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The Historians' History of the World 06 [The Early Roman Empire]
- Автор: Gutenberg
- Год: 1905
- Язык: английский
- Жанр: История
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The great revolution which was taking place before their eyes had a far less disastrous effect on the poets of this time than might have been expected, and if the lamentations of the civil war are heard everywhere, it is, nevertheless, rather the ideas of universal peace and the greatness of the Roman power which determine the pervading key-note. It is true that if we look for the originality, power, and simplicity which are so irresistible in Greek literature, we shall be very much disappointed; for they are no more to be found in the literary creations than in the political. And for these defects the number of productions can offer no amends. The thought of writing for a large public, the entire Latin West, must have had an inspiring effect on an author, as it of course decided the whole conception and direction of literary compositions; the provinces took a more and more active share in them; on the other hand, in this field a kind of substitute was offered for the lack of political activity; it was a matter of course that authorship was harmless and accommodated itself to the ruling system, or else entered into a dangerous opposition to it. Partisan writing existed during the active political struggles of Rome even under the republic; but now sunshine and light were too unequally divided, and the frankness which was forbidden during the lifetime of the rulers indemnified itself after their death by bitterness and calumny.
The really higher styles of poetry, such as drama and epic, entirely died out. It was not as if this had been caused by the change in the government, for even in the time of the republic little originality or creative power had been shown in these directions. All that was now produced was borrowed entirely from the past. Rhetoric, metrics, and careful diction were all that could be added to it, and a beautiful, refined, and elegant form became the criterion according to which the age judged both literary and artistic productions. It was to such matters as these that the attention of the judges who decided concerning the admission of the poets into the national library was mainly directed.
We have no adequate information regarding the dramatic poetry of the Augustan period, for everything which won the applause of contemporaries has been lost. What has been preserved to us from this period, namely the tragedies handed down to us under the name of Seneca, has all the faults which a depraved taste brings with it; sensational plots and scenes based on sensual and sentimental emotions; figures without life, but of many words and speeches; a treatment without knowledge of dramatic technicalities; and yet withal a harmony of words and verses, highly polished versification and diction, and the whole magnificent apparatus belonging to the schools of rhetoric in periods, antitheses, similes, and plays upon words. It is decidedly to the credit of the lower classes if they turned away from these dramas, leaving them to the lifeless declamatory exercises of the so-called educated classes, and in so far as the taste for the drama still existed, preferred to amuse themselves with a simpler entertainment and the familiar pieces of the older poets, which had long ceased to be sufficiently refined and elegant for people of cultivation.
Nor did the epic produce anything really great. Virgil (P. Vergilius Maro, born on the 15th of October, 70 B.C., died the 22nd of September, 19 B.C.) did indeed make an attempt to create a national epic in the Æneid. But it is no more genuine than its fundamental idea of connecting the founder of the new empire with the father of Italian civilisation. Virgil studied under the Alexandrians and all that was to be learned he learned. He created the language and the verse structure which remained the standard for many centuries, so long as and wherever Latin poetry was cultivated. The form is throughout noble, and the poet was thoroughly acquainted with Homer and the Greek epic poets, nor is it without taste that he, as a man of learning, has drawn on this treasure; his ideas are pure and noble and he had learned to know his country and the legends of his forefathers better than many before or any after him, so that a certain national colouring is to be found in his work. But there was one thing which he did not possess; the creative genius which divines rightly in the choice of subject and arranges and treats its material with a light but master hand; as the subject was ill-chosen, so the poet never felt any hearty enthusiasm for it; everything has been thought out and very coldly and soberly thought out; beautiful pictures and striking comparisons are indeed presented; but they are sentimental and studied, and often look strange in their setting.
In the first place the hero is no hero, and the Roman patricians of even the time of the Scipios would have been revolted by this weakling who is feeble and sentimental like the poet himself, and not much more than a puppet in the hands of his divine mother. Such a weak figure gives no opportunity for strength in the treatment, which is accordingly languid, and the twelve cantos are spun out with monotonous tedium, so that to every one acquainted with Homer the reading of them is a mere task to be got through somehow. And if, from the standpoint of learning, the language and verses seem irreproachable, classical, and even worthy of imitation, all pleasure in them is lost by the fact that we are continually aware of the trouble and labour which they cost the poet.
It is characteristic of the times that Virgil possessed a canonical consideration with high and low, and poets and prose writers vied with one another to steal from him. From this fact we may guess the rest, and the loss in this field which has been recorded can have been no great one.
But how rapidly literature declined at the end of the period is clearly shown by the epic of M. Annæus Lucanus, the Pharsalia. This poem was produced in the reign of Nero, and it is difficult to decide whether the choice of subject or his treatment of it deserves the greater censure. The hero of the poem is Pompey, the Pompey of the civil wars, a figure so little poetical that a more unfortunate selection could scarcely have been made; with the utmost poetical license even without any anxiety to keep to the facts there was nothing to be made of the subject. That the civil wars in themselves might be capable of being made the subject of an epic is indisputable; it is equally indisputable that this could be done only by a poetic talent of the first order. But even Lucan could do it in his way, though he is no poet but a scholar of the school of the rhetoricians and the Stoa. As in the school of rhetorics the energy of the scholar signalised and exhausted itself in individual feats of ingenuity, so the poem is divided into a number of scenes without much connection, but distinguished by a soaring imagination, sounding verses, and pompous tirades, and of course with many learned accessories, without which neither a great nor a small poem was conceivable in that period. Besides this haste, uneasiness, and want of discretion are everywhere apparent, and these, too, belong to the time. On the whole it may be said that this poetry is a true reflection of the society in which it originated, and if we had epics by Seneca they might probably resemble those of his nephew. Of such models there could not fail to be imitations; the attempts even extended to the schools, and the editing of the Iliad may well have been the work of industrious scholars, who knew something of Greek and had learned to imitate their Virgil.