Versibu' quos olim Fauni vatesque canebant,
were probably as far removed from poetry as the ritual chants of the Salii and the Fratres Arvales. The Fauni were the woodland gods of Italy, and were, besides their other functions, supposed to be endowed with prophetic power[6]. The word Vates, till the Augustan age, meant not a poet but a soothsayer. The Camenae or Casmenae (another form of which word appears in Carmenta, the prophetic mother of Evander) were worshipped, not as the inspirers of poetry, but as the foretellers of future events[7]. Both Greeks and Romans sought to obtain a knowledge of the future, either through the interpretation of omens, or through the voice of persons supposed to be divinely endowed with foresight. But the Greeks, even in the regard which they paid to auguries and oracles, were influenced, for the most part, by their lively imagination; while the Romans, from the earliest to the latest eras of their history, in all their relations to the supernatural world, adhered to a scrupulous and unimaginative ceremonialism. The notices in Latin literature of the functions of these early Vates—as, for instance, the counsel of the Etrurian seer to drain the Alban Lake during the war with Veii, and the prophecy of Marcius uttered during the Second Punic War,
Amnem Trojugena Cannam Romane fuge, etc.[8],
suggest no more idea of poetical inspiration than the occasional notices, in Latin authors, of the oracles of the Sibylline books. The language of prophecy naturally assumes a metrical or rhythmical form, partly as an aid to the memory, partly, perhaps, as a means of giving to the words uttered the effect of a more solemn intonation. In Greece, the oracles of the Delphian priestess, and the predictions of soothsayers, collected in books or circulating orally among the people, were expressed in hexameter verse and in the traditional diction of epic poetry; but they were never ranked under any form of poetic art. The verses of the Vates, so far as any inference can be formed as to their nature, appear to have been products and proofs of unimaginative superstition or imposture, rather than of any imaginative inspiration among the early inhabitants of Latium.
3. Another class of metrical compositions, of native origin, but of a totally opposite character, was known by the name of the 'Fescennine verses.' These arose out of a very different class of feelings and circumstances. Horace attributes their origin to the festive meetings and exuberant mirth of the harvest-home among a primitive, strong, and cheerful race of husbandmen. He points out how this rustic raillery gradually assumed the character of fierce lampoons, and had to be restrained by law:—
Fescennina per hunc inventa licentia morem
Versibus alternis opprobria rustica fudit;
Libertasque recurrentes accepta per annos
Lusit amabiliter, donec jam saevus apertam
In rabiem coepit verti jocus et per honestas