See also:

• QUINTUS

QUINTUS See also:

• QUINTUS ENNIUS (239-170 B.c.)

ENNIUS (239-170 B.c.)  , See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Latin poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Rudiae in See also:

• CALABRIA

Calabria . See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

Familiar with See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek as the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language in See also:

• COMMON

common use among the cultivated classes of his See also:

• DISTRICT

district, and with Oscan, the prevailing See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect of See also:

• LOWER

lower See also:

• ITALY
• ITALY (Italia)

Italy, he further acquired a knowledge of Latin; to use his own expression (See also:

• GELLIUS, AULUS (c. A.D. 13o-I8o)

Gellius xvii . 17), he had three "See also:

• HEARTS

hearts" (corda), the Latin word being used to signify the seat of intelligence . He is said (Servius on Aen. vii . 691) to have claimed descent from one of the legendary See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings of his native district, Messapus the See also:

• EPONYMOUS

eponymous See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero of Messapia, and this consciousness of ancient lineage is in accordance with the high self-confident See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of his mind, with his sympathy with the dominant See also:

• GENIUS (from Lat. genere, gignere)

genius of the See also:

• ROMAN

Roman See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

republic, and with his See also:

• PERSONAL

personal relations to the members of her See also:

• GREAT

great families . Of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early years nothing is directly known, and we first hear of him in See also:

• MIDDLE

middle See also:

• LIFE

life as serving during the Second Punic See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, with the See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of See also:

• CENTURION (Lat. centuria)

centurion, in See also:

• SARDINIA (Gr. 'IXs'o"uva, from a fancied resemblance to a footprint in its shape, Ital. Sardegna)

Sardinia, in the See also:

• YEAR

year 204, where he attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of See also:

• CATO, DIONYSIUS
• CATO, MARCUS PORCIUS (234—149 B.c.)
• CATO, MARCUS PORCIUS (95-46 B.c.)
• CATO, PUBLIUS VALERIUS

Cato the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, and was taken by him to See also:

• ROME
• ROME (Roma)

Rome in the same year . Here he taught Greek and adapted Greek plays for a livelihood, and by his poetical compositions gained the friendship of the greatest men in Rome . Amongst these were the elder Scipio and Fulvius See also:

• NOBILIOR, MARCUS FULVIUS

Nobilior, whom he accompanied on his Aetolian See also:

• CAMPAIGN

campaign (189) . Through the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Nobilior's son, See also:

• ENNIUS, QUINTUS (239-170 B.c.)

Ennius subsequently obtained the See also:

• PRIVILEGE

privilege of Roman citizenship (See also:

• CICERO

Cicero, See also:

• BRUTUS (originally an adjective meaning " heavy," "stupid," kindred with Gr. aap(s, cf. Eng. " brute," " brutal")

Brutus, 20 . 79) . He lived plainly and simply on the Aventine with the poet See also:

• CAECILIUS

Caecilius See also:

• STATIUS, PUBLIUS PAPINIUS (c. A.D. 45-96)

Statius . He died at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of 70, immediately after producing his tragedy Thyestes .

In the last See also:

• BOOK

book of his epic poem, in which he seems to have given various details of his personal See also:

• HISTORY

history, he mentions that he was in his 67th year at the date of its See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . He compared himself, in contemplation of the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the great See also:

• WORK

work of his life, to a gallant See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse which, after having often won the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize at the Olympic See also:

• GAMES, CLASSICAL

games, obtained his See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest when weary with age . A similar feeling of See also:

• PRIDE, THOMAS (d. 1658)

pride at the completion of a great career is expressed in the memorial lines which he composed to be placed under his bust after See also:

• DEATH

death,—" Let no one weep for me, or celebrate my funeral with See also:

• MOURNING (from the verb " to mourn," to be sorrowful, 0. Eng. murnan; cf. O.H.G. mornen, Goth. maurnan, to be anxious, O.N. morna, to pine away; by some referred to root seen in Gr. jdptpva, sorrow, by others to root mer-, to die)

mourning; for I still live, as I pass to and fro through the mouths of men." From the impression stamped on his remains, and from the testimony of his countrymen, we think of him as a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of a robust, sagacious and cheerful nature (See also:

• HOR, MOUNT (nirt)

Hor . Epp. ii . 1 . 50; Cic . De sera . 5); of great See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry and versatility; combining imaginative See also:

• ENTHUSIASM

enthusiasm and a vein of religious See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism with a sceptical indifference to popular beliefs and a scorn of religious imposture; and tempering the See also:

• GRAVE

grave seriousness of a Roman with a genial capacity for enjoyment (Hor . Epp. i . 19 . 7) . Till the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of Ennius, Roman literature, although it had produced the epic poem of See also:

• NAEVIUS, GNAEUS (c. 264–? 194 B.C.)

Naevius and some adaptations of Greek tragedy, had been most successful in See also:

• COMEDY

comedy .

