Why gaze at me, ye Catos, with frowning brow, and damn the
fresh frankness of my work? my speech is Latin undefiled, and
has grace unmarred by gloom, and my candid tongue tells of what
all Rome's people do.
A more interesting collection of poems, probably Petronian, remains to be discussed. In addition to the numerous fragments of poetry included in the surviving excerpts from the Satyricon, a considerable number of epigrams, attributed with more or less certainty to Petronius, are preserved in the fragments of the Anthologia Latina.[322] Immediately following on the epigrams assigned to the authorship of Seneca, the Codex Vossianus Q. 86 gives sixteen epigrams,[323] each headed by the word item. Of these two are quoted by Fulgentius as the work of Petronius.[324] There is, therefore, especially in view of the fact that they all bear a marked family resemblance to one another, a strong presumption that all are by the author of the Satyricon. Further, there are eleven epigrams[325] published by Binet in his edition of Petronius[326] from a MS. originally in the cathedral library of Beauvais, but now unfortunately lost. The first of the series is quoted by Fulgentius[327] as being by Petronius, and there is no reason for doubting the accuracy of Binet or his MS.[328] as to the rest. These poems are followed by eight more epigrams,[329] the first two of which Binet attributes to Petronius on stylistic grounds, but without any MS. authority.[330] Lastly, four epigrams are preserved by a third MS. (Cod. Voss. F. III) under the title Petronii[331]. Of these the first two are found in the extant portions of the Satyricon. The evidence for the Petronian authorship of these thirty-seven poems is not conclusive. Arguments based on resemblance or divergence in points of style are somewhat precarious in the case of an author like Petronius, writing with great variety of style on a variety of subjects. But there are some very marked resemblances between certain of these poems and verses surviving in the excerpts from the Satyricon[332], and the evidence against the Petronian authorship is of the slightest. A possible exception may be made in the case of the last eight epigrams preserved by Binet, though even here Binet is just enough in pointing out the resemblance of the first two of these to what is admittedly the work of Petronius. But with regard to the rest we shall run small risk in regarding them as selected from the lost books of the Satyricon.
These poems are very varied in character and as a whole reach a higher poetical level than most of those preserved in the existing fragments of the Satyricon.[1] The most notable features are simplicity and unaffected grace of diction coupled with a delicate appreciation of the beauties of nature. There is nothing that is out of keeping with the classicism on which we have insisted as a characteristic of Petronius, there is much that is worthy of the best writers of the Augustan age. The five lines in which he describes the coming of autumn have much in common with the descriptions of nature already quoted from the Satyricon. The last line in particular has at once a conciseness and a wealth of suggestion that is rare in any post-Ovidian poet:
iam nunc algentes autumnus fecerat umbras atque hiemem tepidis spectabat Phoebus habenis, iam platanus iactare comas, iam coeperat uvas adnumerare suas defecto palmite vitis: ante oculos stabat, quidquid promiserat annus.[333]
Now autumn had brought its cool shades, Phoebus' reins glowed less hot and he was looking winterward. The plane was beginning to shed her leaves, the vine to count its clusters, and its fresh shoots were withered. Before our eyes stood all the promise of the year.
Equally charming and sincere in tone is the description of the delights of the simple life:
parvula securo tegitur mihi culmine sedes uvaque plena mero fecunda pendet ab ulmo. dant rami cerasos, dant mala rubentia silvae Palladiumque nemus pingui se vertice frangit. iam qua diductos potat levis area fontes, Corycium mihi surgit olus malvaeque supinae et non sollicitos missura papavera somnos. praeterea sive alitibus contexere fraudem seu magis inbelles libuit circumdare cervos aut tereti lino pavidum subducere piscem, hos tantum novere dolos mea sordida rura. i nunc et vitae fugientis tempora vende divitibus cenis! me qui manet exitus olim, hic precor inveniat consumptaque tempora poscat.[334]
My cottage is sheltered by a roof that fears no ill; the grape, bursting with wine, hangs from the fertile elm; cherries hang by the bough and my orchard yields its rosy apples, and the tree that Pallas loves breaks beneath the rich burden of its branches. And now, where the garden bed's light soil drinks in the runnels of water, rises for me Corycian kale and low-growing mallow, and the poppy that grants easy slumber. Moreover, whether 'tis my pleasure to set snares for birds or hem in the timid deer, or on fine-meshed net to draw up the affrighted fish, this is all the guile known to my humble lands. Go to, now, and waste the flying hours of life on sumptuous feasts! I pray, that my destined end may find me here, and here demand an account of the days I have lived.
These lines may be no more than an academic exercise on a commonplace theme, but there can be no doubt of their artistic success. We find the same simplicity in Columella, but not the same art. Compare them with the work of Petronius' contemporary, Calpurnius Siculus, and there is all the difference between true poetry and mere poetising. More passionate and more convincing is the elegiac poem celebrating the poet's return to the scene of former happiness:
o litus vita mihi dulcius, o mare! felix,
cui licet ad terras ire subinde tuas!
o formosa dies! hoc quondam rure solebam
naidas alterna[335] sollicitare manu.
hic fontis lacus est, illic sinus egerit algas:
haec statio est tacitis fida cupidinibus.
pervixi; neque enim fortuna malignior umquam
eripiet nobis, quod prior aura dedit.[336]