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177

s, were passed under review by his encyclopaedic mind.

At the same time lighter themes had strong attraction for him. He possessed in a high degree that racy and caustic wit which was a special Italian product, and had been conspicuous in Cato and Lucilius. But while Cato studied to be oracular, and Lucilius to be critical, Varro seems to have indulged his vein without any special object. Though by no means a born poet, he had the faculty of writing terse and elegant verse when he chose, and in his younger days composed a long list of metrical works. There were among them Pseudotragoediae, which Teuffel thinks were the same as the Hilarotragoediae, or Rhinthonicae, so called from their inventor Rhinthon; though others class them with the Komodotragodiai, of which Plautus's Amphitruo is the best known instance. However this may be, they were mock-heroic compositions in which the subjects consecrated by tragic usage were travestied or burlesqued. It is probable that they were mere literary exercises designed to beguile leisure or to facilitate the labour of composition, like the closet tragedies composed by Cicero and his brother Quintus; and Varro certainly owed none of his fame to them. Other poems of his are referred to by Cicero, and perhaps by Quintilian; [5] but in the absence of definite allusions we can hardly characterize them. There was one class of semi-poetical composition which Varro made peculiarly his own, the Satura Menippea, a medley of prose and verse, treating of all kinds of subjects just as they came to hand in the plebeian style, often with much grossness, but with sparkling point. Of these Saturae he wrote no less than 150 books, of which fragments have been preserved amounting to near 600 lines. Menippus of Gadara, the originator of this style of composition, lived about 280 B.C.; he interspersed jocular and commonplace topics with moral maxims and philosophical doctrines, and may have added contemporary pictures, though t

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