1. Diomed. III p. 483 P. = 486, 17 K.: bucolica dicuntur poemata secundum carmen pastorale composita.

-

2. In Virgil's Georg. see espec. II 448 sqq. Horace (S. II 6. Ep. I 10) cherishes and praises rustic life as healthful and independent. - Macrob. Sat. III 98, 19: Suevius, vir longe doctissimus, in idyllio quod inscribitur Moretum, from which he proceeds to quote 8 hexameters very different in tone from the pseudo-Virgilian Moretum; cf. ib. VI 5, 15: Suevius in libro quinto. Ovid most prohably alludes to Idyls ex Ponto IV 16, 35: (cum) Naidas a Satyris caneret Fontanus amatas. In the Augustan period M. Valerius Messala wrote in Greek Idyls of an erotic character (Ps. Verg. Catal. 11, 13—24).

3. Hunger, de poesi Rom. bucolica, Halle 1841. R. Unger, Valg. Ruf. p. 285-326. W. Teuffel in Pauly's R. E. I 2 p. 2528 sq.

26. Lyric poetry, or the poetry of the individual in its widest sense, did not greatly harmonise with the practical Roman mind, and was thus cultivated by them only late and to a limited extent. At a comparatively early time occur only those kinds which had a certain bearing upon actual life, e. g. religious songs (of the Salii, fratres arvales, the hymn of Andronicus), songs in honour of the departed, complaints, enchantments, and other things which became carmina by the employment of the Saturnian metre. Besides, the national bent for sharp criticism led at an early time to abusive ditties, such as the Fescenninae, the occentationes, the soldiers' songs. on the triumphator, and probably many cantica interpersed in the popular farces. Of the literary branches the easiest, the epigram, was first cultivated, partly to serve as inscription, partly as the mere product of wit and occasion, partly also as a small erotic elegy. For the first purpose it was, after Ennius, more and more employed on sepulchres and pictures, sometimes in hexameters only (as in Plautus' epitaph), sometimes in distichs (as in the epitaph of Cn. Cornelius Scipio Hispanus, praetor (615 v. c.), most systematically in Varro's Imagineș. Representatives of the other two uses of the epigram are in the first half of the seventh century Valerius Aedituus, Porcius Licinus, Q. Lutatius Catulus, Quintius Atta; in the second half, Varro Atacinus, Licinius Calvus and Catullus, perhaps also Hortensius, C. Memmius Gemellus, Q. Scaevola, and others to whom erotic poems are attributed; in the Augustan period Augustus himself, Domitius Marsus, Pedo, Corniferus, Sulpicia. Under Domitian the epigram in various forms was treated in a masterly manner by Martial;

in Ausonius also there are many things of this kind, especially in the style of sepulchral inscriptions. Even in the sixth century we have a collection of epigrams by Luxorius. In modern times these productions have been collected and published under the name of the Latin Anthology.

1. Lyricorum iucunditas, elegorum lasciviae, iamborum amaritudo, epigrammatum lusus, Tac. dial. 10. Ecquis nostrorum poetarum tám fluentes carminum delicias fecisset (as Anacreon)? nisi Catullus forte pauca et Calvus itidem pauca. nam Laevius implicata et Hortensius invenusta et Cinna inlepida et Memmius dura, ac deinceps omnes rudia fecerunt atque absona. Gell. XIX 9, 7; and ib. 10 sqq. versus Valeri Aeditui, .. item Porcii Licini et Q. Catuli are quoted, quibus mundius, venustius, limatius, tersius graecum latinumve nihil quidquam reperiri puto. Plin. Ep. V 3, 5 enumerates as authors of erotic poems: M. Tullium, C. Calvum, Asinium Polionem, M. Messalam, Q. Hortensium, M. Brutum, L. Sullam, Q. Catulum, Q. Scaevolam, Ser. Sulpicium, Varronem, Torquatum, immo Torquatos, C. Memmium, Lentulum Gaetulicum, Annaeum Senecam, Lucanum, .. Verginium Rufum, . . D. Julium, D. Augustum, D. Nernam, Tiberium Caesarem; then Neronem, further on (ib. 6) P. Vergilius, Cornelius Nepos et prius Attius Enniusque. There seems to have been an erotic anthology at an early period, from which it is supposed that Pliny, Gellius (1. c.) and Apuleius (apol. 9) derived their special knowledge in this field. For the epigrams see above 11, 3. Cicero's freedman, M. Tullius Laurea, wrote epigrams in Latin (Plin. N. H. XXXI 2) as well as in Greek (Anth. gr. II p. 90 sq.)

