Institutio Oratoria

The iambic has not been popular with Roman poets as a separate form of composition, but is found mixed up with other forms of verse. [*]( The meaning is not clear. The words may mean (i that these writers did not confine themselves to the iambus, or (iii that the iambus alternates with other metres, cp. epodos below. ) It may be found in all its bitterness in Catullus, Bibaculus [*]( M. Furius Bibaculus, contemporary of Catullus, and writer of similar invective against the Caesareans. ) and Horace, although in the last-named the iambic is interrupted by the epode. [*](i. e. the short iambic line interposed between the trimeters. ) Of our lyric writers Horace is almost the sole poet worth reading: for he rises at times to a lofty grandeur and is full of sprightliness and charm, while there is great variety in his figures, and his boldness in the choice of words is only equalled by his felicity. If any other lyric poet is to be mentioned, it will be Caesius Bassus, who has but

Among writers of tragedy Accius and Pacuvius [*](Accius (170 90), Pacuvius (220–132).) are most remarkable for the force of their general reflexions, the weight of their words and the dignity of their characters. But they lack polish, and filed to put the finishing touches on their works, although the fault was perhaps rather that of the times in which they lived than of themselves. Accius is generally regarded as the most vigorous, while those who lay claim to learning regard Pacuvius as the more learned of the two.

The Thyestes of Varius [*]( L. Varius Rufus, friend of Virgil and Horace, editor of the Aeneid; wrote epic and a single tragedy. ) is a match for any Greek tragedy, and the Medea of Ovid shows, in my opinion, to what heights that poet might have risen if he had been ready to curb his talents instead of indulging them. Of the tragic writers whom I myself have seen, Pomponius Secundus [*]( Pomponius Secundus, died 60 A.D.; wrote a tragedy entitled Aeneas. ) is by far the best: his older critics thought him insufficiently tragic, but admitted his eminence as far as learning and polish were concerned.

Comedy is our weakest point. Although Varro quotes Aelius Stilo [*](The first Roman philologist (141–70 B.C.).) as saying that if the Muses wished to speak Latin, they would use the language of Plautus, although the ancients extol Caecilius, [*]( Caecilils (219–166), Terence (194159), Afranius (flor. circ. 150). Only fragments of Caecilius and Afranius remain. ) and although Scipio Africanus is credited with the works of Terence (which are the most elegant of their kind, and would be still more graceful if the poet had confined himself to the iambic trimeter),

we still scarcely succeed in reproducing even a faint shadow of the charm of Greek comedy. Indeed, it seems to me as though the language of Rome were incapable of reproducing that graceful wit which was