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.
As distinguished from Livius Andronicus, Naevius was a native Italian, not a Greek; he was also an original writer, not a mere adapter or translator.
In the year after the war (240), when the armies had returned and the people were at leisure to enjoy the fruits of victory, Livius Andronicus substituted at one of the public festivals a regular drama, translated or adapted from the Greek, for the musical medleys (saturae) hitherto in use.
Two lives edited by Thomas Hearne under the names of Elmham and Titus Livius Forojuliensis come from a common source; the longer, which Hearne ascribed incorrectly to Elmham, is perhaps the original work of Livius, who was an Italian in the service of Humphrey of Gloucester, and wrote about 1440.
In 207 Marcus Livius Salinator, after the defeat of Hasdrubal at the battle of Sena, vowed another temple to Juventas in the Circus Maximus, which was dedicated in 191 by C. (or M.) Licinius Lucullus; it was destroyed by fire in 16 B.C. and rebuilt by Augustus.
The dramatic work of Livius was mainly of educative value.
Tiro, the amanuensis of Cicero; Hyginus, the librarian of Augustus; Livius Andronicus, Caecilius, Statius, Terence, Publilius Syrus, Phaedrus and Epictetus.
This the Latin drama first received from Livius Andronicus; but it did so at the cost of its originality.
Marx as indicating that Plautus was a member of the theatrical staff of Livius Andronicus.
His comedy, like that of Plautus, seems to have been rather a free adaptation of his originals than a rude copy of them, as those of Livius probably were, or an artistic copy like those of Terence.