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Vergil was one of the very few; he kept his candle lit at the shrine of Catullus still, but this was hardly to be expected of the rest. In prose also the Augustans upheld the refined and chaste work of classical Atticism, an ideal which they derived from the Romans of the preceding generation rather than from teachers like Apollodorus. Pollio and Messalla are now the foremost orators.
The early death of both Propertius and Tibullus occurred before Ovid published his first volume; and Horace, the last survivor of the older Augustans, had died some years before that volume was followed by any important work.
Such a treatment of a woman of social station would be in line with the customs of the "new poets," Catullus, Calvus, and Ticidas, rather than of the Augustans, Gallus, Propertius, and Tibullus.
A revolution in the technique of stone-cutting must have set in soon after his death, for thenceforward we find the most intractable rocks cut into slices thin as card-board: too thin for pavements, and presumably for encrusting walls and colonnades. The Augustans, unable to produce these effects naturally, attempted imitation-stones, and with wonderful success.
Terence, Virgil, Ovid, the Augustans and the men of the silver age, were familiar in the Irish schools; and to these Latin writers were soon added the Greeks, more especially as was natural the Greek Fathers, the religious philosophers, and those who embodied the thought and controversies of the early Christian centuries.
Is it possible that the malignant genius of a single historian should outweigh, not only perishable facts, but the large body of imperialist literature which extends from the great Augustans down to Statius and Quintilian? Even if we set aside Juvenal and Suetonius as a rhetorician and a gossipmonger, that only makes the weight Tacitus has to sustain more overwhelming.
Nor can it be admitted that, as a periodical writer, Fielding was at his best. In spite of effective passages, his essays remain far below the work of the great Augustans, and are not above the level of many of their less illustrious imitators.
The desire for peaceful retirement, characteristic of the early Augustans, the contentment with lettered leisure that signalises the poetry of the later Augustans, have both given place to a restless excitement, and to a determination to make the most of literature as an aid to a successful career.
His note, on reading the Quarterly on his dramas, "I am the most unpopular man in England," is like the cry of a child under chastisement; but he had little affinity, moral or artistic, with the spirit of our so-called Augustans, and his determination to admire them was itself rebellious. Again we are reminded of his phrase, "I am of the opposition."
In many respects he was a curious survival of the cumulative humanities of the eighteenth century. He might have been, like good Dr. Arbuthnot, an ornament of the Augustan age. He shared with the English Augustans a liking for the rhymed couplet, an instinctive social sense, a feeling for the presence of an imaginary audience of congenial listeners. One still catches the "Hear!
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