Two
circumstances
may
serve to bring this home to us.
serve to bring this home to us.
Oxford Book of Latin Verse
Magic
dirges (_neniae_) were chanted before the house where a dead man lay.
They were chanted by a _praefica_, a professional 'wise woman', who
placated the dead man by reiterated praise of him. These chants probably
mingled traditional formulae with improvisation appropriate to
particular circumstances. The office of the _praefica_ survived into a
late period. But with the growth of Rationalism it very early came into
disrepute and contempt. Shorter lived but more in honour was an
institution known to us only from casually preserved references to it in
Cato and Varro. This was the _Song in Praise of Famous Men_ which was
sung at banquets. Originally it was sung by a choir of carefully
selected boys (_pueri modesti_), and no doubt its purpose was to
propitiate the shades of the dead. At a later period the boy choristers
disappear, and the _Song_ is sung by individual banqueters. The ceremony
becomes less religious in character, and exists to minister to the
vanity of great families and to foster patriotism. In Cato's time the
tradition of it survived only as a memory from a very distant past. Its
early extinction must be explained by the wider use among the Romans of
written memorials. Of these literary records nothing has survived to us:
even of epitaphs preserved to us in inscriptions none is earlier than
the age of Cato. So far as our knowledge of Latin literature extends we
pass at a leap from what may be called the poetry of primitive magic[3]
to Livius Andronicus' translation of the _Odyssey_. Yet between the
work of Livius and this magical poetry there must lie a considerable
literary development of which we know nothing.
Two circumstances may
serve to bring this home to us. The first is that stage plays are known
to have been performed in Rome as early as the middle of the fourth
century. The second is that there existed in Rome in the time of Livius
a school of poets and actors who were sufficiently numerous and
important to be permitted to form a Guild or College.
The position of Livius is not always clearly understood. We can be sure
that he was not the first Roman poet. Nor is it credible that he was the
first Greek teacher to find his way to Rome from Southern Italy. To what
does he owe his pre-eminence? He owes it, in the first place, to what
may be called a mere accident. He was a schoolmaster: and in his
_Odyssey_ he had the good fortune to produce for the schools precisely
the kind of text-book which they needed: a text-book which was still
used in the time of Horace. Secondly, Livius Andronicus saved Roman
literature from being destroyed by Greek literature. We commonly regard
him as the pioneer of Hellenism. This view needs correcting. We shall
probably be nearer the truth if we suppose that Livius represents the
reaction against an already dominant Hellenism. The real peril was that
the Romans might become not too little but too much Hellenized, that
they might lose their nationality as completely as the Macedonians had
done, that they might employ the Greek language rather than their own
for both poetry and history. From this peril Livius--and the patriotic
nobles whose ideals he represented--saved Rome. It is significant that
in his translation of the _Odyssey_ he employs the old Saturnian
measure.
dirges (_neniae_) were chanted before the house where a dead man lay.
They were chanted by a _praefica_, a professional 'wise woman', who
placated the dead man by reiterated praise of him. These chants probably
mingled traditional formulae with improvisation appropriate to
particular circumstances. The office of the _praefica_ survived into a
late period. But with the growth of Rationalism it very early came into
disrepute and contempt. Shorter lived but more in honour was an
institution known to us only from casually preserved references to it in
Cato and Varro. This was the _Song in Praise of Famous Men_ which was
sung at banquets. Originally it was sung by a choir of carefully
selected boys (_pueri modesti_), and no doubt its purpose was to
propitiate the shades of the dead. At a later period the boy choristers
disappear, and the _Song_ is sung by individual banqueters. The ceremony
becomes less religious in character, and exists to minister to the
vanity of great families and to foster patriotism. In Cato's time the
tradition of it survived only as a memory from a very distant past. Its
early extinction must be explained by the wider use among the Romans of
written memorials. Of these literary records nothing has survived to us:
even of epitaphs preserved to us in inscriptions none is earlier than
the age of Cato. So far as our knowledge of Latin literature extends we
pass at a leap from what may be called the poetry of primitive magic[3]
to Livius Andronicus' translation of the _Odyssey_. Yet between the
work of Livius and this magical poetry there must lie a considerable
literary development of which we know nothing.
Two circumstances may
serve to bring this home to us. The first is that stage plays are known
to have been performed in Rome as early as the middle of the fourth
century. The second is that there existed in Rome in the time of Livius
a school of poets and actors who were sufficiently numerous and
important to be permitted to form a Guild or College.
The position of Livius is not always clearly understood. We can be sure
that he was not the first Roman poet. Nor is it credible that he was the
first Greek teacher to find his way to Rome from Southern Italy. To what
does he owe his pre-eminence? He owes it, in the first place, to what
may be called a mere accident. He was a schoolmaster: and in his
_Odyssey_ he had the good fortune to produce for the schools precisely
the kind of text-book which they needed: a text-book which was still
used in the time of Horace. Secondly, Livius Andronicus saved Roman
literature from being destroyed by Greek literature. We commonly regard
him as the pioneer of Hellenism. This view needs correcting. We shall
probably be nearer the truth if we suppose that Livius represents the
reaction against an already dominant Hellenism. The real peril was that
the Romans might become not too little but too much Hellenized, that
they might lose their nationality as completely as the Macedonians had
done, that they might employ the Greek language rather than their own
for both poetry and history. From this peril Livius--and the patriotic
nobles whose ideals he represented--saved Rome. It is significant that
in his translation of the _Odyssey_ he employs the old Saturnian
measure.
