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The prologues of Terence promise "pure Latin"; warfare against faults of language forms a chief element of the Lucilian satire; and with this circumstance is connected the fact, that composition in Greek among the Romans now falls decidedly into the shade.
In this in the moral ascendency and the proud sense of freedom of the poet of Suessa lies the reason why the refined Venusian, who in the Alexandrian age of Roman poetry revived the Lucilian satire, in spite of all his superiority in formal skill with true modesty yields to the earlier poet as "his better."
The uncommon popularity of the Lucilian poem is, in a historical point of view, a remarkable event; we see from it that literature was already a power, and beyond doubt we should fall in with various traces of its influence, if a thorough history of this period had been preserved.
But Lucilian had no sooner recovered his spirits than he betrayed his want of discretion, by presuming to admonish his conqueror that he had rashly ventured, with a handful of men, to expose his person in the midst of his enemies.
But at the same time contemporaries capable of judging complain that the Hellenic culture in Italy about 690 was at a far lower level than it had been a generation before; that opportunities of hearing pure and good Latin were but rare, and these chiefly from the mouth of elderly cultivated ladies; that the tradition of genuine culture, the good old Latin mother wit, the Lucilian polish, the cultivated circle of readers of the Scipionic age were gradually disappearing.
Corporations, classes, individuals, were everywhere severally mentioned by name; the poetry of political polemics, shut out from the Roman stage, was the true element and life-breath of the Lucilian poems, which by the power of the most pungent wit illustrated with the richest imagery a power which still entrances us even in the remains that survive pierce and crush their adversary "as by a drawn sword."
But at the same time contemporaries capable of judging complain that the Hellenic culture in Italy about 690 was at a far lower level than it had been a generation before; that opportunities of hearing pure and good Latin were but rare, and these chiefly from the mouth of elderly cultivated ladies; that the tradition of genuine culture, the good old Latin mother wit, the Lucilian polish, the cultivated circle of readers of the Scipionic age were gradually disappearing.
Cicero assures us that about 660 the general culture in the Latin towns stood higher than in Rome; and this is confirmed by the literature of this period, whose most pleasing, healthiest, and most characteristic products, such as the national comedy and the Lucilian satire, are with greater justice described as Latin, than as Roman.
Corporations, classes, individuals, were everywhere severally mentioned by name; the poetry of political polemics, shut out from the Roman stage, was the true element and life-breath of the Lucilian poems, which by the power of the most pungent wit illustrated with the richest imagery a power which still entrances us even in the remains that survive pierce and crush their adversary "as by a drawn sword."
Now the boys play in the schools, the young men are laughed at in the forum, and, a worse symptom than either, no one, in his old age, will confess the errors he was taught in his school days. But that you may not imagine that I disapprove of a jingle in the Lucilian manner, I will deliver my opinions in verse, "The man who emerges with fame, from the school of stern art,
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