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transmitted entire to posterity; but there remain sufficient specimens by which we may be enabled to appreciate his poetical talents. Quintilian, and Diomed the grammarian, have ranked Catullus amongst the iambic writers, while others have placed him amongst the lyric. He has properly a claim to each of these stations; but his versification being chiefly iambic, the former of the arrangements seems to be the most suitable. The principal merit of Catullus's Iambics consists in a simplicity of thought and expression. The thoughts, however, are often frivolous, and, what is yet more reprehensible, the author gives way to gross obscenity: in vindication of which, he produces the following couplet, declaring that a good poet ought to be chaste in his own person, but that his verses need not be so. Nam castum esse decet pium poetam Ipsum: versiculos nihil necesse est. This sentiment has been frequently cited by those who were inclined to follow the example of Catullus; but if such a practice be in any case admissible, it is only where the poet personates (68) a profligate character; and the instances in which it is adopted by Catullus are not of that description. It had perhaps been a better apology, to have pleaded the manners of the times; for even Horace, who wrote only a few years after, has suffered his compositions to be occasionally debased by the same kind of blemish. Much has been said of this poet's invective against Caesar, which produced no other effect than an invitation to sup at the dictator's house. It was indeed scarcely entitled to the honour of the smallest resentment. If any could be shewn, it must have been for the freedom used by the author, and not for any novelty in his lampoon. There are two poems on this subject, viz. the twenty-ninth and fifty-seventh, in each of which Caesar is joined with Mamurra, a Roman knight, who had acquired great riches in the Gallic war. For the honour of Catullus's gratitude, we should suppose that the latter is the one to which historians allude: but, as poetical compositions, they are equally unworthy of regard. The fifty seventh is nothing more than a broad repetition of the raillery, whether well or ill founded, with which Caesar was attacked on various occasions, and even in the senate, after his return from Bithynia. Caesar 24 had been taunted with this subject for upwards of thirty years; and after so long a familiarity with reproach, his sensibility to the scandalous imputation must now have been much diminished, if not entirely extinguished. The other poem is partly in the same strain, but extended to greater length, by a mixture of common jocular ribaldry of the Roman soldiers, expressed nearly in the same terms which Caesar's legions, though strongly attached to his person, scrupled not to sport publicly in the streets of Rome, against their general, during the celebration of his triumph. In a word, it deserves to be regarded as an effusion of Saturnalian licentiousness, rather than of poetry. With respect to the Iambics of Catullus, we may observe in general, that the sarcasm is indebted for its force, not so much to ingenuity of sentiment, as to the indelicate nature of the subject, or coarseness of expression. The descriptive poems of Catullus are superior to the others, and discover a lively imagination. Amongst the best of his productions, is a translation of the celebrated ode of Sappho: Ille mi par esse Deo videtur, me, etc. This ode is executed both with spirit and elegance; it is, however, imperfect; and the last stanza seems to be spurious. Catullus's epigrams are entitled to little praise, with regard either to sentiment or point; and on the whole, his merit, as a poet, appears to have been magnified beyond its real extent. He is said to have died about the thirtieth year of his age. (69) Lucretius is the author of a celebrated poem, in six books, De Rerum Natura; a subject which had been treated many ages before by Empedocles, a philosopher and poet of Agrigentum. Lucretius was a zealous partizan of Democritus, and the sect of Epicurus, whose principles concerning the eternity of matter, the materiality of the soul, and the non-existence of a future state of rewards and punishments, he affects to maintain with a certainty equal to that of mathematical demonstration. Strongly prepossessed with the hypothetical doctrines of his master, and ignorant of the physical system of the universe, he endeavours to deduce from the phenomena of the material world conclusions not only unsupported by legitimate theory, but repugnant to the principles of the highest authority in metaphysical disquisition. But while we condemn his speculative notions as degrading to human nature, and subversive of the most important interests of mankind, we must admit that he has prosecuted his visionary hypothesis with uncommon