeks, even in the regard which they paid to auguries and oracles, were influenced, for the most part, by their lively imagination; while the Romans, from the earliest to the latest eras of their history, in all their relations to the supernatural world, adhered to a scrupulous and unimaginative ceremonialism. The notices in Latin literature of the functions of these early Vates--as, for instance, the counsel of the Etrurian seer to drain the Alban Lake during the war with Veii, and the prophecy of Marcius uttered during the Second Punic War,
Amnem Trojugena Cannam Romane fuge, etc.[8],
suggest no more idea of poetical inspiration than the occasional notices, in Latin authors, of the oracles of the Sibylline books. The language of prophecy naturally a.s.sumes a metrical or rhythmical form, partly as an aid to the memory, partly, perhaps, as a means of giving to the words uttered the effect of a more solemn intonation. In Greece, the oracles of the Delphian priestess, and the predictions of soothsayers, collected in books or circulating orally among the people, were expressed in hexameter verse and in the traditional diction of epic poetry; but they were never ranked under any form of poetic art. The verses of the Vates, so far as any inference can be formed as to their nature, appear to have been products and proofs of unimaginative superst.i.tion or imposture, rather than of any imaginative inspiration among the early inhabitants of Latium.
3. Another cla.s.s of metrical compositions, of native origin, but of a totally opposite character, was known by the name of the "Fescennine verses." These arose out of a very different cla.s.s of feelings and circ.u.mstances. Horace attributes their origin to the festive meetings and exuberant mirth of the harvest-home among a primitive, strong, and cheerful race of husbandmen. He points out how this rustic raillery gradually a.s.sumed the character of fierce lampoons, and had to be restrained by law:--
Fescennina per hunc inventa licentia morem Versibus alternis opprobria rustica fudit; Libertasque recurrentes accepta per annos Lusit amabiliter, donec jam saevus apertam In rabiem coepit verti jocus et per honestas Ire domos impune minax. Doluere cruento Dente lacessiti; fuit intactis quoque cura Conditione super communi; quin etiam lex Poenaque lata, malo quae nollet carmine quemquam Describi; vertere modum, formidine fustis Ad bene dicendum delectandumque redacti[9].
The change in character, here described, from coa.r.s.e and good-humoured bantering to libellous scurrility, may be conjectured to have taken place when the Fescennine freedom pa.s.sed from villages and country districts to the active social and political life within the city.
That this change had taken place in Rome at an early period, is proved by the fact that libellous verses were forbidden by the laws of the Twelve Tables[10]. The original Fescennine verse appears, from the testimony of Horace, to have been in metrical dialogue. This rude amus.e.m.e.nt, in which a coa.r.s.e kind of banter was interchanged during their festive gatherings, was in early times characteristic of the rural populations of Greece and Sicily, as well as Italy, and was one of the original elements out of which Greek comedy and Greek pastoral poetry were developed. These verses had a kindred origin with that of the Phallic Odes among the Greeks. They both appear to have sprung out of the rudest rites and the grossest symbolism of rustic paganism. The Fescennine raillery long retained traces of this original character.
Catullus mentions the "procax Fescennina locutio," among the accompaniments of marriage festivals; and the songs of the soldiers, in the extravagant license of the triumphal procession, betrayed unmistakably this primitive coa.r.s.eness.
These rude and inartistic verses, which took their name either from the town of Fescennia in Etruria or from the word fascinum[11], were the first expression of that aggressive and censorious spirit which ultimately animated Roman satire. But the original satura, which also was familiar to the Romans before they became acquainted with Greek literature, was somewhat different both from the Fescennine verses, and from the lampoons which arose out of them. The more probable etymology[12] of the word _satura_ connects it in origin with the _satura lanx_, a plate filled with various kinds of fruit offered to the G.o.ds. If this etymology be the true one, the word meant originally a medley of various contents, like the Italian _farsa_[13], and it evidently had not lost this meaning when first employed in regular literature by Ennius and Lucilius. The original satura was a kind of dramatic entertainment, accompanied with music and dancing, differing from the Fescennine verses in being regularly composed and not extemporaneous, and from the drama, in being without a connected plot. The origin of this composition is traced by Livy[14] to the representation of Etrurian dancers, who were brought to Rome during a pestilence. The Roman youth, according to his account, being moved to imitation of these representations, in which there was neither acting nor speaking, added to them the accompaniment of verses of a humorous character; and continued to represent these jocular medleys, combined with music (_saturas impletas modis_), even after the introduction of the regular drama.
