Terence has suggested many modern subjects. The _Eunuchus_ is reflected in the _Bellamira_ of Sir Charles Sedley and _Le Muet_ of Brueys; the _Adelphi_ in Molière's _Ecole des Maris_ and Baron's _L'Ecole des Pères_; and the _Phormio_ in Molière's _Les Fourberies de Scapin_. We need do no more than just notice the names of LUSCIUS LAVINIUS, [38] the older rival and detractor of Terence; ATILIUS, whose style is characterised by Cicero [39] as extremely harsh; TRABEA, who, like ATILIUS, was a contemporary of Caecilius, and LICINIUS IMBREX, who belonged to the older generation; TURPILIUS, JUVENTIUS, and VALERIUS, [40] who lived to a considerably later period. The former died as late as 103 B.C., having thus quite outlived the productiveness of the legitimate dramatic art. He seems to have been livelier and more popular in his diction than Terence; it is to be regretted that so little of him remains. The earliest cultivation of the national comedy (_togata_) [41] seems to date from after the death of Terence. Its first representative is TITINIUS, about whom we know little or nothing, except that he based his plays on the Attic comedy, changing, however, the scene and the costumes. The pieces, according to Mommsen, were laid in Southern Latium, _e.g._ Setia, Ferentinum, or Velitrae, and delineated with peculiar freshness the life of these busy little towns. The titles of his comedies are--_Coccus, Fullones, Hortensius, Quintius, Varus, Gemina, Iurisperita, Prilia, Privigna, Psaltria, Setina, Tibicina, Velitema, Ulubrana_. From these we should infer that his peculiar excellence lay in satirizing the weaknesses of the other sex. As we have before implied, this type of comedy originally arose in the country towns and maintained a certain antagonism with the Graecized comedy of Rome. In a few years, however, we find it established in the city, under T. QUINTIUS ATTA and L. AFRANIUS. Of the former little is known; of the latter we know that he was esteemed the chief poet of _togatae_, and long retained his hold on the public. Quintilian [42] recognises his talent, but condemns the morality of his plays. Horace speaks of him as wearing a gown which would have fitted Menander, but this is popular estimation, not his own judgment. Nevertheless, we may safely assert that the comedies of Afranius and Titinius, though often grossly indecent, had a thoroughly rich vein of native humour, which would have made them very valuable indications of the average popular culture of their day. CHAPTER V. ROMAN TRAGEDY (ENNIUS--ACCIUS, 239-94 B.C.).