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Updated: June 26, 2025
The Dean shook his head. "A touch of soeva indignatio now and then would complete him." "Has he got it in him?" "Perhaps not," said the little Dean, with a flash of expression that dignified all his frail person. "But without it he will hardly make a great man."
With them, as Juvenal said of himself, "facit indignatio versus," and wrath is the element, as a general rule, neither of wit nor humor. Swift, in the epitaph he wrote for himself, speaks of the grave as a place "ubi saeva indignatio cor ulterius lacerare nequeat," and this hints at the sadness which makes the ground of all humor.
The facit indignatio replaces the Gracchi. Under the Caesars, there is the exile to Syene; there is also the man of the Annales.
He adds that he is now fairly master of the iambic form and that the verse cannot fail to impart splendor and dignity. So we see that by the end of his first year in Mannheim Schiller had indeed undergone a change. The saeva indignatio of the dramatic pamphleteer had given way to the serener mood of the poetic artist.
Raleigh's most notable verses, The Lie, are a challenge to the world, inspired by indignant pride and the weariness of life the saeva indignatio of Swift. The same grave and caustic melancholy, the same disillusion marks his quaint poem, The Pilgrimage.
Belloc, and Mr. Chesterton have written books the motives of which have been satire, divine anger, sæva indignatio, directed against the established moral codes or intellectual habits of the time. Mr. Shaw, who originally followed the obscure Samuel Butler, showed the way for the others. His method was, and is, to combine argument with the more telling weapon of ridicule.
"Si natura negat, facit indignatio versum " But, thanks to Popes who have wisely prohibited satirists and satire, ye are free to follow, unscathed by the Iambic muse, this or any other pastime you please, however unsuited in character to the dignity of your descent.
Such a man was Swift, in whom the saeva indignatio was a bitterness to others, because it was a bitterness to himself. Such a satirist Whistler was not. He did not laugh because he was happy, like Rabelais. But neither did he laugh because he was unhappy, like Swift.
Nay, according to the well-known line, “facit indignatio versus;” not the words alone, but even the rhythm, the metre, the verse, will be the contemporaneous offspring of the emotion or imagination which possesses him. “Poeta nascitur, non fit,” says the proverb; and this is in numerous instances true of his poems, as well as of himself.
He displays not the sæva indignatio, which won another novelist of Chicago so indiscreet a fame. He is for gentler methods and plainer judgments.
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