_Jason._ Then finish what thou hast begun-- I ask no more--and grant at least that no delay Prolong my helpless agony. _Medea._ Now hasten not, Relentless passion, but enjoy a slow revenge. This day is in thy hands; its fertile hours employ. _Jason._ O take my life, thou heartless one. _Medea._ Thou bidst me pity-- Well--[_She slays the second child_]--'Tis done! No more atonement, passion, can I offer thee. Now hither lift thy tearful eyes, ungrateful one. Dost recognize thy wife? 'Twas thus of old I fled. The heavens themselves provide me with a safe retreat. Twin serpents bow their heads submissive to the yoke. For there suddenly appears in the air a chariot drawn by dragons. Now, father, take thy sons; while I, upon my car, With winged speed am borne aloft through realms of air. _Jason._ [_calling after as she vanishes_]. Speed on through realms of air that mortals never see: But heaven bear witness, whither thou art gone, no gods can be. 3. ROMAN COMEDY We have already said that the natural mimicry of the Italian peasantry no doubt for ages indulged itself in uncouth performances of a dramatic nature, which developed later into those mimes and farces, the forerunners of Roman comedy and the old Medley-Satura. We have also shown how powerfully Rome came under the influence of Greek literature and Greek art; and how the first actual invasion of Rome by Greek literature was made under Livius Andronicus, who, in 240 B. C., produced the first play before a Roman audience translated from the Greek into the Roman tongue. What the history of native comedy would have been, had it been allowed to develop entirely apart from Greek influence, we shall never know, since it did come powerfully under this influence, and retained permanently the form and character which it then acquired.