infer that, in a society where printing was unknown and where
books were rare, a pathetic or humorous party-ballad must have
produced effects such as we can but faintly conceive. It is
certain that satirical poems were common at Rome from a very
early period. The rustics, who lived at a distance from the seat
of government, and took little part in the strife of factions,
gave vent to their petty local animosities in coarse Fescennine
verse. The lampoons of the city were doubtless of a higher order;
and their sting was early felt by the nobility. For in the Twelve
Tables, long before the time of the Licinian laws, a severe
punishment was denounced against the citizen who should compose
or recite verses reflecting on another. Satire is, indeed, the
only sort of composition in which the Latin poets, whose works
have come down to us, were not mere imitators of foreign models;
and it is therefore the only sort of composition in which they
have never been rivalled. It was not, like their tragedy, their
comedy, their epic and lyric poetry, a hothouse plant which, in
return for assiduous and skilful culture, gave only scanty and
sickly fruits. It was hardy and full of sap; and in all the
various juices which it yielded might be distinguished the flavor
of the Ausonian soil. "Satire," said Quinctilian, with just
pride, "is all our own." Satire sprang, in truth, naturally
from the constitution of the Roman government and from the spirit
of the Roman people; and, though at length subjected to metrical
rules derived from Greece, retained to the last an essentially
Roman character. Lucilius was the earliest satirist whose works
were held in esteem under the Caesars. But many years before
Lucilius was born, Nævius had been flung into a dungeon, and
guarded there with circumstances of unusual rigor, on account of
the bitter lines in which he had attacked the great Caecilian