expresses the philosophy of many of his love poems and his drinking songs. The Epicurean sentiment and reflexion borrowed from Menander were congenial to one side of Horace's nature, as the manly independence and serious spirit of Lucilius were to another: and in his own style he has incorporated the conversational urbanity of the one writer no less than the intellectual vigour of the other. But Horace was much richer and more varied in the subjects of his art, as he was larger and more penetrating in his knowledge of the world, and more manly and serious in his view of life, than the comic poet who died so early in his career. It is as the 'puri sermonis amator' that Terence deserves to be ranked high among Latin authors. The limitation of his ambition to the production of a faithful copy of his original enables us better than any other evidence to appreciate the originality and creative force of Plautus. The absence of all moral fibre in his representations of character and his philosophy of life, makes us feel how necessary the Roman 'gravity' was for the creation of a new literature as well as for the conquest and governing of the world. After the death of Terence the only writer of _palliatae_ of any name was Sextus Turpilius, who died about the end of the second century B.C. No new element seems to have been contributed by him to the Roman Stage. After the decline of the Comoedia palliata, the Comoedia togata, which professed to represent the Roman and Italian life of the middle classes, first obtained popular favour. The principal writers of this branch of comedy were T. Quintius Atta and L. Afranius. The latter was regarded as the Roman Menander:-- Dicitur Afrani toga convenisse Menandro.