The Roman Poets of the Republic, 3rd edition

by W. Y. Sellar

Quod quisque in bello gessit cum rege Philippo,

treated of the Macedonian war, and of the deeds of T. Quintius Flamininus. In the later books, Ennius told the history of the war with Antiochus, of the Aetolian War carried on by his friend, M. Fulvius Nobilior, of the exploits of L. Caecilius Denter and his brother (of whom scarcely anything is known except that the sixteenth book of the Annals was written in consequence of the poet's especial admiration for them), and lastly, of the Istrian War, which took place within a few years of the author's death.

Neither in general design nor in detail could the Annals be regarded as a pure epic poem. Like the Aeneid, which connects the mythical story of Aeneas with the glories of the Julian line and the great destiny of Rome, the poem of Ennius treated of fabulous tradition, of historical fact, and of great contemporary events; but it did not, like the Aeneid, unite these varied materials in the representation of the fortunes of one individual hero. The action of the poem, instead of being limited to a few days or months, extended over many generations. Nor could the poem terminate with any critical catastrophe, as its object was to unfold the continuous, still advancing progress of the State. From the name it might be inferred that the Annals must have been more like a metrical chronicle than like an epic poem; yet, as being inspired and pervaded by a grand and vital idea, the work was elevated above the level of matter of fact into the region of poetry. The idea of a high destiny, unfolding itself under the old kingly dynasty and the long line of consuls,—through the successive wars with the Italian races, with Pyrrhus and the Carthaginians,—rapidly advancing, though not fully accomplished in the age when the poem was written,—gave unity of plan and consistency of form to its rude and colossal structure. The word Annales, as applied to Roman story, suggests something more than the mere record of events in regular annual sequence. It involves also the idea of unbroken continuity. In the Roman Republic, the unity and vital action of the State were maintained and manifested by the delegation of the functions of government on magistrates appointed from year to year, just as the life of a monarchical state is maintained and manifested in its line of kings. In the spirit animating the work,—in the conception of a past history, stretching back in unbroken grandeur until it is lost in fable, but yet vitally linked to the interests of the present time,—the Annals of Ennius may be compared with the dramas in which Shakspeare has represented the national life of England—in all its greatness and vicissitudes—with the glory and splendour as well as the dark and tragic colours with which that story is inwoven.

The poem, although laying no claim to the perfection of epic form, had thus something of the genuine epic inspiration. While treating both of a mythical past and of real historical events, it was pervaded by a living and popular idea,—faith in the destiny of Rome. It was through the power and presence of that same idea in his own age, that Virgil was able to impart a vital and enduring meaning to a fabulous tradition, and to create, out of the imaginary fortunes of a Trojan hero, a poem most truly representative of his age and country. It is the absence of any such living idea which renders the artificial epics of refined and civilised eras,—such poems, for instance, as the Thebais of Statius, or the Argonautics of Valerius Flaccus,—in general so flat and unprofitable. Regarded, on the other hand, as a historical poem, the Annals was written under more favourable conditions than the Pharsalia of Lucan, or the Punic Wars of Silius Italicus—in being the work of an age to which the past had come down as popular tradition, not as recorded history. The imagination of the poet employs itself more happily and legitimately in filling up or modifying a story that has been shaped by the fancies and feelings of successive generations, than in venturing to recast the facts that stand out prominently in the actual march of human affairs. By treating of contemporary events, the poem must have receded still further from the pure type of epic poetry; yet the later fragments of the work, while written with something of the minute and literal fidelity of a chronicle, may yet lay claim to poetic inspiration. They prove that the author was no unconcerned spectator and reporter of the events going on around him, but that his imagination was fired and his sympathies keenly interested by whatever, in speech or action, was worthy to live in the memory of the world.

There must have been many drawbacks to the popularity of the poem in a more critical time, when strong enthusiasm and forcible conception fail to interest, unless they are combined with the harmonious execution of a work of art. Even from the extant fragments the rude proportions and the unwieldy mass of the original work may be inferred. It is still possible to note the bare, annalistic style of many passages which sink below the level of dignified prose, the barbarisms of taste shown by a fondness for alliterative lines and plays upon words, the more common faults of careless haste and redundance of expression, and of a rugged and irregular cadence. There must have been some peculiar excellences or adaptation to the Roman taste, through which, in spite of these defects, the popularity of the poem was sustained far into the times of the Empire. This late popularity may have been due in part to antiquarian zeal or affectation, but some degree of it, as well as the favour of the age in which the poem was written, must have been founded on more substantial grounds. Apart from other literary interest, this poem first drew forth and established, for the contemplation of after times, the ideal latent in the national mind. The patriotic tones of Virgil have the same kind of ring as these in the older poet—

Audire est operae pretium procedere recte

Qui rem Romanam Latiumque augescere vultis,

and this other line which Cicero compared to the utterance of an oracle—

Moribus antiquis stat res Romana virisque.