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APPENDIX OF AUTHORS AND WORKS
relatively small for one who lived so long, that he did not depend upon the pen for his
livelihood. Pliny (loc. cit.) says he was the painter of a picture still to be seen in the
Temple of Hercules in the forum Boarium and was the first to lend prestige (through
his theatrical fame) to the art of painting in Rome; cf. Jerome, Chron. 154 B.C. Cicero
makes Laeiius mention P. as his kospes et amicus (Amic. 24), implying that he was one
of the 'Scipionic circle'. Both P. and Accius staged plays at festival of 140 B.C. (Cic.
Brut. 229). Gellius (13.2.2 ;cf. Jerome, loc. cit.) says that P. retired to Tarentum owing
to illness and tells a traditio-story according to which Accius, on his way to Asia,
stopped at Pacuvius' and read him his Atreus c. 135 B.C. d. c. 131 B.C. (Gell. loc. cit.).
Varro quoted his epitaph in Depoetis (ap. Gell. 1.24.4); this, unlike the epitaphs which
he quotes for Naevius and Plautus, is probably genuine in the sense that it appeared on
his tombstone, but it is far from certain that he wrote it himself as Varro claims:
essentially the same epitaph is attested for two others of this period (CIL I 2 1209—10;
CLE 848, 53), and though the poet's name is accommodated to the metre better than in
these other cases, it is still awkwardly fitted in (. . . Pacuui Marci sita | ossa. hoc uolebam
. . .); there is no difficulty in the inversion of nomen and praenomen, but the
enjambment with hiatus followed by elision across a strong breath-pause is suspiciously
artificial. It is probable that in all three cases we have a standard epitaph from the
copy-book of a mason of the Gracchan era. Reputation: Favourable comment: Cic.
Opt. gen. orat. 1.2; Hor. Epist. 2.1.55; Veil. Pat. 2.9.3; Quint- 10.1.97; Gell. 6.14.6.
Adverse: Lucilius bks 26—9 passim (early 120s, hot long after P.'s death: wordformation,
gloom, pretentiousness, contorted diction); Cic. Brut. 258 (his and
Caecilius' latinitas unfavourably contrasted with that of Laeiius and Aemilianus),
cf. Or. 152; Quint. 1.5.67 (word-formation); Pers. 1.77 (cf. Lucilius).
WORKS
(1) TRAGEDIES: Twelve or thirteen titles, of which c. 380 assigned and c. 5 5 unassigned
verses survive. More than thirty-five extant lines: Chryses (from Sophocles), Dulorestes,
Medus, Periboea, Teucer. More than twenty: Antiopa (from Euripides), Atalanta,
Hermiona, Iliona, Niptra (from Sophocles: the earliest known Odysseus-drama on the
Roman stage). Others: Armorum indicium (Aeschylus), Pentheus, perhaps Protesilaus
(but see R. Helm, RE xvm (1942) 2172; the only evidence is in Antonius Volscus'
introduction to Ovid, Her. 13 (Epistulae Heroidum, Venice 1497)). (2) FABULA
PRAETEXTA: Paullus, after 168 B.C.; in honour of L. Aemilius Paullus, the victor at
Pydna (four citations). (3) SATURA mentioned by Diomedes, GLK 1 485.32, Porph. ad
Hor. Sat. 1.10.46. No fragments.
BIBLIOGRAPHY
TEXTS: TRF 86-157; ROL 11 158-322; (ed.) A. Klotz, with O. Seel, L. Voit,
Scaenicorum Romanorum fragmenta vol. I: Tragicorum fragmenta (Oldenbourg 1953),
cf. O. Skutsch, Gnomon 26 (1954) 465—70 (review more important texrually than the
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