The illustrations of this inexhaustible text remorselessly, without omitting his friends or even the poet himself, assailed the evils of the age, the coterie-system, the endless Spanish war-service, and the like; the very commencement of his Satires was a great debate in the senate of the Olympian gods on the question, whether Rome deserved to enjoy the continued protection of the celestials. Corporations, classes, individuals, were everywhere severally mentioned by name; the poetry of political polemics, shut out from the Roman stage, was the true element and life-breath of the Lucilian poems, which by the power of the most pungent wit illustrated with the richest imagery - a power which still entrances us even in the remains that survive - pierce and crush their adversary "as by a drawn sword". In this - in the moral ascendency and the proud sense of freedom of the poet of Suessa - lies the reason why the refined Venusian, who in the Alexandrian age of Roman poetry revived the Lucilian satire, in spite of all his superiority in formal skill with true modesty yields to the earlier poet as "his better". The language is that of a man of thorough culture, Greek and Latin, who freely indulges his humour; a poet like Lucilius, who is alleged to have made two hundred hexameters before dinner and as many after it, is in far too great a hurry to be nice; useless prolixity, slovenly repetition of the same turn, culpable instances of carelessness frequently occur: the first word, Latin or Greek, is always the best. The metres are similarly treated, particularly the very predominant hexameter: if we transpose the words - his clever imitator says - no man would observe that he had anything else before him than simple prose; in point of effect they can only be compared to our doggerel verses[24].

The poems of Terence and those of Lucilius stand on the same level of culture, and have the same relation to each other as a carefully prepared and polished literary work has to a letter written on the spur of the moment. But the incomparably higher intellectual gifts and the freer view of life, which mark the knight of Suessa as compared with the African slave, rendered his success as rapid and brilliant as that of Terence had been laborious and doubtful; Lucilius became immediately the favourite of the nation, and he like Beranger could say of his poems that "they alone of all were read by the people". The uncommon popularity of the Lucilian poem is, in a historical point of view, a remarkable event; we see from it that literature was already a power, and beyond doubt we should fall in with various traces of its influence, if a thorough history of this period had been preserved. Posterity has only confirmed the judgment of contemporaries; the Roman judges of art who were opposed to the Alexandrian school assigned to Lucilius the first rank among all the Latin poets. So far as satire can be regarded as a distinct form of art at all, Lucilius created it; and in it created the only species of art which was peculiar to the Romans and was bequeathed by them to posterity.

Of poetry attaching itself to the Alexandrian school nothing occurs in Rome at this epoch except minor poems translated from or modelled on Alexandrian epigrams, which deserve notice not on their own account, but as the first harbingers of the later epoch of Roman literature. Leaving out of account some poets little known and whose dates cannot be fixed with certainty, there belong to this category Quintus Catulus, consul in 652[25] and Lucius Manlius, an esteemed senator, who wrote in 657. The latter seems to have been the first to circulate among the Romans various geographical tales current among the Greeks, such as the Delian legend of Latona, the fables of Europa and of the marvellous bird Phoenix; as it was likewise reserved for him on his travels to discover at Dodona and to copy that remarkable tripod, on which might be read the oracle imparted to the Pelasgians before their migration into the land of the Siceli and Aborigines - a discovery which the Roman annals did not neglect devoutly to register.

In historical composition this epoch is especially marked by the emergence of an author who did not belong to Italy either by birth or in respect of his intellectual and literary standpoint, but who first or rather alone brought literary appreciation and description to bear on Rome's place in the world, and to whom all subsequent generations, and we too, owe the best part of our knowledge of the Roman development. Polybius (c. 546-c. 627) of Megalopolis in the Peloponnesus, son of the Achaean statesman Lycortas, took part apparently as early as 565 in the expedition of the Romans against the Celts of Asia Minor, and was afterwards on various occasions, especially during the third Macedonian war, employed by his countrymen in military and diplomatic affairs. After the crisis occasioned by that war in Hellas he was carried off along with the other Achaean hostages to Italy[26], where he lived in exile for seventeen years (587-604) and was introduced by the sons of Paullus to the genteel circles of the capital. By the sending back of the Achaean hostages[27] he was restored to his home, where he thenceforth acted as permanent mediator between his confederacy and the Romans. He was present at the destruction of Carthage and of Corinth (608). He seemed educated, as it were, by destiny to comprehend the historical position of Rome more clearly than the Romans of that day could themselves. From the place which he occupied, a Greek statesman and a Roman prisoner, esteemed and occasionally envied for his Hellenic culture by Scipio Aemilianus and the first men of Rome generally, he saw the streams, which had so long flowed separately, meet together in the same channel and the history of the states of the Mediterranean resolve itself into the hegemony of Roman power and Greek culture. Thus Polybius became the first Greek of note, who embraced with serious conviction the comprehensive view of the Scipionic circle, and recognized the superiority of Hellenism in the sphere of intellect and of the Roman character in the sphere of politics as facts, regarding which history had given her final decision, and to which people on both sides were entitled and bound to submit. In this spirit he acted as a practical statesman, and wrote his history.

If in his youth he had done homage to the honourable but impracticable local patriotism of the Achaeans, during his later years, with a clear discernment of inevitable necessity, he advocated in the community to which he belonged the policy of the closest adherence to Rome. It was a policy in the highest degree judicious and beyond doubt well-intentioned, but it was far from being high-spirited or proud. Nor was Polybius able wholly to disengage himself from the vanity and paltriness of the Hellenic statesmanship of the time. He was hardly released from exile, when he proposed to the senate that it should formally secure to the released their former rank in their several homes; whereupon Cato aptly remarked, that this looked to him as if Ulysses were to return to the cave of Polyphemus to request from the giant his hat and girdle. He often made use of his relations with the great men in Rome to benefit his countrymen; but the way in which he submitted to, and boasted of, the illustrious protection somewhat approaches fawning servility. His literary activity breathes throughout the same spirit as his practical action. It was the task of his life to write the history of the union of the Mediterranean states under the hegemony of Rome. From the first Punic war down to the destruction of Carthage and Corinth his work embraces the fortunes of all the civilized states - namely Greece, Macedonia, Asia Minor, Syria, Egypt, Carthage, and Italy - and exhibits in causal connection the mode in which they came under the Roman protectorate; in so far he describes it as his object to demonstrate the fitness and reasonableness of the Roman hegemony.