The Classicists and the Moderns
The literary tendency of this age was varied and could not be otherwise, for the age itself was divided between the old and the new modes. The same tendencies which came into conflict on the field of politics, the national-Italian tendency of the conservatives, the Helleno-Italian or, if the term be preferred, cosmopolitan tendency of the new monarchy, fought their battles also on the field of literature. The former attached itself to the older Latin literature, which in the theatre, in the school, and in erudite research assumed more and more the character of classical. With less taste and stronger party tendencies than the Scipionic epoch showed, Ennius, Pacuvius, and especially Plautus were now exalted to the skies. The leaves of the Sibyl rose in price, the fewer they became; the relatively greater nationality and relatively greater productiveness of the poets of the sixth century were never more vividly felt than in this epoch of thoroughly developed Epigonism, which in literature as decidedly as in politics looked up to the century of the Hannibalic warriors as to the golden age that had now unhappily passed away beyond recall. No doubt there was in this admiration of the old classics no small portion of the same hollowness and hypocrisy which are characteristic of the conservatism of this age in general; and here too there was no want of trimmers. Cicero for instance, although in prose one of the chief representatives of the modern tendency, revered nevertheless the older national poetry nearly with the same antiquarian respect which he paid to the aristocratic constitution and the augural discipline; “patriotism requires,” we find him saying, “that we should rather read a notoriously wretched translation of Sophocles than the original.” While thus the modern literary tendency cognate to the democratic monarchy numbered secret adherents enough even among the orthodox admirers of Ennius, there