Horace, when he asserted the dependence of
Lucilius
on the old
Attic Comedy, was nearer the truth than Quintilian.
Attic Comedy, was nearer the truth than Quintilian.
Oxford Book of Latin Verse
Yet with Catullus and his friends they
stand for a literary ideal deeper than the contexts in which they occur:
and an ideal which, while it no doubt derives from the enthusiasm of
Alexandrian study, yet assumes a distinctively Italian character. Poetry
must be _facetus_: it must glow and dance. It must have _lepor_: it must
be clean and bright. There must be nothing slipshod, no tarnish. 'Bright
is the ring of words when the right man rings them. ' It must have
_uenustas_, 'charm', a certain melting quality. This ideal Roman poetry
never realizes perhaps in its fullness save in Catullus himself. In the
lighter poets it passes too easily into an ideal of mere cleverness:
until with Ovid (and in a less degree Martial) _lepor_ is the whole man.
In the deeper poets it is oppressed by more Roman ideals.
The _facetum ingenium_, as it manifests itself in satire and invective,
does not properly here concern us: it belongs to another order of
poetry. Yet I may be allowed to illustrate from this species of
composition the manner in which the Italian spirit in Roman poetry
asserts for itself a dominating and individual place. _Satura quidem
tota nostra est_, says Quintilian. We know now that this is not so: that
Quintilian was wrong, or perhaps rather that he has expressed himself in
a misleading fashion. Roman Satire, like the rest of Roman literature,
looks back to the Greek world. It stands in close relation to
Alexandrian Satire--a literature of which we have hitherto been hardly
aware.
Horace, when he asserted the dependence of Lucilius on the old
Attic Comedy, was nearer the truth than Quintilian. But the influence of
Attic Comedy comes to Lucilius (and to Horace and to Juvenal and to
Persius) by way of the Alexandrian satirists. From the Alexandrians come
many of the stock themes of Roman Satire, many of its stock characters,
much of its moral sentiment. The _captator_, the μεμψίμοιρος,
the _auarus_ are not the creation of Horace and Juvenal. The seventh
satire of Juvenal is not the first 'Plaint of the Impoverished
Schoolmaster' in literature. Nor is Horace _Sat. _ II. viii the earliest
'Dinner with a Nouveau-Riche'. In all this, and in much else in Roman
Satire, we must recognize Alexandrian influence. Yet even so we can
distinguish clearly--much more clearly, indeed, than in other
departments of Latin poetry--the Roman and the primitive Italian
elements. 'Ecquid is homo habet aceti in pectore? ' asks Pseudolus in
Plautus. And Horace, in a well-known phrase, speaks of _Italum acetum_,
which the scholiast renders by 'Romana mordacitas'. This 'vinegar' is
the coarse and biting wit of the Italian countryside. It has its origin
in the casual ribaldry of the _uindemiatores_: in the rudely improvized
dramatic contests of the harvest-home. Transported to the city it
becomes a permanent part of Roman Satire.
stand for a literary ideal deeper than the contexts in which they occur:
and an ideal which, while it no doubt derives from the enthusiasm of
Alexandrian study, yet assumes a distinctively Italian character. Poetry
must be _facetus_: it must glow and dance. It must have _lepor_: it must
be clean and bright. There must be nothing slipshod, no tarnish. 'Bright
is the ring of words when the right man rings them. ' It must have
_uenustas_, 'charm', a certain melting quality. This ideal Roman poetry
never realizes perhaps in its fullness save in Catullus himself. In the
lighter poets it passes too easily into an ideal of mere cleverness:
until with Ovid (and in a less degree Martial) _lepor_ is the whole man.
In the deeper poets it is oppressed by more Roman ideals.
The _facetum ingenium_, as it manifests itself in satire and invective,
does not properly here concern us: it belongs to another order of
poetry. Yet I may be allowed to illustrate from this species of
composition the manner in which the Italian spirit in Roman poetry
asserts for itself a dominating and individual place. _Satura quidem
tota nostra est_, says Quintilian. We know now that this is not so: that
Quintilian was wrong, or perhaps rather that he has expressed himself in
a misleading fashion. Roman Satire, like the rest of Roman literature,
looks back to the Greek world. It stands in close relation to
Alexandrian Satire--a literature of which we have hitherto been hardly
aware.
Horace, when he asserted the dependence of Lucilius on the old
Attic Comedy, was nearer the truth than Quintilian. But the influence of
Attic Comedy comes to Lucilius (and to Horace and to Juvenal and to
Persius) by way of the Alexandrian satirists. From the Alexandrians come
many of the stock themes of Roman Satire, many of its stock characters,
much of its moral sentiment. The _captator_, the μεμψίμοιρος,
the _auarus_ are not the creation of Horace and Juvenal. The seventh
satire of Juvenal is not the first 'Plaint of the Impoverished
Schoolmaster' in literature. Nor is Horace _Sat. _ II. viii the earliest
'Dinner with a Nouveau-Riche'. In all this, and in much else in Roman
Satire, we must recognize Alexandrian influence. Yet even so we can
distinguish clearly--much more clearly, indeed, than in other
departments of Latin poetry--the Roman and the primitive Italian
elements. 'Ecquid is homo habet aceti in pectore? ' asks Pseudolus in
Plautus. And Horace, in a well-known phrase, speaks of _Italum acetum_,
which the scholiast renders by 'Romana mordacitas'. This 'vinegar' is
the coarse and biting wit of the Italian countryside. It has its origin
in the casual ribaldry of the _uindemiatores_: in the rudely improvized
dramatic contests of the harvest-home. Transported to the city it
becomes a permanent part of Roman Satire.
