ed Latin rights. Virgil
appears likewise in the -gens togata-, which he mentions along with
the Romans (Aen. i. 282), to have thought of the Latin nation.

According to this view we shall have to recognize in the -fabula
togata-the comedy which laid its plot in Latium, as the -fabula
palliata- had its plot in Greece; the transference of the scene of
action to a foreign land is common to both, and the comic writer is
wholly forbidden to bring on the stage the city or the burgesses of
Rome. That in reality the -togata- could only have its plot laid in
the towns of Latin rights, is shown by the fact that all the towns
in which, to our knowledge, pieces of Titinius and Afranius had their
scene--Setia, Ferentinum, Velitrae, Brundisium,--demonstrably had
Latin or, at any rate, allied rights down to the Social war. By the
extension of the franchise to all Italy the writers of comedy lost
this Latin localisation for their pieces, for Cisalpine Gaul, which
-de jure- took the place of the Latin communities, lay too far off
for the dramatists of the capital, and so the -fabula togata- seems in
fact to have disappeared. But the -de jure- suppressed communities of
Italy, such as Capua and Atella, stepped into this gap (ii. 366, iii.
148), and so far the -fabula Atellana- was in some measure the
continuation of the -togata-.

36. Respecting Titinius there is an utter want of literary
information; except that, to judge from a fragment of Varro, he seems
to have been older than Terence (558-595, Ritschl, Parerg. i. 194) for
more indeed, cannot he inferred from that passage, and though, of the
two groups there compared the second (Trabea, Atilius, Caecilius) is
on the whole older than the first (Titinius, Terentius, Atta), it does
not exactly follow that the oldest of the junior group is to be deemed
younger than the youngest of the elder.

37. II. VII. First Steps toward the Latinizing of Italy

38. Of the fifteen comedies of Titinius, with which we are acquainted,
six are named after male characters (-baratus-? -coecus-, -fullones-,
-Hortensius-, -Quintus-, -varus-), and nine after female (-Gemina-,
-iurisperita-, -prilia-? -privigna-, -psaltria- or -Ferentinatis-,
-Setina-, -tibicina-, -Veliterna-, -Ulubrana?), two of which, the
-iurisperita- and the -tibicina-, are evidently parodies of men's
occupations. The feminine world preponderates also in the fragments.

39. III. XIV. Livius Andronicus

40. III. XIV. Audience