their originals, the Roman poets seem to have animated the outlines of their foreign story and of their legendary characters with something of the spirit of their own time and country. They imparted to their dramas a didactic purpose and rhetorical character which directly appealed to Roman tastes. The fragments quoted from their works, the testimonies of later Roman writers, and the natural inference to be drawn from the moral and intellectual characteristics of the people, all point to the conclusion that the long-sustained popularity of tragedy rested mainly on the satisfaction which it afforded to the ethical sympathies, and to the oratorical tastes of the audience. The evidence for this popularity is chiefly to be found in Cicero; and it is mainly, though not solely, to the popularity which the tragic drama enjoyed in his own age that he testifies. The loss of the earlier writings renders it impossible to adduce contemporary evidence of the immediate success of this form of literature. But the activity with which tragedy was cultivated for about a century, and the favour with which Ennius, Pacuvius, and Accius, were regarded by the leading men in the State, suggest the inference that the popularity of the drama in the age of Cicero, after the writers themselves had passed away, and when more exciting spectacles occupied public attention, was only a continuation of the general favour which these poets enjoyed in their lifetime. Cicero in many places mentions the great applause with which the expression of feeling in different dramas was received, and speaks of the great crowds ('maximus consessus' or 'magna frequentia'), including women and children, present at the representation. Varro states that, in his time, 'the heads of families had gradually gathered within the walls of the city, having quitted their ploughs and pruning-hooks, and that they liked to use their hands in the theatres and circus better than on their crops and vineyards[123].' The large fortunes amassed and the high consideration enjoyed by the actors Aesopus and Roscius afford further evidence of the favour with which the representation of tragedy and comedy was received in the age of Cicero.