ingenuity. Abstracting from it the rhapsodical nature of this production, and its obscurity in some parts, it has great merit as a poem. The style is elevated, and the versification in general harmonious. By the mixture of obsolete words, it possesses an air of solemnity well adapted to abstruse researches; at the same time that by the frequent resolution of diphthongs, it instils into the Latin the sonorous and melodious powers of the Greek language. While Lucretius was engaged in this work, he fell into a state of insanity, occasioned, as is supposed, by a philtre, or love-potion, given him by his wife Lucilia. The complaint, however, having lucid intervals, he employed them in the execution of his plan, and, soon after it was finished, laid violent hands upon himself, in the forty-third year of his age. This fatal termination of his life, which perhaps proceeded from insanity, was ascribed by his friends and admirers to his concern for the banishment of one Memmius, with whom he was intimately connected, and for the distracted state of the republic. It was, however, a catastrophe which the principles of Epicurus, equally erroneous and irreconcilable to resignation and fortitude, authorized in particular circumstances. Even Atticus, the celebrated correspondent of Cicero, a few years after this period, had recourse to the same desperate expedient, by refusing all sustenance, while he laboured under a lingering disease. It is said that Cicero revised the poem of Lucretius after the death of the author, and this circumstance is urged by the abettors of atheism, as a proof that the principles contained in the work had the sanction of his authority. But no inference in favour of Lucretius's doctrine can justly be drawn from this circumstance. (70) Cicero, though already sufficiently acquainted with the principles of the Epicurean sect, might not be averse to the perusal of a production, which collected and enforced them in a nervous strain of poetry; especially as the work was likely to prove interesting to his friend Atticus, and would perhaps afford subject for some letters or conversation between them. It can have been only with reference to composition that the poem was submitted to Cicero's revisal: for had he been required to exercise his judgment upon its principles, he must undoubtedly have so much mutilated the work, as to destroy the coherency of the system. He might be gratified with the shew of elaborate research, and confident declamation, which it exhibited, but he must have utterly disapproved of the conclusions which the author endeavoured to establish. According to the best information, Lucretius died in the year from the building of Rome 701, when Pompey was the third time consul. Cicero lived several years beyond this period, and in the two last years of his life, he composed those valuable works which contain sentiments diametrically repugnant to the visionary system of Epicurus. The argument, therefore, drawn from Cicero's revisal, so far from confirming the principle of Lucretius, affords the strongest tacit declaration against their validity; because a period sufficient for mature consideration had elapsed, before Cicero published his own admirable system of philosophy. The poem of Lucretius, nevertheless, has been regarded as the bulwark of atheism--of atheism, which, while it impiously arrogates the support of reason, both reason and nature disclaim. Many more writers flourished in this period, but their works have totally perished. Sallust was now engaged in historical productions; but as they were not yet completed, they will be noticed in the next division of the review. 25 D. OCTAVIUS CAESAR AUGUSTUS. (71)
I. That the family of the Octavii was of the first distinction in Velitrae 106, is rendered evident by many circumstances. For in the most frequented part of the town, there was, not long since, a street named the Octavian; and an altar was to be seen, consecrated to one Octavius, who being chosen general in a war with some neighbouring people, the enemy making a sudden attack, while he was sacrificing to Mars, he immediately snatched the entrails of the victim from off the fire, and offered them half raw upon the altar; after which, marching out to battle, he returned victorious. This incident gave rise to a law, by which it was enacted, that in all future times the entrails should be offered to Mars in the same manner; and the rest of the victim be carried to the Octavii.
II. This family, as well as several in Rome, was admitted into the senate by Tarquinius Priscus, and soon afterwards placed by Servius
Tullius among the patricians; but in process of time it transferred itself to the plebeian order, and, after the lapse of a long interval, was restored by Julius Caesar to the rank of patricians. The first person of the family raised by the suffrages of the people to the magistracy,
