and the sadly harassed not at all refined country-landlord—­form a masterly contrast.  The springs of action and the language of Plautus are drawn from the tavern, those of Terence from the household of the good citizen.  The lazy Plautine hostelry, the very unconstrained but very charming damsels with the hosts duly corresponding, the sabre-rattling troopers, the menial world painted with an altogether peculiar humour, whose heaven is the cellar, and whose fate is the lash, have disappeared in Terence or at any rate undergone improvement.  In Plautus we find ourselves, on the whole, among incipient or thorough rogues, in Terence again, as a rule, among none but honest men; if occasionally a -leno- is plundered or a young man taken to the brothel, it is done with a moral intent, possibly out of brotherly love or to deter the boy from frequenting improper haunts.  The Plautine pieces are pervaded by the significant antagonism of the tavern to the house; everywhere wives are visited with abuse, to the delight of all husbands temporarily emancipated and not quite sure of an amiable salutation at home.  The comedies of Terence are pervaded by a conception not more moral, but doubtless more becoming, of the feminine nature and of married life.  As a rule, they end with a virtuous marriage, or, if possible, with two—­just as it was the glory of Menander that he compensated for every seduction by a marriage.  The eulogies of a bachelor life, which are so frequent in Menander, are repeated by his Roman remodeller only with characteristic shyness,(4) whereas the lover in his agony, the tender husband at the -accouchement-, the loving sister by the death-bed in the -Eunuchus- and the -Andria- are very gracefully delineated; in the -Hecyra- there even appears at the close as a delivering angel a virtuous courtesan, likewise a genuine Menandrian figure, which the Roman public, it is true, very properly hissed.  In Plautus the fathers throughout only exist for the purpose of being jeered and swindled by their sons; with Terence in the -Heauton Timorumenos- the lost son is reformed by his father’s wisdom, and, as in general he is full of excellent instructions as to education, so the point of the best of his pieces, the -Adelphi-, turns on finding the right mean between the too liberal training of the uncle and the too rigid training of the father.  Plautus writes for the great multitude and gives utterance to profane and sarcastic speeches, so far as the censorship of the stage at all allowed; Terence on the contrary describes it as his aim to please the good and, like Menander, to offend nobody.  Plautus is fond of vigorous, often noisy dialogue, and his pieces require a lively play of gesture in the actors; Terence confines himself to “quiet conversation.”  The language of Plautus abounds in burlesque turns and verbal witticisms, in alliterations, in comic coinages of new terms, Aristophanic combinations of words, pithy expressions of the day jestingly borrowed