GNAEUS See also:

• GNAEUS NAEVIUS (c. 264–? 194 B.C.)

NAEVIUS (c. 264–? 194 B.C.)  , Latin epic poet and dramatist . There is See also:

• GREAT

great uncertainty in regard to his See also:

• LIFE

life . From the expression of See also:

• GELLIUS, AULUS (c. A.D. 13o-I8o)

Gellius (i . 24 . ') characterizing his See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph as written in a vein of " Campanian arrogance " it has been inferred that he was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in one of the Latin communities settled in See also:

• CAMPANIA

Campania . But the phrase " Campanian arrogance " seems to have been used proverbially for " gasconade "; and, as there was a plebeian gens Naevia in See also:

• ROME
• ROME (Roma)

Rome, it is quite as probable that he was by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth a See also:

• ROMAN

Roman See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen . He served either in the Roman See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army or among the socii in the first Punic See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, and thus must have reached manhood before 241 . His career as a dramatic author began with the See also:

• EXHIBITION

exhibition of a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama in or about the See also:

• YEAR

year 235, and continued for See also:

• THIRTY

thirty years . Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close he incurred the hostility of some of the See also:

• NOBILITY

nobility, especially, it is said, of the Metelli, by the attacks which he made upon them on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, and at their instance he was imprisoned (See also:

• PLAUTUS, TITUS MACCIUS (originally perhaps MACCUS; cf. Asin. Prol. 11)

Plautus, Mil . Glor . 211) . After See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing two plays during his imprisonment, in which he is said to have apologized for his former rudeness (Gellius iii .

3 . '5), he was liberated through the interference of the tribunes of the See also:

• COMMONS

commons; but he had shortly afterwards to retire from Rome (in or about 204) to See also:

• UTICA

Utica . It may have been during his See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile, when withdrawn from his active career as a dramatist, that he composed or completed his p. em on the first Punic war . Probably his latest See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition vigorous representative of the bold combative spirit of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient was the epitaph already referred to, written like the epic in Saturnian See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse: " Immortales mortales si foret fas Here, Flerent divae Camenae Naevium poetam; Itaque postquam est Orci traditus thesauro Obliti sunt Romai loquier lingua See also:

• LATINA, VIA

Latina." If these lines were dictated by a See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy of the growing ascendancy of See also:

• ENNIUS, QUINTUS (239-170 B.c.)

Ennius, the life of See also:

• NAEVIUS, GNAEUS (c. 264–? 194 B.C.)

Naevius must have been prolonged considerably beyond 204, the year in which Ennius began his career as an author in Rome . As -distinguished from Livius Andronicus, Naevius was a native See also:

• ITALIAN

Italian, not a See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek; he was also an See also:

• ORIGINAL

original writer, not a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere adapter or translator . If it was due to Livius that the forms of Latin literature were, from the first, moulded on those of Greek literature, it was due to Naevius that much of its spirit and substance was of native growth . Like Livius, Naevius professed to adapt Greek tragedies and comedies to the Roman stage . Among the titles of his tragedies are See also:

• AEGISTHUS

Aegisthus, See also:

• LYCURGUS
• LYCURGUS (c. 396–325 B.C.)
• LYCURGUS (Gr. AvKofpyor)

Lycurgus, See also:

• ANDROMACHE

Andromache or See also:

• HECTOR

Hector Proficiscens, Equus Trojanus, the last named being performed at the opening of See also:

• POMPEY

Pompey's See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre (55) . The See also:

• NATIONAL

national See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast of his See also:

• GENIUS (from Lat. genere, gignere)

genius and See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper was shown by his deviating from his Greek originals, and producing at least two specimens of the fabula praetexta (national drama) one founded on the childhood of See also:

• ROMULUS

Romulus and Remus (See also:

• LUPUS (Lat. lupus, wolf)
• LUPUS, PUBLIUS RUTILIUS

Lupus or Alimonium Romuli et Remi), the other called See also:

• CLASTIDIUM (mod. Casteggio)

Clastidium, which celebrated the victory of M . See also:

• CLAUDIUS
• CLAUDIUS [TIBERIUS CLAUDIUS DRUSUS NERO GERMANICUS]
• CLAUDIUS, MARCUS AURELIUS
• CLAUDIUS, MATTHIAS (174o-1815)

Claudius See also:

• MARCELLUS

Marcellus over the Celts (222) . But it was as a writer of See also:

• COMEDY

comedy that he was most famous, most productive and most original . While he is never ranked as a writer of tragedy with Ennius, See also:

• PACUVIUS, MARCUS (c. 220-130 B.C.)

Pacuvius or See also:

• ACCIUS
• ACCIUS, LUCIUS

Accius, he is placed in the See also:

• CANON

canon of the grammarian Volcacius Sedigitus third (immediately after See also:

• CAECILIUS

Caecilius and Plautus) in the See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of Roman comic authors .

