No More Learning

Their work has a certain Titanic
quality. We judge their poetry too much by their biography, and their
biography too little in relation to the terrible character of their
times. Martial is a poet of a very different order. Yet in an inferior
_genre_ he is supreme. No other poet in any language has the same
never-failing grace and charm and brilliance, the same arresting
ingenuity, an equal facility and finish. We speak of his faults, yet, if
the truth must be told, his poetry is faultless--save for one fault: its
utter want of moral character. The three other great names of the period
are Statius, Silius, and Valerius. Poets of great talent but no genius,
they 'adore the footsteps' of an unapproachable master. Religiously
careful artists, they see the world through the eyes of others. Sensible
to the effects of Greatness, they have never touched and handled it.
They know it only from the poets whom they imitate. The four winds of
life have never beat upon their decorous faces. We would gladly give the
best that they offer us--and it is often of fine quality--for something
much inferior in art but superior in the indefinable qualities of
freshness and gusto. The exhaustion of the period is well seen in
Juvenal--in the jaded relish of his descriptions of vice, in the
complete unreality of his moral code, in a rhetoric which for ever just
misses the fine effects which it laboriously calculates.

The second century is barren.
Yet we are dimly aware in the reign of
Hadrian of an abortive Revival. We hear of a school of _neoterici_: and
these _neoterici_ aimed at just what was needed--greater freshness and
life. They experimented in metre, and they experimented in language.
They tried to use in poetry the language of common speech, the language
of Italy rather than that of Rome, and to bring into literature once
again colour and motion. The most eminent of these _neoterici_ is Annius
Florus, of whom we possess some notable fragments. But the movement
failed; and Florus is the only name that arrests the attention of the
student of Roman poetry between Martial and Nemesianus. Nemesianus is
African, and his poems were not written in Rome. But his graceful genius
perhaps owes something to the impulsion given to literary studies by
Numerian--one of the few emperors of the period who exhibit any interest
in the progress of literature. The fourth century is the period of
Renaissance. We may see in Tiberianus the herald of this Renaissance.
The four poems which can be certainly assigned to him are distinguished
by great power and charm. It is a plausible view that he is also the
author of the remarkable _Peruigilium Veneris_--that poem proceeds at
any rate from the school to which Tiberianus belongs. The style of
Tiberianus is formed in the academies of Africa, and so also perhaps his
philosophy. The Platonic hymn to the Nameless God is a noble monument of
the dying Paganism of the era. Tiberianus' political activities took him
to Gaul: and Gaul is the true home of this fourth-century Renaissance.
In Gaul around Ausonius there grew up at Bordeaux a numerous and
accomplished and enthusiastic school of poets.