Note 16 — Chapter II

5. But it was not from any of these sources that Niebuhr supposed the poetical character of early Roman history to be derived. Nor is there any analogy between the religious hymns, or the Fescennine verses of Italy, and the modern ballad. But there is evidence of the existence, at one time, of other metrical compositions of which scarcely anything is definitely ascertained, except that they were sung at banquets, to the accompaniment of the flute, in celebration of the praises of great men. There is no direct evidence of the time when these compositions, some of which were believed by Niebuhr to have attained the dimensions of Epic poems, existed, or when they fell into disuse. Cato, as quoted by Cicero in the Tusculan Disputations, and in the Brutus16, is our earliest authority on the subject. His testimony is to the effect that many generations before his time, the guests at banquets were in the habit of singing, in succession, the praises of great men, to the music of the flute. Cicero, in the Brutus, expresses a wish that these songs still existed in his own day; 'utinam exstarent illa carmina, quae multis saeculis ante suam aetatem in epulis esse cantitata a singulis convivis de clarorum virorum laudibus in Originibus scriptum reliquit Cato.' Varro again is quoted, to the effect that boys used to be present at banquets, for the purpose of singing 'ancient poems,' celebrating the praises of their ancestors. Valerius Maximus mentions 'that the older men used at banquets to celebrate in song the illustrious deeds of their ancestors, in order to stimulate the youth to imitate them.' Passages are quoted also from Horace, from Dionysius, and from Tacitus, implying a belief in the ancient existence of these compositions.