Life
Caecilius Statius is an early second-century writer of fabulae palliatae, though beyond that, there are some problems concerning the traditions of his life. The fourth century chronicler Jerome says he was an Insubrian Gaul from Mediolanum (mod. Milan). He adds that he was a contubernalis of Ennius, that his floruit was 179 BCE, and that he died in 168, a year after Ennius. Aulus Gellius further reports that Caecilius Statius’ name was taken from one of the Caecilii, thus making him one of their freed slaves.
Despite scholars often repeating the above more or less, the story raises suspicions. The name Statius is Oscan/Samnite, not Celtic, and the Samnites were well represented in Cisalpine Gaul. Moreover, his career as a slave-turned-eminent playwright in both Greek and Latin would be improbable. As Robson remarks in his 1938 study of Caecilius Statius:
When and how, being a Celt, with no knowledge of Latin and Greek and probably no education, could he have become so proficient in these languages as to have composed at least 40 plays, some of them adaptations from the Greek New Comedy? Assuming that he came to Rome between the years 200-194 and died in 169 (or, if Ritschl’s emendation be accepted, in 166), he would have lived in Rome at the longest 28-34 years. Some of these years must surely have been spent in slavery, for he would scarcely have been freed immediately upon his arrival. Further, it has been shown 13 that, accepting the traditional dates, Jerome’s date (179 B. C.) for the peak of his career is reasonable. This then would leave only 16-20 years for him to have been brought to Rome, to have served as a slave and been freed, to have learned Latin and Greek, and to have established himself as one of the most successful playwrights in the City.
While such a career is not impossible (and Terence’s, while not a perfect parallel, comes close), Robson argues that it is much more likely for Caecilius Statius to be a Samnite in Mediolanum and became a client of one of the powerful Caecilii clan, adopting the name, as was normal, upon being entered into Roman citizenry. His servile origin found in Jerome’s and Aulus Gellius’ biographies, which perhaps can be traced back to Suetonius’ De Poetis, would therefore not be a total fabrication, but only a misidentification. His lack of Latin polish (see “Legacy” below) could even be the reason for assuming a Gallic slave.
Other aspects of Caecilius Statius’ life are less controversial, such as his friendship with Ennius, who dabbled in comedy, but primarily penned tragedies for the stage. Friendship could also plausibly explain the refinement in Caecilius’ craft. His early career floundered, but around 180 he was the most successful comic playwright in Rome, and was even sought out for his opinions on plays.
Suetonius reports that Caecilius saw Terence’s Andria, which was first performed in 166 BCE, but Jerome dates his death one year after Ennius in 168. While some emend Jerome’s text to read “in the third year after Ennius’ death” (instead of “in the year after Ennius’ death”), the earlier date is probably more accurate, and most scholars suspect the meeting is biographical embroidery to create a direct line of succession from Plautus to Caecilius Statius to Terence.
Works
Forty-two titles are known by name. Of these, the Plocium held the most significance, since a sizable chunk of the play was preserved through Aulus Gellius, who quoted it for a comparison with the original Plokion by Menander. The great differences show that, like Plautus, Caecilius freely adapts his materials, rather than strictly translates it.
More recently, several hundred lines of Obolostates (including the heading sive Faenerator) has been discovered among the Herculaneum papyri. The text is awaiting editing for proper study.
Legacy
Caecilius’ skill earned him high praise from antiquity. Cicero ranks him foremost among the comic poets, hesitating (fortasse Caecilius, Opt. Orat. 2) only in comparison to Plautus and Terence, whose Latinitas he preferred (Ad Att. 7.3). He was better praised for his plots (Varro) and his gravitas (Horace, Epist 2.1.59, who contrasts it with the artfulness of Terence). Quintilian was not impressed (Inst. Orat. 10.1.99), but the literary critics hardly made a dent in his popularity. As late as the first century CE, Caecilius’ plays could still draw a crowd.
Infamous Quote
- “Tum in senectute hoc deputo miserrimum
Sentire ea aetate eumpse esse odiosum alteri.”
“Then this is what I think is the most wretched thing in old age:
That one feels that in that age he himself is an object of loathing to others.”
This is especially noteworthy for its elision. The second line, when read aloud, would be pronounced like sentireaetateumpsessodioalteri — as if it were one word!
Caecilius Statius Online
Latin: PHI Latin Texts
Further Reading
- Gesine Manuwald 2011. Roman Republican Theatre. Cambridge.
- D. O. Robson 1938. “The Nationality of the Poet Caecilius Statius,” The American Journal of Philology 59.3: 301–308.
