of Rome soon passed into the hands
of freedmen and foreigners and even of persons not free at all.
Consequently the circle of fellow-competitors became converted into
a public of spectators, and the chaplet of the victorious champion,
which has been with justice called the badge of Hellas, was afterwards
hardly ever mentioned in Latium.

A similar fate befel poetry and her sisters. The Greeks and Germans
alone possess a fountain of song that wells up spontaneously; from
the golden vase of the Muses only a few drops have fallen on the
green soil of Italy. There was no formation of legend in the strict
sense there. The Italian gods were abstractions and remained such;
they never became elevated into or, as some may prefer to say,
obscured under, a true personal shape. In like manner men, even the
greatest and noblest, remained in the view of the Italian without
exception mortal, and were not, as in the longing recollection
and affectionately cherished tradition of Greece, elevated in the
conception of the multitude into god-like heroes. But above all
no development of national poetry took place in Latium. It is
the deepest and noblest effect of the fine arts and above all of
poetry, that they break down the barriers of civil communities and
create out of tribes a nation and out of the nations a world. As
in the present day by means of our cosmopolitan literature the
distinctions of civilized nations are done away, so Greek poetic
art transformed the narrow and egoistic sense of tribal relationship
into the consciousness of Hellenic nationality, and this again
into the consciousness of a common humanity. But in Latium nothing
similar occurred. There might be poets in Alba and in Rome, but there
arose no Latin epos, nor even--what were still more conceivable--a
catechism for the Latin farmer of a kind similar to the "Works and
Days" of Hesiod. The Latin federal festival might well have become
a national festival of the fine arts, like the Olympian and Isthmian
games of the Greeks. A cycle of legends might well have gathered
around the fall of Alba, such as was woven around the conquest of
Ilion, and every community and every noble clan of Latium might
have discovered in it, or imported into it, the story of its own
origin. But neither of these results took place, and Italy remained
without national poetry or art.

The inference which of necessity follows from these facts, that the
development of the fine arts