Martial (43-104 A.D.) was born in Spain. He early emigrated to Rome, where he became a favorite of Titus and Domitian, and in the reign of the latter he was appointed to the office of court-poet. During thirty-five years, he lived at Rome the life of a flatterer and a dependent, and then he returned to his native town, where his death was hastened by his distaste for provincial life. Measured by the corrupt standard of morals which disgraced the age in which he lived, Martial was probably not worse than most of his contemporaries; for the fearful profligacy, which his powerful pen describes in such hideous terms, had spread through Rome its loathsome infection. Had he lived in better times, his talents might have been devoted to a purer object; as it was, no language is strong enough to denounce the impurities of his page, and his moral taste must have been thoroughly depraved not to have turned with disgust from the contemplation of such subjects. But not all his poems are of this character. Amidst some obscurity of style and want of finish, many are redolent of Greek sweetness and elegance. Here and there are pleasing descriptions of the beauties of nature, and many are kind-hearted and full of varied wit, poetical imagination, and graceful expression. To the original characteristics of the Greek epigram, Martial, more than any other poet, added that which constitutes an epigram in the modern sense of the term: pointedness either in jest or earnest, and the bitterness of personal satire. 4. DRAMATIC LITERATURE.--Dramatic literature never flourished in Rome, and still less under the empire. During this period there were not wanting some imitators of Greece in this noble branch of poetry, but their productions were rather literary than dramatic; they were poems composed in a dramatic form, intended to be read, not acted. They contain noble philosophical sentiments, lively descriptions, and passages full of tenderness and pathos, but they are deficient in dramatic effect, and positively offend against those laws of good taste which regulated the Athenian stage. In the Augustan age, a few writers attained some excellence in tragedy, at least in the opinion of ancient critics. Under the tyrant Nero, dramatic literature reappeared, specimens of which are extant in the ten tragedies attributed to Seneca. But the genius of the author never grasps, in their wholeness, the characters which he attempts to copy; they are distorted images of the Greek originals, and the shadowy grandeur of the godlike heroes of Aeschylus stands forth in corporeal vastness, and appears childish and unnatural, like the giants of a story-book. The Greeks believed in the gods and heroes whose agency and exploits constituted the machinery of tragedy, but the Romans did not, and we cannot sympathize with them, because we see that they are insincere.