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Latin Literature by J. W. (John William) Mackail
page 119 of 298 (39%)
his own work. Another intimate friend of Virgil, Aemilius Macer of
Verona, wrote didactic poems in the Alexandrian manner on several
branches of natural history, which were soon eclipsed by the fame of the
_Georgics_, but remained a model for later imitators of Nicander. One of
these, a younger contemporary of Virgil called Gratius, or Grattius, was
the author of a poem on hunting, still extant in an imperfect form. In
its tame and laboured correctness it is only interesting as showing the
early decay of the Virgilian manner in the hands of inferior men.

A more interesting figure, and one the loss of whose works leaves a real
gap in Latin literature, is Gaius Cornelius Gallus, the earliest and one
of the most brilliant of the Augustan poets. Like Varro Atacinus, he was
born in Narbonese Gaul, and brought into Roman poetry a new touch of
Gallic vivacity and sentiment. The year of his birth was the same as that
of Virgil's, but his genius matured much earlier, and before the
composition of the _Eclogues_ he was already a celebrated poet, as well
as a distinguished man of action. The story of his life, with its swift
rise from the lowest fortune to the splendid viceroyalty of Egypt, and
his sudden disgrace and death at the age of forty-three, is one of the
most dramatic in Roman history. The translations from Euphorion, by which
he first made his reputation, followed the current fashion; but about the
same time he introduced a new kind of poetry, the erotic elegy, which had
a swift and far-reaching success. To Gallus, more than to any other
single poet, is due the naturalisation in Latin of the elegiac couplet,
which, together with the lyrics of Horace and the Virgilian hexameter,
makes up the threefold poetical achievement of the Augustan period, and
which, after the Latin lyric had died out with Horace himself, halved the
field with the hexameter. For the remaining literature of the Empire, for
that of the Middle Ages so far as it followed classical models, and even
for that of the Renaissance, which carries us down to within a measurable
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