He alone of all the great poets of his day remained undazzled by the glitter of the Caesarian usurpation, and pined away in unavailing despondency, in beholding the subjugation of his country."

[Sidenote: Propertius.]

His contemporary, Propertius, [Footnote: Born B.C. 51.] was, on the contrary, the most eager of all the flatterers of Augustus,--a man of wit and pleasure, whose object or idolatry was Cynthia, a poetess and a courtesan. He was an imitator of the Greeks, but had a great contemporary fame, [Footnote: Quint., x. 1. Section 93.] and shows great warmth of pa.s.sion, but he never soared into the sublime heights of poetry, like his rival. Such were among the great elegiac poets of Rome, generally devoted to the delineation of the pa.s.sion of love. The older English poets resembled them in this respect, but none of them have soared to such lofty heights as the later ones, like Wordsworth and Tennyson. It is in lyric poetry that the moderns have chiefly excelled the ancients, in variety, in elevation of sentiment, and in imagination.

The grandeur and originality of the ancients were displayed rather in epic and dramatic poetry.

[Sidenote: Juvenal.]

[Sidenote: Perseus.]

In _satire_ the Romans transcended both the Greeks and the moderns.

There is nothing in any language which equals the fire, the intensity, and the bitterness of Juvenal,--not even Swift and Pope. But he flourished in the decline of literature, and has neither the taste nor elegance of the Augustan writers. He was the son of a freedman, and was born A.D. 38, and was the contemporary of Martial. He was banished by Domitian on account of a lampoon against a favorite dancer, but under the reign of Nerva he returned to Rome, and the imperial tyranny was the subject of his bitterest denunciation, next to the degradation of public morals. His great rival in satire was Horace, who laughed at follies; but he, more austere, exaggerated and denounced them. His sarcasms on women have never been equaled in severity, and we cannot but hope that they were unjust. In an historical point of view, as a delineation of the manners of his age, his satires are priceless, even like the epigrams of Martial. Satire arose with Lucilius, [Footnote: Born B.C.

148.] in the time of Marius, an age when freedom of speech was tolerated. Horace was the first to gain immortality in this department.

Persius comes next, born A.D. 34, the friend of Lucan and Seneca in the time of Nero; and he painted the vices of his age when it was pa.s.sing to that degradation which marked the reign of Domitian when Juvenal appeared, who, disdaining fear, boldly set forth the abominations of the times, and struck without distinction all who departed from duty and conscience. This uncompromising poet, not pliant and easy like Horace, animadverted, like an incorruptible censor, on the vices which were undermining the moral health and preparing the way for violence; on the hypocrisy of philosophers and the cruelty of tyrants; on the weakness of women and the debauchery of men. He discourses on the vanity of human wishes with the moral wisdom of Dr. Johnson, and urges self-improvement like Socrates and Epictetus. [Footnote: The best translations of Juvenal are those of Dryden, Gifford, and Badham.]

I might speak of other celebrated poets,--of Lucan, of Martial, of Petronius; but I only wish to show that the great poets of antiquity, both Greek and Roman, have never been surpa.s.sed in genius, in taste, and in art, and few were ever more honored in their lifetime by appreciating admirers showing the advanced state of civilization which was reached in every thing pertaining to the realm of thought.

But the genius of the ancients was displayed in prose composition as well as in poetry, although perfection was not so soon attained. The poets were the great creators of the languages of antiquity. It was not until they had produced their immortal works that the languages were sufficiently softened and refined to admit of great beauty in prose. But prose requires art as well as poetry. There is an artistic rhythm in the writings of the cla.s.sical authors, like those of Cicero and Herodotus and Thucydides, as marked as in the beautiful measure of Homer and Virgil. Burke and Macaulay are as great artists in style as Tennyson himself. Plato did not write poetry, but his prose is as "musical as Apollo's lyre." And it is seldom that men, either in ancient or modern times, have been distinguished for both kinds of composition, although Voltaire, Schiller, Milton, Swift, and Scott are among the exceptions.

