With this morally polemic tendency and this talent for embodying it in caustic and picturesque expression, which, as the dress of dialogue given to the books on Husbandry written in his eightieth year shows, never forsook him down to extreme old age, Varro most happily combined an incomparable knowledge of the national manners and language, which is embodied in the philological writings of his old age after the manner of a commonplace-book, but displays itself in his Satires in all its direct fulness and freshness. Varro was in the best and fullest sense of the term a local antiquarian, who from the personal observation of many years knew his nation in its former idiosyncrasy and seclusion as well as in its modern state of transition and dispersion, and had supplemented and deepened his direct knowledge of the national manners and national language by the most comprehensive research in historical and literary archives.
His partial deficiency in rational judgment and learning - in our sense of the words - was compensated for by his clear intuition and the poetry which lived within him. He sought neither after antiquarian notices nor after rare antiquated or poetical words[25]; but he was himself an old and old-fashioned man and almost a rustic, the classics of his nation were his favourite and long-familiar companions; how could it fail that many details of the manners of his forefathers, which he loved above all and especially knew, should be narrated in his writings, and that his discourse should abound with proverbial Greek and Latin phrases, with good old words preserved in the Sabine conversational language, with reminiscences of Ennius, Lucilius, and above all of Plautus?
We should not judge as to the prose style of these aesthetic writings of Varro's earlier period by the standard of his work on Language written in his old age and probably published in an unfinished state, in which certainly the clauses of the sentence are arranged on the thread of the relative like thrushes on a string; but we have already observed that Varro rejected on principle the effort after a chaste style and Attic periods, and his aesthetic essays, while destitute of the mean bombast and the spurious tinsel of vulgarism, were yet written after an unclassic and even slovenly fashion, in sentences rather directly joined on to each other than regularly subdivided. The poetical pieces inserted on the other hand show not merely that their author knew how to mould the most varied measures with as much mastery as any of the fashionable poets, but that he had a right to include himself among those to whom a god has granted the gift of "banishing cares from the heart by song and sacred poesy"[26].
The sketches of Varro no more created a school than the didactic poem of Lucretius; to the more general causes which prevented this there falls to be added their thoroughly individual stamp, which was inseparable from the greater age, from the rusticity, and even from the peculiar erudition of their author. But the grace and humour of the Menippean satires above all, which seem to have been in number and importance far superior to Varro's graver works, captivated his contemporaries as well as those in after times who had any relish for originality and national spirit; and even we, who are no longer permitted to read them, may still from the fragments preserved discern in some measure that the writer "knew how to laugh and how to jest in moderation". And as the last breath of the good spirit of the old burgess-times ere it departed, as the latest fresh growth which the national Latin poetry put forth, the Satires of Varro deserved that the poet in his poetical testament should commend these his Menippean children to every one "who had at heart the prosperity of Rome and of Latium"; and they accordingly retain an honourable place in the literature as in the history of the Italian people[27].
The critical writing of history, after the manner in which the Attic authors wrote the national history in their classic period and in which Polybius wrote the history of the world, was never properly developed in Rome. Even in the field most adapted for it - the representation of contemporary and of recently past events - there was nothing, on the whole, but more or less inadequate attempts; in the epoch especially from Sulla to Caesar the not very important contributions, which the previous epoch had to show in this field - the labours of Antipater and Asellius - were barely even equalled. The only work of note belonging to this field, which arose in the present epoch, was the history of the Social and Civil Wars by Lucius Cornelius Sisenna (praetor in 676). Those who had read it testify that it far excelled in liveliness and readableness the old dry chronicles, but was written withal in a style thoroughly impure and even degenerating into puerility; as indeed the few remaining fragments exhibit a paltry painting of horrible details[28], and a number of words newly coined or derived from the language of conversation. When it is added that the author's model and, so to speak, the only Greek historian familiar to him was Clitarchus, the author of a biography of Alexander the Great oscillating between history and fiction in the manner of the semi-romance which bears the name of Curtius, we shall not hesitate to recognize in Sisenna's celebrated historical work, not a product of genuine historical criticism and art, but the first Roman essay in that hybrid mixture of history and romance so much a favourite with the Greeks, which desires to make the groundwork of facts life-like and interesting by means of fictitious details and thereby makes it insipid and untrue; and it will no longer excite surprise that we meet with the same Sisenna also as translator of Greek fashionable romances[29].
That the prospect should be still more lamentable in the field of the general annals of the city and even of the world, was implied in the nature of the case. The increasing activity of antiquarian research induced the expectation that the current narrative would be rectified from documents and other trustworthy sources; but this hope was not fulfilled. The more and the deeper men investigated, the more clearly it became apparent what a task it was to write a critical history of Rome. The difficulties even, which opposed themselves to investigation and narration, were immense; but the most dangerous obstacles were not those of a literary kind.
