The History of Rome by Theodor Mommsen (autobiographies to read txt) 📕

of Roman conservatism, that during its course Hellenism struck root in the whole field of intellect not immediately political, and that the -maitre de plaisir- of the great public and the schoolmaster in close alliance created a Roman literature.

Livius Andronicus

In the very earliest Roman author the later development appears, as it were, in embryo. The Greek Andronikos (from before 482, till after 547), afterwards as a Roman burgess called Lucius(6) Livius Andronicus, came to Rome at an early age in 482 among the other captives taken at Tarentum(7) and passed into the possession of the conqueror of Sena(8) Marcus Livius Salinator (consul 535, 547). He was employed as a slave, partly in acting and copying texts, partly in giving instruction in the Latin and Greek languages, which he taught both to the children of his master and to other boys of wealthy parents in and out of the house. He distinguished himself so much in this way that his master gave him freedom, and even the authorities, who not unfrequently availed themselves of his services—commissioning him, for instance, to prepare a thanksgiving-chant after the fortunate turn taken by the Hannibalic war in 547—out of regard for him conceded to the guild of poets and actors a place for their common worship in the temple of Minerva on the Aventine. His authorship arose out of his double occupation. As schoolmaster he translated the Odyssey into Latin, in order that the Latin text might form the basis of his Latin, as the Greek text was the basis of his Greek, instruction; and this earliest of Roman school-books maintained its place in education for centuries. As an actor, he not only like every other wrote for himself the texts themselves, but he also published them as books, that is, he read them in public and diffused them by copies. What was still more important, he substituted the Greek drama for the old essentially lyrical stage poetry. It was in 514, a year after the close of the first Punic war, that the first play was exhibited on the Roman stage. This creation of an epos, a tragedy, and a comedy in the Roman language, and that by a man who was more Roman than Greek, was historically an event; but we cannot speak of his labours as having any artistic value. They make no sort of claim to originality; viewed as translations, they are characterized by a barbarism which is only the more perceptible, that this poetry does not naively display its own native simplicity, but strives, after a pedantic and stammering fashion, to imitate the high artistic culture of the neighbouring people. The wide deviations from the original have arisen not from the freedom, but from the rudeness of the imitation; the treatment is sometimes insipid, sometimes turgid, the language harsh and quaint.(9) We have no difficulty in believing the statement of the old critics of art, that, apart from the compulsory reading at school, none of the poems of Livius were taken up a second time. Yet these labours were in various respects norms for succeeding times. They began the Roman translated literature, and naturalized the Greek metres in Latium. The reason why these were adopted only in the dramas, while the Odyssey of Livius was written in the national Saturnian measure, evidently was that the iambuses and trochees of tragedy and comedy far more easily admitted of imitation in Latin than the epic dactyls.

But this preliminary stage of literary development was soon passed. The epics and dramas of Livius were regarded by posterity, and undoubtedly with perfect justice, as resembling the rigid statues of Daedalus destitute of emotion or expression—curiosities rather than works of art.

But in the following generation, now that the foundations were once laid, there arose a lyric, epic, and dramatic art; and it is of great importance, even in a historical point of view, to trace this poetical development.

Drama
Theatre

Both as respects extent of production and influence over the public, the drama stood at the head of the poetry thus developed in Rome. In antiquity there was no permanent theatre with fixed admission-money; in Greece as in Rome the drama made its appearance only as an element in the annually-recurring or extraordinary amusements of the citizens. Among the measures by which the government counteracted or imagined that they counteracted that extension of the popular festivals which they justly regarded with anxiety, they refused to permit the erection of a stone building for a theatre.(10) Instead of this there was erected for each festival a scaffolding of boards with a stage for the actors (-proscaenium-, -pulpitum-) and a decorated background (-scaena-); and in a semicircle in front of it was staked off the space for the spectators (-cavea-), which was merely sloped without steps or seats, so that, if the spectators had not chairs brought along with them, they squatted, reclined, or stood.(11) The women were probably separated at an early period, and were restricted to the uppermost and worst places; otherwise there was no distinction of places in law till 560, after which, as already mentioned,(12) the lowest and best positions were reserved for the senators.

Audience

The audience was anything but genteel. The better classes, it is true, did not keep aloof from the general recreations of the people; the fathers of the city seem even to have been bound for decorum's sake to appear on these occasions. But the very nature of a burgess festival implied that, while slaves and probably foreigners also were excluded, admittance free of charge was given to every burgess with his wife and children;(13) and accordingly the body of spectators cannot have differed much from what one sees in the present day at public fireworks and -gratis- exhibitions. Naturally, therefore, the proceedings were not too orderly; children cried, women talked and shrieked, now and then a wench prepared to push her way to the stage; the ushers had on these festivals anything but a holiday, and found frequent occasion to confiscate a mantle or to ply the rod.