These scenic saturae, which, from Livy"s notice, appear to have been accompanied with good-humoured hilarity rather than with scurrilous raillery, prepared the way for the reception of the regular drama among the Romans, and will, to some extent, account for its early popularity among them. The later Roman satire long retained traces of a connexion with this primitive and indigenous satura, evinced both by the miscellaneous character of its topics, and by its frequent employment of dramatic dialogue.
4. The didactic tendency which is so conspicuous in the cultivated literature of Rome manifested itself also in the indigenous compositions of Italy. The popular maxims and precepts preserved by the old agricultural writers and afterwards embodied by Virgil in his Georgics, were handed down from generation to generation in the Saturnian rhythm. But, apparently, the first metrical composition committed to writing was a poem of an ethical or didactic character, written two generations before the first dramatic representation of Livius Andronicus, by Appius Claudius Caecus, who is also the earliest known to us in the long line of Roman orators[15].
5. But it was not from any of these sources that Niebuhr supposed the poetical character of early Roman history to be derived. Nor is there any a.n.a.logy between the religious hymns, or the Fescennine verses of Italy, and the modern ballad. But there is evidence of the existence, at one time, of other metrical compositions of which scarcely anything is definitely ascertained, except that they were sung at banquets, to the accompaniment of the flute, in celebration of the praises of great men. There is no direct evidence of the time when these compositions, some of which were believed by Niebuhr to have attained the dimensions of Epic poems, existed, or when they fell into disuse. Cato, as quoted by Cicero in the Tusculan Disputations, and in the Brutus[16], is our earliest authority on the subject. His testimony is to the effect that many generations before his time, the guests at banquets were in the habit of singing, in succession, the praises of great men, to the music of the flute. Cicero, in the Brutus, expresses a wish that these songs still existed in his own day; "utinam exstarent illa carmina, quae multis saeculis ante suam aetatem in epulis esse cant.i.tata a singulis convivis de clarorum virorum laudibus in Originibus scriptum reliquit Cato." Varro again is quoted, to the effect that boys used to be present at banquets, for the purpose of singing "ancient poems,"
celebrating the praises of their ancestors. Valerius Maximus mentions "that the older men used at banquets to celebrate in song the ill.u.s.trious deeds of their ancestors, in order to stimulate the youth to imitate them." Pa.s.sages are quoted also from Horace, from Dionysius, and from Tacitus, implying a belief in the ancient existence of these compositions.
Besides the odes sung or recited at banquets, there were certain funeral poems, called _Naeniae_, originally chanted by the female relatives of the deceased, but afterwards by hired women. As the practice of public speaking advanced, these gradually pa.s.sed into a mere form, and were superseded by funeral orations.
The facts ascertained about these commemorative poems amount to no more than this,--that they were sung at banquets and the funerals of great men--that they were of such length as to admit of several being sung in succession,--and that they fell into disuse some generations before the age of Cato. The inferences that may fairly be drawn from these statements are opposed to some of the conclusions of Niebuhr.
The evidence is all in favour of their having been short lyrical pieces, and not long narrative poems. As they were sung at great banquets and funerals, it seems probable that, like the custom of exhibiting the ancestral images on the same occasions, they owed their origin to the patrician pride of family, and were not likely to have been animated by strong plebeian sentiment. If they had been preserved at all, they were thus more likely to have been preserved by members of the great houses living within the city walls, than by the peasantry living among the outlying hills and country districts. If ever there were any golden age of early Roman poetry, it had pa.s.sed away long before the time of Ennius and Cato.
