THE HISTORY OF OLD ROME

III. From the Union of Italy to the Subjugation of Carthage and the Greek States

From: The History of Rome, by Theodor Mommsen
Translated with the sanction of the author by William Purdie Dickson

Chapter XIV - Literature and Art

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Page 71

From the outset and by virtue of the whole tenor of his life a cosmopolite, he had the skill to appropriate the distinctive features of the nations among which he lived--Greek, Latin, and even Oscan--without devoting himself absolutely to any cne of them; and while the Hellenism of the earlier Roman poets was the result rather than the conscious aim of their poetic activity, and accordingly they at least attempted more or less to take their stand on national ground, Ennius on the contrary is very distinctly conscious of his revolutionary tendency, and evidently labours with zeal to bring into vogue neologico-Greek ideas among the Italians.

His most serviceable instrument was tragedy. The remains of his tragedies show that he was well acquainted with the whole range of the Greek tragic drama and with Aeschylus and Sophocles in particular; it is the less therefore the result of accident, that he has modelled the great majority of his pieces, and all those that attained celebrity, on Euripides. In the selection and treatment he was doubtless influenced partly by external considerations.

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