LITMIR.BIZ

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the beings he depicted. They were merely an ornamental, supernatural element, either introduced at will, as in Horace, or regulated according to traditional conceptions, as in Ennius and Virgil. Apollo, Minerva, and Bacchus, were probably no more to him than they are to us. They were names, consecrated by genius and convenient for art, under which could be combined the maximum of beautiful associations with the minimum of trouble to the poet. The custom, which perpetuated itself in Latin poetry, revived again with the rise of Italian art; and under a modified form its influence may be seen in the grand conceptions of Milton. The true nature of romantic poetry is, however, alien to any such mechanical employment of the supernatural, and its comparative infrequency in the highest English and German poetry, stamps these as products of the modern spirit. Had the Romans left Olympus to itself, and occupied themselves only with the rhetorical delineation of human action and feeling, they would have chosen a less ambitious but certainly more original path. Lucretius struggles against the prevailing tendency; but so unable were the Romans to invest their finer fancies with any other shape, that even while he is blaming the custom he unawares falls into it.

      It was in the metrical treatment that Ennius's greatest achievement lay. For the first time in any consecutive way he introduced the hexameter into Latin poetry. It is true that Plautus had composed his epitaph in that measure, if we may trust Varro's judgment on its genuineness. [4] And the Marcian oracles, though their rhythm has been disputed, were in all probability written in the same. [5] But these last were translations, and were in no sense an epoch in literature. Ennius compelled the intractable forms of Latin speech to accommodate themselves to the dactylic rhythm. Difficulties of two kinds met him, those of accent and those of quantity. The former had been partially surmounted by the comic writers, and it only required a careful extension of their method to render the deviations from the familiar emphasis of daily life harmonious and acceptable. In respect of quantity the problem was more complex. Plautus had disregarded it in numerous instances (e.g. dari), and in others had been content to recognize the natural length or shortness of a vowel (e.g. senex ipse), neglecting the subordinate laws of position, &c. This custom had, as far as we know, guided Ennius himself in his dramatic poems; but for the epos he adopted a different principle. Taking advantage of the tendency to shorten final vowels, he fixed almost every doubtful case as short, e.g. musa, patre, dare, omnibus, amaveris, pater, only leaving the long syllable where the metre required it, as condiderit. By this means he gave a dactylic direction to Latin prosody which it afterwards, though only slightly, extended. At the same time he observed carefully the Greek laws of position and the doubled letters. He admitted hiatus, but not to any great extent, and chiefly in the caesura. The lengthening of a short vowel by the ictus occurs occasionally in his verses, but almost always in words where it was originally by nature long. In such words the lengthening may take place even in the thesis of the foot, as in—

      "non enim rumores ponebat ante salutem."

      Elision played a prominent part in his system. This was natural, since with all his changes many long or intractable terminations remained, e.g. enim, quidem, omnium, &c. These were generally elided, sometimes shortened as in the line quoted, sometimes lengthened as in the comedians—

      "inimicitiam agitantes."

      Very rarely does he improperly shorten a naturally long vowel, e.g. contra (twice); terminations in o he invariably retains, except ego and modo. The final s is generally elided before a consonant when in the thesis of the foot, but often remains in the arsis (e.g. plenu' fidei, Isque dies). The two chief blots on his versification are his barbarous examples of tmesis—saxo cere comminuit brum: Massili portant invenes ad litora tanas (= cerebrum, Massilitanas), and his quaint apocope, cael, gau, do (caelum, gaudium, domum), probably reflected from the Homeric do, kri, in which Lucilius imitates him, e.g. nol. (for nolueris). The caesura, which forms the chief feature in each verse, was not understood by Ennius. Several of his lines have no caesura at all; and that delicate alternation of its many varieties which charms us in Homer and Virgil, is foreign to the conception, as it would have been unattainable by the efforts, of the rugged epic bard. Nevertheless his labour achieved a great result. He stamped for centuries the character and almost the details of subsequent versification. [6] If we study the effect of his passages, we shall observe far greater power in single lines or sentences than in a continuous description. The solemn grandeur of some of his verses is unsurpassable, and, enshrined in the Aeneid, their dignity seems enhanced by their surroundings. Such are—

      "Tuque pater Tiberine tuo cum ilumino sancto."

      "Unus homo nobis cunctando restituit rem."

      "Quae neque Dardaniis campis potuere perire

       Nec quom capta capi, nec quom combusta cremari,

       Augusto augurio postquam incluta condita Roma est."

      On the other hand he sometimes falls into pure prose;

      "Cives Romani tum facti sunt Campani,"

      and the like, are scarcely metre, certainly not poetry. Later epicists in their desire to avoid this fault over elaborate their commonplace passages. Ennius tries, however clumsily, to copy Homer in dismissing them without ornament. The one or two similes that are preserved are among his least happy efforts. [7] Among battle scenes he is more at home, and these he paints with reality and strength. There are three passages of considerable length, which the reader who desires to judge of his narrative power should study. They are the dream of Ilia and the auspices of Romulus in the first book, and the description of the friend of Servilius in the seventh. This last is generally thought to be a picture of the poet himself, and to intimate in the most pleasing language his relations to his great patron. For a singularly appreciative criticism of these fragments the student is referred to Sellar's Poets of the Republic. The massive Roman vigour of treatment which shone forth in the Annals and made them as it were a rock-hewn monument of Rome's glory, secured to Ennius a far greater posthumous renown than that of any of the other early poets. Cicero extols him, and has no words too contemptuous for those who despise him, Lucretius praises him in the well known words—

      "Ennius ut noster cecinit, qui primus amoeno

       Detulit ex Helicone perenni fronde coronam,

       Per gentis Italas hominum quae clara clueret." [8]

      Virgil, it is true, never mentions him, but he imitates him continually. Ovid, with generous appreciation, allows the greatness of his talent, though he denies him art; [9] and the later imperial writers are even affected in their admiration of him. He continued to be read through the Middle Ages, and was only lost as late as the thirteenth century.

      Ennius produced a few scattered imitators, but not until upwards of two generations after his death, if we except the doubtful case of Accius. The first is MATIUS, who translated the Iliad into hexameters. This may be more properly considered as the sequel to Livius, but the few fragments remaining show that his versification was based on that of Ennius. Gellius, with his partiality for all that was archaic, warmly praises this work.

      HOSTIUS wrote the Bellum Istricum in three books. This was no doubt a continuation of the great master's Annales. What the war was is not quite certain. Some fix it at 178 B.C.; others as late as 129 B.C. The earlier date is the more probable. We then have to ask when Hostius himself lived. Teuffel inclines to place him before Accius; but most commentators assign him a later date. A few lines are preserved in Macrobius, [10] which seem to point to an early period, e.g.

      "non si mihi linguae Centum atque ora sient totidem vocesque liquatae,"

      and again,

      "Dia Minerva, semol autem tu invictus Apollo

       Arquitenens Latonius."

      His object in quoting these is to show that they were copied by Virgil. A passage in Propertius has been supposed to refer to him, [11]

      "Splendidaque a docto fama refulget avo,"

      where he would presumably be the grandfather of that Hostia whom under the name of Cynthia so many of Propertius's poems celebrate. Another poet of whom a few lines are preserved in Gellius and Macrobius

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