The fact, however, remains, that the Romans did possess, in early times, some kind of native minstrelsy, in which they honoured the memory and the exploits of their great men. And this impulse of hero-worship became in later times an important factor in their epic poetry. But is there any reason to suppose that these compositions were of the nature and importance a.s.signed to them by Niebuhr, and had any value in respect of invention and execution? It is difficult to believe that such a native force of feeling and imagination, pouring itself forth in stirring ballads and continuous epic poems, could have been frozen so near its source; or that a rich, popular poetry, not scattered through thinly-peopled districts, but the possession of a great commonwealth--one most tenacious of every national memorial--could have entirely disappeared, under any foreign influence, in the course of one or two generations. But even on the supposition that a great national poetry might have pa.s.sed from the memory of men--as, possibly, the poems existing before the time of Homer may have been lost or merged in the greater glories of the Iliad and the Odyssey--this early poetry could not have perished without leaving permanent influence on the Roman language. The growth of poetical language necessarily accompanies the growth of poetical feeling and inspiration. The sensuous, pa.s.sionate, and musical force by which a language is first moulded into poetry is transmitted from one generation of poets to another. The language of Homer, by its natural and musical flow, by its acc.u.mulated wealth of meaning, by the use of traditional epithets and modes of expression, that penetrate far back into the belief, the feelings, and the life of an earlier time, implies the existence of a long line of poets who preceded him.
On the other hand, the diction of the fragments of Ennius, in its strength and in its rudeness, is evidently, in great measure, the creation of his own time and his own mind. He has no true discernment of the characteristic difference between the language of prose and of poetry. The materials of his art had not been smoothed and polished by any long, continuous stream of national melody, but were rough-hewn and adapted by his own energy to the rugged structure of his poem.
While, therefore, it appears that the actual notices of the early commemorative poems do not imply that they were the products of imagination or poetical feeling, or that they excited much popular enthusiasm, and were an important element in the early State, their entire disappearance among a people so tenacious of all their gains, and, still more, the unformed and prosaic condition of the language and rhythm used by Naevius, Ennius, and the other early poets, lead to the presumption, that they were not much valued by the Romans at any time, and that they were not the creations of poetic genius and art.
This presumption is further strengthened by such indications as there are of the recognition, or rather the non-recognition, of poets or of the poetic character at Rome in early times.
The worship of the Camenae was indeed an old and genuine part of the Roman or Italian religion; but, as was said before, their original function was to predict future events, and to communicate the knowledge of divination; not like that of the Greek Muses, to imagine bright stories of divine and human adventure,--
[Greek: lesmosynen te kakon ampauma te mermeraon.]
Even the names by which two of the Camenae were known--Postvorta and Antevorta--suggest the prosaic and practical functions which they were supposed to fulfil. The Romans had no native word equivalent to the Greek word [Greek: aoidos], denoting the primary and most essential of all poetical gifts, the power to awaken the music of language. The word _vates_, as was seen, denoted a prophet. The t.i.tle of _scriba_ was applied to Livius Andronicus; and Naevius, who has by some been regarded as the last of the old race of Roman bards, applies to himself the Greek name of _poeta_,--
Flerent divae Camenae Naevium poetam.
The commemorative odes appear to have been recited or sung at banquets, not by poets or rhapsodists, but by boys or guests. There is one notice, indeed, of a cla.s.s of men who practised the profession of minstrelsy. This pa.s.sage, which is quoted by Aulus Gellius from the writings of Cato, implies the very lowest estimation of the position and character of the poet, and points more naturally to the composers of the libellous verses forbidden by the laws of the Twelve Tables, than to the authors of heroic and national lays:--"Poetry was not held in honour; if anyone devoted himself to it, or went about to banquets, he was called a vagabond[17]."
It appears that, on this ground also, there is no reason for believing in the existence of any golden age of Roman poetry before the time of Ennius, or in the theory that the legendary tales of Roman history were created and shaped by native minstrels. To what cause, then, can we attribute their origin? These tales have a strong human interest, and represent marked and original types of antique heroism. They have the elements of true tragic pathos and moral grandeur. They could neither have arisen nor been preserved except among a people endowed with strong capacities of feeling and action. But the strength of the Roman mind consisted more in retentive capacity than in creative energy. Their art and their religion, their family and national customs, aimed at preserving the actual memory of men and of their actions: not like the arts, ceremonies, and customs of the Greeks, which aimed at lifting the mind out of reality into an ideal world. As one of the chief difficulties of the Homeric controversy arises from our ignorance of the power of the memory during an age when poetry and song were in the fullest life, but the use of letters was either unknown, or extremely limited; so there is a parallel difficulty in all attempts to explain the origin of early Roman history, from our ignorance of the power of oral tradition in a time of long established order, but yet unacquainted with any of the forms of literature.
