The spirit by which satire is animated was native to Italy. The germ out of which it was developed was the _Fescennina licentia_, or, as it is called by Dionysius, the 'κέρτομος καὶ σατυρικὴ παιδιά,' peculiar to the Italian people. But in assuming a regular literary form, this native raillery was tempered by the serious spirit and vigorous understanding of Rome, and liberalised by the tastes and ideas derived from a Greek education. The age in which satire arose,--the age of the Gracchi,--was one of social discontent, of political excitement, of intellectual activity, of moral and religious unsettlement: and all these conditions exercised a powerful influence on its character. As addressed not to the imagination but to the practical understanding, it was in a peculiar manner the literary product of a people 'rebus natus agendis.' It combined the practical philosophy of the 'abnormis sapiens,' expressing itself in proverbial sayings, anecdotes, and homely illustrations; the keen perceptions, the criticism, and vivacity of a circle, educated, well-bred, and versed in affairs; the serious purpose of a moral reformer; and the knowledge of life, which results from the mixed study of men and books. Their circumstances, temper, and pursuits, united these various elements, in different proportions, first in Lucilius, and after him in Horace. By writing what interested themselves, in accordance with their own natural bent, they appealed to the practical and social tastes of their countrymen. While the higher poetical imagination was a rare and exceptional gift among Roman authors, and was appreciated only by a limited class of readers, there was in Roman satire a true popular ring and a close adaptation to the national character, understanding, and circumstances. As the most genuine product of actual Roman life, it was, if not so luxuriant, a more vigorous plant than any other species of Roman poetry. It is seen growing up in hardy vigour under the free air of the Republic, attaining to mature perfection amid the rich intellectual life of the Augustan age, and still fresh and vital in the general intellectual languor and corruption of the Empire. The Roman character of satire is attested also by the fact that other Roman poets and authors, besides those who professed to follow in the footsteps of Lucilius, have exhibited the satiric spirit. The caustic sense of Ennius, the generous scorn of Lucretius, the license of Catullus, attest their affinity, in some elements of character, to the Roman satirists. There may be remarked also in the best modern works of poetical satire,--such as the Absalom and Achitophel, the Prologue to Pope's Satires, the Vanity of Human Wishes,--a conscious or unconscious echo of that vigorous sense and nervous speech, which accompanied the great practical energy of the Romans.