and those who came after him devoted still greater study to attain perfection in the diction and rhythm of poetry. But their success was gained with some loss of direct force and freshness in the expression of feeling. In Virgil and in Horace words are combined in a less natural order than in Homer and the Attic dramatists. Their language does not strike the mind with the spontaneous force of Greek poetry, nor does it seem equally capable of gaining and retaining the ear of a popular audience. Catullus alone among the great Roman poets combines in those short poems, which are the direct expression of his feeling, perfect grace with the happiest freedom and simplicity. Yet the studied and compact diction of Latin poetry, if wanting in fluency, ease, and directness, lays a strong hold upon the mind, by its power of marking with emphasis what is most essential and prominent in the ideas and objects presented to the imagination. The thought and sentiment of Rome have thus been engraved on her poetical literature, in deep and enduring characters. And, notwithstanding all manifest traces of imitation, the diction of the greatest Roman poets attests the presence of genuine creative power. A strong vital force is recognised in the direct and vigorous diction of Ennius and Lucretius; and, though more latent, it is felt no less really to pervade the stateliness and chastened splendour of Virgil, and the subtle moderation of Horace. Roman poetry owes also a considerable part of its substance to Greek thought, art, and traditions. This is the chief explanation of that conventional character which detracts from the originality of some of the masterpieces of Roman genius. The old religious belief of Rome and Italy became merged in the poetical restoration of the Olympian Gods; the story of the origin of Rome was inseparably connected with the personages of Greek poetry; the familiar manners of a late civilisation appear in unnatural association with the idealised features of the heroic age. Even the expression of personal feeling, experience, and convictions is often coloured by light reflected from earlier representations. Hence a good deal of Latin poetry appears to fit less closely to the facts of human life, than the best poetry of Greece and of modern nations. This imitative and composite workmanship is more apparent in the later than in the earlier poets. The substance and thought of Ennius, Lucretius, and Catullus, even when they reproduce Greek materials, appear to be more vivified by their own feeling than the substance and thought of the Augustan poets. The beautiful and stately forms of Greek legend, which lived a second life in the young imagination of Catullus, were becoming trite and conventional to Virgil:-- Cetera, quae vacuas tenuissent carmine mentes, Omnia jam vulgata.