natural declinations from the nominative case. In the eighth, he examines the nature and limits of usage and analogy in language; and in the ninth and last book on the subject, takes a general view of what is the reverse of analogy,
viz. anomaly. The precision and perspicuity which Varro displays in this work merit the highest encomiums, and justify the character given him in his own time, of being the most learned of the Latin grammarians. To the loss of the first three books, are to be added several chasms in the others; but fortunately they happen in such places as not to affect the coherency of the author's doctrine, though they interrupt the illustration of it. It is observable that this great grammarian makes use of quom for quum, heis for his, and generally queis for quibus. This practice having become rather obsolete at the time in which he wrote, we must impute his continuance of it to his opinion of its propriety, upon its established principles of grammar, and not to any prejudice of education, or an affectation of singularity. As Varro makes no mention of Caesar's treatise on Analogy, and had commenced author long before him, it is probable that Caesar's production was of a much later date; and thence we may infer, that those two writers differed from each other, at least with respect to some particulars on that subject. This author's treatise De Re Rustica was undertaken at the desire of a friend, who, having purchased some lands, requested of Varro the favour of his instructions relative to farming, and the economy of a country life, in its various departments. Though Varro was at this time in his eightieth year, he writes with all the vivacity, though without the levity, of youth, and sets out with invoking, not the Muses, like Homer and Ennius, as he observes, but the twelve deities supposed to be chiefly concerned in the operations of agriculture. It appears from the account which he gives, that upwards of fifty Greek authors had treated of this subject in prose, besides Hesiod and Menecrates the Ephesian, who both wrote in verse; exclusive likewise of many Roman writers, and of Mago the Carthaginian, who wrote in the Punic language. Varro's work is divided into three books, the first of which treats of agriculture; the second, of rearing of cattle; and the third, of feeding animals for the use of the table. (67) In the last of these, we meet with a remarkable instance of the prevalence of habit and fashion over human sentiment, where the author delivers instructions relative to the best method of fattening rats. We find from Quintilian, that Varro likewise composed satires in various kinds of verse. It is impossible to behold the numerous fragments of this venerable author without feeling the strongest regret for the loss of that vast collection of information which he had compiled, and of judicious observations which he had made on a variety of subjects, during a life of eighty-eight years, almost entirely devoted to literature. The remark of St. Augustine is well founded, That it is astonishing how Varro, who read such a number of books, could find time to compose so many volumes; and how he who composed so many volumes, could be at leisure to peruse such a variety of books, and to gain so much literary information. Catullus is said to have been born at Verona, of respectable parents; his father and himself being in the habit of intimacy with Julius Caesar. He was brought to Rome by Mallius, to whom several of his epigrams are addressed. The gentleness of his manners, and his application to study, we are told, recommended him to general esteem; and he had the good fortune to obtain the patronage of Cic-ero. When he came to be known as a poet, all these circumstances would naturally contribute to increase his reputation for ingenuity; and accordingly we find his genius applauded by several of his contemporaries. It appears that his works are not 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