The indifference of barbarous tribes to their past history can prove little or nothing as to the tenacity of the national memory among a people far advanced towards civilisation like the Romans after the establishment of their Republican form of government. Nor can the a.n.a.logy of early Greek traditions be fairly applied to those of Rome, owing to the great difference in the circ.u.mstances and the genius of the two nations. Many real impressions of the past might fix themselves indelibly in the grave and solid temperament of the Romans, which would have been lost amid the inexhaustible wealth of fancy that had been lavished upon the Greeks. The strict family life and discipline of the Romans, the continuity of their religious colleges, the unity of a single state as the common centre of all their interests, the slow and steady growth of their inst.i.tutions, their strong regard for precedent, were all conditions more favourable to the preservation of tradition than the lively social life, the numerous centres of political organisation, and the rapid growth and vicissitudes of the Greek Republics.
It cannot, indeed, be disputed that although the legendary tales of Roman history may have drawn more of their colour from life than from imagination, yet there is no criterion by which the amount of fact contained in them can be separated from the other elements of which they were composed. Oral tradition among the Romans, as among other nations, was founded on impressions originally received without any careful sifting of evidence; and these first impressions would naturally be modified in accordance with the feelings and opinions of each generation, through which they were transmitted. Aetiological myths, or the attempt to explain some inst.i.tution or memorial by some concrete fact, and the systematic reconstruction of forgotten events, have also entered largely into the composition of Roman history. But these admissions do not lead to the conclusion that the art or fancy of any cla.s.s of early poets was added to the unconscious operation of popular feeling in moulding the impressive tales of early heroism, partly out of the memory of real events and personages, partly out of the ideal of character, latent in the national mind. It has been remarked by Sir G. C. Lewis that many even of the Greek myths, abounding "in striking, pathetic, and interesting events," existed as prose legends, and were handed down in the common speech of the people. In like manner, such tales as those of Lucretia and Virginia, of Horatius and the Fabii, of Cincinnatus, Coriola.n.u.s, and Camillus, which stand out prominently in the twilight of Roman history, may have been preserved in _fama vulgaris_, or among the family traditions of the great houses, till they were gathered into the poem of Ennius and the prose narratives of the early annalists[18]. In so far as they are shaped or coloured by imagination, they do not bear traces of the conscious art of a poet, but rather of an unconscious conformity to the national ideal of character. The most impressive of these legendary stories ill.u.s.trate the primitive virtues of the Roman character, such as chast.i.ty, frugality, fort.i.tude, and self-devotion; or the national characteristics of patrician pride and a stern exercise of parental authority. There is certainly no internal evidence that any of them originated in a pure poetic impulse, or gave birth to any work of poetic art deserving a permanent existence in literature.
The a.n.a.logy of other nations might suggest the inference that a race which in its maturity produced a genuine poetic literature must, in the early stages of its history, have given some proof of poetic inspiration. It is natural to a.s.sociate the idea of poetry with youth both in nations and individuals. Yet the evidence of their language, of their religion, and of their customs, leads to the conclusion that the Romans, while prematurely great in action and government, were, in the earlier stages of their national life, little moved by any kind of poetical imagination. The state of religious feeling or belief which gives birth to or co-exists with primitive poetry has left no trace of itself upon the early Roman annals. It is generally found that a fanciful mythology, of a bright, gloomy, or grotesque character, in accordance with the outward circ.u.mstances and latent spirit or humour of the particular race among whom it originates, precedes and for a time accompanies the poetry of romantic action. The creative faculty produces strange forms and conditions of supernatural life out of its own mysterious sympathy with Nature, before it learns to invent tales of heroic action and of tragic calamity out of its sympathy with human energy and pa.s.sion, and its interest in marking the course of destiny, and the vicissitudes of life. The development of the Roman religion betrays the absence, or at least the weaker influence of that imaginative power which shaped the great mythologies of different races out of the primeval worship of nature. The later element introduced into Roman religion was due not to imagination but to reflection. The worship of Fides, Concordia, Pudicitia, and the like, marks a great progress from the early adoration of the sun, the earth, the vault of heaven, and the productive power of nature; but it is a progress in understanding and moral consciousness, not in poetical feeling nor imaginative power. It shows that Roman civilisation advanced without this vivifying influence,--that the mind of the race early reached the maturity of manhood, without pa.s.sing through the dreams of childhood or the buoyant fancies of youth.
