Julius Faustinus, see LMÜLLER, RhM. 20, 457. cf. 20, 634. MHAUPT op. 1, 289. ... เ 27. The fable, in which paraenetic subjects are dressed in tales especially relating to animal-life (beast-fable), appears in Roman literature at first in the saturae of Ennius, Lucilius and Horace, but becomes an independent species in Phaedrus (in senarii) in the time of Tiberius and Claudius. In the third century Titianus made a prose translation of the fables of Babrios. Symmachus seems to have written similar works, most probably in metre, and about a century after him Avianus composed in elegiacs 42 fables on subjects taken from Babrios. Greek fables with Latin translations are to be found in the school-book of the so-called Dositheus. The prose version of the fables of Phaedrus by the so-called Romulus, dating at latest from the tenth century, formed in the Middle Ages the nucleus for a number of other collections. 1. The Aesopian fable of the crested lark in Ennius (in satiris versibus quadratis), GELL. 2, 29. Cf. § 103, 1. The fable of the sick lion (Hor. E. 1, 1, 73 sqq.) appears already in Lucilius (NoN. 303). Others in HORACE, S. 2, 6, 79. E. 1, 7, 29. 1, 16, 45. 1, 10, 34. Allusions to fables in HOR. S. 2, 3, 299. 2, 5, 56. E. 1, 3, 19. 2. SENECA Cons. ad Polyb. 8, 27 non audeo te usque eo producere ut fabellas quoque 38 139 et Aesopeos logos, intemptatum romanis ingeniis opus, solita tibi venustate conectas. As 3. Quintil. 1, 9, 2 Aesopi fabellas, quae fabulis nutricularum proxime succedunt, narrare sermone puro et nihil se supra modum extollente, deinde eandem gracilitatem stilo exigere condiscant (pueri aetatis nondum rhetorem capientis). PHAEDR. 1, prol.: duplex libelli dos est: quod risum movet et quod prudenti vitam consilio monet. Cf. ib. 2, prol.; 3, prol. 33; 4, 2, 1. Append. epil.: hoc Musa quod ludit mea nequitia pariter laudat et frugalitas. 4. On the mediaeval collections of fables KROTH, Phil. 1, 523. HOESTERLEY, Romulus, die Paraphrasen des Phaedrus und die äsopische Fabel im Mittelalter, Berl. 1870. LHERVIEUX, les fabulistes latins depuis le siècle d'Auguste jusqu'à la fin du moyen-âge, Paris 1884 II. 28. Satire was introduced into literature through Ennius, who gave the title of Saturae to a collection of his miscellaneous poems. This example was followed perhaps by his nephew Pacuvius, certainly by the Roman knight C. Lucilius. Criticism of the public affairs of his time, which preponderated in the latter, henceforth became a principal feature in the conception of the satire; after a few imitators of less note, Horace, endowed with brilliant gifts, continued in the method of Lucilius, energetically pursuing the same aims. But he softened the acrimony of the personal attacks, and directed his criticism chiefly to social and literary life. Horace employed without exception the hexameter, for which Lucilius had shown a decided preference. The Saturae Menippeae of the polyhistor Varro, composed in a free interchange of prose and verse, found in Nero's time imitators in Seneca ('ATTOKOλOKÚVтWσis) and Petronius. On the other hand Horace had an imitator in the youthful Stoic Persius. After the death of Domitian, the rhetorician Juvenal wrote his gloomy moral lectures and portraits. Besides these chief representatives of this branch, a few of less importance are named. A satirical spirit appears also in L. Apuleius' prosenovel (the 'Metamorphoses) and in several apologetic and polemic works of Tertullian. In the fifth century, Claudian wrote his invectives against Rufinus and Eutropius in epic metre. 1. DIOMED. GL. 1, 435 satira dicitur carmen apud Romanos nunc quidem maledicum et ad carpenda hominum vitia archaeae comoediae charactere (QUINT. 10, 1, 93 says more justly satira quidem tota nostra est) compositum, quale scripserunt Lucilius et Horatius et Persius. at olim carmen quod ex variis poematibus constabat satira vocabatur, quale scripserunt Pacuvius et Ennius (on Naevius as an author of satires see § 95, 9). LYD. de mag. 1, 41 μeo' dv (Lucilius) Kal Toùs μer' aúтóv, oðs kaλoûσ Ρωμαίοι σατυρικούς, οἱ νεώτεροι τὴν σατυρικὴν ἐκράτυναν κωμῳδίαν, Οράτιος μὲν οὐκ ἔξω τῆς τέχνης χωρῶν, Πέρσιος δὲ τὸν ποιητὴν Σώφρονα μιμήσασθαι θέλων τὸ Λυκόφρονος παρῆλθεν ἀμαυρόν Τούρνος (§ 323, 2) δὲ καὶ Ιουβενάλιος καὶ Πετρώνιος αὐτόθεν ταῖς λοιδορίαις ἐπεξελθόντες τὸν σατυρικὸν νόμον παρέτρωσαν. On the original meaning of the word satura see § 6, 2. Cf. also § 103, 1. 