A people made up of these elements held out no temptation to the poet to leave the beaten track of his predecessor, the imitations of Greek tragedy. They were step-sons of Rome, as Scipio Æmilianus called the mob, who clamoured at his saying that the death of Tiberius Gracchus was just:—
Mercedibus emptæ
Et viles operæ quibus est mea Roma noverca.
Petron. v. 164.
The poet’s real patrons had been educated on Greek principles; and hence Greek taste was completely triumphant over national legend, and the heroes of Roman tragedy were those who were celebrated in Hellenic story. The Roman historical plays, (prætextatæ,) which approached most nearly towards realizing the idea of a national tragedy, were graceful compliments to distinguished individuals. They were usually performed at public funerals; and as, in the procession, masks representing the features of the deceased were borne by persons of similar stature, so incidents in his life formed the subject of the drama which was exhibited on the occasion.
The list of Fabulæ Prætextatæ, even if it were perfect, would occupy but narrow limits; nor had they sufficient merits to stand the test of time. They survive but in name, and the titles extant are but nine in number:——
The Paulus of Pacuvius, which represented an incident in the life of L. Æmilius Paulus.[[240]]
The Brutus, Æneadæ, and Marcellus of Attius.[[241]]
Iter ad Lentulum, a passage in the life of Balbus.[[242]]
Cato.