Cicero, the greatest prose writer of antiquity, produced only an inferior poem, laughed at by his contemporaries. Bacon could not write poetry, with all his affluence of thought and vigor of imagination and command of language, any easier than Pope could write prose.

All sorts of prose compositions were carried to perfection by both Greeks and Romans, in history, in criticism, in philosophy, in oratory, in epistles.

[Sidenote: Herodotus.]

The earliest great prose writer among the Greeks was Herodotus, [Footnote: Born B.C. 484.] from which we may infer that _History_ was the first form of prose composition which attained development. But Herodotus was not born until Aeschylus had gained a prize for tragedy, more than two hundred years after Simonides, the lyric poet, flourished, and probably six hundred years after Homer sung his immortal epics.

After more than two thousand years the style of this great "Father of History" is admired by every critic; while his history, as a work of art, is still a study and a marvel. It is difficult to understand why no anterior work in prose is worthy of note, since the Greeks had attained a high civilization two hundred years before he appeared, and the language had reached a high point of development under Homer for more than five hundred years. The history of Herodotus was probably written in the decline of life, when his mind was enriched with great attainments in all the varied learning of his age, and when he had conversed with most of the celebrated men of the various countries which he visited. It pertains chiefly to the wars of the Greeks with the Persians; but, in his frequent episodes, which do not impair the unity of the work, he is led to speak of the manners and customs of the oriental nations. It was once the fashion to speak of Herodotus as a credulous man, who embodied the most improbable, though interesting stories. But now it is believed that no historian was ever more profound, conscientious, and careful; and all modern investigations confirm his sagacity and impartiality. He was one of the most accomplished men of antiquity, or of any age,--an enlightened and curious traveler, a profound thinker, a man of universal knowledge, familiar with the whole range of literature, art, and science in his day, acquainted with all the great men of Greece and at the courts of Asiatic princes, the friend of Sophocles, of Pericles, of Thucydides, of Aspasia, of Socrates, of Damon, of Zeno, of Pheidias, of Protagoras, of Euripides, of Polygnotus, of Anaxagoras, of Xenophon, of Alcibiades, of Lysias, of Aristophanes,--the most brilliant constellation of men of genius who were ever found together within the walls of a Grecian city, respected and admired by these great lights, all of whom he transcended in knowledge. Thus was he fitted for his task by travel, by study, and by intercourse with the great, to say nothing of his original genius, and the greatest prose work which had yet appeared in Greece was produced,--a prose epic, severe in taste, perfect in unity, rich in moral wisdom, charming in style, religious in spirit, grand in subject, without a coa.r.s.e pa.s.sage; simple, unaffected, and beautiful, like the narratives of the Bible; amusing, yet instructive, easy to understand, yet extending to the utmost boundaries of human research--a model for all subsequent historians. So highly was it valued by the Athenians, when their city was at the height of its splendor, that they decreed to its author ten talents, about twelve thousand dollars, for reciting it.

He even went from city to city, a sort of prose rhapsodist, or like a modern lecturer, reciting his history--an honored and extraordinary man, a sort of Humboldt, having mastered every thing. And he wrote, not for fame, but to communicate the results of his inquiries, from the pure love of truth which he learned by personal investigation at Dodona, at Delphi, at Samos, at Athens, at Corinth, at Thebes, at Tyre; yea, he traveled into Egypt, Scythia, Asia Minor, Palestine, Babylonia, Italy, and the islands of the sea. His episode in Egypt is worth more, in an historical point of view, than every thing combined which has descended to us from antiquity. Herodotus was the first to give dignity to history; nor, in truthfulness, candor, and impartiality, has he ever been surpa.s.sed. His very simplicity of style is a proof of his transcendent art, even as it is the evidence of his severity of taste.

[Footnote: Dahlman has written an admirable life of Herodotus; but Rawlinson's translation, with his notes, is invaluable.]

[Sidenote: Thucydides.]