He is there characterized as ardent and impetuous in See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . He is also appealed to, with Plautus and Ennius, as a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of his See also:

• ART

art in one of the prologues of See also:

• TERENCE

Terence . His comedy, like that of Plautus, seems to have been rather a See also:

• FREE

free See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of his originals than a See also:

• RUDE, FRANCOIS (1784–1855)

rude copy of them, as those of Livius probably were, or an See also:

• ARTISTIC

artistic copy like those of Terence . The titles of most of them, like those of Plautus, and unlike those of Caecilius and Terence, are Latin, not Greek . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew from the writers of the old See also:

• POLITICAL

political comedy of See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, as well as from the new comedy of See also:

• MANNERS, CHARLES (1857– )

manners, and he attempted to make the stage at Rome, as it had been at Athens, an See also:

• ARENA (Lat. for " sand ")

arena of political and See also:

• PERSONAL

personal warfare . A strong spirit of partisanship is recognized in more than one of the fragments; and this spirit is thoroughly popular and adverse to the senatorial ascendancy which became more and more confirmed with the progress of the second Punic war . Besides his attack on the Metelli and other members of the See also:

• ARISTOCRACY (Gr. apuvror, best; «paria, government)

aristocracy, the great Scipio is the See also:

• OBJECT

object of a censorious See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of a youthful escapade attributed to him . Among the few lines still remaining from his lost comedies, we seem to recognize the idiomatic force and rapidity of See also:

• MOVEMENT

movement characteristic of the style of Plautus . There is also found that love of See also:

• ALLITERATION (from Lat. ad, to, and littera, letter)

alliteration which is a marked feature in all the older Latin poets down even to See also:

• LUCRETIUS (TITUS LUCRETIUS CARUS) (c. 98–55 B.C.)

Lucretius . In one considerable comic fragment attributed to him—the description of a coquette—there is great truth and shrewdness of observation . But we find no trace of the exuberant comic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and geniality of his great See also:

• CON

con-temporary . He was not only the See also:

• OLDEST

oldest native dramatist, but the first author of an epic poem (Bellum Punicum)—which, by combining the See also:

• REPRESENTATION

representation of actual contemporary See also:

• HISTORY

history with a mythical background, may be said to have created the Roman type of epic See also:

• POETRY

poetry .

The poem was one continuous See also:

• WORK

work, but was divided into seven books by a grammarian of a later See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . The earlier See also:

• PART

part of' it treated of the- mythical adventures of See also:

• AENEAS

Aeneas in See also:

• SICILY (Ital. Sicilia)

Sicily, See also:

• CARTHAGE
• CARTHAGE (Phoenician Kart-hadshat, " New City "; Gr. Kapxn5c; v, Lat. Carthago or Carchedon)
• CARTHAGE, SYNODS OF

Carthage and See also:

• ITALY
• ITALY (Italia)

Italy, and borrowed from the interview of See also:

• ZEUS

Zeus and See also:

• THETIS

Thetis in the first See also:

• BOOK

book of the Iliad the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of the interview of See also:

• JUPITER

Jupiter and See also:

• VENUS

Venus; which See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil has made one of the See also:

• CARDINAL (Lat. cardinalis)

cardinal passages in the Aeneid . The later part treated of the events of the first Punic war in the style of a metrical See also:

• CHRONICLE (from Gr. Xpovos, time)

chronicle . An important See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence in Roman literature and belief, which had its origin in Sicily, first appeared in this poem—the recognition of the mythical connexion of Aeneas and his Trojans with the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of Rome . The few remaining fragments produce the impression of vivid and rapid narrative, to which the flow of the native . Saturnian verse, in contradistinction to the weighty and complex structure of the See also:

• HEXAMETER

hexameter, was naturally adapted . The impression we get of the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man is that, whether or not he actually enjoyed the full rights of Roman citizenship, he was a " If it were permitted that immortals should weep for mortals, the divine Camenae would weep for Naevius the poet; for since he hath passed into the treasure-See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

• DEATH

death men have forgotten at Rome how to speak in the Latin See also:

• TONGUE (O. Eng. lunge)

tongue." . Roman commons . He was one of those who made the Latin See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language into a great See also:

• ORGAN

organ of literature . The phrases still quoted from him have nothing of an antiquated See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, while they have a genuinely idiomatic See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring . As a dramatist he worked more in the spirit of Plautus than of Ennius, Pacuvius, Accius or Terence; but the great Umbrian humorist is separated from his older contemporary, not only by his breadth of comic power, but by his See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general attitude of moral and political indifference . The power of Naevius was the more genuine Italian See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift—the power of satiric criticism—which was employed in making men ridiculous, not, like that of Plautus, in extracting amusement from the humours, follies and eccentricities of life .

Although our means of forming a See also:

• FAIR

fair estimate of Naevius are scanty, all that we do know of him leads to the conclusion that he was far from being the least among the makers of Roman literature, and that with the loss of his writings there was lost a vein of national feeling and genius which rarely reappears . Fragments (dramas) in L . See also:

• MULLER, FERDINAND VON, BARON (1825–1896)
• MULLER, FRIEDRICH (1749-1825)
• MULLER, GEORGE (1805-1898)
• MULLER, JOHANNES PETER (18o1-1858)
• MULLER, JOHANNES VON (1752-1809)
• MULLER, JULIUS (18oi-1878)
• MULLER, KARL OTFRIED (1797-1840)
• MULLER, LUCIAN (1836-1898)
• MULLER, WILHELM (1794-1827)
• MULLER, WILLIAM JAMES (1812-1845)

Muller, Livi Andronici et Cn . Naevi Fabularum Reliquiae (1885), and (Bellum Punicum) in his edition of Ennius (1884) ; monographs by E . Klussmann (1843) ; M . J . See also:

• BERCHEM (or BERGHHEM), NICOLAAS (162o–1683)

Berchem (1861); D. de See also:

• MOOR

Moor (1877); See also:

• MOMMSEN, THEODOR (1817–1903)

Mommsen, History of Rome, bk, iii., ch . 14 . On Virgil's indebtedness to Naevius and Ennius, see V . Crivellari, Quae praecipue hausit Vergilius ex Naevio et Ennio (1889) .