This general popularity is an argument in favour of the original spirit animating this early literature. It implies the power of embodying some sentiment or idea of national or public interest. Thus Roman tragedy appears to have been received with favour, chiefly in consequence of the grave Roman tone of its maxims, and the Roman bearing of its personages. The epic poetry of the age did not, like the Odyssey, relate a story of personal adventure, but unfolded the annals of the State in continuous order, and appealed to the pride which men felt, as Romans, in their history and destiny. The satire of Lucilius was not intended merely to afford amusement by ridiculing the follies of social life, but played a part in public affairs by political partisanship and antagonism, and maintained the traditional standard of manners and opinions against the inroads of foreign influences. Latin comedy, indeed, was a more purely cosmopolitan product. The plays of Terence especially would affect those that listened to them simply as men and not as Roman citizens. But that of Plautus abounded in the humour congenial to the Italian race, and owed much of its popularity to the strong Roman colouring spread over the Greek outlines of his representations. The national character of this poetry is attested also by the spirit and character which pervades it. Among all the authors who have been reviewed, Ennius alone possessed in a large measure that peculiar vein of imaginative feeling which is the most impressive element in the great poets of a later age. The susceptibility of his mind to the sentiment that moulded the institutions and inspired the policy of the Imperial Republic, entitles him to rank as the truest representative of the genius of his country, notwithstanding his apparent inferiority to Plautus in creative originality. The glow of moral passion, which is another great characteristic of Latin literature, as it was of the best types of the Latin race, reveals itself in the remains of all the serious writers of the age. The struggle between the old Roman self-respect and the new modes of temptation, is exemplified in the antagonistic influence exercised by the tragic, epic, and satiric poetry on the one hand, and the comedy of Plautus and Terence on the other. The more general popularity of comedy was a symptom of the facility with which the severer standard of life yielded to the new attractions. The graver writers, equally with the writers of comedy, shared in the sceptical spirit, or the religious indifference, which was one of the dissolving forces of social and political life during this age. The strong common sense which characterised all the writers of the time, could not fail to bring them into collision with the irrational formalism of the national religion; while the distaste for speculative philosophy which Ennius and Plautus equally express, and the strong hold which they all have on the immediate interests of life,