To Thucydides, as an historian, the modern world also a.s.signs a proud preeminence. He treated only of a short period, during the Peloponnesian War; but the various facts connected with that great event could only be known by the most minute and careful inquiries. He devoted twenty-seven years to the composition of his narration, and he weighed his testimony with the most scrupulous care. His style has not the fascination of Herodotus, but it is more concise. In a single volume he relates what could scarcely be compressed into eight volumes of a modern history. As a work of art, of its kind, it is unrivaled. In his description of the plague of Athens he is minute as he is simple. He abounds with rich moral reflections, and has a keen perception of human character. His pictures are striking and tragic. He is vigorous and intense, and every word he uses has a meaning. But some of his sentences are not always easily understood. One of the greatest tributes which can be paid to him is, that, according to the estimate of an able critic, [Footnote: George Long, Oxford.] we have a more exact history of a long and eventful period by Thucydides than we have of any period in modern history, equally long and eventful; and all this is compressed into a volume.

[Footnote: Born 471 B.C.; lived twenty years in exile on account of a military failure.]

[Sidenote: Xenophon.]

Xenophon is the last of the trio of the Greek historians, whose writings are cla.s.sical and inimitable. [Footnote: Born probably about 444 B.C.]

He is characterized by great simplicity and absence of affectation. His "Anabasis," in which he describes the expedition of the younger Cyrus and the retreat of the ten thousand Greeks, is his most famous book. But his "Cyropaedia," in which the history of Cyrus is the subject, although still used as a cla.s.sic in colleges for the beauty of the style, has no value as a history, since the author merely adopted the current stories of his hero without sufficient investigation. Xenophon wrote a variety of treatises and dialogues, but his "Memorabilia" of Socrates is the most valuable. All antiquity and all modern writers unite in giving to Xenophon great merit as a writer, and great moral elevation as a man.

If we pa.s.s from the Greek to the Latin historians,--to those who were as famous as the Greek, and whose merit has scarcely been transcended in our modern times, if, indeed, it has been equaled,--the great names of Sall.u.s.t, of Caesar, of Livy, of Tacitus, rise up before us, together with a host of other names we have not room or disposition to present, since we only aim to show that the ancients were at least our equals in this great department of prose composition. The first great masters of the Greek language in prose were the historians, so far as their writings have descended, although it is probable that the orators may have shaped the language before them, and given it flexibility and refinement. The first great prose writers of Rome were the orators. Nor was the Latin language fully developed and polished until Cicero appeared. But we do not write a history of the language: we speak only of those who wrote immortal works in the various departments of learning.

As Herodotus did not arise until the Greek language had been already formed by the poets, so no great prose writer appeared among the Romans for a considerable time after Plautus, Terence, Ennius, and Lucretius flourished.

[Sidenote: Sall.u.s.t.]

The first great historian was Sall.u.s.t, the contemporary of Cicero, born B.C. 86, the year that Marius died. Q. Fabius Pictor, M. Portius Cato, L. Cal. Piso had already written works which are mentioned with respect by the Latin authors, but they were mere annalists or antiquarians, like the chroniclers of the Middle Ages, and had no claim as artists. Sall.u.s.t made Thucydides his model, but fell below him in genius and elevated sentiment. He was born a plebeian, and rose to distinction by his talents, but was ejected from the Senate for his profligacy. Afterwards he made a great fortune as praetor and governor of Numidia, and lived in magnificence on the Quirinal--one of the most profligate of the literary men of antiquity. We possess but a small portion of his works, but the fragments which have come down to us show peculiar merit. He sought to penetrate the human heart, and reveal the secret motives which actuate the conduct of men. His style is brilliant, but his art is always apparent. He is clear and lively, but rhetorical. Like Voltaire, who inaugurated modern history, he thought more of style than of accuracy of facts. He was a party man, and never soared beyond his party. He aped the moralist, but erected egotism and love of pleasure into proper springs of action, and honored talent disconnected with virtue.

Like Carlyle, he exalted _strong_ men, and _because_ they were strong. He was not comprehensive like Cicero, or philosophical like Thucydides, although he affected philosophy as he did morality. He was the first who deviated from the strict narratives of events, and also introduced much rhetorical declamation, which he puts into the mouths of his heroes. [Footnote: The best translations of this author are those by Stewart, 1806, and Murphy, 1807.] He wrote for eclat.

