Terence is, accordingly, in substance and form, a 'dimidiatus Menander,'--a Roman only in his language. The aim of his art was to be as purely Athenian as it was possible for one writing in Latin to be. The life of Athens, in the third century B.C., after the loss of her religious belief, her great political activity, her speculative and artistic energy,--or, rather, one of the phases of that life, as it was shaped by Menander for dramatic purposes--supplies the material of all his plays. It is the embodiment of the lighter side of the philosophy of Epicurus, without the elevation of the speculative and scientific curiosity which gave serious interest even to that form of the philosophic life. There is a charm of friendliness, urbanity, social enjoyment, superficial kindness of heart, in the picture presented: and it was a necessary stage in the culture of the best Romans that they should learn to appreciate this charm, and assimilate its influence in their intercourse with one another. The Greek comedy of Menander was a lesson to the Romans in manners, in tolerance, in kindly indulgence to equals and inferiors, and in the cultivation of pleasant relations with one another. The often quoted line,-- Homo sum; humani nihil a me alienum puto, might be taken as its motto. The idea of 'human nature,' in its weakness and in its sympathy with weakness, may be said to be the new element contributed to Roman life by the comedy of Terence. The qualities of 'humanitas, clementia, facilitas,'--general amiability and good nature,--are the virtues which it exemplifies. The indulgence of the old to the follies or pleasures of the young is often contrasted with the stricter view of the obligations of life, entertained by an earlier generation, and always in favour of the former. The plea of the passionate modern poet-- 'To step aside is human'--