'Ecquid is homo habet aceti in
pectore?
Oxford Book of Latin Verse
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. Roman Satire has always one
hero--the average _paterfamilias_. Often he is wise and mild and
friendly. But as often as not he is merely the _uindemiator_, thinly
disguised, pert and ready and unscrupulous, 'slinging vinegar' not only
at what is morally wrong but at anything which he happens either to
dislike or not to understand. The vices of his--often
imaginary--antagonist are recounted with evident relish and with parade
of detail.
It is not only in Satire that we meet this _Italum acetum_. We meet it
also in the poetry of personal invective. This department of Roman
poetry would hardly perhaps reward study--and it might very well revolt
the student--if it were not that Catullus has here achieved some of his
most memorable effects. In no writer is the _Italum acetum_ found in so
undiluted a sort. And he stands in this perhaps not so much for himself
as for a Transpadane school. The lampoons of his compatriot Furius
Bibaculus were as famous as his own.
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. Roman Satire has always one
hero--the average _paterfamilias_. Often he is wise and mild and
friendly. But as often as not he is merely the _uindemiator_, thinly
disguised, pert and ready and unscrupulous, 'slinging vinegar' not only
at what is morally wrong but at anything which he happens either to
dislike or not to understand. The vices of his--often
imaginary--antagonist are recounted with evident relish and with parade
of detail.
It is not only in Satire that we meet this _Italum acetum_. We meet it
also in the poetry of personal invective. This department of Roman
poetry would hardly perhaps reward study--and it might very well revolt
the student--if it were not that Catullus has here achieved some of his
most memorable effects. In no writer is the _Italum acetum_ found in so
undiluted a sort. And he stands in this perhaps not so much for himself
as for a Transpadane school. The lampoons of his compatriot Furius
Bibaculus were as famous as his own.
