Nevertheless it was very slowly that culture filtered in. All through the third century and for the first half of the second Rome was still incessantly occupied with war. Her tastes were brutalised and demoralised by it. When drama painfully began, the dramatists sadly lamented that their audiences would desert the theatre for the sight of a rope-dancer or a beast-baiting or, better still, a pair of gladiators. From the first it was vain to attempt the creation of a national drama for a people whose craving was for the sight of blood. Gladiatoral combats are said to have been of Etruscan origin. They first appeared at Rome in the early part of the third century in connection with funeral displays. From every African expedition wild beasts were brought home to be slaughtered in the Roman amphitheatres. These bloody shows indicate the real tastes of the Romans from the earliest times. They are no spurious growth of the so-called “degenerate Empire.” On one occasion, when the music of some Greek flute-players failed to please a Roman audience, the presiding magistrate ordered the unlucky artists to fight one another, and the hoots of the crowd were instantly transformed to rapturous applause. All the arts were held in contempt, all were entrusted to slaves or the poorest kind of citizens. Thus Hellenic civilisation was transported to Rome under a double disadvantage. Not only was Greek civilisation itself already past its prime, but it was interpreted largely by slaves. Every Roman of position had Greeks among his retinue--not, of course, the citizens of famous cities like Athens or Alexandria, which were still free, but low-caste, half-barbarian wretches from the great market at Delos or from the southern towns of Italy--for clerks, accountants, scribes, jesters, procurers, physicians, pedagogues, flute-players, philosophers, cooks, concubines, and schoolmasters. We may be sure that it was not the most favourable type of Hellenism that would creep into Rome by such channels as these. But it was precisely in this manner that Roman literature began. The noble general M. Livius Salinator brought from Tarentum in about 275 B.C. a Greek slave named Andronikos, as a tutor for his sons. This man received his liberty, and as Livius Andronicus set up a school. For his school he required books, and as there was no other text-book in Latin but the XII Tables, he undertook the translation of Homer’s Odyssey into the native Italian measure of Saturnian verse. His work was, of course, very indifferently performed, but it remained a primer of education down to the schooldays of Horace. Emboldened by this success he proceeded to supply the Roman stage with translations of Greek tragedies.