The circ.u.mstances of the Romans, in early times, were also different from those by which the growth of a romantic poetry has usually been accompanied. Though, like all races born to a great destiny, they had much latent imaginative ardour of feeling, this was employed by them, unconsciously, in elevating and purifying the ideal of the State and the family, as actually realised in experience. Their orderly organisation,--the early establishment of their civic forms,--the strict discipline of family life among them,--the formal and ceremonial character of their national religion,--and their strong interest in practical affairs,--were not calculated either to kindle the glow of individual genius, or to dispose the ma.s.s of the people to listen to the charm of musical verse. The wars of the young Republic, carried on by a well-trained militia, for the acquisition of new territory, formed the character to solid strength and steady discipline, but could not act upon the fancy in the same way as the distant enterprise, the long struggles for national independence, or the daring forays, which have thrown the light of romance around the warlike youth of other races. The tillage of the soil, in which the brief intervals between their wars were pa.s.sed, was a tame and monotonous pursuit compared with the maritime adventure which awoke the energies of Greece, or with the wild and lonely, half-pastoral, half-marauding life, out of which a true ballad poetry arose in modern times. Some traces of a wilder life, or some faint memories of their Sabine forefathers, may be dimly discerned in the earliest traditions of the Roman people; but their youth was essentially practical,--great and strong in the virtues of temperance, gravity, fort.i.tude, reverence for law and the majesty of the State, combined with a strong love of liberty and st.u.r.dy resistance to wrong. These qualities are the foundations of a powerful and orderly State, not the root or the sap by which a great national poetry is nourished[19].
If the pure Roman intellect and discipline had spontaneously produced any kind of literature, it would have been more likely to have taken the form of history or oratory than of national song or ballad. It was from men of the Italian provinces, and not from her own sons, that Rome received her poetry. The men of the most genuinely Roman type and character long resisted all literary progress. The patrons and friends of the early poets were the more liberal members of the aristocracy, in whom the austerity of the national character and narrowness of the national mind had yielded to new ideas and a wider experience. The art of Greece was communicated to "rude Latium," through the medium of those kindred races who had come into earlier contact with the Greek language and civilisation. With less native strength, but with greater flexibility, these races were more readily moulded by foreign influences; and, leading a life of greater ease and freedom, they were more susceptible to all the impulses of Nature. While they were thus more readily prepared to catch the spirit of Greek culture, they had learned, through long years of war and subsequent dependence, to understand and respect the imperial State in which their own nationality had been merged. It is important to remember that the time in which Roman literature arose was not only that of the first active intercourse between Greeks and Romans, but also that in which a great war, against the most powerful State outside of Italy, had awakened the sense of an Italian nationality, of which Rome was the centre.
The great Republic derived her education and literature from the acc.u.mulated stores of Greek thought and feeling; but these were made available to her through the willing service of poets who, though born in other parts of Italy, looked to Rome as the head and representative of their common country.
[Footnote 1: Epist. ii. 1. 157.]
[Footnote 2: Georg. ii. 385.]
[Footnote 3: It is thus interpreted by the same author:--Nos, lares, juvate. Ne malam luem, Mamers, sinas incurrere in plures. Satur esto, fere Mars. In limen insili. Desiste verberare (limen)! Semones alterni advocate cunctos. Nos, Mamers, juvato. Tripudia.
"Help us, Lares. Suffer not, Mamers, pestilence to fall on the people. Be satisfied, fierce Mars. Leap on the threshold.
Cease beating it. Call, in turn, on all the demiG.o.ds. Help us, Mamers."--Mommsen, Rom. Geschichte, vol. i. ch. xv.]
[Footnote 4: Such is the interpretation of Corssen, Origines Poesis Romanae.]
[Footnote 5: Epist. ii. 1. 86.]