springs out of which alone in Italy a native poetry could well up
--national history and comedy. Epic poetry no longer merely
furnished the schoolmaster with a lesson-book, but addressed itself
independently to the hearing and reading public. Composing for the
stage had been hitherto, like the preparation of the stage costume, a
subsidiary employment of the actor or a mechanical service performed
for him; with Naevius the relation was inverted, and the actor now
became the servant of the composer. His poetical activity is marked
throughout by a national stamp. This stamp is most distinctly
impressed on his grave national drama and on his national epos, of
which we shall have to speak hereafter; but it also appears in his
comedies, which of all his poetic performances seem to have been the
best adapted to his talents and the most successful. It was probably,
as we have already said,(30) external considerations alone that
induced the poet to adhere in comedy so much as he did to the Greek
originals; and this did not prevent him from far outstripping his
successors and probably even the insipid originals in the freshness of
his mirth and in the fulness of his living interest in the present;
indeed in a certain sense he reverted to the paths of the Aristophanic
comedy. He felt full well, and in his epitaph expressed, what he had
been to his nation:

-Immortales mortales si foret fas fiere,
Flerent divae Camenae Naevium poetam;
Itaque, postquam est Orci traditus thesauro,
Obliti sunt Romae loquier lingua Latina.-

Such proud language on the part of the man and the poet well befitted
one who had witnessed and had personally taken part in the struggles
with Hamilcar and with Hannibal, and who had discovered for the
thoughts and feelings of that age--so deeply agitated and so
elevated by mighty joy--a poetical expression which, if not exactly
the highest, was sound, adroit, and national. We have already
mentioned(31) the troubles into which his licence brought him with
the authorities, and how, driven presumably by these troubles from
Rome, he ended his life at Utica. In his instance likewise the
individual life was sacrificed for the common weal, and the
beautiful for the useful.

Plautus

His younger contemporary, Titus Maccius Plautus (500?-570), appears to
have been far inferior to him both in outward position and in the
conception of his poetic calling. A native of the little town of
Sassina, which was ori