LITMIR.BIZ

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a philosophical investigation into the nature and origin of vice, but a denunciation of it as inimical to the interests of society. It was practical not theoretical—and sought to bring vice into contempt, by making it both odious and ridiculous. In the latter attempt, the satirists may have had more success than we credit them with, for in our day such virulent attacks would be distasteful, immorality being regarded as essentially a matter for grave and serious condemnation. Satire differs from abuse, not only in being declamatory, but in being deserved. The amusement in it mostly depends upon the deformity of the sensual, the failures of the wicked, and the exposure of guilt in a kind of moral pillory. It did not aim at mere accidental losses or imperfections, and made no fanciful accusations merely to amuse, but it was often lightened by metaphor, by coined words, and especially by exaggeration.

      The satire of Rome, though in a certain sense new, seems to have been somewhat derived from Greece. Ennius, who commenced it, a man younger than Plautus and older than Terence, was himself half a Greek. He wrote epic poems and comedies, and also introduced this comic literature for private reading. Lucilius, who was the first eminent Roman satirist, is said to have imitated the old Greek comedies. His attacks are very severe and personal, reminding us a little of Archilochus, though apparently not written to gratify any private spleen. The tendency to personalities marked a time when the range of society and the tone of thought were equally narrow. Moral depravity was considered to be centred in a few individuals, and in the broken fragments of Lucilius' rage, which have descended to us, we find a man stigmatised as an "ulcer," "gangrene," a "poison," "jibber," "shuffler," "a hard-mouthed obstinate brute." Sometimes he ridicules the bodily infirmities of the depraved; but Lucilius' attacks seem less ill-natured and more justly humorous from being always directed against the vicious and demoralised. Occasionally he indulges in such uncomplimentary expressions as "There is no flummery-maker equal to you," while some are hailed with "Long life to you, glutton, gormandizer, and belly-god." He might truly say in his metaphorical language, "I seize his beak and smash his lips, Zopyrus' fashion, and knock out all his front teeth."

      The satire of Horace was exceptionally mild; with him its social character was much more marked than its acerbity. In many places he shows Greek reflections, for he had received a liberal education, duly completed at Athens. But his philosophy did not consist of dreamy theories and arbitrary rules—it was directed to practical ends, to the harmonizing of the feelings, and the elevation of society. As a man of the world, he was not carried away by fancies, nor given to exaggerated views; and as a companion of the great, he was not inclined to inveigh bitterly against the degeneracy of the times. On the contrary, so kindly were his feelings, that he tells us that we should overlook the vices of our friends. His teaching, both in spirit and range, was broader than that of his predecessors; his shafts were directed against classes rather than individuals, and wherever he is more pointed, his object is not to gratify personal spite, but to make his warning more forcible by illustration. Moreover, his names are generally unreal. In this way he attacks Nasidienus on the excessive luxury of the table, and his advice was applicable not only to the rich and great, but to more ordinary men. Thus, he shows the bad tendencies of avarice and love-intrigues, and the meanness of sycophantism and legacy-hunting. Many of the faults he condemns are rather errors in taste than serious moral delinquencies. Sometimes he criticises merely trivial matters, such as a costume or a scent. "Rufillus smells all perfumes, Gorgonius like a goat," and the most humorous of his pieces is that in which he ridicules the ignorance and impudence of a manœuvring chatterer. But in this line he is not very successful, and his contests of rival jesters are as much beneath the notice of any good writer of the present day, as his account is of Porcius, the jack-pudding "swallowing cakes whole."

      Horace says that men are more impervious to slashing reproach than to fine ridicule, and he was unusually adroit in hitting foibles without inflicting pain. He was not a man who held strong opinions on subjects. This is especially evident where he speaks of his own fickleness; and while he reiterates his dislike of Rome, with its noise and bustle, he makes his slave say that this is but affectation, and when an invitation comes from Mecænas, "Mulvius and the 'scurræ' are turned out," from which we learn that parasites had their parasites, and that Horace in the country played the patron to the rustic wits.

      Although the Romans generally have no claim to be called a humorous people, many of them became celebrated for their talent in repartee. Scipio Africanus Æmilianus above mentioned, was remarkable in this way, as was Crassus, Granius, Vargula, and others. There was a good old joke that Nasica having called at the house of the poet Ennius, and the maid-servant having told him that Ennius was not at home, he perceived she had said so by her master's order; and when, a few days afterwards, Ennius called at Nasica's house, and inquired for him, Nasica cried out that he was "not at home." "What!" says Ennius, "do I not know your voice?" "You are an impudent fellow," replied Nasica, "I believed your servant when she said you were not at home, and you will not believe me."

      A vein of humour seems to have run through the Cæsar family. Caius Julius Cæsar Strabo Vopiscus was so noted for the gift that Cicero in his work on Oratory makes him deliver his observations on the subject. Julius Cæsar himself was as remarkable for pleasantry as for clemency. His "Veni, vidi, vici," in which his enemies saw so much arrogance, was no doubt intended and understood by his friends to be humorous. In his youth he was accused of effeminate habits, and when on his obtaining the entire command of Gaul, he said that he would now make his enemies his suppliants, and a senator replied sarcastically, "That will not be an easy task for a woman." He rejoined with gaiety, "Semiramis reigned in Assyria, and the Amazons possessed a great part of Asia." We have already seen him lamenting over the loss of comic force in Terence as compared with Menander, and in the triumphal games given in his honour in the year 45, he commanded Decimus Laberius, though a man of sixty, to appear on the stage in the contest of wit. This knight was a composer of mimes—a light kind of comedy, somewhat to be compared to the "entertainments" given by humorists at the present day. Julius Cæsar obliged him to perform in person—an act of degradation—but afterwards gave him 500,000 sesterces, and restored him to his rank. This act of Cæsar's has been regarded as having a political significance, but it may merely have shown his love of humour. He may have wished to bring out the talent of the new mime, Publius, a young Syrian, who had acquired great celebrity both for beauty and wit. It is said that when his master first took Publius to see his patron, the latter observed one of his slaves, who was dropsical, lying in the sunshine, and asking him angrily what he was doing there, Publius answered for him "Warming water." On the same visit, in jesting after supper, the question was asked, "What is a disagreeable repose?" When many had attempted answers, Publius replied, "That of gouty feet."

      Some of the sayings of Publius, have been preserved.

      "He receives a benefit who gives to a worthy person."

      "He to whom more than is just is allowed, wishes for more than he gets."

      "A man who talks well on the road is as good as a carriage."

      "He unjustly accuses Neptune who is shipwrecked twice."

      "By overlooking an old injury you invite a new one."

      These sayings are of a worldly-wise and proverbial character, and, therefore, as has been already observed, although not actually humorous, are easily capable of being so regarded.

      Cæsar awarded the prize to Publius instead of Laberius, because, as it is supposed, of some reflections the latter made upon him. But it may have been that Cæsar was right, and Publius' wit was the most salient.

      Scarcely any specimens remain of Laberius' talent. Aulus Gellius says that he coined many strange words, and he seems to have made considerable use of alliteration.

      We may suppose that the humour of Cicero was somewhat hereditary, for he records a saying of his grandfather that "the men of our time are like Syrian slaves; the more Greek they know, the greater knaves they are!" It is fortunate the grandson inherited the old man's wit without his plebeian prejudices, and became as celebrated for his culture as for his readiness. In his work entitled "The Orator," he commends humour as a means of gaining influence, and a vehicle for moral instruction. "Orators," he says, "joke with an object, not to appear jesters, but to obtain some advantage." But we may feel sure he did not keep this dry and profitable end always in view, for he wrote a

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