Naevius and See also:

• PLAUTUS, TITUS MACCIUS (originally perhaps MACCUS; cf. Asin. Prol. 11)

Plautus were men of thoroughly popular fibre . Naevius suffered for his attacks on members of the See also:

• ARISTOCRACY (Gr. apuvror, best; «paria, government)

aristocracy, and, although Plautus carefully avoids any See also:

• DIRECT

direct See also:

• NOTICE

notice of public matters, yet the See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

bias of his sympathies is indicated in several passages of his extant plays . Ennius, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, was by temperament in thorough sympathy with the dominant aristocratic See also:

• ELEMENT (Lat. elementum)

element in Roman life and institutions . Under his influence literature became less suited to the popular See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, more especially addressed to a limited and cultivated class, but at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time more truly expressive of what was greatest and most worthy to endure in the See also:

• NATIONAL

national sentiment and traditions . He was a man of many-sided activity . He devoted attention to questions of Latin See also:

• ORTHOGRAPHY (from Gr. Opeoc, correct, right or straight, and yp&cbecv, to write)

orthography, and is said to have been the first to introduce shorthand See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in Latin . He attempted comedy, but with so little success that in the See also:

• CANON

canon of Volcacius Sedigitus he is mentioned, solely as a See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark of respect " for his antiquity," tenth and last in the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of comic poets . He may be regarded also as the inventor of Roman See also:

• SATIRE (Lat. satira, satura; see below)

satire, in its See also:

• ORIGINAL

original sense of a " medley " or " See also:

• MISCELLANY

miscellany," although it was by See also:

• LUCILIUS, GAIUS (c. 18o–ro3 B.C.)

Lucilius that the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of aggressive and censoriouscriticism of men and See also:

• MANNERS, CHARLES (1857– )

manners was first imparted to that See also:

• FORM (Lat. forma)

form of literature . The word satura was originally applied to a See also:

• RUDE, FRANCOIS (1784–1855)

rude scenic and musical performance, exhibited at Rome before the introduction of the See also:

• REGULAR

regular See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama . The saturae of Ennius were collections of writings on various subjects, written in various metres and contained in four (or six) books . Among these were included metrical versions of the See also:

• PHYSICAL

physical speculations of See also:

• EPICHARMUS (c. 54o–45o B.C.)

Epicharmus, of the gastronomic researches of See also:

• ARCHESTRATUS

Archestratus of See also:

• GELA

Gela (Hedyphagetica), and, probably, of the rationalistic doctrines of See also:

• EUHEMERUS [EUEMERUS, EVEMERUS]

Euhemerus . It may be noticed that all these writers whose See also:

• WORKS

works were thus introduced to the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans were Sicilian Greeks .

Original compositions were also contained in these saturae, and among them the See also:

• PANEGYRIC

panegyric on Scipio, unless this was a drama . The satire of Ennitfs seems to have resembled the more See also:

• ARTISTIC

artistic satire of See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace in its See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of personal experiences, in the occasional introduction of See also:

• DIALOGUE

dialogue, in the use made of fables with a moral application, and in the didactic See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office which it assumed . But the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief distinction of Ennius was gained in tragic and narrative See also:

• POETRY

poetry . He was the first to impart to the Roman adaptations of Greek tragedy the masculine dignity, pathos and oratorical fervour which continued to animate them in the hands of See also:

• PACUVIUS, MARCUS (c. 220-130 B.C.)

Pacuvius and See also:

• ACCIUS
• ACCIUS, LUCIUS

Accius, and, when set off by the acting of See also:

• AESOPUS
• AESOPUS, CLODIUS

Aesopus, called forth vehement See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause in the age of Cicero . The titles of about twenty-five of his tragedies are known to us, and a considerable number of fragments, varying in length from a few words to about fifteen lines, have been preserved . These tragedies were for the most See also:

• PART

part adaptations and, in some cases, See also:

• TRANSLATIONS

translations from See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides . One or two were original dramas, of the class called praetextae, i.e. dramas founded on Roman history or See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend; thus, the See also:

• AMBRACIA (more correctly AMPRACIA)

Ambracia treated of the See also:

• CAPTURE (from Lat. capere, to take; Fr. prise maritime; Ger. Wegnahme)

capture of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city by his See also:

• PATRON

patron Nobilior, the Sabinae of the See also:

• RAPE
• RAPE (from Lat. rapere, to seize)
• RAPE (Lat. rapum or rapa, turnip)

rape of the See also:

• SABINE, SIR EDWARD (1788-1883)

Sabine See also:

• WOMEN

women . The heroes and heroines of the Trojan See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle, such as See also:

• ACHILLES
• ACHILLES (Gr. 'AxtXXeus)

Achilles, See also:

• AJAX
• AJAX (Gr. Alas)

Ajax, Telamon, See also:

• CASSANDRA

Cassandra, See also:

• ANDROMACHE

Andromache, were prominent figures in some of the dramas adapted from the Greek . Several of the more important fragments are found 'in Cicero, who expresses a great admiration for their manly fortitude and dignified pathos . In these remains of the tragedies of Ennius we can trace indications of strong sympathy with the nobler and bolder elements of character, of vivid realization of impassioned situations, and of sagacious observation of life . The See also:

• FRANK, JAKOB (1726-1791)

frank bearing, fortitude and self-sacrificing heroism of the best type of the soldierly character find expression in the persons of Achilles, Telamon and Eurypylus; and a dignified and passionate tenderness of feeling makes itself heard in the lyrical utterances of Cassandra and Andromache . The language is generally See also:

• NERVOUS

nervous and vigorous, occasionally vivified with imaginative See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy .

