Cato was almost exactly
contemporary with Ennius: and he had been the foremost representative of
the reaction.
contemporary with Ennius: and he had been the foremost representative of
the reaction.
Oxford Book of Latin Verse
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. Naevius, a little later, retained the same metre for his epic
upon the Punic Wars. In the epitaph which he composed for himself
Naevius says that 'the Camenae', the native Italian muses, might well
mourn his death, 'for at Rome men have forgotten to speak in Latin
phrase'. He is thinking of Ennius, or the school which Ennius
represents. Ennius' answer has been preserved to us in the lines in
which he alludes scornfully to the _Punica_ of Naevius as written 'in
verses such as the Fauns and Bards chanted of old', the verses, that is,
of the old poetry of magic. Ennius abandons the Saturnian for the
hexameter. Livius and Naevius had used in drama some of the simpler
Greek metres. It is possible that some of these had been long since
naturalized in Rome--perhaps under Etrurian influence. But the
abandonment of the Saturnian was the abandonment of a tradition five
centuries old. The aims of Ennius were not essentially different from
those of Livius and Naevius. But the peril of a Roman literature in the
Greek language was past; and Ennius could afford to go further in his
concessions to Hellenism. It had been made clear that both the Latin
language and the Latin temper could hold their own. And when this was
made clear the anti-Hellenic reaction collapsed.
Cato was almost exactly
contemporary with Ennius: and he had been the foremost representative of
the reaction. But in his old age he cried 'Peccavi', and set himself to
learn Greek.
Ennius said that he had three hearts, for he spoke three tongues--the
Greek, the Oscan, and the Latin. And Roman poetry has, as it were, three
hearts. All through the Republican era we may distinguish in it three
elements. There is the Greek, or aesthetic, element: all that gives to
it form or technique. There is the primitive Italian element to which it
owes what it has of fire, sensibility, romance. And finally there is
Rome itself, sombre, puissant, and both in language and ideals
conquering by mass. The effort of Roman poetry is to adjust these three
elements. And this effort yields, under the Republic, three periods of
development. The first covers the second century and the latter half of
the third. In this the Hellenism is that of the classical era of Greece.
The Italian force is that of Southern and Central Italy. The Roman force
is the inspiration of the Punic Wars. The typical name in it is that of
Ennius. The Roman and Italian elements are not yet sufficiently subdued
to the Hellenic.
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. Naevius, a little later, retained the same metre for his epic
upon the Punic Wars. In the epitaph which he composed for himself
Naevius says that 'the Camenae', the native Italian muses, might well
mourn his death, 'for at Rome men have forgotten to speak in Latin
phrase'. He is thinking of Ennius, or the school which Ennius
represents. Ennius' answer has been preserved to us in the lines in
which he alludes scornfully to the _Punica_ of Naevius as written 'in
verses such as the Fauns and Bards chanted of old', the verses, that is,
of the old poetry of magic. Ennius abandons the Saturnian for the
hexameter. Livius and Naevius had used in drama some of the simpler
Greek metres. It is possible that some of these had been long since
naturalized in Rome--perhaps under Etrurian influence. But the
abandonment of the Saturnian was the abandonment of a tradition five
centuries old. The aims of Ennius were not essentially different from
those of Livius and Naevius. But the peril of a Roman literature in the
Greek language was past; and Ennius could afford to go further in his
concessions to Hellenism. It had been made clear that both the Latin
language and the Latin temper could hold their own. And when this was
made clear the anti-Hellenic reaction collapsed.
Cato was almost exactly
contemporary with Ennius: and he had been the foremost representative of
the reaction. But in his old age he cried 'Peccavi', and set himself to
learn Greek.
Ennius said that he had three hearts, for he spoke three tongues--the
Greek, the Oscan, and the Latin. And Roman poetry has, as it were, three
hearts. All through the Republican era we may distinguish in it three
elements. There is the Greek, or aesthetic, element: all that gives to
it form or technique. There is the primitive Italian element to which it
owes what it has of fire, sensibility, romance. And finally there is
Rome itself, sombre, puissant, and both in language and ideals
conquering by mass. The effort of Roman poetry is to adjust these three
elements. And this effort yields, under the Republic, three periods of
development. The first covers the second century and the latter half of
the third. In this the Hellenism is that of the classical era of Greece.
The Italian force is that of Southern and Central Italy. The Roman force
is the inspiration of the Punic Wars. The typical name in it is that of
Ennius. The Roman and Italian elements are not yet sufficiently subdued
to the Hellenic.
