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

Alexandrinism, but sought their models solely in the older classical literature, although not exactly in its richest or purest fields. On the whole, however innumerable may be the false accommodations and sins against the rules of art which we can point out in them, these were just the offences which were by stringent necessity attendant on the far from scrupulous efforts of the missionaries of Hellenism; and they are, in a historical and even aesthetic point of view, outweighed in some measure by the zeal of faith equally inseparable from propagandism. We may form a different opinion from Ennius as to the value of his new gospel; but, if in the case of faith it does not matter so much what, as how, men believe, we cannot refuse recognition and admiration to the Roman poets of the sixth century. A fresh and strong sense of the power of the Hellenic world-literature, a sacred longing to transplant the marvellous tree to the foreign land, pervaded the whole poetry of the sixth century, and coincided in a peculiar manner with the thoroughly elevated spirit of that great age. The later refined Hellenism looked down on the poetical performances of this period with some degree of contempt; it should rather perhaps have looked up to the poets, who with all their imperfection yet stood in a more intimate relation to Greek poetry, and approached nearer to genuine poetical art, than their more cultivated successors. In the bold emulation, in the sounding rhythms, even in the mighty professional pride of the poets of this age there is, more than in any other epoch of Roman literature, an imposing grandeur; and even those who are under no illusion as to the weak points of this poetry may apply to it the proud language, already quoted, in which Ennius celebrates its praise:

-Enni poeta, salve, qui mortalibus
Versus propinas flammeos medullitus.-

National Opposition

As the Hellenico-Roman literature of this period was essentially marked by a dominant tendency, so was also its antithesis, the contemporary national authorship. While the former aimed at neither more nor less than the annihilation of Latin nationality by the creation of a poetry Latin in language but Hellenic in form and spirit, the best and purest part of the Latin nation was driven to reject and place under the ban of outlawry the literature of Hellenism along with Hellenism itself. The Romans in the time of Cato stood opposed to Greek literature, very much as in the time of the Caesars they stood opposed to Christianity; freedmen and foreigners formed the main body of the poetical, as they afterwards formed the main body of the Christian, community; the nobility of the nation and above all the government saw in poetry as in Christianity an absolutely hostile power; Plautus and Ennius were ranked with the rabble by the Roman aristocracy for reasons nearly the same as those for which the apostles and bishops were put to death by the Roman government. In this field too it was Cato, of course, who took the lead as the vigorous champion of his native country against the foreigners. The Greek literati and physicians were in his view the most dangerous scum of the radically corrupt Greek people,(72) and the Roman "ballad- singers" are treated by him with ineffable contempt.(73) He and those who shared his sentiments have been often and harshly censured on this account, and certainly the expressions of his displeasure are not unfrequently characterized by the bluntness and narrowness peculiar to him; on a closer consideration, however, we must not only confess him to have been in individual instances substantially right, but we must also acknowledge that the national opposition in this field, more than anywhere else, went beyond the manifestly inadequate line of mere negative defence. When his younger contemporary, Aulus Postumius Albinus, who was an object of ridicule to the Hellenes themselves by his offensive Hellenizing, and who, for example, even manufactured Greek verses—when this Albinus in the preface to his historical treatise pleaded in excuse for his defective Greek that he was by birth a Roman—was not the question quite in place, whether he had been doomed by authority of law to meddle with matters which he did not understand? Were the trades of the professional translator of comedies and of the poet celebrating heroes for bread and protection more honourable, perhaps, two thousand years ago than they are now? Had Cato not reason to make it a reproach against Nobilior, that he took Ennius—who, we may add, glorified in his verses the Roman potentates without respect of persons, and overloaded Cato himself with praise—along with him to Ambracia as the celebrator of his future achievements? Had he not reason to revile the Greeks, with whom he had become acquainted in Rome and Athens, as an incorrigibly wretched pack? This opposition to the culture of the age and the Hellenism of the day was well warranted; but Cato was by no means chargeable with an opposition to culture and to Hellenism in general. On the contrary it is the highest merit of the national party, that they comprehended very clearly the necessity of creating a Latin literature and of bringing the stimulating influences of Hellenism to bear on it; only their intention was, that Latin literature should not be a mere copy taken from the Greek and intruded on the national feelings of Rome, but should, while fertilized by Greek influences, be developed in accordance with Italian nationality. With a genial instinct, which attests not so much the sagacity of individuals as the elevation of the epoch, they perceived that in the case of Rome, owing to the total want of earlier poetical productiveness, history furnished the only subject-matter for the development of an intellectual life of their own. Rome was, what Greece was not, a state; and the mighty consciousness of this truth lay at the root both of the bold attempt which Naevius made to attain by means of history a Roman epos and a Roman drama, and of the creation of Latin prose by Cato. It is true that the endeavour to replace the gods and heroes of legend by the kings and consuls of Rome resembles the attempt of the giants to storm heaven by means of mountains piled one above another: without a world of gods there is no ancient epos and no ancient drama, and poetry knows no substitutes. With greater moderation and good sense Cato left poetry proper, as a thing irremediably lost, to the party opposed to him; although his attempt to create a didactic poetry in national measure after the model of the earlier Roman productions —the Appian poem on Morals and the poem on Agriculture—remains significant and deserving of respect, in point if not of success, at least of intention. Prose afforded him a more favourable field, and accordingly he applied the whole varied power and energy peculiar to him to the creation of a prose literature in his native tongue. This effort was all the more Roman and all the more deserving of respect, that the public which he primarily addressed was the family circle, and that in such an effort he stood almost alone in his time. Thus arose his "Origines," his remarkable state-speeches, his treatises on special branches of science. They are certainly pervaded by a national spirit, and turn on national subjects; but they are far from anti-Hellenic: in fact they originated essentially under Greek influence, although in a different sense from that in which the writings of the opposite party so originated. The idea and even the title of his chief work were borrowed from the Greek "foundation- histories" (—ktoeis—). The same is true of his oratorical authorship; he ridiculed Isocrates, but he tried to learn from Thucydides and Demosthenes. His encyclopaedia is essentially the result of his study of Greek literature. Of all the undertakings of that active and patriotic man none was more fruitful of results and none more useful to his country than this literary activity, little esteemed in comparison as it probably was by himself. He found numerous and worthy successors in oratorical and scientific authorship; and though his original historical treatise, which of its kind may be compared with the Greek logography, was not followed by any Herodotus or Thucydides, yet by and through him the principle was established that literary occupation in connection with the useful sciences as well as with history was not merely becoming but honourable in a Roman.

