In this mention of lyrical poetry I have not spoken of Catullus, unrivalled in tender lyric, the greatest poet before the Augustan era. He was born 87 B.C., and enjoyed the friendship of the most celebrated characters. One hundred and sixteen of his poems have come down to us, most of which are short, and many of them defiled by great coarseness and sensuality. Critics say, however, that whatever he touched he adorned; that his vigorous simplicity, pungent wit, startling invective, and felicity of expression make him one of the great poets of the Latin language.
In didactic poetry Lucretius was pre-eminent, and is regarded by Schlegel as the first of Roman poets in native genius. He was born 95 B.C., and died at the age of forty-two by his own hand. His principal poem "De Rerum Natura" is a delineation of the Epicurean philosophy, and treats of all the great subjects of thought with which his age was conversant. Somewhat resembling Pope's "Essay on Man" in style and subject, it is immeasurably superior in poetical genius. It is a lengthened disquisition, in seven thousand four hundred lines, upon the great phenomena of the outward world. As a painter and worshipper of Nature, Lucretius was superior to all the poets of antiquity. His skill in presenting abstruse speculations is marvellous, and his outbursts of poetic genius are matchless in power and beauty. Into all subjects he casts a fearless eye, and writes with sustained enthusiasm. But he was not fully appreciated by his countrymen, although no other poet has so fully brought out the power of the Latin language. Professor Ramsay, while alluding to the melancholy tenderness of Tibullus, the exquisite ingenuity of Ovid, the inimitable felicity and taste of Horace, the gentleness and splendor of Virgil, and the vehement declamation of Juvenal, thinks that had the verse of Lucretius perished we should never have known that the Latin could give utterance to the grandest conceptions, with all that self-sustained majesty and harmonious swell in which the Grecian muse rolls forth her loftiest outpourings. The eulogium of Ovid is--
"Carmina sublimis tunc sunt peritura Lucretî,
Exitio terras quum dabit una dies."
Elegiac poetry has an honorable place in Roman literature. To this school belongs Ovid, born 43 B.C., died 18 A.D., whose "Tristia," a doleful description of the evils of exile, were much admired by the Romans. His most famous work was his "Metamorphoses," mythologic legends involving transformations,--a most poetical and imaginative production. He, with that self-conscious genius common to poets, declares that his poem would be proof against sword, fire, thunder, and time,--a prediction, says Bayle, which has not yet proved false. Niebuhr thinks that Ovid next to Catullus was the most poetical of his countrymen. Milton thinks he might have surpassed Virgil, had he attempted epic poetry. He was nearest to the romantic school of all the classical authors; and Chaucer, Ariosto, and Spenser owe to him great obligations. Like Pope, his verses flowed spontaneously. His "Tristia" were more highly praised than his "Amores" or his "Metamorphoses," a fact which shows that contemporaries are not always the best judges of real merit. His poems, great as was their genius, are deficient in the severe taste which marked the Greeks, and are immoral in their tendency. He had great advantages, but was banished by Augustus for his description of licentious love. Nor did he support exile with dignity; he languished like Cicero when doomed to a similar fate, and died of a broken heart. But few intellectual men have ever been able to live at a distance from the scene of their glories, and without the stimulus of high society. Chrysostom is one of the few exceptions. Ovid, as an immoral writer, was justly punished.
Tibullus, also a famous elegiac poet, was born the same year as Ovid, and was the friend of the poet Horace. He lived in retirement, and was both gentle and amiable. At his beautiful country-seat he soothed his soul with the charms of literature and the simple pleasures of the country. Niebuhr pronounces the elegies of Tibullus to be doleful, but Merivale thinks that "the tone of tender melancholy in which he sung his unprosperous loves had a deeper and purer source than the caprices of three inconstant paramours.... His spirit is eminently religious, though it bids him fold his hands in resignation rather than open them in hope. He alone of all the great poets of his day remained undazzled by the glitter of the Caesarian usurpation, and pined away in unavailing despondency while beholding the subjugation of his country."
Propertius, the contemporary of Tibullus, born 51 B.C., was on the contrary the most eager of all the flatterers of Augustus,--a man of wit and pleasure, whose object of idolatry was Cynthia, a poetess and a courtesan. He was an imitator of the Greeks, but had a great contemporary fame. He showed much warmth of passion, but never soared into the sublime heights of poetry, like his rival.
Such were among the great elegiac poets of Rome, who were generally devoted to the delineation of the passion of love. The older English poets resembled them in this respect, but none of them have risen to such lofty heights as the later ones,--for instance, Wordsworth and Tennyson. It is in lyric poetry that the moderns have chiefly excelled the ancients, in variety, in elevation of sentiment, and in imagination. The grandeur and originality of the ancients were displayed rather in epic and dramatic poetry.
In satire the Romans transcended both the Greeks and the moderns. Satire arose with Lucilius, 148 B.C., in the time of Marius, an age when freedom of speech was tolerated. Horace was the first to gain immortality in this department. Next Persius comes, born 34 A.D., the friend of Lucian and Seneca in the time of Nero, who painted the vices of his age as it was passing to that degradation which marked the reign of Domitian, when Juvenal appeared. The latter, disdaining fear, boldly set forth the abominations of the times, and struck without distinction all who departed from duty and conscience. There is nothing in any language which equals the fire, the intensity, and the bitterness of Juvenal, not even the invectives of Swift and Pope. But he flourished during the decline of literature, and had neither the taste nor the elegance of the Augustan writers. He was born 60 A.D., the son of a freedman, and was the contemporary of Martial. He was banished by Domitian on account of a lampoon against a favorite dancer, but under the reign of Nerva he returned to Rome, and the imperial tyranny was the subject of his bitterest denunciation next to the degradation of public morals. His great rival in satire was Horace, who laughed at follies; but Juvenal, more austere, exaggerated and denounced them. His sarcasms on women have never been equalled in severity, and we cannot but hope that they were unjust. From an historical point of view, as a delineation of the manners of his age, his satires are priceless, even like the epigrams of Martial. This uncompromising poet, not pliant and easy like Horace, animadverted like an incorruptible censor on the vices which were undermining the moral health and preparing the way for violence; on the hypocrisy of philosophers and the cruelty of tyrants; on the frivolity of women and the debauchery of men. He discoursed on the vanity of human wishes with the moral wisdom of Dr. Johnson, and urged self-improvement like Socrates and Epictetus.
I might speak of other celebrated poets,--of Lucan, of Martial, of Petronius; but I only wish to show that the great poets of antiquity, both Greek and Roman, have never been surpassed in genius, in taste, and in art, and that few were ever more honored in their lifetime by appreciating admirers,--showing the advanced state of civilization which was reached in those classic countries in everything pertaining to the realm of thought and art.