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There are also, besides the prologues and epilogues of the several books, a few pieces in which Phaedrus speaks in his own person, defending himself against detractors with an acrid tone which recalls the Terentian prologues.

On one occasion he writes, "-Quintiforis Clodii foria ac poemata ejus gargaridians dices; O fortuna, O fors fortuna-!" And elsewhere, "-Cum Quintipor Clodius tot comoedias sine ulla fecerit Musa, ego unum libellum non 'edolem' ut ait Ennius?" This not otherwise known Clodius must have been in all probability a wretched imitator of Terence, as those words sarcastically laid at his door "O fortuna, O fors fortuna!" are found occurring in a Terentian comedy.

The elucidation of these principles in the action of the play, and the corresponding interchange of thought naturally awakened in the dialogue and expressed with studied moderation, form the charm of the Terentian drama. In the bolder elements of dramatic excellence it must be pronounced deficient.

National Comedy Afranius Of course the Terentian school rapidly took possession of this species of comedy also; it was quite in accordance with its spirit to naturalise Greek comedy in Italy on the one hand by faithful translation, and on the other hand by pure Roman imitation.

On one occasion he writes, "-Quintiforis Clodii foria ac poemata ejus gargaridians dices; O fortuna, O fors fortuna-!" And elsewhere, "-Cum Quintipor Clodius tot comoedias sine ulla fecerit Musa, ego unum libellum non 'edolem' ut ait Ennius?" This not otherwise known Clodius must have been in all probability a wretched imitator of Terence, as those words sarcastically laid at his door "O fortuna, O fors fortuna!" are found occurring in a Terentian comedy.

Among the obscure poets mentioned by Pliny, the name of Vergilius Romanus may excite a momentary curiosity; he was the author of Terentian comedies, which probably did not long survive the private recitations for which they were composed.

He knew that because Pamela was a human being she might therefore be made interesting; he adopted, albeit unconsciously, the Terentian motto that nothing human should be alien from the interests of his readers. And as the Novel developed, this interest not only increased in intensity, but ever spread until it depicted with truth and sympathy all sorts and conditions of men.

The rough drafts of the Terentian comedies were read out to them, and the language and style criticised in minute detail; gossip even said that they were largely written by Scipio's own hand, and Terence himself, as is not surprising, never took pains to deny the rumour.

The Terentian comedy is in a way the turning-point of Roman literature. Plautus and Ennius, however largely they drew from Greek originals, threw into all their work a manner and a spirit which were essentially those of a new literature in the full tide of growth.

See whether wisdom and temperance in Ulysses and Diomedes, valour in Achilles, friendship in Nisus and Euryalus, even to an ignorant man, carry not an apparent shining: and contrarily, the remorse of conscience in Odipus, the soon repenting pride of Agamemnon, the self-devouring cruelty in his father Atreus, the violence of ambition in the two Theban brothers, the sour-sweetness of revenge in Medea, and to fall lower, the Terentian Gnatho and our Chaucer's Pandar, so expressed, that we now use their names to signify their trades.