The Roman Poets of the Republic, 2nd editionSellar, W. Y. (William Young)
History
The Roman Poets of the Republic, 2nd edition
Sellar, W. Y. (William Young)
Latin poetry -- History and criticism
facility by translating passages from the Greek tragedians in his
philosophical works. That he had no true poetical faculty is shown by
the indifference with which he regarded the works of the two great
poets of his time. This indifference is the more marked from his
generous recognition of the oratorical promise and accomplishment of
the men of a younger generation. The tragedies of Q. Cicero were mere
literary exercises. Though several of the multifarious works of Varro
were written in verse, yet the whole cast of his mind was thoroughly
prosaic. His tastes and abilities were those of an antiquarian scholar,
not of a man of poetic genius and accomplishment.
The period of nearly half a century, from 102 till about 60 B.C., must
thus be regarded as altogether barren in genuine poetical result.
During this long interval there appeared no successor to carry on the
work of developing the poetical side of a national literature, begun by
Plautus, Ennius, and Lucilius. The only metrical compositions of this
time were either inferior reproductions of the old forms or immature
anticipations of the products of a later age. The political disturbance
of the times between the tribunate of Tib. Gracchus and the first
consulship of Crassus and Pompey (B.C. 70) was unfavourable to the
cultivation of that poetry which is expressive of national feeling: and
the Roman genius for art was as yet too immature to produce the poetry
of individual reflexion or personal passion. The state of feeling
throughout Italy, before and immediately subsequent to the Social War,
alienated from Rome the sympathetic genius of the kindred races from
whom her most illustrious authors were drawn in later times. It was in
the years of comparative peace, between the horrors of the first civil
war and the alarm preceding the outbreak of the second, that a new poet
grew apparently unnoticed to maturity, and the silence was at last
broken by a voice at once stronger in native vitality and richer in
acquired culture from the long repression of Italian genius.
Public-domain text, read in full here on John Shaqi.
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