Nor is it for nothing that the
fashion of Vergilian quotation so long dominated our parliamentary
eloquence.
fashion of Vergilian quotation so long dominated our parliamentary
eloquence.
Oxford Book of Latin Verse
They did not choose and
place their words with so meticulous a care merely for the audience of
an afternoon. If we sometimes are offended by their evident subservience
to the theatre, yet on the whole we have greater reason to admire the
courage and conscience with which they strove nevertheless to keep
before them the thought of a wider and more distant and true-judging
audience.
I have intentionally selected for notice that rhetorical feature in
Vergil's style which is, I think, the least obvious. How much of the
_Aeneid_ was written ultimately by Epidius I hardly like to inquire.
Nowhere does Vergil completely succeed in concealing his rhetorical
schooling. Even in his greatest moments he is still to a large extent a
rhetorician. Indeed I am not sure that he ever writes pure
poetry--poetry which is as purely poetry as that of Catullus. Take the
fourth book of the _Aeneid_, which has so much passionate Italian
quality. Even there Vergil does not forget the mere formal rules of
rhetoric. Analyse any speech of Dido. Dido knows all the rules. You can
christen out of Quintilian almost all the figures of rhetoric which she
employs. Here is a theme which I have not leisure to develop. But it is
interesting to remember in this connexion the immense and direct
influence which Vergil has had upon British oratory. Burke went nowhere
without a copy of Vergil in his pocket.
Nor is it for nothing that the
fashion of Vergilian quotation so long dominated our parliamentary
eloquence. These quotations had a perfect appropriateness in a
rhetorical context: for they are the language of a mind by nature and by
education rhetorical.
III
Roman poetry continued for no less than five centuries after the death
of Vergil--and by Roman poetry I mean a Latin poetry classical in form
and sentiment. But of these five centuries only two count. The second
and third centuries A. D. are a Dark Age dividing the silver twilight of
the century succeeding the age of Horace from the brief but brilliant
Renaissance of the fourth century: and in the fifth century we pass into
a new darkness. The infection of the Augustan tradition is sufficiently
powerful in the first century to give the impulse to poetic work of high
and noble quality. And six considerable names adorn the period from Nero
to Domitian. Of these the greatest are perhaps those of Seneca, Lucan,
and Martial. All three are of Spanish origin: and it is perhaps to their
foreign blood that they owe the genius which redeems their work from its
very obvious faults. It is the fashion to decry Seneca and Lucan as mere
rhetoricians. Yet in both there is something greater and deeper than
mere rhetoric. They move by habit grandly among large ideas. Life is
still deep and tremendous and sonorous. Their work has a certain Titanic
quality.
place their words with so meticulous a care merely for the audience of
an afternoon. If we sometimes are offended by their evident subservience
to the theatre, yet on the whole we have greater reason to admire the
courage and conscience with which they strove nevertheless to keep
before them the thought of a wider and more distant and true-judging
audience.
I have intentionally selected for notice that rhetorical feature in
Vergil's style which is, I think, the least obvious. How much of the
_Aeneid_ was written ultimately by Epidius I hardly like to inquire.
Nowhere does Vergil completely succeed in concealing his rhetorical
schooling. Even in his greatest moments he is still to a large extent a
rhetorician. Indeed I am not sure that he ever writes pure
poetry--poetry which is as purely poetry as that of Catullus. Take the
fourth book of the _Aeneid_, which has so much passionate Italian
quality. Even there Vergil does not forget the mere formal rules of
rhetoric. Analyse any speech of Dido. Dido knows all the rules. You can
christen out of Quintilian almost all the figures of rhetoric which she
employs. Here is a theme which I have not leisure to develop. But it is
interesting to remember in this connexion the immense and direct
influence which Vergil has had upon British oratory. Burke went nowhere
without a copy of Vergil in his pocket.
Nor is it for nothing that the
fashion of Vergilian quotation so long dominated our parliamentary
eloquence. These quotations had a perfect appropriateness in a
rhetorical context: for they are the language of a mind by nature and by
education rhetorical.
III
Roman poetry continued for no less than five centuries after the death
of Vergil--and by Roman poetry I mean a Latin poetry classical in form
and sentiment. But of these five centuries only two count. The second
and third centuries A. D. are a Dark Age dividing the silver twilight of
the century succeeding the age of Horace from the brief but brilliant
Renaissance of the fourth century: and in the fifth century we pass into
a new darkness. The infection of the Augustan tradition is sufficiently
powerful in the first century to give the impulse to poetic work of high
and noble quality. And six considerable names adorn the period from Nero
to Domitian. Of these the greatest are perhaps those of Seneca, Lucan,
and Martial. All three are of Spanish origin: and it is perhaps to their
foreign blood that they owe the genius which redeems their work from its
very obvious faults. It is the fashion to decry Seneca and Lucan as mere
rhetoricians. Yet in both there is something greater and deeper than
mere rhetoric. They move by habit grandly among large ideas. Life is
still deep and tremendous and sonorous. Their work has a certain Titanic
quality.