2. HOR. S. 1, 10, 54 (46) hoc erat, experto frustra Varrone Atacino (§ 212, 2 ad fin.) atque quibusdam aliis, melius quod scribere possem. To these quidam alii most probably belonged the polyhistor Varro with his four books of Saturae, then L. Abuccius (§ 192, 1), C. Trebonius (§ 210, 9) and the freedmen Sevius Nicanor (§ 159, 3) and Lenaeus (§ 211, 3).-Other satirists are Julius Florus (§ 242, 3), Silius (§ 332, 9), Manlius Vopiscus (§ 324, 2), Julius Rufus (? § 324, 5), and subsequently Tetradius (§ 421, 2 m). On Lucillus see § 448, 5; the letter from Victor to the abbot Salomo § 464, 6; on Secundinus § 466, 10; a satire from Arelate in AP. SIDON. 1, 11. On those of Sulpicia § 323, 7. 3. The curious mixture of prose and verse peculiar to the saturae Menippeae is shown in Martianus Capella, Boethius de consol. philos., Julius Valerius (§ 399) and the Historia Apollonii regis Tyri. But notwithstanding these cannot well be ranked as menippeae, as in them the admixture of verse only serves to give variety to the whole, but the satirical element is wanting.—The pamphlet against the Emperor Claudius, which appeared anonymously, μwpŵv èπaváoraσis (SUET. Claud. 38) was perhaps a satura like the ȧTokoλokúvтwols; see BÜCHELER'S Petr. ed. min.3 244.-Satire in the form of a will by Fabricius Veiento (§ 297,7); in the third to fourth cents. the will of a pig already mentioned by Jerome (cf. § 47, 1), a parody on the juridical testamentary forms, taken from MSS. s. IX sqq. last edited by HAUPT, Op. 2, 175 and BÜCHELER, Petron. ed. min. p. 241. Cf. § 47, 1. 49, 1. 4. ICASAUBONUS de satyrica Graecorum poesi et Roman. satira, Par. 1605. Halle 1774. CLROTH, kl. Schrr. 2 (Stuttg. 1857), 384. 411; zur Theorie und innern Gesch. d. röm. Sat., Stuttg. 1848. TEUFFEL PRE. 6, 819. SCHEIBE, de sat. Rom. orig. et progressu, Zittau 1849. FHAASE, d. röm. Satire, in Prutz' Deutsch. Mus. 1851, 858. ARMACEWEN, origin and growth of the Rom. Satir. poetry, Oxf. 1876. HNETTLESHIP, the Rom. satura, its original form etc., Oxf. 1878.-ESZELINSKI, de nominibus personarum ap. poett. satir. Rom., Königsb. 1862. JSCHULTZ, de prosodia satiricorum rom. capp. II (de muta cum liquida et de synaloephe), Königsb. 1864. 29. The Idyl was on the whole foreign to the Romans. Tibullus possesses the greatest share of idyllic spirit, after him Vergil and, in his peculiar fashion, also Horace. But on the whole the Romans were too well acquainted with country-life to idealise it. Vergil, who had grown up in the country, in his youth at first chanced upon this species and imitated Theokritos without coming up to him, even spoiling this kind of poetry by giving it an allegorical character. But the Moretum is a proof of the humour of its author. The supposed Valerius Cato's Dirae are midway between Idyl and Satire, though more akin to the first, especially by their amoebaean composition. In the beginning of Nero's reign we have the seven Eclogues of Calpurnius Siculus, imitated by Nemesianus at the end of the third century. Perhaps to the same time belong Septimius Serenus' Opuscula ruralia, in various lyric metres, but Idyls as to their subjects. Further several portions of Ausonius' Mosella are of a rural character, and at the end of the fourth century we have the poem de mortibus boum by the Christian rhetorician Severus Sanctus Endelechius, 1. DIOMED. GL. 1, 486 bucolica dicuntur poemata secundum carmen pastorale composita. On the name idyl see WCHRIST, Verhandl. d. Würzb. Philologenvers. (Lpz. 1869) 49. Ecloga (selected piece) designated in the Imperial period any lesser poem = idyllium, poematium, see PLIN. ep. 4, 14, 9 sive epigrammata sive idyllia sive eclogas sive poematia vocare malueris. Eclogae is the name given in the MSS. to the pastoral songs of Vergil, Calpurnius, Nemesianus, and to a collection of lesser poems by Ausonius. 2. In VERGIL'S Georg. see esp. 2, 458 sqq. HORACE (S. 2, 6. E. 1, 10) cherishes and praises rustic life as healthful and independent.-On the idyllic poet Sueius § 150, 7; on Fontanus § 254, 1; on Messala's idyls in Greek § 222, 3. 3. On the two hermitical poems (imitations of the Vergilian eclogues, converted into eulogies on Nero) see § 306, 4. On Boethius' carmen bucolicum see HUSENER, anecd. Holder. (1877) 42 (see § 478, 3).