The Historians' History of the World 06

A comet, so readily connected by the popular imagination with the end of the world, appears to have decided the old question as to the turning-point of the longed-for cosmic period. It might indeed seem as though the gods themselves had declared their will; for at the beginning of the year 17 an extraordinarily bright comet was visible at Rome, with a long tail pointing from south to north. This was of course the star of the Julian gens, which Rome had not seen since the terrible year of 44. That which the youthful Cæsar had then undertaken with almost superhuman courage for the sake of avenging his father was now finished, and the age of strife was over. At that time the red glow of the comet had portended blood and civil wars; the second appearance of the Julian star, after the expiation of the crime, was a sign that the beginning of the new age was close at hand.

The memoirs of the emperor show what great stress he laid upon the appearance of the star of the year 44, and the coins of the empire struck soon after 17 testify to the impression made upon him and his contemporaries by the supposed return of the star of the Julian gens. It was greeted as the long-desired and manifest divine sign of the end of the iron age and the commencement of the golden.

Hence we see that the appearance of the star only gave the decision in the last resort. That which had long been in the air, that which was perhaps already beginning to evaporate, suddenly condensed into tangible shape under the influence of this divine manifestation; Augustus resolved not to let the moment pass unused, but to celebrate the long-expected fifth secular games, which were associated with the hope of a new birth for Rome.b

LITERATURE OF THE GOLDEN AGE

With the formation of the monarchy coincides a second revival of Roman literature, which can only be partly attributed to the new administration, as the leaders were born under the republic and grew up amidst the struggles for the monarchy. This period does not differ so much from the literature of the period of free government as might seem at first sight. For that peculiarly characteristic penetration by the Greek spirit which extended even to that manifestation of it which was least worthy of imitation, namely the Alexandrian, had been already in existence, and the refined elaboration of the language for poetical purposes, its charm and lightness, its beauty and merit, are already perceptible in the time of Terence, though in a very different fashion.

The great revolution which was taking place before their eyes had a far less disastrous effect on the poets of this time than might have been expected, and if the lamentations of the civil war are heard everywhere, it is, nevertheless, rather the ideas of universal peace and the greatness of the Roman power which determine the pervading key-note. It is true that if we look for the originality, power, and simplicity which are so irresistible in Greek literature, we shall be very much disappointed; for they are no more to be found in the literary creations than in the political. And for these defects the number of productions can offer no amends. The thought of writing for a large public, the entire Latin West, must have had an inspiring effect on an author, as it of course decided the whole conception and direction of literary compositions; the provinces took a more and more active share in them; on the other hand, in this field a kind of substitute was offered for the lack of political activity; it was a matter of course that authorship was harmless and accommodated itself to the ruling system, or else entered into a dangerous opposition to it. Partisan writing existed during the active political struggles of Rome even under the republic; but now sunshine and light were too unequally divided, and the frankness which was forbidden during the lifetime of the rulers indemnified itself after their death by bitterness and calumny.

The really higher styles of poetry, such as drama and epic, entirely died out. It was not as if this had been caused by the change in the government, for even in the time of the republic little originality or creative power had been shown in these directions. All that was now produced was borrowed entirely from the past. Rhetoric, metrics, and careful diction were all that could be added to it, and a beautiful, refined, and elegant form became the criterion according to which the age judged both literary and artistic productions. It was to such matters as these that the attention of the judges who decided concerning the admission of the poets into the national library was mainly directed.