But it flows less smoothly and easily than that of the dialogue of Latin comedy . It shows the same tendency to aim at effect by alliterations, assonances and plays on words . The rudeness of. early See also:

• ART

art is most apparent in the inequality of the metres in which both the dialogue and the " recitative " are composed . But the work which gained him his reputation as the See also:

• HOMER, WINSLOW (1836-191o)

Homer of Rome, and which called forth the admiration of Cicero and See also:

• LUCRETIUS (TITUS LUCRETIUS CARUS) (c. 98–55 B.C.)

Lucretius and frequent See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation from See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil, was the Annales, a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long narrative poem in eighteen books, containing the record of the national See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story from mythical times to his own . Although the whole conception of the work implies that confusion of the provinces of poetry and history which was perpetuated by later writers, and especially by See also:

• LUCAN

Lucan and Silius Italicus, yet it was a true See also:

• INSTINCT

instinct of genius to discern in the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of the national destiny the only possible See also:

• MOTIVE (from Lat. movere, to move)

motive of a Roman epic . The See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of the poem (to See also:

• JUDGE (Lat. judex, Fr. juge)

judge from the fragments, amounting to about six See also:

• HUNDRED

hundred lines), although rough, unequal and often prosaic, seems to have combined the realistic fidelity and freshness of feeling of a contemporary See also:

• CHRONICLE (from Gr. Xpovos, time)

chronicle with the vivifying and idealizing See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of genius . Ennius prided himself especially on being the first to form the strong speech of See also:

• LATIUM

Latium into the See also:

• MOULD

mould of the Homeric See also:

• HEXAMETER

hexameter in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of the old Saturnian See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre . And although it took several generations of poets to See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat their See also:

• MUSIC

music out to the perfection of the Virgilian cadences, yet in the rude See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of Ennius the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of what ultimately became one of the grandest See also:

• ORGANS

organs of See also:

• LITERARY

literary expression was first discovered and revealed . The inspiring idea of the poem was accepted, purified of all See also:

• ALIEN (Lat. alienus)

alien material, and realized in artistic shape by Virgil in his national epic . He deliberately imparted to that poem the See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of See also:

• ANTIQUE (Lat. antiquus, old)

antique associations by incorporating with it much of the phraseology and sentiment of Ennius . The occasional references to Roman history in Lucretius are evidently reminiscences of the Annales . He as well as Cicero speaks of him with pride and See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection as "Ennius noster." Of the great Roman writers Horace had least sympathy with him; yet he testifies to the high esteem in which he was held during the Augustan age .

See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid expresses the grounds of that esteem when he characterizes him as Ingenio See also:

• MAXIMUS
• MAXIMUS, ST (c. 58o-662)

maximus, arte rudis." A See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence of See also:

• QUINTILIAN [MARCUS FABIUS QUINTILIANUS] (C. A.D. 35-95)

Quintilian expresses the feeling of reverence for his genius and character, mixed with distaste for his rude workmanship, with which the Romans of the early See also:

• EMPIRE

empire regarded him: " Let us See also:

• REVERE
• REVERE, PAUL (1735–1818)

revere Ennius as we revere the sacred groves, hallowed by antiquity, whose massive and See also:

• VENERABLE (Lat. venerabilis, worthy of reverence, venerari, to reverence, to worship, allied to Venus, love; the Indo-Germ. root is wen-, to desire, whence Eng. " win, properly to struggle for, hence to gain)

venerable See also:

• OAK (O. Eng., (lc)

oak trees are not so remarkable for beauty as for the religious See also:

• AWE, LOCH

awe which they inspire " (Inst. or. x . 1 . 88) . See also:

• EDITIONS

Editions of the fragments by L . See also:

• MULLER, FERDINAND VON, BARON (1825–1896)
• MULLER, FRIEDRICH (1749-1825)
• MULLER, GEORGE (1805-1898)
• MULLER, JOHANNES PETER (18o1-1858)
• MULLER, JOHANNES VON (1752-1809)
• MULLER, JULIUS (18oi-1878)
• MULLER, KARL OTFRIED (1797-1840)
• MULLER, LUCIAN (1836-1898)
• MULLER, WILHELM (1794-1827)
• MULLER, WILLIAM JAMES (1812-1845)

Muller (1884), L . Valmaggi (19oo, with notes), J . Vahlen (1903); monographs by L . Muller (1884 and '893), C . See also:

• PASCAL, BLAISE (1623-1662)
• PASCAL, JACQUELINE (1625-T661)

Pascal, Studi sugli scrittori See also:

• LATINA, VIA

Latina (1900); see also See also:

• MOMMSEN, THEODOR (1817–1903)

Mommsen, History of Rome, bk. iii. ch . 14 . On Virgil's indebtedness to Ennius see V . Crivellari, Quae praecipue hausit Vergilius ex Naevio et Ennio (1889) .