-The contention between Spring and Winter AL. 687 belongs to the Middle Ages, see DÜMMLER'S poetae aevi Carolini 1, 270. 4. The poems, not on bucolic subjects, which in the earlier editions of Ausonius and Claudian are entitled Eidyllia, do not bear this name in the MSS. Cf. § 421, 2 k; § 439, 6.—Hunger, de poesi Rom. bucolica, Halle 1841. RUNger, Valg. Ruf. 285. TEUFFEL, PRE. 14, 2528. 30. 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 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 etc.), songs in honour of the departed, laments, enchantments, and other things which became carmina by the employment of the saturnian metre. Besides these, the national bent for sharp criticism led at an early time to abusive ditties, such as the Fescenninae, the soldiers' songs on the triumphator, and probably many cantica were interspersed in the popular farces. Christian Latin lyric poetry developed in a remarkable manner especially in hymn-composition, in which Ambrosius particularly became the model for later times. 1. SEN. ep. 49, 5 indignor aliquos ex hoc tempore quod sufficere ne ad necessaria quidem potest . . in supervacua maiorem partem erogare. negat Cicero, si duplicetur sibi aetas, habiturum se tempus quo legat lyricos copus illi ex professo lasciviunt.—Official lyrics of Livius Andronicus (Liv. 27, 37., FEST. 333), P. Licinius Tegula (Liv. 31, 12 see § 114, 3), subsequently those of Catullus (c. 34 to Diana) and of Horace (c. saec.).—Contemporaneously with Ennius a certain Memmia (?) is supposed to have written hymns to Apollo and the Muses (ISID. orig. 1, 39, 17)! 2. ISID. offic. eccl. 1, 6 (cf. besides § 433, 4) Hilarius Gallus, episcopus Pictaviensis (§ 418), hymnorum carmine floruit primus. post quem Ambrosius Mediolanensis episcopiosius in huius modi carmine claruisse cognoscitur atque inde hymni ex eius nomine Ambrosiani vocantur, quia eius tempore primum in ecclesia Mediolanensi celebrari coeperunt, cuius celebritatis devotio dehinc per totius occidentis ecclesias observatur. carmina autem quaecumque in laudem Dei dicuntur hymni vocantur.— HADANIEL, thesaurus hymnologicus, Halle 1841-56 V. AEBERT, Lit. d. MAlters 1, 164 and elsewhere. THIERFELDER, de Christianorum psalmis et hymnis usque ad Ambrosii tempp., Lps. 1868. JBKAYSER, Beitr. z. Gesch. u. Erkl. d. Kirchenhymnen, Paderb. 2 1881. 1886 II. GPIMONT, les hymnes du bréviaire romain, Par. 1874. FJMONE, lat. Hymnen des MAlters, Freiburg 1853-55 III.-The Christian hymns are chiefly in trochaic and iambic metre, with particular preference for the iambic dimeter, in strophes which are frequently embellished with rhyme and alliteration. The verses are at first constructed according to quantity, increasing gradually in freedom, until at last they become entirely rhythmical. The chief representatives of hymn-composition after Ambrosius are Prudentius, Sedulius, Ennodius, Venantius Fortunatus, Gregory the Great. Cf. JHUEMER, der iamb. Dim. bei den christl.-lat. Hymnendichtern der vorkaroling. Zeit, Wien 1876; die ältesten lat.-christl. Rhythmen, Wien 1879. 31. Among the literary forms of lyric poetry, the most elegant, the Epigram, was first cultivated, partly for inscriptions, partly for allegory and occasional verses, in part too for light erotic trifles. In the first application it was used after Ennius more and more frequently on sepulchral monuments, buildings, utensils, works of art etc.; sometimes in hexameters (e.g. in the dedication by Mummius to Hercules Victor a. 608/146, CIL. 1, 542), sometimes in distichs (as in the sepulchral inscription of Cn. Cornelius Scipio Hispanus, praetor 615/139, CIL. 1, 38), most systematically in Varro's Imagines. In the first half of the seventh century u. c. we have as representatives of the two other uses of the epigram Pompilius, Valerius Aedituus, Porcius Licinus, Q. Lutatius Catulus, Quinctius Atta; in the second half Varro Atacinus, Licinius Calvus and Catullus and probably Q. Hortensius, C. Memmius, Q. Scaevola and others to whom erotic poems are ascribed. In the Augustan age Augustus himself, Domitius Marsus, Pedo, Cornificia, Sulpicia, Gaetulicus. Then under Domitian, the epigram in various forms was treated in a masterly manner by Martial; Ausonius also has several examples, and for a long time such trifles continued to be produced, |