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in this impersonation of the Carthaginians by the Roman dramatist. The elder of the two, who is introduced under a very historical name—Hanno—is a highly straightforward and unselfish character, who at once gives up to his cousin, Agorastocles, the "young Carthaginian," as soon as he discovers their relationship, the property which had been left to himself by the young man's father, in the belief of his son's death. Agorastocles himself is neither better nor worse than the Athenian (or, as they really are, Roman) youths who figure in the comedies. And as for Adelphasium—Hanno's lost daughter, with whom the hero of the piece has fallen passionately in love in her position as a slave—there is more character in her than in any one of the heroines (the word must be used because there is no other to be found) of Plautus or of Terence. It is difficult to separate her from the very disagreeable interlocutors in the dialogues in which she takes a part: but the quiet way in which she treats her sister's love of finery, and her half-affected indifference to the flatteries of her lover, and disregard of all his raptures so long as he fails in his promise of obtaining her freedom, mark her out very distinctly from most of the female characters in Plautus. There is an amusing scene in which her lover, finding that she will not listen to him, begs his servant Milphio, in whose rhetorical powers he feels more confidence, to plead his cause with her. Milphio consents to do it—warning his master, at the same time, that he may possibly think his ambassador too energetic. So the young man listens in the background, while Milphio, speaking on his behalf, entreats Adelphasium, in the most approved style of lovers'