Post-Augustan Poetry | Page 3

of description, p. 304.?Mordant epigram and rhetoric, p. 308.?Moral and religious ideals, p. 311.?Sententiae, p. 315.?Poetry, p. 316.?Metre, p. 317.?The one great poet of the Silver Age, p. 317.
INDEX OF NAMES, p. 321
FOOTNOTES
CHAPTER I
THE DECLINE OF POST-AUGUSTAN POETRY
During the latter years of the principate of Augustus a remarkable change in literary methods and style begins to make itself felt. The gradual extinction of the great luminaries is followed by a gradual disappearance of originality and of the natural and easy-flowing style whose phrases and felicities adorn, without overloading or obscuring the sense. In their place comes a straining after effect, a love of startling colour, produced now by over-gorgeous or over-minute imagery, now by a surfeit of brilliant epigram, while controlling good sense and observance of due proportion are often absent and imitative preciosity too frequently masquerades as originality. Further, in too many cases there is a complete absence of moral enthusiasm, close observation, and genuine insight.
What were the causes of this change? Was it due mainly to the evil influence of the principate or to more subtle and deep-rooted causes?
The principate had been denounced as the fons et origo mali.[1] That its influence was for evil can hardly be denied. But it was rather a symptom, an outward and visible sign of a deep-engrained decay, which it accentuated and brought to the surface, but in no way originated. We are told that the principate 'created around itself the quiet of the graveyard, since all independence was compelled under threat of death to hypocritical silence or subterfuge; servility alone was allowed to speak; the rest submitted to what was inevitable, nay, even endeavoured to accommodate their minds to it as much as possible.' Even if this highly coloured statement were true, the influence of such tyrannical suppression of free thinking and free speaking could only have directly affected certain forms of literature, such as satire, recent history,[2] and political oratory, while even in these branches of literature a wide field was left over which an intending author might safely range. The direct influence on poetry must have been exceedingly small. If we review the great poets of the Augustan and republican periods, we shall find little save certain epigrams of Catullus that could not safely have been produced in post-Augustan times. Moreover, when we turn to what is actually known of the attitude of the early emperors towards literature, the balance does not seriously incline against them. It may be said without hesitation of the four emperors succeeding Augustus that they had a genuine taste and some capacity for literature.
Of two only is it true that their influence was in any way repressive. The principate of Tiberius is notorious for the silence of literature; whether the fact is due as much to the character of Tiberius as to the temporary exhaustion of genius following naturally on the brilliance of the Augustan period, is more than doubtful. But Tiberius cannot be acquitted of all blame. The cynical humour with which it pleased him to mark the steady advance of autocracy, the lentae maxillae which Augustus attributed to his adopted son,[3] the icy and ironic cruelty which was--on the most favourable estimate--a not inconsiderable element in his character, no doubt all exercised a chilling influence, not only on politics but on all spontaneous expression of human character. Further, we find a few instances of active and cruel repression. Lampoons against the emperor were punished with death.[4] Cremutius Cordus was driven to suicide for styling 'Brutus and Cassius the last of all the Romans'.[5] Mamercus Scaurus had the misfortune to write a tragedy on the subject of Atreus in which he advised submission to Atreus in a version of the Euripidean
[Greek: tas ton turann_on amathias pherein chreon][6]
He too fell a victim to the Emperor's displeasure, though the chief charges actually brought against him were of adultery with the Princess Livilla and practice of the black art. We hear also of another case in which _obiectum est poetae quod in tragoedia Agamemnonem probris lacessisset_ (Suet. Tib. 61). It is worthy of notice that actors also came under Tiberius's displeasure.[7] The mime and the Atellan farce afforded too free an opportunity for improvisation against the emperor. Even the harmless Phaedrus seems to have incurred the anger of Sejanus, and to have suffered thereby.[8] Nor do the few instances in which Tiberius appears as a patron of literature fill us with great respect for his taste. He is said to have given one Asellius Sabinus 100,000 sesterces for a dialogue between a mushroom, a finch, an oyster, and a thrush,[9] and to have rewarded a worthless writer,[10] Clutorius Priscus, for a poem composed on the death of Germanicus. On the other hand, he seems to have had a sincere love of literature,[11] though he wrote in