1. Catalecta veterum poetarum by Jos. Scaliger, Lugd. Bat. 1593. 1617. Epigrammata vett. e codicibus et lapidibus collecta, by P. Pithoeus, Paris 1590. Anthologia latina by P. Burmann, Amsterdam 1759 and 1773. 2 voll. 4o. Anthologia vett. latt. epigrammatum et poem. ed. H. Meyer, Lips. 1835. 2 voll. [Critical edition by A. Riese in the Teubner collection.] A critical revision of the old materials and collection of the numerous materials recently accumulated have been promised by L. Müller.

27. Iambics, familiar from the drama, were at an early time employed for other purposes, e. g. for epitaphs, as in that of Pacuvius. For the carmen maledicum the iambic metre seems to have been first employed among the Romans by Furius Bibaculus, after him by Catullus, Calvus, also the younger Cato, Horace in his Epodes, and Bassus. The Imperial period was not favourable to this species, and iambics were then mostly employed without special purpose. But part of the poems of Martial is in this metre, and in a later period Ausonius endeavoured to revive iambics in their original application.

1. Diomed. III p. 581 P. = 485, 11 sqq. K.: iambus est carmen maledicum... cuius carminis praecipui scriptores. . apud Romanos Lucilius

et Catullus et Horatius et Bibaculus. Quintil. X 1, 96: iambus non sane a Romanis celebratus est ut proprium opus, quibusdam interpositus. cuius acerbitas in Catullo, Bibaculo, Horatio, quamquam illi epodos interveniat, reperietur. Comp. ib. IX 4, 41: aspera et maledica. . etiam in carmine iambis grassantur. X 1, 9: scriptores.. iamborum veterisque comoediae etiam in illis (parum verecundis verbis) saepe laudantur. Ovid. Rem. am. 377 sqq.: liber in adversos hostes stringatur iambus, seu celer extremum seu trahat ille pedem (choliambics). Catull. 36,5: (truces vibrare iambos) and 40, 1 he uses iambus of maledica carmina in general, without regard to metre, also of hendecasyllabics, much as he himself and Martial after him employed them with preference.

2. Plut. Cato min. 7: ὀργῇ καὶ νεότητι τρέψας ἑαυτὸν εἰς ἰάμβους πολλὰ τὸν Σκιπίωνα καθύβρισε, τῷ πικρῷ προσχρησάμενος τοῦ ̓Αρχιλόχου, τὸ δ ̓ ἀκόλαστον ἀφεὶς καὶ παιδαριώδες. Ovid. Trist. IV 10, 47: Bassus quoque clarus iambo. Cf. Propert. I 4. The time and the kind of poetry would fit the rhetor Julius Bassus (Sen. p. 295. 303 Bu.). Lenaeus' satire (Suet. gramm. 15) and Ovid's Ibis were iambic in their subjects. Among the pseudo-Virgilian Catalecta 2 and 7 are in choliambics, 3-5 and 8 iambic; Matius' mimiambi were also choliambic, Petron. Sat. 5, Persius' prologue and part of the poems of Martial. Among the Priapeics we have also the iambus represented. Antistius Sosianus probrosa adversus principem (Nero) carmina (iambics?) factitavit volgavitque (62 A. D.), Vopisc. Car. 11, 2 (p. 221, 16 sq. Peter.). Jocular epigrams on contemporary events in hendecasyllabics in Lamprid. Alex. Sev. 38. In Ausonius see espec. Epigramm. 45-52 against the rhetor Rufus.