The introduction of the Greek drama increased the demands on the dramatic staff, and there seems to have been no redundance in the supply of capable actors: on one occasion for want of actors a piece of Naevius had to be performed by amateurs. But this produced no change in the position of the artist; the poet or, as he was at this time called, the "writer," the actor, and the composer not only belonged still, as formerly, to the class of workers for hire in itself little esteemed,(14) but were still, as formerly, placed in the most marked way under the ban of public opinion, and subjected to police maltreatment.(15) Of course all reputable persons kept aloof from such an occupation. The manager of the company (-dominus gregis-, -factionis-, also -choragus-), who was ordinarily also the chief actor, was generally a freedman, and its members were ordinarily his slaves; the composers, whose names have reached us, were all of them non-free. The remuneration was not merely small—a -honorarium- of 8000 sesterces (80 pounds) given to a dramatist is described shortly after the close of this period as unusually high—but was, moreover, only paid by the magistrates providing the festival, if the piece was not a failure. With the payment the matter ended; poetical competitions and honorary prizes, such as took place in Attica, were not yet heard of in Rome—the Romans at this time appear to have simply applauded or hissed as we now do, and to have brought forward only a single piece for exhibition each day.(16) Under such circumstances, where art worked for daily wages and the artist instead of receiving due honour was subjected to disgrace, the new national theatre of the Romans could not present any development either original or even at all artistic; and, while the noble rivalry of the noblest Athenians had called into life the Attic drama, the Roman drama taken as a whole could be nothing but a spoiled copy of its predecessor, in which the only wonder is that it has been able to display so much grace and wit in the details.

That only one piece was produced each day we infer from the fact, that the spectators come from home at the beginning of the piece (Poen. 10), and return home after its close (Epid. Pseud. Rud. Stich. Truc. ap. fin.). They went, as these passages show, to the theatre after the second breakfast, and were at home again for the midday meal; the performance thus lasted, according to our reckoning, from about noon till half-past two o'clock, and a piece of Plautus, with music in the intervals between the acts, might probably occupy nearly that length of time (comp. Horat. Ep. ii. i, 189). The passage, in which Tacitus (Ann. xiv. 20) makes the spectators spend "whole days" in the theatre, refers to the state of matters at a later period.

Comedy

In the dramatic world comedy greatly preponderated over tragedy; the spectators knit their brows, when instead of the expected comedy a tragedy began. Thus it happened that, while this period exhibits poets who devoted themselves specially to comedy, such as Plautus and Caecilius, it presents none who cultivated tragedy alone; and among the dramas of this epoch known to us by name there occur three comedies for one tragedy. Of course the Roman comic poets, or rather translators, laid hands in the first instance on the pieces which had possession of the Hellenic stage at the time; and thus they found themselves exclusively(17) confined to the range of the newer Attic comedy, and chiefly to its best-known poets, Philemon of Soli in Cilicia (394?-492) and Menander of Athens (412-462). This comedy came to be of so great importance as regards the development not only of Roman literature, but even of the nation at large, that even history has reason to pause and consider it.

Character of the Newer Attic Comedy

The pieces are of tiresome monotony. Almost without exception the plot turns on helping a young man, at the expense either of his father or of some -leno-, to obtain possession of a sweetheart of undoubted charms and of very doubtful morals. The path to success in love regularly lies through some sort of pecuniary fraud; and the crafty servant, who provides the needful sum and performs the requisite swindling while the lover is mourning over his amatory and pecuniary distresses, is the real mainspring of the piece. There is no want of the due accompaniment of reflections on the joys and sorrows of love, of tearful parting scenes, of lovers who in the anguish of their hearts threaten to do themselves a mischief; love or rather amorous intrigue was, as the old critics of art say, the very life-breath of the Menandrian poetry. Marriage forms, at least with Menander, the inevitable finale; on which occasion, for the greater edification and satisfaction of the spectators, the virtue of the heroine usually comes forth almost if not wholly untarnished, and the heroine herself proves to be the lost daughter of some rich man and so in every respect an eligible match. Along with these love-pieces we find others of a pathetic kind. Among the comedies of Plautus, for instance, the -Rudens- turns on a shipwreck and the right of asylum; while the -Trinummus- and the -Captivi- contain no amatory intrigue, but depict the generous devotedness of the friend to his friend and of the slave to his master. Persons and situations recur down to the very details like patterns on a carpet; we never get rid of the asides of unseen listeners, of knocking at the house-doors, and of slaves scouring the streets on some errand or other. The standing masks, of which there was a certain fixed number—viz., eight masks for old men, and seven for servants—from which alone in ordinary cases at least the poet had to make his choice, further favoured a stock-model treatment. Such a comedy almost of necessity rejected the lyrical element in the older comedy—the chorus—and confined itself from the first to conversation, or at most recitation; it was devoid not of the political element only, but of all true passion and of all poetical elevation. The pieces judiciously made no pretence to any grand or really poetical effect: their charm resided primarily in furnishing occupation for the intellect, not only through their subject-matter —in which respect the newer comedy was distinguished from the old as much by the greater intrinsic emptiness as by the greater outward complication of the plot—but more especially through their execution in detail, in which the point and polish of the conversation more particularly formed the triumph of the poet and the delight of the audience. Complications and confusions of one