Of the three great comedians, Plautus, though a genuine free Italian of Umbria, had been reduced by poverty to the position almost of a slave; Cæcilius was a prisoner of war from the neighbourhood of Milan, who had been brought to Rome as a slave and then set free; Terence was a Carthaginian by birth, belonging as a slave to the Senator Terentius Lucanus, and subsequently being liberated became a friend of the younger Scipio. Ennius, the “father” of epic verse and tragedy, was a client of the elder Scipio and a Greek-speaking Calabrian by birth. Pacuvius, the best of the early tragedians, was a native of Brundisium, and therefore more Greek than Roman; he too belonged to the Scipionic circle. The activity of these writers belongs mainly to the first half of the second century. Not one of them was a Roman by origin, still less was there anything distinctively Roman in their work. Except from the linguistic point of view there is little to be said about any of them. The comic dramatists were engaged in translating the work of the Greek comedians of the third phase, especially Menander and Philemon. To meet the demand for more plot, more action, with less dialogue and less poetry, they would generally make a patchwork of two or three Greek plays. From the artistic point of view the work was clumsily done. There was little pretence of Romanising the characters or the scenes, generally they were frankly Greek with strange intrusions from Roman life. The source from which they drew was by now a stereotyped comedy of manners with stock characters--the heavy father, either an indulgent debauchee or a stingy curmudgeon; the old woman, generally a procuress; the gay and profligate young hero; the fair heroine, generally a _meretrix_, and a background of parasites, bullies, pandars, slave-dealers, and scoundrelly slaves, who came in for recurrent beatings to the great entertainment of the audience. The situations are also “taken from stock,” facial resemblances, disguised strangers, mistaken identities, veiled women and so forth. The “love interest,” such as it is, almost invariably centres round the desire of a young profligate for a courtesan. The atmosphere is generally brutal and immoral. There is often a ludicrous want of dramatic imagination in the stage management. Yet the comedies of Plautus and Terence have played a larger part in monasteries and schoolrooms than any other literature in the world, and through Shakespeare and Molière have had a decisive influence in the history of the drama. We do not possess enough of the original Greek sources to say very definitely how much was contributed by the Roman dramatists of their own. Where we do get passages for comparison the Latin version has generally lost a great deal in wit and neatness of expression. The prologues, so far as they are genuine, are at any rate in the case of Plautus extremely bald and crude. “Now I will tell you why I have come forward here