Architecture

Let us glance, in conclusion, at the state of the arts of architecture, sculpture, and painting. So far as concerns the former, the traces of incipient luxury were less observable in public than in private buildings. It was not till towards the close of this period, and especially from the time of the censorship of Cato (570), that the Romans began in the case of the former to have respect to the convenience as well as to the bare wants of the public; to line with stone the basins (-lacus-) supplied from the aqueducts, (570); to erect colonnades (575, 580); and above all to transfer to Rome the Attic halls for courts and business—the -basilicae- as they were called. The first of these buildings, somewhat corresponding to our modern bazaars—the Porcian or silversmiths' hall—was erected by Cato in 570 alongside of the senate-house; others were soon associated with it, till gradually along the sides of the Forum the private shops were replaced by these splendid columnar halls. Everyday life, however, was more deeply influenced by the revolution in domestic architecture which must, at latest, be placed in this period. The hall of the house (-atrium-), court (-cavum aedium-), garden and garden colonnade (-peristylium-), the record-chamber (-tablinum-), chapel, kitchen, and bedrooms were by degrees severally provided for; and, as to the internal fittings, the column began to be applied both in the court and in the hall for the support of the open roof and also for the garden colonnades: throughout these arrangements it is probable that Greek models were copied or at any rate made use of. Yet the materials used in building remained simple; "our ancestors," says Varro, "dwelt in houses of brick, and laid merely a moderate foundation of stone to keep away damp."

Plastic Art and Painting

Of Roman plastic art we scarcely encounter any other trace than, perhaps, the embossing in wax of the images of ancestors. Painters and painting are mentioned somewhat more frequently. Manius Valerius caused the victory which he obtained over the Carthaginians and Hiero in 491 off Messana(74) to be depicted on the side wall of the senate- house—the first historical frescoes in Rome, which were followed by many of similar character, and which were in the domain of the arts of design what the national epos and the national drama became not much later in the domain of poetry. We find named as painters, one Theodotus who, as Naevius scoffingly said,

-Sedens in cella circumtectus tegetibus
Lares ludentis peni pinxit bubulo;-

Marcus Pacuvius of Brundisium, who painted in the temple of Hercules in the Forum Boarium—the same who, when more advanced in life, made himself a name as an editor of Greek tragedies; and Marcus Plautius Lyco, a native of Asia Minor, whose beautiful paintings in the temple of Juno at Ardea procured for him the freedom of that city.(75) But these very facts clearly indicate, not only that the exercise of art in Rome was altogether of subordinate importance and more of a manual occupation than an art, but also that it fell, probably still more exclusively than poetry, into the hands of Greeks and half Greeks.

On the other hand there appeared in genteel circles the first traces of the tastes subsequently displayed by the dilettante and the collector. They admired the magnificence of the Corinthian and Athenian temples, and regarded with contempt the old-fashioned terra- cotta figures on the roofs of those of Rome: even a man like Lucius Paullus, who shared the feelings of Cato rather than of Scipio, viewed and judged the Zeus of Phidias with the eye of a connoisseur. The custom of carrying off the treasures of art from the conquered Greek cities was first introduced on a large scale by Marcus Marcellus after the capture of Syracuse (542). The practice met with severe reprobation from men of the old school of training, and the stern veteran Quintus Fabius Maximus, for instance, on the capture of Tarentum (545) gave orders that the statues in the temples should not be touched, but that the Tarentines should be allowed to retain their indignant gods. Yet the plundering of temples in this way became of more and more frequent occurrence. Titus Flamininus in particular (560) and Marcus Fulvius Nobilior (567), two leading champions of Roman Hellenism, as well as Lucius Paullus (587), were