of initiations, austerities, confessions, penances, self-abasement, and the promise of immortality. On the general soil of devotion thus formed, there finally grew up side by side Mithraism and Christianity, the rival religions of the decadence, of which the second triumphed in virtue of having by far the larger number of adaptations to its environment. But while Rome was thus at length fully possessed by the spirit of religious imagination which had so fruitfully stirred the art of Greece, there ensued no new birth of faculty. It was with the arts as with literature: the stimulus from Greece was received by a society rapidly on the way to that social state which in Greece had choked the springs of progress. In the last generations of the Republic the literary development was markedly rapid. In the century which saw Rome, after a terrific struggle, victorious over Carthage and prepared for the grapple with Macedon, the first practitioners of literature were playwrights, or slaves, or clients of great men, or teachers like Ennius, who could find in the now leisured and in part intelligent or at least inquisitive upper class a sufficient encouragement to a literary career. That class did not want recitals of the crude folklore of their fathers, so completely eclipsed by that of Greece, which was further associated with the literary form of drama, virtually new to the Romans.[419] Drama, always the form of literature which can best support itself, is the form most cultivated down till the period of popular abasement and civil convulsion, though of a dozen dramatists we have only Plautus and Terence left in anything like completeness; and while the tragedy of Pacuvius and Attius was unquestionably an imitation of the Greek, it may have had in its kind as much merit as the comedies that have been preserved. Even more rapid than the development, however, is the social gangrene that kills the popular taste; for when we reach the time of Augustus there is no longer a literary drama, save perhaps for the small audiences of the wooden theatres, and the private performances of amateurs;[420] parades and pantomimes alone can attract the mindless multitude; and the era of autocrats begins on well-laid foundations of ignorance and artificial incivilisation. As with the literature of the people, so with that of the lettered class. In the last generation of freedom, we have in Lucretius and Catullus two of the great poets of all antiquity, compared with whose forceful inspiration Virgil and Horace already begin to seem sicklied o'er with the pale cast of decline. Thenceforth the glory begins to die away; and though the red blade of Juvenal is brandished with a hand of power, and Lucan clangs forth a stern memorial note, and Petronius sparkles with a sinister brilliancy, there is no mistaking the downward course of things under Cæsarism. It is true we find Juvenal complaining that only the emperor does anything for literature:--