and he speaks of the pleasure which he took in his play 'Epidicus[202].' Cicero also testifies to the joy which he derived from two of the works of his old age, the Pseudolus and the Truculentus[203]. But his delight was that of a vigorous creator, not of a painstaking artist. Many allusions in his plays attest his acquaintance with works of art, with the stories of Greek mythology or the subjects of Greek tragedies, and with the names, at least, of Greek philosophers. His extraordinary productiveness in adapting works from the new comedy shows that he had a complete command of the Greek language. He not only uses Greek phrases, but has endeavoured to enrich the native vocabulary with a considerable number of Greek words in a Latin form[204]. Yet the knowledge he betrays is that which a man of versatile intelligence, lively curiosity, and retentive memory, would pick up in his varied intercourse with his contemporaries, without any special study of books, except such as were needed for his immediate purpose. The more recondite learning of Ennius was probably as strange to him as that of Ben Jonson was to Shakspeare. The great movement of his age acted on the mind of Plautus in a manner different from that in which it affected Ennius. To the younger poet the triumphant close of the Second Punic War brought the sense of a mighty future awaiting the Roman Republic. He appealed to the higher national aspirations stirring the hearts of the governing class. Plautus felt the strong rebound of spirits from a long-continued state of tension, from a time of anxiety and self-sacrifice, in a less noble manner. He appealed to the craving which the mass of the citizens felt for a more unrestrained enjoyment of the pleasures of life. In the spirit which moved him we seem to recognise the same kind of impulse which prompted the repeal of the Oppian law, and which led to the great increase of public amusements of every kind. The newly-acquired peace and ease awoke in him a sense of the immense capacities of the individual for enjoyment. In a passage of one of his later plays he seems to claim this indulgence as the natural concomitant of victory:-- Postremo in magno populo, in multis hominibus, Re placida atque otiosa, victis hostibus. Amare oportet omnes, qui quod dent habent.[205]