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take the same liberty with any members of the "old great houses" of Rome. There had been at least one example of this in the fate of the poet Nævius. We know very little, unfortunately, of what his dramas may have been like, for in his case we have remaining to us only the merest fragments. But he seems to have made an attempt to naturalise at Rome the old Aristophanic style of comedy. A plebeian by birth, and probably a democratic reformer in politics, he had ventured upon some caricature of, or satire upon, the members of the great family who bore the name of Metellus, and who, as he complained, were always holding high office, fit or unfit. "It is fatality, not merit," he said, in a verse which has been preserved, "that has made the Metelli always consuls of Rome." The family or their friends retorted in a song which they chanted in the streets, the burden of which was, in effect, that "Nævius would find the Metelli a fatality to him." They very soon got him imprisoned, under the stringent libel laws of Rome: and,—since that was not enough to break his spirit—for he is said, after his release, to have written comedies which were equally distasteful in high quarters,—they succeeded at last in driving him into banishment. We hear of no more ambition on the part of Roman dramatists to assume the mantle of Aristophanes. They were content to be disciples in the later school of Menander, and to take as the subject of comedy those general types of human nature under which no individual, high or low, was obliged to think that his own private weaknesses were attacked.