and what I intend in order that you may know the name of this play. For so far as the story goes it is a short one. Now I will tell you what I was anxious to inform you of: the name of this play in Greek is _Onagos_--Demophilus (or Diphilus?) composed it, Maccius turned it into Latin. He wishes it called _Asinaria_, if you please.” And so he proceeds to unwind his plot and relate how the young spendthrift Argyrripus won the favours of the courtesan Philenium by duping her mother, the procuress, and cheating _his_ mother, a shrew, out of twenty minæ by the co-operation of his immoral old father who hoped to secure the young woman for himself. It would be wrong, however, to underrate the literary merits of Plautus and Terence. These authors reveal to us something of the natural speech of the Roman--Plautus in particular, for Terence is already far more “classical” in his language. It is not always easy to say how far the amusement which we get from them is legitimate, or how far it is laughter at the expense of their antique artlessness and clumsiness. But Plautus has a rich vein of simple humour and an irresistible sly appeal to his audience which often makes one unconscious of the garbage in which he is dealing. Terence has a polish, a graceful way of putting the obvious, and a purity of diction which sometimes makes his young men seem almost gentlemen and his young women almost virtuous. There is a great deal of sound worldly morality in Terence and some pure sentiment. But it is necessary here to lay stress upon the fact that the literary arts of Rome never possessed the fresh innocence or even the simple coarseness of youth. It was little harm, perhaps, that the gladiators, the rope-dancers, the bear-baiters, and the charioteers won the day in the affections of Roman audiences. Father Ennius, too, in his tragedies was little more than a translator. He was employed consciously by the great Scipio to educate and broaden the Roman taste. He had learnt of the Greek philosophers to disbelieve in the gods, or rather he had learnt the deadly Euhemerist doctrine that the gods of Olympus are but the memories of long dead human heroes, or that they sit, as Epicurus also taught, “On the hills ... together careless of mankind.” “ego deum genus esse dixi et dicam semper cælitum, sed eos non curare opinor quid agat humanum genus, nam si curent, bene bonis sit, male malis, quod nunc abest.”