Pol hic quidem fungino generest: capite se totum tegit. Illurica facies videtur hominis: eo ornatu advenit; and later-- Mira sunt Ni illic homost aut dormitator aut sector zonarius. Loca contemplat, circumspectat sese, atque aedis noscitat.[260] He tells an imaginary story or adventure, such as that which Chrysalus invents of the pursuit of his vessel by a piratical craft-- Ubi portu eximus, homines remigio sequi, Neque aves neque venti citius, etc.[261], or the account which Curculio gives of his encounter with the soldier[262], tersely, rapidly, and vividly, as if he were recalling some scene within his own recent experience. He imitates the style of tragedy--as in the imaginary speech of the Ghost in the Mostellaria--in such a manner as to show that he might have rivalled Ennius in the art of tragic rhythm and expression, if his genius had allowed him to pass beyond the province which was peculiarly his own. His plays abound in pithy sayings which have anticipated popular proverbs, or the happy hits of popular poets in modern times, such as the 'nudo detrahere vestimenta,' in the Asinaria, and the 'virtute formae id evenit te ut deceat quidquid habeas[263],' in the Mostellaria. He writes letters with the forms of courtesy, and with the ease and simplicity characteristic of the best epistles of a later age. His resources of language are never wanting for any call which he may make upon them. In a few descriptive passages he shows a command of the language of forcible poetic imagination. But he does not often betray a sense of beauty in action, character, or Nature: and thus if his style altogether wants the peculiar charm of the later Latin poets, and the tenderness and urbanity of Terence, the explanation of this defect is perhaps to be sought rather in the limited play which he allowed to his finer sensibilities, than in any inability to avail himself of the full capabilities of his native language. Whether the deficiency in the sense of beauty should deny to him the name of a great poet, is to be answered only when agreement has been attained as to the definition of a poet. He was certainly a true and prodigally creative genius. He is also thoroughly representative of his race--not of the gravity and dignity superinduced on the natural Italian temperament by the strict discipline of Roman life, and by the sense of superiority which arises among the governing men of an imperial state--but of the strong and healthy vitality which enabled the Italian to play his part in history, and of the quick observation and ready resource, the lively emotional and social temperament, the keen enjoyment of life, which are the accompaniment of that original endowment. [Footnote 172: Prologue to Casina, 18, 19.] [Footnote 173: Prologue to Amphitryo, 52.] [Footnote 174: Licinius and Atilius are placed before Terence in the Canon of Volcatius Sedigitus.]