addition of his own. Jerome's notice is also based on Suetonius.

P. Terentius Afer was born in Africa, and was brought in early life to Rome, where he was a slave of P. Terentius Lucanus, by whom he was educated and subsequently manumitted.

Sueton. vit. Ter. p. 26 R., 'P. Terentius Afer, Karthagine natus, serviit Romae Terentio Lucano senatori, a quo ob ingenium et formam non institutus modo liberaliter, sed et mature manu missus est. Quidam captum esse existumant: quod fieri nullo modo potuisse Fenestella docet, cum inter finem secundi Punici belli et initium tertii et natus sit et mortuus.'

Terence's cognomen probably shows that he belonged to one of the African peoples subdued by Carthage. It may be taken as certain that he was not of Punic birth, and that he was brought to Rome in the ordinary course of the slave trade.

The date of Terence's birth is not accurately known. Sueton. ibid. p. 32, 'Nondum quintum atque vicesimum ingressus annum ... egressus urbe est neque amplius rediit,' which refers to his voyage to Greece in B.C. 160, would make the year of his birth to be B.C. 185. This, however, is an improbable assumption, which rests on the fact that Roman scholars attributed to him the age of his intimate friend, P. Scipio Africanus the younger. Thus Sueton. ibid. p. 27 (of Terence, Scipio, Laelius), says, 'quamvis et Nepos aequales omnes fuisse tradat'; with which contrast ibid. 'Fenestella ... contendens utroque maiorem natu fuisse.' Terence must have been some years older, as his first piece, the Andria, was produced B.C. 166. A successful piece like it makes it probable that he had

then passed his boyhood, and it is likely that he was born about B.C. 190. The reproach of his adversary in Heaut. Tim. prol. 23,

' repente ad studium hunc se adplicasse musicum,'

means only that he had not made himself prominent by previous exercises in play-writing. Further in H.T. prol. 51-2, he describes his opponents as adulescentuli,

'Exemplum statuite in me, ut adulescentuli

vobis placere studeant potius quam sibi.'

Terence was on intimate terms with P. Scipio Africanus and C. Laelius, who were supposed to have helped him in the composition of his plays.

Sueton. ibid. p. 30, 'Non obscura fama est adiutum Terentium in scriptis a Laelio et Scipione: eamque ipse auxit, numquam nisi leviter se tutari conatus, ut in prologo Adelphorum (11. 15-21),

"Nam quod isti dicunt malivoli, homines nobiles

hunc adiutare adsidueque una scribere,

quod illi maledictum vehemens esse existumant:
eam laudem hic ducit maxumam, quom illis placet
qui vobis univorsis et populo placent,

quorum opera in bello, in otio, in negotio

suo quisque tempore usust sine superbia."

... Sciebat Laelio et Scipioni non ingratam esse hanc opinionem, quae tum magis et usque ad posteriora tempora valuit.'

Sueton. p. 31, also repeats a story that C. Laelius was the author of the lines H.T. 723 sqq.

Cf. also Cic. ad Att. vii. 3, 10, 'Terentium, cuius fabellae propter elegantiam sermonis putabantur a C. Laelio scribi.' Quint. x. 1, 99, 'Licet Terentii scripta ad Scipionem Africanum referantur.'

The remark that 11. 20-1 of the above extract from the Adelph. could not refer to young men like Scipio and Laelius was made even in antiquity.

Sueton. ibid. p. 31, 'Santra (a grammarian of the time of Augustus) Terentium existimat, si modo in scribendo adiutoribus indiguerit, non tam Scipione et Laelio uti potuisse, qui tunc adulescentuli fuerint, quam C. Sulpicio Gallo, homine docto, quo consule Megalensibus ludis initium fabularum dandarum fecerit, vel Q. Fabio Labeone et M. Popillio, consulari utroque ac poeta. Ideo ipsum non iuvenes designare qui se adiuvare dicantur, sed viros quorum operam et in bello et in otio et in negotio populus sit expertus.'