[Sidenote: Caesar.]

Caesar, as an historian, ranks higher, and no Roman ever wrote purer Latin than he. But his historical works, however great their merit, but feebly represent his transcendent genius--the most august name of antiquity. He was mathematician, architect, poet, philologist, orator, jurist, general, statesman--imperator. In eloquence he was only second to Cicero. The great value of his history is in the sketches of the productions, the manners, the customs, and the political state of Gaul, Britain, and Germany. His observations on military science, on the operation of sieges, and construction of bridges and military engines, are valuable. But the description of his military operations is only a studied apology for his crimes, even as the bulletins of Napoleon were set forth to show his victories in the most favorable light. His fame rests on his victories and successes as a statesman rather than on his merits as an historian, even as Louis Napoleon will live in history for his deeds rather than as the apologist of Caesar. [Footnote: See _History of Caesar_, by Napoleon, a work more learned than popular, however greatly he may be indebted to the labors of others.] The "Commentaries" resemble the history of Herodotus more than any other Latin production, at least in style; they are simple and unaffected, precise and elegant, plain and without pretension.

Caesar was born B.C. 100, and while I admire his genius and his generosity, I hold in detestation the ambition which led him to overturn the const.i.tution of his country on the plea of revolutionary necessity.

It is true that there was the strife of parties and factions, greedy of revenge, and still more of spoils. It was a period of "_great offenses_," but it was also the brightest period in Roman history, so far as pertains to the development of genius. It was more favorable to literature than the lauded "Augustan era." It was an age of free opinions, in which liberty gave her last sigh, and when heroic efforts were made to bring back the ancient virtue, and to save the state from despotism. The lives of Piso, of Milo, of Cinna, of Lepidus, of Cotta, of Dolabella, of Cra.s.sus, of Quintus Maximus, of Aquila, of Pompey, of Brutus, of Ca.s.sius, of Antony, show what extraordinary men of action were then upon the stage, both good and evil, while Varro, Cicero, Catullus, Lucretius, and Sall.u.s.t gave glory to the world of letters. It may have resulted favorably to the peace of society that the imperial rule supplanted the aristocratic regime, but it was a change fatal to liberty of speech and all independent action--a change, the good of which was on the outside, and in favor of material interests, but the evil of which was internal, and consumed secretly, but surely, the real greatness of the empire.

[Sidenote: Prose composition.]

[Sidenote: High social position of historians.]

The Augustan age, though it produced a constellation of poets who shed glory upon the throne before which they prostrated themselves in abject homage, like the courtiers of Louis XIV., still was unfavorable to prose composition,--to history as well as eloquence. Of the historians, Livy is the only one whose writings are known to us, and only fragments of his history. [Footnote: Born B.C. 59.] He was a man of distinction at court, and had a great literary reputation--so great that a Spaniard traveled from Cadiz on purpose to see him. Most of the great historians of the world have occupied places of honor and rank, which were given to them not as prizes for literary successes, but for the experience, knowledge, and culture which high social position and ample means secured. Herodotus lived in courts; Thucydides was a great general, also Xenophon; Caesar wrote his own exploits; Sall.u.s.t was praetor and governor; Livy was tutor to Claudius; Tacitus was praetor and consul suffectus; Eusebius was bishop and favorite of Constantine; Ammia.n.u.s was the friend of the Emperor Julian; Gregory of Tours was one of the leading prelates of the West; Froissart attended in person, as a man of rank, the military expeditions of his day; Clarendon was Lord Chancellor; Burnet was a bishop and favorite of William III.; Thiers and Guizot both were prime ministers; while Gibbon, Hume, Robertson, Macaulay, Grote, Milman, Neander, Niebuhr, Muller, Dahlman, Buckle, Prescott, Irving, Bancroft, Motley, have all been men of wealth or position. Nor do I remember a single ill.u.s.trious historian who has been poor and neglected.

[Sidenote: Livy.]

