The force of many single expressions in these fragments, and the power with which various incidents, situations, and characters, are brought before the mind indicate an active imagination. A sense of energy and life-like movement is the prevailing impression produced by a study of the language and the longer passages in these remains. Many single lines and expressions that have been gathered accidentally, as mere isolated phrases, disjoined from the context in which they originally occurred, bear traces of the ardour with which they were cast into shape. In longer passages, the whole heart, sense, and understanding of the writer seem to be thrown into his narrative. He has not the eye of a poetic artist who observes, as it were, from a distance, and fixes as in a picture, some phase of passionate feeling or some beautiful aspect of repose. He suggests rather the idea of a man of practical energy, who has been present and taken part in the action described, who enters with living interest into every detail, and watches it at the same time with a sagacious discernment and a strong enthusiasm. His power as a narrative poet is the power of forcibly reproducing the outward movement and the inward meaning of an action, and of identifying himself with the hearts and minds of the actors on the scene. Several passages, wanting altogether in poetical beauty, yet arrest the attention by this energy and realism of conception; as, for example, this short and rugged fragment, descriptive of a commander in the crisis of a battle (probably that of Cynoscephalae),-- Aspectabat virtutem legioni' suai, Expectans, si mussaret, quae denique pausa Pugnandi fieret, aut duri fini' laboris[52]. Even in the abrupt dislocation from their context these lines leave on the mind an impression of the calm vigilance of a general, and of his confidence, not unmixed with anxiety, in 'the long-enduring hearts' of his men. The same truth and energy of conception, with more poetical accompaniment, may be recognised in the longer passages, from Book vii. and Book i., already quoted or referred to. But the imaginative power which gives poetical meaning to familiar objects and ideas is revealed by the force of many single expressions and by the delineation of more passionate situations. Such expressions as the following, most of which reappear with an antique lustre in the gold of Virgil's diction, are indicative of this higher power:-- Musae quae pedibus magnum pulsatis Olympum. Transnavit cita per teneras caliginis auras. Postquam discordia taetra Belli ferratos postes portasque refregit. Quem super ingens Porta tonat caeli. Spiritus austri imbricitor. Naves velivolae, etc. etc. These and similar phrases, some of which have already been quoted, imply poetical creativeness. They tend to justify the estimate of the genius of Ennius, indicated in the language of high admiration applied to him by Lucretius,--