Pacuvius was a great favourite with those who could make allowances for the faults, and appreciate the merits, of the great writers of antiquity, and his verses were popular in the time of J. Cæsar;[253] and that lover of the old Roman literature, Cicero, though not blind to his faults, is warm in his commendations. He was not without admirers in the Augustan age, and even his defects had zealous defenders in the time of Persius amongst those who could scarcely discover a fault in any work which savoured of antiquity.[254] The archaic ruggedness of his language, his uncouth forms, such as _axim_, _tetinerim_, _egregiissimus_, and his unauthorized constructions, like _mihi piget_, were due to the unsettled state of the Latin language in his days. His strange combinations, such as _repandirostrum_ and _incurvicervicum_, may possibly have been suggested by the study of Greek, and by his overweening admiration for its facility of composition. But his polish, pathos, and learning,[255] the harmony of his periods,[256] his eloquence,[257] his fluency, his word-painting,[258] are peculiarly his own. The tragedies of Pacuvius were not mere translations, but adaptations of Greek tragedies to the Roman stage. The fragments which are extant are full of new and original thoughts. His plots were borrowed from the Greek, but the plan and treatment were his own. The lyric portion appears to have occupied an important place in his tragedies, and displays considerable imaginative power. It is evident that his mind only required suggestions, and was sufficiently original, to form new combinations. The titles of thirteen of his tragedies are preserved,[259] of which the most celebrated were the “Antiopa” and “Dulorestes” (Orestes in Slavery.) Of the former, the only fragment extant is one severely criticised by Persius. The latter was principally founded on the “Iphigenia in Tauris” of Euripides,[260] although the author was evidently inspired with the poetical conceptions of Æschylus. In fact, Pacuvius is less Euripidean than the other Roman tragic poets. The very roughness of his style and audacity of his expressions have somewhat of the solemn grandeur and picturesque boldness which distinguish the father of Attic tragedy. The subject of the “Dulorestes” was the adventures of the son of Agamemnon. When driven from the palace of his ancestors, he was in exile and in slavery.[261] On the first representation of this play, the generous friendship of Orestes and Pylades called forth the most enthusiastic applause from the audience, who then probably heard the legend for the first time. “What acclamations,” says Lælius,[262] “resounded through the theatre at the representation of the new play of my guest and friend, M. Pacuvius, when the king, being ignorant which of the two was Orestes, Pylades affirmed that he was Orestes, that he might be put to death in his place, whilst Orestes persevered in asserting that he was the man!”