The conventional early history of Rome, as it had now been narrated and believed for at least ten generations; was most intimately mixed up with the civil life of the nation; and yet in any thorough and honest inquiry not only had details to be modified here and there, but the whole building had to be overturned as much as the Franconian primitive history of king Pharamund or the British of king Arthur. An inquirer of conservative views, such as was Varro for instance, could have no wish to put his hand to such a work; and if a daring freethinker had undertaken it, an outcry would have been raised by all good citizens against this worst of all revolutionaries, who was preparing to deprive the constitutional party even of their past Thus philological and antiquarian research deterred from the writing of history rather than conduced towards it.
Varro and the more sagacious men in general evidently gave up the task of annals as hopeless; at the most they arranged, as did Titus Pomponius Atticus, the official and gentile lists in unpretending tabular shape - a work by which the synchronistic Graeco-Roman chronology was finally brought into the shape in which it was conventionally fixed for posterity. But the manufacture of city-chronicles of course did not suspend its activity; it continued to supply its contributions both in prose and verse to the great library written by ennui for ennui, while the makers of the books, in part already freedmen, did not trouble themselves at all about research properly so called. Such of these writings as are mentioned to us - not one of them is preserved - seem to have been not only of a wholly secondary character, but in great part even pervaded by interested falsification. It is true that the chronicle of Quintus Claudius Quadrigarius (about 676?) was written in an old-fashioned but good style, and studied at least a commendable brevity in the representation of the fabulous period. Gaius Licinius Macer (d. as late praetor in 688), father of the poet Calvus[30], and a zealous democrat, laid claim more than any other chronicler to documentary research and criticism, but his libri lintei and other matters peculiar to him are in the highest degree suspicious, and an interpolation of the whole annals in the interest of democratic tendencies - an interpolation of a very extensive kind, and which has passed over in part to the later annalists - is probably traceable to him.
25. He himself once aptly says, that he had no special fondness for antiquated words, but frequently used them, and that he was very fond of poetical words, but did not use them.
26. The following description is taken from the
In the
But the poet was successful also in a lighter vein. In the
And in the
27. The sketches of Varro have so uncommon historical and even poetical significance, and are yet, in consequence of the fragmentary shape in which information regarding them has reached us, known to so few and so irksome to study, that we may be allowed to give in this place a resume of some of them with the few restorations indispensable for making them readable.
The satire Manius (Early Up!) describes the management of a rural household. "Manius summons his people to rise with the sun, and in person conducts them to the scene of their work. The youths make their own bed, which labour renders soft to them, and supply themselves with water-jar and lamp. Their drink is the clear fresh spring, their fare bread, and onions as relish. Everything prospers in house and field. The house is no work of art; but an architect might learn symmetry from it. Care is taken of the field, that it shall not be left disorderly and waste, or go to ruin through slovenliness and neglect; in return the grateful Ceres wards off damage from the produce, that the high-piled sheaves may gladden the heart of the husbandman. Here hospitality still holds good; every one who has but imbibed mother's milk is welcome. the bread-pantry and wine-vat and the store of sausages on the rafters, lock and key are at the service of the traveller, and piles of food are set before him; contented sits the sated guest, looking neither before nor behind, dozing by the hearth in the kitchen. the warmest double-wool sheepskin is spread as a couch for him. "Here people still as good burgesses obey the righteous law, which neither out of envy injures the innocent, nor out of favour pardons the guilty. Here they speak no evil against their neighbours. Here they trespass not with their feet on the sacred hearth, but honour the gods with devotion and with sacrifices, throw for the house-spirit his little bit of flesh into his appointed little dish, and when the master of the household dies, accompany the bier with the same prayer with which those of his father and of his grandfather were borne forth".
In another satire there appears a "Teacher of the Ol", (
Formerly the Roman husbandman had his beard shaven once every week; now the rural slave cannot have it fine enough. - Formerly one saw on the estates a corn-granary, which held ten harvests, spacious cellars for the wine-vats and corresponding wine-presses; now the master keeps flocks of peacocks, and causes his doors to be inlaid with African cypress-wood. - Formerly the housewife turned the spindle with the hand and kept at the same time the pot on the hearth in her eye, that the pottage might not be singed; now", it is said in another satire, "the daughter begs her father for a pound of precious stones, and the wife her husband for a bushel of pearls. - Formerly a newly-married husband was silent and bashful; now the wife surrenders herself to the first coachman that comes. - Formerly the blessing of children was woman's pride; now if her husband desires for himseli children, she replies: Knowest thou not what Ennius says?
28. "The innocent", so ran a speech, "thou draggest forth, trembling in every limb, and on the high margin of the river's bank in the dawn of the mornin", [thou causest them to be slaughtered]. Several such phrases, that might be inserted without difficulty in a commonplace novel, occur.