conditions more favourable to the preservation of tradition than the lively social life, the numerous centres of political organization, and the rapid growth and vicissitudes of the Greek Republics. It cannot, indeed, be disputed that although the legendary tales of Roman history may have drawn more of their colour from life than from imagination, yet there is no criterion by which the amount of fact contained in them can be separated from the other elements of which they were composed. Oral tradition among the Romans, as among other nations, was founded on impressions originally received without any careful sifting of evidence; and these first impressions would naturally be modified in accordance with the feelings and opinions of each generation, through which they were transmitted. Aetiological myths, or the attempt to explain some institution or memorial by some concrete fact, and the systematic reconstruction of forgotten events, have also entered largely into the composition of Roman history. But these admissions do not lead to the conclusion that the art or fancy of any class of early poets was added to the unconscious operation of popular feeling in moulding the impressive tales of early heroism, partly out of the memory of real events and personages, partly out of the ideal of character, latent in the national mind. It has been remarked by Sir G. C. Lewis that many even of the Greek myths, abounding 'in striking, pathetic, and interesting events,' existed as prose legends, and were handed down in the common speech of the people. In like manner, such tales as those of Lucretia and Virginia, of Horatius and the Fabii, of Cincinnatus, Coriolanus, and Camillus, which stand out prominently in the twilight of Roman history, may have been preserved in the _fama vulgaris_, or among the family traditions of the great houses, till they were gathered into the poem of Ennius and the prose narratives of the early annalists[25]. In so far as they are shaped or coloured by imagination, they do not bear traces of the conscious art of a poet, but rather of an unconscious conformity to the national ideal of character. The most impressive of these legendary stories illustrate the primitive virtues of the Roman character, such as chastity, frugality, fortitude, and self-devotion; or the national characteristics of patrician pride and a stern exercise of parental authority. There is certainly no internal evidence that any of them originated in a pure poetic impulse, or gave birth to any work of poetic art deserving a permanent existence in literature.