The ancients regarded Livy as the greatest of historians,--an opinion not indorsed by modern critics, on account of his inaccuracies. But his narrative is always interesting, and his language pure. He did not sift evidence like Grote, nor generalize like Gibbon; but he was, like Voltaire and Macaulay, an artist in style, and possessed undoubted genius. His annals are comprised in one hundred and forty-two books, extending from the foundation of the city to the death of Drusus, B.C.

9, of which only thirty-five have come down to us--an impressive commentary on the vandalism of the Middle Ages, and the ignorance of the monks who could not preserve so great a treasure. "His story flows in a calm, clear, sparkling current, with every charm which simplicity and ease can give." He delineates character with great clearness and power; his speeches are n.o.ble rhetorical compositions; his sentences are rhythmical cadences. He was not a critical historian, like Herodotus, for he took his materials secondhand, and he was ignorant of geography; nor did he write with the exalted ideal of Thucydides, but as a painter of beautiful forms, which only a rich imagination could conjure, he is unrivaled in the history of literature. Moreover, he was honest and sound in heart, and was just and impartial in reference to those facts with which he was conversant.

[Sidenote: Tacitus.]

In the estimation of modern critics, the highest rank, as an historian, is a.s.signed to Tacitus, and it would be difficult to find his rival in any age or country. He was born A.D. 57, about forty-three years after the death of Augustus. He belonged to the equestrian rank, and was a man of consular dignity. He had every facility for literary labors that leisure, wealth, friends, and social position could give, and he lived under a reign when truth could be told.

The extant works of this great writer are the "Life of Agricola," his father-in-law; his "Annales," which commence with the death of Augustus, A.D. 14, and close with the death of Nero, A.D. 68; the "Historiae,"

which comprise the period from the second consulate of Galba, A.D. 68, to the death of Domitian; and a treatise on the Germans.

[Sidenote: Histories of Tacitus.]

His histories describe Rome in the fullness of imperial glory, when the will of one man was the supreme law of the empire. He also wrote of events when liberty had fled, and the yoke of despotism was nearly insupportable. He describes a period of great moral degradation, nor does he hesitate to lift the veil of hypocrisy in which his generation had wrapped itself. He fearlessly exposes the cruelties and iniquities of the early emperors, and writes with judicial impartiality respecting all the great characters he describes. No ancient writer shows greater moral dignity and integrity of purpose than Tacitus. In point of artistic unity he is superior to Livy and equal to Thucydides, whom he resembles in conciseness of style. His distinguishing excellence as an historian is his sagacity and impartiality. Nothing escapes his penetrating eye; and he inflicts merited chastis.e.m.e.nt on the tyrants who reveled in the prostrated liberties of his country, while he immortalizes those few who were faithful to duty and conscience in a degenerate age. But his writings were not so popular as those of Livy.

Neither princes nor people relished his intellectual independence and moral elevation. He does not satisfy Dr. Arnold, who thinks he ought to have been better versed in the history of the Jews, and who dislikes his speeches because they were fict.i.tious.

[Sidenote: Qualities which give immortality to historians.]

Neither the Latin nor Greek historians are admired by those dry critics, who seek to give to rare antiquarian matter a disproportionate importance, and to make this matter as fixed and certain as the truths of natural science. History can never be other than an approximation to the truth, even when it relates to the events and characters of our own age. History does not give positive knowledge which cannot be disputed except in general terms. We _know_ that Caesar was ambitious, but we do not know whether he was more or less so than Pompey, nor do we know how far he was justified in his usurpation. A great history must have other merits than mere accuracy, or antiquarian research, or display of authorities and notes. It must be a work of art, and art has reference to style and language, to grouping of details and richness of ill.u.s.tration, to eloquence and poetry and beauty. A dry history, if ever so learned, will never be read; it will only be consulted, like a law- book, or Mosheim's "Commentaries." We wish _life_ in history, and it is for the life that the writings of Livy and Tacitus will be perpetuated. Voltaire and Schiller have no great merit as historians, in a technical sense, but the "Life of Charles XII." and the "Thirty Years'

