The Roman Poets of the Republic, 2nd edition

by W. Y. Sellar

Pacuvius composed one drama on a Roman subject, the title of which was 'Paulus.' Although the name does not indicate whether the principal character of the drama was the Aemilius Paulus who fell at Cannae, whom Horace commemorates as one of the national heroes in the words—

Animaeque magnae

Prodigum Paulum, superante Poeno,

or his more fortunate son who conquered the Macedonians at Pydna, yet it would seem much more probable that the poet should celebrate a great triumph of his own time, achieved by one in whom, from his connexion with Scipio, the nephew of Ennius would feel a special interest, than that he should recall a great calamity of a past generation, neither near enough to excite immediate attention, nor sufficiently remote to justify an imaginative treatment. The Fabulae Praetextatae, of which this was one, were, as Niebuhr[152] has pointed out, historical plays rather than tragedies. Such a drama would not naturally or necessarily require a tragic catastrophe, but would represent the traditions of the earlier annals, or the great events of current history, in accordance with the dictates of national feeling. No important fragment of this drama has been preserved, but the fact of its having been written by Pacuvius is interesting, as affording a parallel to the celebration of the victory of Marcellus in the Clastidium of Naevius, and of the success of M. Fulvius Nobilior in the Ambracia of Ennius.

Neither the fragments nor the ancient notices of Pacuvius produce on a modern reader so distinct an impression of his peculiar genius and character as may be formed of Naevius, Ennius, and Lucilius. His remains are chiefly important as throwing light on the general features of the Roman tragic drama; and few critics would attempt to determine from internal evidence alone whether any particular passage came from the lost works of Pacuvius or of Accius. The main points that are known in his life are his provincial origin, and his relationship to Ennius; the fact of his supporting himself, first by painting, afterwards by the payment he received from the Aediles for his plays; his friendship with Laelius, the centre of the literary circle in Rome during the latter part of the second century B.C.; his intimacy with his younger rival Accius; the facts also that, like Sophocles, he preserved his poetical power unabated till a great age, and that, like Shakspeare, he retired to spend his last years in his native district. The language of his epitaph is suggestive of a kindly and modest temper, and of the calm and serious spirit of age; while that of many of his dramatic fragments bears evidence to his moral strength and worth, and to the manly fervour as well as the gentle humanity of his temperament.

L. Accius (or Attius) was born in the year 170 B.C., of parentage similar to that of Horace—'parentibus libertinis.' He was a native of the Roman colony of Pisaurum in Umbria, founded in 184 B.C.; and an estate in that district was known in after times by the name 'fundus Accianus.' Like Pacuvius, he lived to a great age, though the exact date of his death is uncertain. Cicero, who was born B.C. 106, speaks of the oratorical and literary accomplishment of D. Junius Brutus—Consul, along with P. Scipio Nasica, B.C. 138, and one of the most famous soldiers and chiefs of the senatorian party in that age—on the authority of what he had himself often heard from the poet: 'ut ex familiari ejus L. Accio poeta sum audire solitus[153].' The meeting of the old tragic poet and of the great orator is remarkable, as a link connecting the two epochs in literature, which stand so widely apart in the spirit and style by which they are respectively characterised. Cicero again, in the speech in defence of Archias, mentions the intimacy subsisting between D. Brutus and the poet[154]. The expressions 'familiari ejus' and 'amicissimi sui,' like that of 'hospitis et amici mei,' applied by Laelius, in Cicero's dialogue, to Pacuvius, indicate that the relation between the poets (men of humble or provincial origin) and eminent statesmen and soldiers, was in that age one of familiar intimacy rather than of patronage and dependence.

Although Cicero's notice of his own acquaintance with Accius, which is not likely to have existed before the former assumed the toga virilis, is a proof of the great age which the poet attained, it is not certain how long he continued the practice of his art. Seneca, in quoting from the Atreus of this poet the well-known tyrant's maxim, 'oderint dum metuant'—a maxim, according to Suetonius, constantly in the mouth of Caligula,—adds the remark that 'any one could see that it was written in the days of Sulla.' But Aulus Gellius, on the other hand, states that the Atreus was the play which had been read by the poet in his youth to Pacuvius at Tarentum. The termination of the literary career of Accius must have been soon after the beginning of the first century B.C., so that nearly half a century elapses between the last of the works of the older poets and the appearance of the great poem of Lucretius. The journey of Accius to Asia shows the beginning of that taste for foreign travel which became prevalent among the most educated men in a generation later, and grew more and more easy with the advance of Roman conquest, and more attractive from the increased cultivation of Greek literature. Accius is the first of the Roman poets who seems to have possessed a country residence; and some taste for country life and the beauties of Nature first betrays itself in one or two of his fragments. He possessed apparently all the self-esteem and high spirit of the earlier poets. Pliny mentions that though a very little man, he placed a colossal statue of himself in a temple of the Muses[155].

Another story is told by Valerius Maximus, that on the entrance of C. Julius Caesar (the author of a few tragedies, and a member of one of the great patrician houses), into the place of meeting of the 'Poets' Guild' on the Aventine, he refused to rise up as a mark of deference, thus asserting his own superiority in literature in opposition to the unquestionable claims of rank on the part of his younger rival.

He was much the most productive among the early tragic poets. The titles of his dramas are variously reckoned from about 37 to about 50 in number. Like Ennius, he seems to have made great use of the Trojan cycle of events; and to have appealed largely to the martial sympathies of the Romans in his representation of character and action. Two of his dramas, the Brutus, treating of the downfall of the Tarquinian dynasty, and the Aeneadae, or Decius, founded on the story of the second Decius, who devoted himself at the battle of Sentinum, belonged to the class of Fabulae Praetextatae. He followed the example of Ennius in composing a national epic, called Annales, in three books. He was the author also of what seem to have been works of grammar and literary criticism and history, written in trochaic and other metres, and known by the name Didascalica and Pragmatica, and Parerga. The subjects of these last works, as well as those of some of the satires of Lucilius, and of the poems of Porcius Licinus and Volcatius Sedigitus, written in trochaic and septenarian verse, show the attention which was given about this time by Roman authors to the principles of composition. The literary and grammatical studies of the time of Accius must have prepared the way for the rapid development of style which characterised the first half of the first century B.C. In some of the fragments of Accius distinctions in the meaning of words—e.g. of 'pertinacia' and 'pervicacia'—are prominently brought out. We note also in his remains, as in those of Pacuvius, a great access of formative energy in the language, especially in abstract words in -tas and -tudo, many of which afterwards dropped out of use. The antagonism manifested by Lucilius to Accius seems in a great measure to have arisen from his claims to a kind of literary dictatorship in questions of criticism and style.