the conclusion of the 'Asinaria' and 'Bacchides.' The characters in Terence, although more consistent and more true to ordinary life, are more faintly drawn than those of Plautus. None of them stand out in our memory with the distinctness and individuality of Euclio, Pseudolus, Ballio, or Tyndarus. The want of definite personality which they had to the poet himself is implied in the frequent recurrence of the same names in his different pieces. They are products of analysis and reflexion, not of bold invention and creative sympathy. They are embodiments of the good sense which keeps a conventional society together, or of the tamer impulses by which the surface of that society is temporarily ruffled. The predominant tone in their intercourse with one another is one of urbanity. We find none of the rollicking vituperation and execration in which Plautus revels. Delicate irony and pointed epigram take the place of broad humour. The encounter of wits between slaves and fathers is conducted with the weapons of polished repartee and mutual deference to one another. Davus, Parmeno, Syrus, Geta, speak in the terse and epigrammatic language of gentlemen and men of the world. While the 'Andria' has more pathetic situations, and the 'Adelphoe' is on the whole more true to human nature, the 'Eunuchus' presents the greatest number of interesting personages. The Thais of that play is the most favourable delineation of the Athenian 'Hetaera' in ancient literature. She has grace and dignity, a consciousness of her charms combined with a proud humility, and not only kindliness of nature, but real goodness of heart. The natural dignity of her nature, tempered by the sense of her position, appears in her rebuke to Chaerea,-- Non te dignum, Chaerea, Fecisti: nam si ego digna hac contumelia Sum maxume, at tu indignus qui faceres tamen[14]; and her kindness is equally manifest in her ready admission of his excuse, Non adeo inhumano ingenio sum, Chaerea, Neque ita imperita, ut quid amor valeat, nesciam[15].