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[32].' 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[33]. 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[34].
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, in his representation of character and action, to have appealed largely to the martial sympathies of the Romans. 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 on grammar and literary criticism and history, written in trochaic and other metres, and known by the names 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.
The literary qualities most conspicuous in the fragments of Accius, and attributed to him by ancient writers, are of the same kind as those which the dramatic fragments of Ennius and Pacuvius exhibit. Cicero testifies to his oratorical force, to his serious spirit, and to the didactic purpose of his writings. His most important remains illustrate these attributes of his style, along with the shrewd sense and vigorous understanding of the older writers, and afford some traces of a new vein of poetical emotion, which is scarcely observable in earlier fragments. Horace applies the epithet 'altus,' Ovid that of 'animosus' to Accius. Cicero characterises him as 'gravis et ingeniosus poeta,' and attests the didactic purpose of a particular passage in the words, 'the earnest and inspired poet wrote thus with the view of stimulating, not those princes who no longer existed, but us and our children to energy and honourable ambition[35].' The style of a passage from the Atreus is described by the same author in the dialogue 'De Oratore,' as 'nervous, impetuous, pressing on with a certain impassioned gravity of feeling[36].' Oratorical fervour and dignity seem thus to have been the most distinctive characteristic of his style. Virgil, whose genius made as free use of the diction and sentiment of native as of Greek poets, has cast the ruder language of the old poet into a new mould in some of the greatest speeches of the Aeneid, and seems to have drawn from the same source something of the high spirit and lofty pathos with which he has animated the personages of his story. The famous address, for instance—
Disce puer virtutem ex me verumque laborem,
Fortunam ex aliis,
though originally found in the Ajax of Sophocles, was yet familiar to Virgil in the line of Accius—
Virtuti sis par, dispar fortunis patris.
The address of Latinus to Turnus—