Greek Comedy
Terence

Far greater activity and far more important results are apparent in the field of comedy.  At the very commencement of this period a remarkable reaction set in against the sort of comedy hitherto prevalent and popular.  Its representative Terentius (558-595) is one of the most interesting phenomena, in a historical point of view, in Roman literature.  Born in Phoenician Africa, brought in early youth as a slave to Rome and there introduced to the Greek culture of the day, he seemed from the very first destined for the vocation of giving back to the new Attic comedy that cosmopolitan character, which in its adaptation to the Roman public under the rough hands of Naevius, Plautus, and their associates it had in some measure lost.  Even in the selection and employment of models the contrast is apparent between him and that predecessor whom alone we can now compare with him.  Plautus chooses his pieces from the whole range of the newer Attic comedy, and by no means disdains the livelier and more popular comedians, such as Philemon; Terence keeps almost exclusively to Menander, the most elegant, polished, and chaste of all the poets of the newer comedy.  The method of working up several Greek pieces into one Latin is retained by Terence, because in fact from the state of the case it could not be avoided by the Roman editors; but it is handled with incomparably more skill and carefulness.  The Plautine dialogue beyond doubt departed very frequently from its models; Terence boasts of the verbal adherence of his imitations to the originals, by which however we are not to understand a verbal translation in our sense.  The not unfrequently coarse, but always effective laying on of Roman local tints over the Greek ground-work, which Plautus was fond of, is completely and designedly banished from Terence; not an allusion puts one in mind of Rome, not a proverb, hardly a reminiscence;(2) even the Latin titles are replaced by Greek.  The same distinction shows itself in the artistic treatment.  First of all the players receive back their appropriate masks, and greater care is observed as to the scenic arrangements, so that it is no longer the case, as with Plautus, that everything needs to take place on the street, whether belonging to it or not.  Plautus ties and unties the dramatic knot carelessly and loosely, but his plot is droll and often striking; Terence, far less effective, keeps everywhere account of probability, not unfrequently at the cost of suspense, and wages emphatic war against the certainly somewhat flat and insipid standing expedients of his predecessors, e. g. against allegoric dreams.(3) Plautus paints his characters with broad strokes, often after a stock-model, always with a view to the gross effect from a distance and on the whole; Terence handles the psychological development with a careful and often excellent miniature-painting, as in the -Adelphi- for instance, where the two old men—­the easy bachelor enjoying life in town,