The History of Rome, Book IV / The Revolution

by Theodor Mommsen

National Comedy
Afranius

We have formerly shown(7) that in all probability already in the course of the sixth century a national Roman comedy (-togata-) was added to the Graeco-Roman (-palliata-), as a portraiture not of the distinctive life of the capital, but of the ways and doings of the Latin land. Of course the Terentian school rapidly took possession of this species of comedy also; it was quite in accordance with its spirit to naturalise Greek comedy in Italy on the one hand by faithful translation, and on the other hand by pure Roman imitation. The chief representative of this school was Lucius Afranius (who flourished about 66). The fragments of his comedies remaining give no distinct impression, but they are not inconsistent with what the Roman critics of art remark regarding him. His numerous national comedies were in their construction thoroughly formed on the model of the Greek intrigue-piece; only, as was natural in imitation, they were simpler and shorter. In the details also he borrowed what pleased him partly from Menander, partly from the older national literature. But of the Latin local tints, which are so distinctly marked in Titinius the creator of this species of art, we find not much in Afranius;(8) his subjects retain a very general character, and may well have been throughout imitations of particular Greek comedies with merely an alteration of costume. A polished eclecticism and adroitness in composition— literary allusions not unfrequently occur—are characteristic of him as of Terence: the moral tendency too, in which his pieces approximated to the drama, their inoffensive tenor in a police point of view, their purity of language are common to him with the latter. Afranius is sufficiently indicated as of a kindred spirit with Menander and Terence by the judgment of posterity that he wore the -toga- as Menander would have worn it had he been an Italian, and by his own expression that to his mind Terence surpassed all other poets.

Atellanae

The farce appeared afresh at this period in the field of Roman literature. It was in itself very old:(9) long before Rome arose, the merry youths of Latium may have improvised on festal occasions in the masks once for all established for particular characters. These pastimes obtained a fixed local background in the Latin "asylum of fools," for which they selected the formerly Oscan town of Atella, which was destroyed in the Hannibalic war and was thereby handed over to comic use; thenceforth the name of "Oscan plays" or "plays of Atella" was commonly used for these exhibitions.(10) But these pleasantries had nothing to do with the stage(11) and with literature; they were performed by amateurs where and when they pleased, and the text was not written or at any rate was not published. It was not until the present period that the Atellan piece was handed over to actors properly so called,(12) and was employed, like the Greek satyric drama, as an afterpiece particularly after tragedies; a change which naturally suggested the extension of literary activity to that field. Whether this authorship developed itself altogether independently, or whether possibly the art-farce of Lower Italy, in various respects of kindred character, gave the impulse to this Roman farce,(13) can no longer be determined; that the several pieces were uniformly original works, is certain. The founder of this new species of literature, Lucius Pomponius from the Latin colony of Bononia, appeared in the first half of the seventh century;(14) and along with his pieces those of another poet Novius soon became favourites. So far as the few remains and the reports of the old -litteratores- allow us to form an opinion, they were short farces, ordinarily perhaps of one act, the charm of which depended less on the preposterous and loosely constructed plot than on the drastic portraiture of particular classes and situations. Festal days and public acts were favourite subjects of comic delineation, such as the "Marriage," the "First of March," "Harlequin Candidate"; so were also foreign nationalities—the Transalpine Gauls, the Syrians; above all, the various trades frequently appear on the boards. The sacristan, the soothsayer, the bird-seer, the physician, the publican, the painter, fisherman, baker, pass across the stage; the public criers were severely assailed and still more the fullers, who seem to have played in the Roman fool-world the part of our tailors. While the varied life of the city thus received its due attention, the farmer with his joys and sorrows was also represented in all aspects. The copiousness of this rural repertory may be guessed from the numerous titles of that nature, such as "the Cow," "the Ass," "the Kid," "the Sow," "the Swine," "the Sick Boar," "the Farmer," "the Countryman," "Harlequin Countryman," "the Cattle-herd," "the Vinedresser," "the Fig- gatherer," "Woodcutting," "Pruning," "the Poultry-yard." In these pieces it was always the standing figures of the stupid and the artful servant, the good old man, the wise man, that delighted the public; the first in particular might never be wanting— the -Pulcinello- of this farce—the gluttonous filthy -Maccus-, hideously ugly and yet eternally in love, always on the point of stumbling across his own path, set upon by all with jeers and with blows and eventually at the close the regular scapegoat. The titles "-Maccus Miles-," "-Maccus Copo-," "-Maccus Virgo-," "-Maccus Exul-," "-Macci Gemini-" may furnish the good-humoured reader with some conception of the variety of entertainment in the Roman masquerade. Although these farces, at least after they came to be written, accommodated themselves to the general laws of literature, and in their metres for instance followed the Greek stage, they yet naturally retained a far more Latin and more popular stamp than even the national comedy. The farce resorted to the Greek world only under the form of travestied tragedy;(15) and this style appears to have been cultivated first by Novius, and not very frequently in any case. The farce of this poet moreover ventured, if not to trespass on Olympus, at least to touch the most human of the gods, Hercules: he wrote a -Hercules Auctionator-. The tone, as a matter of course, was not the most refined; very unambiguous ambiguities, coarse rustic obscenities, ghosts frightening and occasionally devouring children, formed part of the entertainment, and offensive personalities, even with the mention of names, not unfrequently crept in. But there was no want also of vivid delineation, of grotesque incidents, of telling jokes, and of pithy sayings; and the harlequinade rapidly won for itself no inconsiderable position in the theatrical life of the capital and even in literature.

