These verses, found from the very earliest times, are quite analogous to the Persian, Arabian, and to our own old German and northern ones, and also to those of the Anglo-Saxon, and to all in which alliteration prevails. The old German verse is divided into two halves, in the first of which two words begin with the same consonant, which once more occurs again in the second, and it has four beats. In the old Saxon Harmony of the Gospels there is this quadruple measure, and likewise in Otfrid and others; but five or six measures may also be found. In Persian poetry there are uniformly four feet of three syllables each; in Arabic this is often the case, but not unseldom there are quadrisyllabic ones also. Exactly agreeing with these are the Spanish coplas de arte major, which were in use before the introduction of the Alexandrine, and have also passed into the Flemish. In all probability this metre was also used in the longer poems of the Provençal. This old Roman syllabic measure is universal in the Roman poems down to the seventh century. I have found a long string of them, and a chapter of an old grammarian with fragments of wonderful beauty, principally from Nævius. This important treatise on the Saturnian verse I shall publish. For this grammarian has really understood that metre,[37] which in Plautus is worked up to a high degree of beauty.
There are also shorter old poems in this measure. At the funerals of the Romans, Neniæ, as they were called, were sung to the flute, which were not doleful sentimental songs, but must have been of the same character as the Laudationes. The dead had now passed over to their illustrious ancestors; their glory was made the theme of pride and exultation; and therefore in these Neniæ praise was simply given them. When Horace says, absint inani funere neniæ, &c. this refers, if there was any singing at all at funerals, to the dirges of the later age. The Romans were not originally tender-hearted. They made even the dead man of use to the State, and from the grave itself he exhorted others to follow him in his deeds. Neniæ and Laudationes were therefore quite plain and simple, in that old style which did not yet know of any construction of periods, and they are no way to be compared to the λόγοι ἐπιτάφιοι in Thucydides and the later Greeks. Two such poems are evidently still preserved to us, in the tombs of the Scipios, which were discovered in 1780, by the Appian road. The upper story, where the sarcophagus of the younger Africanus and the statue of Ennius were, is wanting; but the lower one, which was scooped out of the hill side, was found choked up with rubbish. Here was the sarcophagus of L. Scipio Barbatus, who had been a consul in the fifth century (454). At an earlier period,[38] this tomb had been already entered from the top, and a tablet taken out, which is now built into the wall of the Barberini palace; yet this had fallen into oblivion. The bodies of the Cornelii down to Sylla were not burned in the Pelasgian, or Greek manner, but buried in coffins. On these noble sarcophagi there are verses, written indeed like prose, but divided by dashes; and on the sarcophagus of the son the verses are even arranged in lines. That they are verses is to be seen from their unequal length, as otherwise the Romans always wrote every line to its full length. These are quite plain and simple verses, yet there is still some metre in them.
Cornéliu’ Lúciu’ Scípio Barbátus,
Gnáivo prognátu’, fortis vír sapiénsque—
Consúl, censor, aédilis, quí fuit apúd vos, etc.
These are surely the Neniæ which were sung at the time, and then inscribed on the tomb. The old songs at the banquets, were for the most part quite as simple.
Now these Neniæ, together with the Laudationes kept in the Atrium, are sources for the earliest history. There were besides some longer epic poems among the Romans, as well as among other people; for instance, the Servians, &c. The modern Greek songs are only of a lyrical description, but those of the Servians are a combination of the epic with the lyric. A fragment of an heroic poem of this kind on the combat of the Horatii and Curatii, I think I have discovered in Livy. Now it is not by any means to be supposed that Livy had still seen these old heroic poems, and written from them; but he wrote, either directly or indirectly, through Varro, from the books of the pontiffs and augurs, in which very many fragments of such ancient epic lays were preserved; many of them dating even from the time of the taking of the city. In the passage of Livy alluded to, wherein the appeal to the people is related, which he had taken from these books, he speaks of lex horrendi carminis. The formulas of that time were, however, called carmina, and were written in the old measure. That Livy has indirectly or directly borrowed from these books is so much the more certain, as Cicero asserts, that the formula of the provocatio ad populum was contained in the libri augurales. The formula is
Duúmviri pérduelliónem júdicent, &c.
in which the old metre is still to be recognised.
That Cicero’s assertion, laudationibus historia nostra facta est mendosior, is acknowledged also by Livy, has been already remarked. For as every thing good may easily be turned to evil, that lofty feeling of family pride which the Romans had was also liable to be perverted, and we may well believe that saying.