PACUVIUS, MARCUS (c. 220-130 B.C.)

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PACUVIUS, MARCUS (c. 220-130 B.C.) , Roman tragic poet, was the nephew and pupil of Ennius, by whom Roman tragedy was first raised to a position of influence and dignity. In the interval between the death of Ennius (169) and the advent of Accius, the youngest and most productive of the tragic poets, he alone maintained the continuity of the serious drama, and perpetuated the character first imparted to it by Ennius. Like Ennius he probably belonged to an Oscan stock, and was born at Brundusium, which had become a Roman colony in 244. Hence he never attained to that perfect idiomatic purity of style, which was the

special

SPECIAL

glory

GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

of the early writers of comedy, Naevius and Plautus. Pacuvius obtained distinction also as a painter; and the elder Pliny (Nat. Hist.

xxxv

XXXV

. 19) mentions a work of his in the temple of Hercules in the Forum boarium. He was less productive as a poet than either Ennius or Accius; and we hear of only about twelve of his plays, founded on Greek subjects (among them the Antiope, Teucer, Armorum Judicium, Dulorestes, Chryses, Niptra, &c., most of them on subjects connected with the Trojan cycle), and one praetexta (Paulus) written in connexion with the victory of Lucius Aemilius Paulus at Pydna(168), as 'the Clastidium of Naevius and the Ambracia of Ennius
were written in commemoration of great military successes.
He continued to write tragedies till the age of eighty, when he
exhibited a play in the same year as Accius, who was then thirty
years of age. He retired to Tarentum for the last years of his
life, and a story is told by Gellius (xiii. 2) of his being visited
there by-Accius on his way to Asia, who read his Atreus to him.
The story is probably, like that of the visit of the young Terence
to the veteran Caecilius, due to the invention of later gram-
marians; but it is invented in accordance wtih the traditionary
criticism (

Horace

HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

, Epp. ii. 1. 5455) of the distinction between
the two poets, the older being characterized rather by cultivated
accomplishment (doctus), the younger by vigour and animation
(altus). Pacuvius's epitaph, said to have been composed by
himself, is quoted by Aulus Gellius (i. 24), with a tribute of
admiration to its " modesty, simplicity and fine serious spirit ":
Adulescens, tam etsi properas, to hoc saxum rogat
Ut sese aspicias, deinde quod scriptum 'st

legas

LEGAS

.
Hic Bunt poetae Pacuvi Marci sita
Ossa. Hoc volebam nescius ne esses. Vale.
Cicero, who frequently quotes from him with great admiration, appears (De optimo genere oratorum, i.) to rank him first among the Roman tragic poets, as Ennius among the epic, and Caecilius among the comic poets.
The fragments of Pacuvius quoted by Cicero in

illustration

ILLUSTRATION

or enforcement of his own ethical teaching appeal, by the fortitude, dignity, and magnanimity of the sentiment expressed in them, to what was noblest in the Roman temperament. They are inspired also by a fervid and steadfast glow of spirit and reveal a gentleness and humanity of sentiment blended with the severe gravity of the

original

ORIGINAL

Roman character. So far too as the Romans were capable of taking

interest

INTEREST

in speculative questions, the tragic poets contributed to stimulate curiosity on such subjects, and they anticipated Lucretius in using the conclusions of speculative philosophy as well as of common sense to assail some of the prevailing forms of superstition. Among the passages quoted from Pacuvius are several which indicate a taste both for physical and ethical speculation, and others which expose the pretensions of religious imposture. These poets aided also in developing that capacity which the Roman language subsequently displayed of being an organ of oratory, history and moral disquisition. The literary language of Rome was in process of formation during the 2nd century B.C., and it was in the latter part of this century that the

series

SERIES (a Latin word from serere, to join)

of great Roman orators, with whose spirit Roman tragedy has a strong affinity, begins. But the new creative effort in language was accompanied by considerable crudeness of execution, and the novel word-formations and varieties of inflexion introduced by Pacuvius exposed him to the ridicule of the satirist Lucilius, and, long afterwards, to that of his imitator Persius. But, notwithstanding the attempt to introduce an alien

element

ELEMENT (Lat. elementum)

into the Roman language, which proved incompatible with its natural genius, and his own failure to attain the idiomatic purity of Naevius, Plautus or Terence, the fragments of his dramas are sufficient to prove the service which he rendered to the formation of the literary language of Rome as well as to the culture and character of his contemporaries.
Fragments in O. Ribbeck, Fragmenta scaenicae romanorum poesis (1897), vol. i. ; see also his Remische Tragodie (1875) ; L. Muller, De Pacuvii fabulis (188) ; W. S. Teuffel, Caecilius Statius, Pacuvius, Attius, Afranius (1858); and Mommsen, History of Rome, bk. iv. ch. 13.

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