3. In the Inscriptions iambic senarii are not scarce; see 126, 3. Thus the inscription at Bonn on an altar by L. Fulvius Maximus (Rhen. Mus. XIX p. 53-62. Jahrb. d. rheinl. Alt. Fr. XXXVI p. 116 sqq. XXXVII p. 151 sqq. Annal. dell' Inst. arch. XXXVI p. 224 sqq.), the inscription in memory of the schoolmaster Fusius Philocalus (Hermes I p. 148–151, see ib. p. 151–155 [Trans. of the Phil. Soc. 1867 p. 250]), the epitaph of Senenia Pollia (Orelli-Henzen 6237. Ritschl, Rh. Mus. XVII p. 300 sqq.) and many others (comp. Fröhner, Philologus XIII p. 176. 183. 185.) Choliambics e. g. in Orelli 4828 (Rome), Mommsen I. R. N. 2001 (Nola), Jahrb. der rheinl. Alt. Fr. XXXII p. 63, Meyer Anth. lat. 1309. Epitaph of a dog in hendecasyllabics with reminiscences of Catullus, from Auch, Hermes I p. 68, [Trans. Phil. Soc. 1867 p. 251].

28. At the end of the Republic, when the knowledge of Greek literature at Rome had become more extensive and life more exciting, nearly every well-educated Roman would occasionally attempt some kind or other of small poems; even the more talented poets, e. g. Varro Atacinus, Laevius, Calvus and Catullus roamed undecidedly through various kinds and metrical forms; Catullus alone became the first real lyric poet among the Romans on account of the love and hatred embodied in his poems. Horace continued in his track

with much less personal pathos, but with refined critical taste. Others in his time did not get beyond mere playing and first attempts. In the first century of the Christian era formal elegance was very common, and as a consequence, there was much dallying with poetry; but not one of the numerous lyric poets of this or the next succeeding period gained eminence and lasting influence: e. g. Caesius Bassus, Saleius Bassus, Gaetulicus, Arruntius, Stella, Vestricius Spurinna, the younger Pliny, P. Annius Florus, Voconius, Hadrian, Sentius Augurinus, Pompeius Saturnius, Annianus. This mastery over the form which incited many poetse. g. Septimius Serenus and Terentianus Maurus to write verses merely to give examples of the various metres, is very brilliantly represented by Statius and Ausonius, even by Sidonius Apollinaris; nor is the Pervigilium Veneris a despicable specimen of the lyric art of the second and third centuries. Among the Christian poets of the fourth century Prudentius is remarkable for the variety of the melic metres employed by him, and Ambrosius for the depth of feeling displayed in his hymns.

1. The oldest melic poets under the influence of the Roman notions and on account of their playful character, style their works nugae, ineptiae, (Eroto-)paegnia, opuscula etc. Many of the poets enumerated by Pliny (Ep. V 3, 5: see above 26, 1) belong to this class, perhaps also Cassius of Parma. In the Augustan period perhaps Titius (Hor. Ep. I 3, 9 sqq.), Julus Antonius (Hor. O. IV 2) and Rufus (Ov. ex Ponto IX 16, 28); besides Maecenas' attempts and Melissus' Ineptiae; also a number of Priapeia, 87 jocular and obscene poems on Priapus in various metres, espec. iambics and hendecasyllabics, the authors generally anonymous, in the first century of the Christian era, from Catullus to Martial. Their text is found in the edd. of the Latin Anthology and in Bücheler's smaller edition of Petronius (Berlin 1862) p. 109 sqq., see also his Vindiciae libri Priapeiorum, Rhen. Mus. XVIII 381-415. [also in L. Müller's edition of Catullus, Tibullus and Propertius, in the Teubner coll.] a disquisition on them by J. F. Wernicke, I. Thorn 1853. 144 pp. 8°.