Dramatic Arrangements

Lastly as regards the development of dramatic arrangements we are not in a position to set forth in detail—what is clear on the whole—that the general interest in dramatic performances was constantly on the increase, and that they became more and more frequent and magnificent. Not only was there hardly any ordinary or extraordinary popular festival that was now celebrated without dramatic exhibitions; even in the country-towns and in private houses representations by companies of hired actors were common. It is true that, while probably various municipal towns already at this time possessed theatres built of stone, the capital was still without one; the building of a theatre, already contracted for, had been again prohibited by the senate in 599 on the suggestion of Publius Scipio Nasica. It was quite in the spirit of the sanctimonious policy of this age, that the building of a permanent theatre was prohibited out of respect for the customs of their ancestors, but nevertheless theatrical entertainments were allowed rapidly to increase, and enormous sums were expended annually in erecting and decorating structures of boards for them. The arrangements of the stage became visibly better. The improved scenic arrangements and the reintroduction of masks about the time of Terence are doubtless connected with the fact, that the erection and maintenance of the stage and stage-apparatus were charged in 580 on the public chest.(16) The plays which Lucius Mummius produced after the capture of Corinth (609) formed an epoch in the history of the theatre. It was probably then that a theatre acoustically constructed after the Greek fashion and provided with seats was first erected, and more care generally was expended on the exhibitions.(17) Now also there is frequent mention of the bestowal of a prize of victory—which implies the competition of several pieces—of the audience taking a lively part for or against the leading actors, of cliques and -claqueurs-. The decorations and machinery were improved; moveable scenery artfully painted and audible theatrical thunder made their appearance under the aedileship of Gaius Claudius Pulcher in 655;(18) and twenty years later (675) under the aedileship of the brothers Lucius and Marcus Lucullus came the changing of the decorations by shifting the scenes. To the close of this epoch belongs the greatest of Roman actors, the freedman Quintus Roscius (d. about 692 at a great age), throughout several generations the ornament and pride of the Roman stage,(19) the friend and welcome boon-companion of Sulla—to whom we shall have to recur in the sequel.

