The Roman historical drama had a place among the earliest products of Roman literature, and seems to have enjoyed a degree of popularity through all succeeding periods. That Roman literary genius did not find a much fuller expression through this channel was not due to a lack of national pride and patriotism, nor yet to a dearth of interesting and inspiring subjects in Roman history. The true reason is probably to be found in the fact that by the time national conditions were ripe for the development of any form of literature, the Greeks had already worked, and well worked, nearly all available fields, and had produced a mass of literature which dazzled the Roman mind when at last circumstances brought these two nations into closer contact. The natural and immediate result was an attempt on the part of the Romans to imitate these great models. And hence we have in drama, both in tragedy and comedy, a wholesale imitation of the Greek dramas, oftentimes nothing more than a translation of these, with only here and there an attempt to produce something of a strictly native character, entirely independent of the Greek influence. This imitative impulse was augmented by the fact that the Romans were following the line of least resistance, since it is always easier to imitate than to create. Furthermore, they had as yet developed no national pride of literature to hold them to their own lines of national development; they had no forms of their own so well established that the mere force of literary momentum would carry them steadily on toward a fuller development, in spite of the disturbing influences of the influx of other and better models. They had, indeed, developed a native Saturnian verse which, had it been allowed a free field, might have reached a high pitch of literary excellence. But it speedily gave way at the approach of the more elegant imported forms. The overwhelming influence of Greek tragedy upon the Roman dramatists can be seen at a glance as we review the dramatic product of the Roman tragedians. We have titles and fragments of nine tragedies by Livius Andronicus, seven by Naevius, twenty-two by Ennius, thirteen by Pacuvius, forty-six by Accius, and many unassignable fragments from each of these which indicate numerous other plays of the same character. To these should be added scattering additions from nearly a score more of Roman writers during the next two hundred years after Accius. All the above-mentioned plays are on Greek subjects; and most of those whose fragments are sufficiently extensive to allow us to form an opinion of their character are either translations or close imitations of the Greeks, or are so influenced by these as to be decidedly Greek rather than Roman in character. And what of the genuine Roman dramatic product? Speaking for the _fabula praetexta_, or Roman historical drama, alone, the entire output, so far as our records go, is contained in the following list of authors and titles.