2. Quintil. X 1, 96: lyricorum Horatius fere solus legi dignus. . . si quem adicere velis, is erit Caesius Bassus, quem nuper vidimus; sed eum longe praecedunt ingenia viventium (perhaps he has in his mind especially Arruntius Stella, Vestricius Spurinna, probably even Statius, which would also give us a corrective for his judgment on Bassus). These late lyric poets lacked less the form than the subjects. versiculi of Pliny, on erotic subjects, espec. hendecasyllabics, Ep. V 3, 1, VII 4, 1. 7 sqq. His contemporary is Passennus Paullus, an imitator of Horace (ib. IX 22, 2). Voconius poeta (under Hadrian) versu lascivus, mente

pudicus (Apul. apol. 11); ipsius etiam D. Hadriani multa id genus legere me memini (ib.). International or involuntary exaggeration of the estimation of contemporary poets, e. g. also with regard to Numerianus (Caesar 284 A. v.) in Vopisc. Car. 11, 2: versu talis fuisse praedicatur ut omnes poetas sui temporis vicerit. A votive inscription by Alfenus Fortunatus in Ionics, Renier, Inscr. de l' Alg. 157.

29. Through the influence of the Alexandrine poets the Elegy, at the close of the Republic, gained ground at Rome, and there the disciples far surpassed their Greek originals in truth and warmth of sentiment as well as in formal finish. Catullus, it is true, moves in this kind in general with a certain awkwardness; Tibullus produced masterpieces, Propertius passionate pictures, and Ovid was quite at home in the Elegy. In the first century of the Christian era this kind was long fashionable, and was employed even in the schools for practice in style. But the intrinsic worth of these productions decreased in proportion. Later on, this metre shared the fate of the epic verse, being employed in all kinds of subjects, such as Epithalamium, Epicedium and Epitaph, enigmas, acrostichs and centos; and when the ancient prosody which was based on quantity began to decay before other forms of poetry had been developed, those two metres, being the most popular and widely used, were the first to suffer.

=

1. Diomed. III p. 481 sq. P. 484, 17 sqq. K.: elegia est carmen compositum hexametro versu pentametroque .. quod genus carminis praecipue scripserunt apud Romanos Propertius et Tibullus et Gallus, imitati Graecos Callimachum et Euphoriona. Quintil. X 1, 93: elegia quoque Graecos provocamus. cuius mihi tersus atque elegans maxime videtur auctor Tibullus. sunt qui Propertium malint. Ovidius utroque lascivior, sicut durior Gallus. For their chronogical succession see Ovid. Trist. IV 10, 63 sq.: successor fuit hic (Tibullus) tibi, Galle, Propertius illi; quartus ab his serie temporis ipse fui. - Cic. Tusc. III 19, 45 on Ennius: o poetam egregium, quamquam ab his cantoribus Euphorionis (Calvus, Catullus, Cinna etc.) contemnitur. The writers of short elegies (i. e. epigrams) in this period are enumerated above 25, with note 1. To them we should perhaps add Cassius of Parma (Hor. Ep. I 4, 3). In the Augustan period we have the author of the third book of Tibullus (Lygdamus).. An antithetic composition is attempted to be traced by C. Prien, on the symmetry and antithetic composition of Roman Elegy, Lübeck 1867. 85 pp. 4o.

2. Persius I 51 sq. si qua elegidia crudi dictarunt proceres. Juv. 13 sq.: impune.. mihi recitaverit ille togatas, hic elegos? In the reign of Domitian, Arruntins Stella composed elegies, in the time of the younger Pliny that writer himself (Ep. VII 4, 3. 7) and Passennus Paullus, eq. rom.,