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      ROMAN TRAGEDY (ENNIUS—ACCIUS, 239–94 B.C.).

      As the Italian talent for impromptu buffoonery might perhaps have in time created a genuine native comedy, so the powerful and earnest rhetoric in which the deeper feelings of the Roman always found expression, might have assumed the tragic garb and woven itself into happy and original alliance with the dramatic instinct. But what actually happened was different. Tragedy, as well as comedy, took its subjects from the Greek; but though comedy had the advantage of a far greater popularity, and also of a partially native origin, there is reason to believe that tragedy came the nearer of the two to a really national form of art. In the fullest and noblest sense of the word Rome had indeed no national drama; for a drama, to be truly representative, must be based on the deepest chords of patriotic and even religious feeling. And that golden age of a people's history when Patriotism and Religion are still wedded together, seeming but varying reflections from the mirror of national life, is the most favourable of all to the birth of dramatic art. In Greece this was pre- eminently the case. The spirit of patriotism is ever present—rarely, indeed, suggesting, as in the Persae of Aeschylus, the subject of the play, but always supplying a rich background of common sympathy where poet and people can feel and rejoice together. Still more, if possible, is the religious spirit present, as the animating influence which gives the drama its interest and its vitality. The great moral and spiritual questions which occupy the soul of man, in each play or series of plays, try to work out their own solution by the natural human action of the characters, and by those reflections on the part of the chorus to which the action naturally gives rise. But with the transplanted tragedy of the Romans this could no longer be the case. The religious ideas which spoke straight to the Athenian's heart, spoke only to the acquired learning of the Roman. The idea of man, himself free, struggling with a destiny which he could not comprehend or avert, is foreign to the Roman conception of life. As Schlegel has observed, a truly Roman tragic drama would have found an altogether different basis. The binding force of "Religio," constraining the individual to surrender himself for the good of the Supreme State, and realising itself in acts of patriotic self-devotion; such would have been the shape we should have expected Roman tragedy to take, and if it failed to do this, we should not expect it in other respects to be a great success.

      The strong appreciation which, notwithstanding its initial defects, tragedy did meet with and retain for many generations, is a striking testimony to the worth and talent of the men who introduced it. Their position as elevators of the popular taste was not the less real because they themselves were men of provincial birth, and only partially polished minds. Both in the selection of their models and in the freedom of treating them they showed that good sense which was characteristic of the nation. As a rule, instead of trying to familiarise the people with Aeschylus and Sophocles, poets who are essentially Athenian, they generally chose the freethinking and cosmopolitan Euripides, who was easily intelligible, and whose beauties did not seem so entirely to defy imitation. What Euripides was to Greek tragedy Menander was to comedy. Both denationalised their respective fields of poetry; both thereby acquired a vast ascendancy over the Roman mind, ready as it was to be taught, and only awaiting a teacher whose views it could understand. Now although Livius actually introduced, and Naevius continued, the translation of tragedies from the Greek, it was Ennius who first rendered them with a definitely conceived purpose. This purpose was—to raise the aesthetic sense of his countrymen, to set before them examples of heroic virtue, and, above all, to enlighten their minds with what he considered rational views on subjects of morals and and religion; though, after all, the fatal facility with which the sceptical theories of Euripides were disseminated and embraced was hardly atoned for by the gain to culture which undoubtedly resulted from the tragedian's labours. Mommsen says with truth that the stage is in its essence anti-Roman, just as culture itself is anti-Roman; the one because it consumes time and interest on things that interfere with the serious business of life, the other because it creates degrees of intellectual position where the constitution intended that all should be alike. But amid the vast change that came over the Roman habits of thought, which men like Cato saw, resisted, and bewailed, it mattered little whether old traditions were violated. The stage at once became a powerful engine of popular education; and it rested with the poet to decide whether it should elevate or degrade. Political interests, it is true, were carefully guarded. The police system, with which senatorial narrowness environed the stage as it did all corporations or voluntary societies, rigidly repressed and made penal anything like liberty of speech. But it was none the less possible to inculcate the stern Roman virtues beneath the mask of an Ajax or Ulysses; and Sellar has brought out with singular clearness in his work on the poets of the Republic the national features which are stamped on this early tragedy, making it in spite of its imperfections worthy of the great Republic.

      The oratorical mould in which all Latin poetry except satire and comedy is to a great extent cast, is visible from the beginning in tragedy. Weighty sentences follow one another until the moral effect is reached, or the description fully turned. The rhythm seems to have been much more often trochaic [1] than iambic, at least than trimeter iambic, for the tetrameter is more frequently employed. This is not to be wondered at, since even in comedy, where such high-flown cadences are out of place, the people liked to hear them, measuring excellence by stateliness of march rather than propriety of diction.

      The popular demand for grandiloquence ENNIUS (209–169 B.C.) was well able to satisfy, for he had a decided leaning to it himself, and great skill in attaining it. Moreover he had a vivid power of reproducing the original emotion of another. That reflected fervour which draws passion, not direct from nature, but from nature as mirrored in a great work of art, stamps Ennius as a genuine Roman in talent, while it removes him from the list of creative poets. The chief sphere of his influence was epic poetry, but in tragedy he founded a school which only closed when the drama itself was silenced by the bloody massacres of the civil wars. Born at Rudiae in Calabria, and so half Greek, half Oscan, he served while a young man in Sardinia, where he rose to the rank of centurion, and was soon after brought to Rome by Cato. There is something striking in the stern reactionist thus introducing to Rome the man who was more instrumental than any other in overthrowing his hopes and fixing the new culture beyond possibility of recall. When settled at Rome, Ennius gained a living by teaching Greek, and translating plays for the stage. He also wrote miscellaneous poems, and among them a panegyric on Scipio which brought him into favourable notice. His fame must have been established before B.C. 189, for in that year Fulvius Nobilior took him into Aetolia to celebrate his deeds a proceeding which Cato strongly but ineffectually impugned. In 184 B.C., the Roman citizenship was conferred on him. He alluded to this with pride in his annals—

      "Nos sumus Romani qui fuvimus ante Rudini."

      During the last twenty years of his life his friendship with Scipio and Fulvius must have ensured him respect and sympathy as well as freedom from distasteful labour. But he was never in affluent circumstances; [2] partly through his own fault, for he was a free liver, as Horace tells us [3]—

      "Ennius ipse pater nunquam nisi potus ad arma

       Prosiluit dicenda;"

      and he himself alludes to his lazy habits, saying that he never wrote poetry unless confined to the house by gout. [4] He died in the seventieth year of his age and was buried in the tomb of the Scipios, where a marble statue of him stood between those of P. and L. Scipio.

      Ennius is not merely "the Father of Roman Poetry;" he held also as a man a peculiar and influential position, which we cannot appreciate, without connecting him with his patron and friend, the great Scipio Africanus. Nearly of an age, united by common tastes and a common spiritual enthusiasm, these two distinguished men wrought together for a common object. Their familiarity with Greek culture and knowledge of Greek religious ideas seem to have filled both with a high sense of their position as teachers of their countrymen. Scipio drew around him a circle of aristocratic liberals. Ennius appealed rather to the people at large. The policy of the elder Scipio was continued by his adopted son with far less breadth of view, but with more refined taste, and more concentrated effort. Where Africanus would have sought his inspiration from the poetry, Aemilianus went rather

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