War" are still cla.s.sics. Neander has written one of the most searching and recondite histories of modern times, but it is too dry, too deficient in art, to be cherished, and may pa.s.s away, like the voluminous writings of Varro, the most learned of the Romans. It is the _art_ which is immortal in a book, not the knowledge, or even the thoughts. What keeps alive the "Provincial Letters"? It is the style, the irony, the elegance. It is the exquisite delineation of character, the moral wisdom, the purity and force of language, the artistic arrangement, and the lively and interesting narratives, appealing to all minds, like the "Arabian Nights," or Froissart's "Chronicles," which give immortality to the cla.s.sic authors of antiquity. We will not let them perish, because they amuse us, and inspire us. Livy doubtless was too ambitious in aspiring to write accurately the whole history of his country. He would have been wiser had he confined himself to a particular epoch, of which he was conversant, like Tacitus and Thucydides. But it is taking a narrow view of history to make all writers after the same pattern, even as it would be bigoted to make all Christians belong to the same sect. Some will be remarkable for style, others for learning, and others again for moral and philosophical wisdom. Some will be minute, and others generalizing. Some dig out a multiplicity of facts without apparent object, and others induce from those facts. Some will make essays, and others chronicles. We have need of all styles and all kinds of excellence. A great and original thinker may not have the time or opportunity or taste for a minute and searching criticism of original authorities; but he may be able to generalize previously established facts, so as to draw most valuable moral instruction. History is a boundless field of inquiry. No man can master it, in all its departments and periods. What he gains in minute details, he is apt to lose in generalization. If he attempts to embody too much learning, he may be deficient in originality; if he would say every thing, he is apt to be dry; if he elaborates too much, he loses life.

Society, too, requires different kinds and styles of history,--history for students, history for ladies, histories for old men, histories for young men, histories to amuse, and histories to instruct. If all men were to write history according to Dr. Arnold's views, then we should have histories of interest only to cla.s.sical scholars. A fellow of Christ Church may demand authorities, even if he never consults one of them, but a member of Congress may wish to see learning embodied in the text, and animated by genius, after the fashion of the ancient historians, who never quoted their sources of knowledge, and who were valued for the richness of thoughts and artistic beauty of style. The ages in which they flourished, attached no value to pedantic displays of labor, or evidences of learning paraded in foot-notes.

[Sidenote: Greatness of the ancient historians.]

Thus the great historians whom I have alluded to, both Greek and Latin, have few equals and no superiors, in our own times, in those things which are most to be admired. They were not pedants, but men of immense genius and learning, who blended the profoundest principles of moral wisdom with the most fascinating narratives, men universally popular among learned and unlearned, and men who were great artists in style, and masters of the language in which they wrote. We claim a superiority to them, because we are more recondite and critical; but the decline of Roman literature can be dated to times when commentaries became the fashion. We improve on commentaries. They are chiefly confined to biblical questions. _We_ write dictionaries and encyclopedias. In this respect we are superior to the ancients. Our latest fashion of histories makes them very long, and very uncertain, containing much irrelevant matter, and more remarkable for learning than for genius, or elegance of diction. Yet Macaulay, Prescott, and Motley have few equals among the ancients in interest or artistic beauty.

[Sidenote: Suetonius.]

[Sidenote: Marcellinus.]

Rome can boast of no great historian after Tacitus, who should have belonged to the Ciceronian epoch. Suetonius, born about the year A.D.

70, shortly after Nero's death, was rather a biographer than historian.

Nor as a biographer does he take a high rank. His "Lives of the Caesars,"

like Diogenes Laertius' "Lives of the Philosophers," are rather anecdotical than historical. L. A. Florus, who flourished during the reign of Trajan, has left a series of sketches of the different wars from the days of Romulus to those of Augustus. Frontinus epitomized the large histories of Pompeius. Marcellinus wrote a history from Nerva to Valens, and is often quoted by Gibbon. But none wrote who should be adduced as examples of the triumph of genius, except Sall.u.s.t, Caesar, Livy, and Tacitus.

[Sidenote: Ancient orators.]