Such was the beginning; the sequel was not much more promising. Nævius was a Campanian who translated Greek comedies and tragedies. In the former he attempted the old Greek custom of political allusions, but speedily found that there was no such liberty of speech in Rome as had prevailed in the palmy days of Athenian comedy. An allusion to the Metellus family brought the famous and thoroughly old Roman poetical retort: dabunt malum Metelli Nævio poetæ, and was fulfilled by the imprisonment of the dramatist. Thus the beginnings of literature at Rome were by no means easy. The dramatists were hampered by severe police restrictions as well as by the barbarity of their public. It is interesting to note that both these poets also attempted the epic style. Livius Andronicus was actually commissioned by the priests to celebrate the victory of Sena in verse, and Nævius wrote an account of the First Punic War. For comedy the Romans appear to have had some natural taste. It seems that a very rude and barbaric form of dramatic dialogue mixed with buffoonery was native to Italy in the Fescennine Songs, though even these are said to have been of Etruscan invention. So the Romans at their festivals were content to listen to comedies if the humour was obvious enough, if there was plenty of horseplay. The setting was wretched indeed. Instead of the magnificent marble theatres of Greece, wooden booths were temporarily erected in the amphitheatre, and a noisy disorderly audience listened with good-humoured contempt to the efforts of the actors who tried to amuse them. Sometimes the chorus would be sung by trained musicians, while the actors on the stage illustrated the inaudible words by pantomimic gestures. It was utterly crude and inartistic from beginning to end, and in deplorable contrast to the beginnings of Drama in Greece. There it had been a national service of worship to the gods. Here it was a trivial amusement in the hands of slaves and foreigners.