cannot be said either to sum up the art and thought contemporary with himself, or, like Virgil, to complete that of preceding times. The work done by him, and the influence exercised by him on the poetry of Rome and on the world, are to be explained only by his original and individual force. Catullus, on the other hand, was the most successful among a band of rival poets with most of whom he lived in intimacy. Among the men older than himself, Hortensius, the orator, and Memmius were known as writers of amatory poetry. His name as a lyric poet is most usually coupled with that of his friend Calvus; and a well-known passage of Tacitus[5] brings together his lampoons and those of Bibaculus as being 'referta contumeliis Caesarum.' Among others to whom he was bound by the ties of friendship and common tastes were C. Helvius Cinna, author of an Alexandrine epic, called Zmyrna, and Caecilius, author of a poem on Cybele. Ticidas and Anser, mentioned by Ovid among his own precursors in amatory poetry, also belong to this generation. Among the swarms of poetasters-- Saecli incommoda, pessimi poetae,-- a countryman of his own, Volusius[6], the author of a long Annalistic epic, is held up by Catullus to especial obloquy. While so much of the literature of that age has perished, we are fortunate in possessing the works of the greatest authors in prose and verse. The poems of Lucretius and Catullus enable us, better perhaps than any other extant Latin works, to appreciate the most opposite capacities and tendencies of the Roman genius. In their force and individuality, they are alike valuable as the last poetic voices of the Republic, and as, perhaps, the most free and sincere voices of Rome. The first is one of the truest representatives of the national strength, majesty, seriousness of spirit, massive constructive energy; the second is the most typical example of the strong vitality and passionate ardour of the Italian temperament and of its vivid susceptibility to the varied beauties of Greek art. [Footnote 1: Mr. Munro, in his Introduction to Part II of his Commentary on Lucretius, illustrates this relation of the work of the poet to this youthful production of Cicero.] [Footnote 2: v. 1451.] [Footnote 3: ii. 412; cf. also ii. 505-6:-- Et cycnea mele Phoebeaque daedala chordis Carmina consimili ratione oppressa silerent. These lines point to the union of music and lyrical poetry.] [Footnote 4: Cp. the passages quoted from Quintilian, Lactantius, etc. by W.S. Teuffel, Wagner's Translation, p. 239.] [Footnote 5: Annals, iv. 34.]