CÆCILIUS,
who was originally a slave, acquired this name with his freedom, having been at first called by the servile appellation of [pg 169]Statius[286]. He was a native of Milan, and flourished towards the end of the sixth century of Rome, having survived Ennius, whose intimate friend he was, about one year, which places his death in 586. We learn from the prologue to the Hecyra of Terence, spoken in the person of Ambivius, the principal actor, or rather manager of the theatre, that, when he first brought out the plays of Cæcilius, some were hissed off the stage, and others hardly stood their ground; but knowing the fluctuating fortunes of dramatic exhibitions, he had again attempted to bring them forward. His perseverance having obtained for them a full and unprejudiced hearing, they failed not to please; and this success excited the author to new efforts in the poetic art, which he had nearly abandoned in a fit of despondency. The comedies of Cæcilius, which amounted to thirty, are all lost, so that our opinion of their merits can be formed only from the criticisms of those Latin authors who wrote before they had perished. Cicero blames the improprieties of his style and language[287]. From Horace’s Epistle to Augustus, we may collect what was the popular sentiment concerning Cæcilius—
“Vincere Cæcilius gravitate—Terentius arte.”
It is not easy to see how a comic author could be more grave than Terence; and the quality applied to a writer of this cast appears of rather difficult interpretation. But the opinion which had been long before given by Varro affords a sort of commentary on Horace’s expression—“In argumentis,” says he, “Cæcilius palmam poscit; in ethesi Terentius.” By gravitas, therefore, as applied to Cæcilius, we may properly enough understand the grave and affecting plots of his comedies; which is farther confirmed by what Varro elsewhere observes of him—“Pathe Trabea, Attilius, et Cæcilius facile moverunt.” Velleius Paterculus joins him with Terence and Afranius, whom he reckons the most excellent comic writers of Rome—“Dulcesque Latini leporis facetiæ per Cæcilium, Terentiumque, et Afranium, sub pari ætate, nituerunt[288].”
A great many of the plays of Cæcilius were taken from Menander; and Aulus Gellius informs us that they seemed agreeable and pleasing enough, till, being compared with their Greek models, they appeared quite tame and disgusting, and the wit of the original, which they were unable to imitate,[pg 170] totally vanished[289]. He accordingly contrasts a scene in the Plocius (or Necklace,) of Cæcilius, with the corresponding scene in Menander, and pronounces them to be as different in brightness and value as the arms of Diomed and Glaucus. The scenes compared are those where an old husband complains that his wife, who was rich and ugly, had obliged him to sell a handsome female slave, of whom she was jealous. This chapter of Aulus Gellius is very curious, as it gives us a more perfect notion than we obtain from any other writer, of the mode in which the Latin comic poets copied the Greeks. To judge from this single comparison, it appears that though the Roman dramatists imitated the incidents, and caught the ideas of their great masters, their productions were not entirely translations or slavish versions: A different turn is frequently given to a thought—the sentiments are often differently expressed, and sometimes much is curtailed, or altogether omitted.
AFRANIUS,
though he chose Roman subjects, whence his comedies were called Togatæ, was an imitator of the manner of Menander—
“Dicitur Afranî toga convenisse Menandro.”