The next play in order of composition was the 'Hecyra,' first produced in 165, but withdrawn owing to the bad reception which it met. The 'Hautontimorumenos' appeared in 163, and the 'Eunuchus' and 'Phormio' in 161 B.C.; the second and third representations of the 'Hecyra' and the production of the 'Adelphi' took place in 160. The last was represented at the funeral games of L. Aemilius Paulus. It was in this year that Terence sailed for Greece; and he died in the following year when only twenty-five years of age. Two of his plays, 'Phormio' and 'Hecyra,' were translated from Apollodorus, the rest from Menander. His art is so purely imitative, that for any knowledge of his circumstances and character we have to trust entirely to his 'prologues,' in which he speaks in his own person. We note in them his apologetic tone, in marked contrast to the confident hold which Plautus has over his audiences. This tone is to be explained partly, perhaps, by the consciousness of his servile origin and his position as an alien; partly by a sense that his art was not congenial to his audiences. He shows great sensitiveness to criticism, and shields himself from the want of popular applause by the sense of the favour and protection of the great[270]. His attitude to his 'noble friends' is not unlike that of Horace to the higher class of his day; but he seems to want the Italian self-confidence and independence of the son of the Venusian freedman. In the prologue to the 'Adelphi' he refers with pride to the charge made against him that he was assisted by his friends in the composition of his plays-- Nam quod isti dicunt malivoli, hominis nobilis Eum adiutare adsidueque una scribere: Quod illi maledictum vemens esse existumant. Eam laudem his ducit maxumam, quom illis placet, Qui vobis univorsis et populo placent, Quorum opera in bello, in otio, in negotio Suo quisque tempore usus't sine superbia.[271] Traditions both of Scipio and Laelius show that the report was believed in later times; and as his plays lay no claim to original invention, it is quite possible that he may have been directly assisted by them or by other men of rank in the task of translating and adapting. In any case the style in which they are written seems to reflect the simplicity and urbanity, the friendliness and the freedom from intolerance, though not the more serious interests or the graver aspirations of young men who, in their maturer years, had to play the greatest parts in the Roman State. In other passages of his prologues he vindicates himself from the reproach of 'contaminatio,' i.e. the combination of scenes from different plays, and also from that of plagiarising from Naevius and Plautus[272]. He contrasts the sobriety of his own art with the sensationalism of his detractor[273]; and in another place[274], he charges his opponent with having, by his bad style and literal adherence to his original, turned good Greek plays into bad Latin ones--