of Euripides which Ennius had furnished and Pacuvius continued to furnish.  While patriotic considerations might set bounds to criticism in reference to the native chronicles, Lucilius at any rate directed very pointed shafts against “the dismal figures from the complicated expositions of Pacuvius”; and similar severe, but not unjust criticisms of Ennius, Plautus, Pacuvius—­all those poets “who appeared to have a licence to talk pompously and to reason illogically”—­are found in the polished author of the Rhetoric dedicated to Herennius, written at the close of this period.  People shrugged their shoulders at the interpolations, with which the homely popular wit of Rome had garnished the elegant comedies of Philemon and Diphilus.  Half smiling, half envious, they turned away from the inadequate attempts of a dull age, which that circle probably regarded somewhat as a mature man regards the poetical effusions of his youth; despairing of the transplantation of the marvellous tree, they allowed the higher species of art in poetry and prose substantially to fall into abeyance, and restricted themselves in these departments to an intelligent enjoyment of foreign masterpieces.  The productiveness of this epoch displayed itself chiefly in the subordinate fields of the lighter comedy, the poetical miscellany, the political pamphlet, and the professional sciences.  The literary cue was correctness, in the style of art and especially in the language, which, as a more limited circle of persons of culture became separated from the body of the people, was in its turn divided into the classical Latin of higher society and the vulgar Latin of the common people.  The prologues of Terence promise “pure Latin”; warfare against faults of language forms a chief element of the Lucilian satire; and with this circumstance is connected the fact, that composition in Greek among the Romans now falls decidedly into the shade.  In so far certainly there is an improvement; inadequate efforts occur in this epoch far less frequently; performances in their kind complete and thoroughly pleasing occur far oftener than before or afterwards; in a linguistic point of view Cicero calls the age of Laelius and Scipio the golden age of pure unadulterated Latin.  In like manner literary activity gradually rises in public opinion from a trade to an art.  At the beginning of this period the preparation of theatrical pieces at any rate, if not the publication of recitative poems, was still regarded as not becoming for the Roman of quality; Pacuvius and Terence lived by their pieces; the writing of dramas was entirely a trade, and not one of golden produce.  About the time of Sulla the state of matters had entirely changed.  The remuneration given to actors at this time proves that even the favourite dramatic poet might then lay claim to a payment, the high amount of which removed the stigma.  By this means composing for the stage was raised into a liberal art; and we accordingly find men of the highest aristocratic circles, such