In K. Dziatzko's opinion (second edition of Phormio, p. 10, Leipzig, 1885), the expression 'homines nobiles' points to the literary circle of Terence, including old as well as young men, while in what follows he touches upon the general reputation of those noble families among the Roman people. There is nothing to show that Terence got more than general support and advice from his friends. That his diction reflects the conversational language of the better classes is recognized.

In B.C. 166, Terence submitted to Caecilius Statius, the examiner of plays, his first work, the Andria, which was accepted, and performed in that year.

Sueton. ibid. pp. 28-9, 'Scripsit comoedias sex. Ex quibus primam Andriam cum aedilibus daret, iussus ante Caecilio recitare ad cenantem cum venisset, dicitur initium quidem fabulae, quod erat contemptiore vestitu, in subsellio iuxta lectulum residens legisse, post paucos vero versus invitatus ut accumberet cenasse una, dein cetera percucurrisse non sine magna Caecilii admiratione.'

From the fact of Caecilius' not recognizing him we may conclude that Terence had as yet no connexion with the guild of poets. This fits in with H.T. prol. 23-4,

'Repente ad studium hunc se adplicasse musicum,
amicum ingenio fretum, haud natura sua.'

Hence probably arose the hatred of other writers, referred to as isti (Andr. 15; 21); iniqui (H.T. 27); cf. also Hec. prol. ii. 38,

'Nolite sinere per vos artem musicam
recidere ad paucos.'

As to further connexion between Caecilius and Terence,
note (1) that they had a common actor Ambivius; (2) that
Terence sometimes imitates Caecilius. Thus, according to
Donatus, Andr. 805,

'ut quimus, aiunt, quando ut volumus non licet '

is from Caecilius (1. 177 R.),

'vivas ut possis quando nec quis ut velis.'

Cf. also Adelph. 985,

'Quod prolubium? quae istaec subitast largitas?'

and Caecilius (1. 91 R.),

'Quod prolubium, quae voluptas, quae te lactat largitas?' Terence died B.C. 159, on his way home from Greece, where he had probably gone the year before. The place of his death is uncertain. Whatever plays he may have written while in Greece are lost.

Sueton. ibid. p. 32, 'Post editas comoedias, nondum quintum atque vicesimum ingressus annum, causa vitandae opinionis qua videbatur aliena pro suis edere, seu percipiendi Graecorum instituta moresque quos non perinde exprimeret in scriptis, egressus urbe est neque amplius

rediit... Q. Cosconius redeuntem e Graecia perisse in mari dicit cum fabulis conversis a Menandro: ceteri mortuum esse in Arcadia sive Leucadiae tradunt, Cn. Cornelio Dolabella M. Fulvio Nobiliore coss., morbo implicatum ex dolore ac taedio amissarum sarcinarum quas in nave praemiserat, ac simul fabularum quas novas fecerat.'

Terence's personal appearance is mentioned by Sueton. p. 33, who also states that he had property, and left a daughter who afterwards married a Roman knight. 'Fuisse dicitur mediocri statura, gracili corpore, colore fusco. Reliquit filiam, quae post equiti Romano nupsit: item hortulos xx. iugerum via Appia ad Martis.'

(2) WORKS.

1. Andria. The particulars of its production are given above. Of its success, Donatus in his commentary says, 'Successu adspecta prospero hortamento poetae fuit ad alias conscribendas.' The didascalia to the Andria is lost, but we can restore it as follows from Donatus' information, Incipit Andria Terenti. Acta ludis Megalensib. M. Fulvio M' Glabrione aedil. curul. Egit L. Ambivius Turpio.1 Modos fecit Flaccus Claudi. Tibis paribus tota. Graeca Menandru. Facta i. M. Marcello C. Sulpicio cos.'

The meaning of the didascalia is as follows: The piece was produced at the Megalesian games (held at the beginning of April) under the curule aediles mentioned; L. Ambivius Turpio undertook the representation; the music was composed (as in all Terence's comedies) by Flaccus, slave of Claudius, and given throughout tibiis

1After Ambivius' name appears in most of the didascaliae 'L. Hatilius Praenestinus.' Probably this person was an actor at some later productions, and his name has in this way crept into the MSS.