Satura

In recitative poetry the most surprising circumstance is the insignificance of the Epos, which during the sixth century had occupied decidedly the first place in the literature destined for reading; it had numerous representatives in the seventh, but not a single one who had even temporary success. From the present epoch there is hardly anything to be reported save a number of rude attempts to translate Homer, and some continuations of the Ennian Annals, such as the "Istrian War" of Hostius and the "Annals (perhaps) of the Gallic War" by Aulus Furius (about 650), which to all appearance took up the narrative at the very point where Ennius had broken off—the description of the Istrian war of 576 and 577. In didactic and elegiac poetry no prominent name appears. The only successes which the recitative poetry of this period has to show, belong to the domain of what was called -Satura—-a species of art, which like the letter or the pamphlet allowed of any form and admitted any sort of contents, and accordingly in default of all proper generic characters derived its individual shape wholly from the individuality of each poet, and occupied a position not merely on the boundary between poetry and prose, but even more than half beyond the bounds of literature proper. The humorous poetical epistles, which one of the younger men of the Scipionic circle, Spurius Mummius, the brother of the destroyer of Corinth, sent home from the camp of Corinth to his friends, were still read with pleasure a century afterwards; and numerous poetical pleasantries of that sort not destined for publication probably proceeded at that time from the rich social and intellectual life of the better circles of Rome.

Lucilius

Its representative in literature is Gaius Lucilius (606-651) sprung of a respectable family in the Latin colony of Suessa, and likewise a member of the Scipionic circle. His poems are, as it were, open letters to the public. Their contents, as a clever successor gracefully says, embrace the whole life of a cultivated man of independence, who looks upon the events passing on the political stage from the pit and occasionally from the side-scenes; who converses with the best of his epoch as his equals; who follows literature and science with sympathy and intelligence without wishing personally to pass for a poet or scholar; and who, in fine, makes his pocket-book the confidential receptacle for everything good and bad that he meets with, for his political experiences and expectations, for grammatical remarks and criticisms on art, for incidents of his own life, visits, dinners, journeys, as well as for anecdotes which he has heard. Caustic, capricious, thoroughly individual, the Lucilian poetry has yet the distinct stamp of an oppositional and, so far, didactic aim in literature as well as in morals and politics; there is in it something of the revolt of the country against the capital; the Suessan's sense of his own purity of speech and honesty of life asserts itself in antagonism to the great Babel of mingled tongues and corrupt morals. The aspiration of the Scipionic circle after literary correctness, especially in point of language, finds critically its most finished and most clever representative in Lucilius. He dedicated his very first book to Lucius Stilo, the founder of Roman philology,(20) and designated as the public for which he wrote not the cultivated circles of pure and classical speech, but the Tarentines, the Bruttians, the Siculi, or in other words the half-Greeks of Italy, whose Latin certainly might well require a corrective. Whole books of his poems are occupied with the settlement of Latin orthography and prosody, with the combating of Praenestine, Sabine, Etruscan provincialisms, with the exposure of current solecisms; along with which, however, the poet by no means forgets to ridicule the insipidly systematic Isocratean purism of words and phrases,(21) and even to reproach his friend Scipio in right earnest jest with the exclusive fineness of his language.(22) But the poet inculcates purity of morals in public and private life far more earnestly than he preaches pure and simple Latinity. For this his position gave him peculiar advantages. Although by descent, estate, and culture on a level with the genteel Romans of his time and possessor of a handsome house in the capital, he was yet not a Roman burgess, but a Latin; even his position towards Scipio, under whom he had served in his early youth during the Numantine war, and in whose house he was a frequent visitor, may be connected with the fact, that Scipio stood in varied relations to the Latins and was their patron in the political feuds of the time.(23) He was thus precluded from a public life, and he disdained the career of a speculator—he had no desire, as he once said, to "cease to be Lucilius in order to become an Asiatic revenue-farmer." So he lived in the sultry age of the Gracchan reforms and the agitations preceding the Social war, frequenting the palaces and villas of the Roman grandees and yet not exactly their client, at once in the midst of the strife of political coteries and parties and yet not directly taking part with one or another; in a way similar to Beranger, of whom there is much that reminds us in the political and poetical position of Lucilius. From this position he uttered his comments on public life with a sound common sense that was not to be shaken, with a good humour that was inexhaustible, and with a wit perpetually gushing: