THE REPUBLICAN PERIOD.
CHAPTER I.
VARRO.
The period embraced by the present book contains the culmination of all kinds of literature, the drama alone excepted. It falls naturally into two divisions, each marked by special and clearly-defined characteristics. The first begins with the recognition of Cicero as the chief man of letters at Rome, and ends with the battle of Philippi, a year after his death. It extends over a period of two and twenty years (about 63-42 B.C.), though many of Cicero's orations are anterior, and some of Varro's works posterior, to the extreme dates. In this period Latin prose writing attained its perfection. The storms which shook and finally overthrew the Republic turned the attention of all minds to political questions. Oratory and history were the prevailing forms of intellectual activity. It was not until the close of the period that philosophy was treated by Cicero during his compulsory absence from public life; and poetry rose once more into prominence in the works of Lucretius and Catullus. The chief characteristics of the literature of this period are freedom and vigour. In every author the bold spirit of the Republic breathes forth; and in the greatest is happily combined with an extensive and elegant scholarship, equally removed from pedantry and dullness.
The second division (42 B.C.-14 A.D.) begins shortly after the battle of Philippi, with the earliest poems of Varius and Virgil, and closes with the death of Augustus. It is pre-eminently an era of poets, Livy alone being a prose writer of the first rank, and is marked by all the characteristics of an imperial age. The transition from the last poems of Catullus to the first of Virgil is complete. Nevertheless, many republican authors lived on into this period, as Varro, Pollio, and Bibaculus. But their character and genius belong to the Republic, and, with the exception of Pollio, they will be noticed under the republican writers. The entire period represents the full maturity and perfection of the Latin language, and the epithet classical is by many restricted to the authors who wrote in it. It is best, however, not to narrow unnecessarily the sphere of classicality; to exclude Terence on the one hand or Tacitus and Pliny on the other, would savour of artificial restriction rather than that of a natural classification.
The first writer that comes before us is M. TERENTIUS VARRO, 116-28 B.C. He is at once the earliest and the latest of the series. His birth took place ten years before that of Cicero, and his death fifteen years after Cicero's murder, in the third year of the reign of Augustus. His long life was devoted almost entirely to study, and he became known even in his lifetime as the most learned of the Romans. This did not, however, prevent him from offering his services to the state when the state required them. He served more than once under Pompey, acquitting himself with distinction, so that in the civil war the important post of legatus was intrusted to him in company with Petreius and Afranius in Spain. But Varro felt from the first his inability to cope with his adversary. Caesar speaks of him as acting coolly in Pompey's interest until the successes of Afranius at Ilerda roused him to more vigorous measures; but the triumph of the Pompeians was shortlived; and when Caesar convened the delegates at Corduba, Varro found himself shut out from all the fortified towns, and in danger of being deserted by his army. [1] He therefore surrendered at discretion, returned to Italy, and took no more part in public affairs. We hear of him occasionally in Cicero's letters as studying in his country seats at Tusculum, Cumae, or Casinum, indifferent to politics, and preparing those great works of antiquarian research which have immortalised his name. Caesar's victorious return brought him out of his retreat. He was placed over the library which Caesar built for public use, an appointment equally complimentary to Varro and honourable to Caesar. Antony, however, incapable of the generosity of his chief, placed Varro's name on the list of the proscribed, at a time when the old man was over seventy years of age, and had long ceased to have any weight in politics. Nothing more clearly shows the abominable motives that swayed the triumvirs than this attempt to murder an aged and peaceful citizen for the sake of possessing his wealth. For Varro had the good or bad fortune to be extremely rich. His Casine villa, alluded to by Cicero, and partly described by himself, was sumptuously decorated, and his other estates were large and productive. The Casine villa was made the scene of Antony's revelry; he and his fellow-rioters plundered the rooms, emptied the cellar, burned the library, and carried on every kind of debauchery and excess. Few passages in all eloquence are more telling than that in which Cicero with terrible power contrasts the conduct of the two successive occupants. [2] Varro, through the zeal of his friends, managed to escape Antony's fury, and for a time lay concealed in the villa of Galenas, at which Antony was a frequent visitor, little suspecting that his enemy was within his grasp. An edict was soon issued, however, exempting the old man from the effect of the proscription, so that he was enabled to live in peace at Rome until his death. But deprived of his wealth (which Augustus afterwards restored), deprived of his friends, and above all, deprived of his library, he must have felt a deep shadow cast over his declining years. Nevertheless, he remained cheerful, and to all appearance contented, and charmed those who knew him by the vigour of his conversation and his varied antiquarian lore. He is never mentioned by any of the Augustan writers.
Varro belongs to the genuine type of old Roman, improved but not altered by Greek learning, with his heart fixed in the past, deeply conservative of everything national, and even in his style of speech protesting against the innovations of the day. If we reflect that when Varro wrote his treatise on husbandry, Virgil was at work on the Georgics, and then compare the diction of the two, it seems almost incredible that they should have been contemporaries. In all literature there is probably no such instance of rock-like impenetrability to fashion; for him Alexandria might never have existed. He recalls the age of Cato rather than that of Cicero. His versatility was as great as his industry. There was scarcely any department of prose or poetry, provided it was national, in which he did not excel. His early life well fitted him for severe application. Born at Reate, in the Sabine territory, which was the nurse of all manly virtues, [3] Varro, as he himself tells us, had to rough it as a boy; he went barefoot over the mountain side, rode without saddle or bridle, and wore but a single tunic. [4] Bold, frank, and sarcastic, he had all the qualities of the old-fashioned country gentleman. At Rome he became intimate with Aelius Stilo, whose opinion of his pupil is shown by the inscription of his grammatical treatise to him. Stilo's mantle descended on Varro, but with sevenfold virtue. Not only grammar, by which term we must understand philology and etymology as well as syntax, but antiquities secular and religious, and almost all the liberal arts, were passed under review by his encyclopaedic mind.
At the same time lighter themes had strong attraction for him. He possessed in a high degree that racy and caustic wit which was a special Italian product, and had been conspicuous in Cato and Lucilius. But while Cato studied to be oracular, and Lucilius to be critical, Varro seems to have indulged his vein without any special object. Though by no means a born poet, he had the faculty of writing terse and elegant verse when he chose, and in his younger days composed a long list of metrical works. There were among them Pseudotragoediae, which Teuffel thinks were the same as the Hilarotragoediae, or Rhinthonicae, so called from their inventor Rhinthon; though others class them with the Komodotragodiai, of which Plautus's Amphitruo is the best known instance. However this may be, they were mock-heroic compositions in which the subjects consecrated by tragic usage were travestied or burlesqued. It is probable that they were mere literary exercises designed to beguile leisure or to facilitate the labour of composition, like the closet tragedies composed by Cicero and his brother Quintus; and Varro certainly owed none of his fame to them. Other poems of his are referred to by Cicero, and perhaps by Quintilian; [5] but in the absence of definite allusions we can hardly characterize them. There was one class of semi-poetical composition which Varro made peculiarly his own, the Satura Menippea, a medley of prose and verse, treating of all kinds of subjects just as they came to hand in the plebeian style, often with much grossness, but with sparkling point. Of these Saturae he wrote no less than 150 books, of which fragments have been preserved amounting to near 600 lines. Menippus of Gadara, the originator of this style of composition, lived about 280 B.C.; he interspersed jocular and commonplace topics with moral maxims and philosophical doctrines, and may have added contemporary pictures, though this is uncertain.
Varro followed him; we find him in the Academicae Quaestiones of Cicero, [6] saying that he adopted this method in the hope of enticing the unlearned to read something that might profit them. In these saturae topics were handled with the greatest freedom. They were not satires in the modern sense. They are rather to be considered as lineal descendants of the old saturae which existed before any regular literature. They nevertheless embodied with unmistakable clearness Varro's sentiments with regard to the prevailing luxury, and combined his thorough knowledge of all that best befitted a Roman to know with a racy freshness which we miss in his later works. The titles of many are preserved, and give some index to the character of the contents. We have some in Greek, e.g. Marco_polis_ or peri archaes, a sort of Varro's Republic, after the manner of Plato; Hippokyon, Kynoppaetor, and others, satirizing the cynic philosophy. Some both in Greek and Latin, as Columnae Herculis, peri doxaes; est modus matulae, peri methaes; others in Latin only, as Marcipor the slave of Marcus (i.e. Varro himself). Many are in the shape of proverbs, e.g. Longe fugit qui suos fugit, gnothi seauton, nescis quid vesper serus vehat. Only two fragments are of any length; one from the Marcipor, in graceful iambic verse, [7] the other in prose from the nescis quid vesper. [8] It consists of directions for a convivial meeting: "Nam multos convivas esse non convenit, quod turba plerumque est turbulenta; et Romae quidem constat: sed et Athenis; nusquam enim plures cubabant. [9] Ipsum deinde convivium constat ex rebus quatuor, et tum denique omnibus suis numeris absolutum est; si belli homuculi collecti sunt, si lectus locus, si tempus lectum, si apparatus non neglectus. Nec loquaces autem convivas nec mutos legere oportet; quia eloquentia in foro et apud subsellia; silentium vero non in convivio sed in cubiculo esse debet. Quod profecto eveniet, si de id genus rebus ad communem vitae usum pertinentibus confabulemur, de quibus in foro atque in negotiis agendis loqui non est otium. Dominum autem convivii esse oportet non tam tautum quam sine sordibus. Et in convivio legi non omnia debent, sed ea potissimum quae simul sunt biophelae, [10] et delectent potius, ut id quoque videatur non superfuisse. Bellaria ea maxime sunt mellita, quae mellita non sunt, pemmasin entra et pepsei societas infida." In this piece we see the fondness for punning, which even in his eightieth year had not left him. The last pun is not at first obvious; the meaning is that the nicest sweetmeats are those which are not too sweet, for made dishes are hostile to digestion; or, as we may say, paraphrasing his diction, "Delicacies are conducive to delicacy." It was from this satura the celebrated rule was taken that guests should be neither fewer than the graces, nor more than the muses. The whole subject of the Menippean satires is brilliantly treated in Mommsen's History of Rome, and Riese's edition of the satires, to both which, if he desire further information, we refer the reader. [11]
The genius of Varro, however, more and more inclined him to prose. The next series of works that issued from his pen were probably those known as Logistorici (about 56-50 B.C.). The model for these was furnished by Heraclides Ponticus, a friend and pupil of Plato, and after his death, of Aristotle. He was a voluminous and encyclopaedic writer, but too indolent to apply the vigorous method of his master. Hence his works, being discursive and easily understood, were well fitted for the comprehension of the Romans. Varro's histories were short, mostly taken from his own or his friends' experience, and centred round some principle of ethics or economics. Catus de liberis educandis, Marius de Fortuna, &c. are titles which remind us of Cicero's Laelius de Amicitia and Cato Major de Senectute, of which it is extremely probable they were the suggesting causes.