were got rid of, most likely under the influence of the Mimus. DONAT. Ter. Andr. 4, 3 sive haec (femina=Mysis) personatis viris agitur, ut apud veteres, sive per mulierem, ut nunc videmus. Cf. CSTEFFEN 154. CHHOFFER, de personarum usu in Terentii comoediis, Halle 1877.-Ancient representations of actors: FWIESELER, Denkm. d. Bühnenwesens, Gött. 1851. THSCHREIBER, kulturhist. Bilderatlas T. 1-6. AMÜLLER'S Bühnenaltert. 227 sqq.; concerning these in the MSS. of Terence, see § 109, 2.

14. As actores comoediarum are known to us, in the time of Plautus, a certain (T. Publilius) Pellio (§ 97, 8 n. 1. RITSCHL, Parerga 250. 392. WSTUDEMUND, comment. Mommsen. 801), in the time of Terence (cf. n. 13) especially: L. Ambivius Turpio, the most famous manager and actor of the period before Cicero (cf. CIC. sen. 48. TAC. dial. 20. SYMм. ep. 1, 31, 3. 10, 2, 1), further L. Atilius of Praeneste (cf. § 107, 2). Belonging to the Republican period (probably the 7th century) M. Ofilius Hilarus (PLIN. N.H. 7, 184); to the time of Quintilian (11, 3, 178) Stratokles and Demetrius (§ 15, 1).

17. Togata is the name given, in contradistinction to palliata, to comedies with Roman (Italian) subject-matter. Later on this comedy was called also tabernaria. It represented the life of the lower classes in Rome; thus it was coarser in tone than the palliata, but at the same time had greater freshness and vitality. But it surpasses the palliata especially in its conception of family life, the female sex being far more prominent in it, and the slaves holding comparatively insignificant parts. The chronology of the togata is defined on the one hand by the overrefined palliata of Terence, and on the other by the artificial Atellana and the Mimus. Its principal poets are Titinius, Quinctius Atta and L. Afranius, all between 589/169 and 675/79. Afranius raised the togata into higher circles of society, introduced the arrangement and tone of the palliata into it, sometimes even used Greek plays for his purposes, and in this way created a kind of mixed species, which, however, died out with him. Even in the Imperial period Afranius' togatae were performed.

1. In the broadest sense of the word togata may designate any fabula (serious or light), with Roman subject-matter. DIOMEDES GL. 1, 489 enumerates as togatae a) praetextatae, b) togatae = tabernariae, c) Atellanae, d) planipedes, and defines them: quae scriptae sunt secundum ritus et habitum hominum togatorum i.e. Romanorum. In this sense togata comprises also the trabeata which Diomedes omits, though this was merely a transient and unimportant species, devoted especially to the equites, whose peculiar habit was the trabea (PERS. 3, 29. Dio 56, 31), and a species merely represented by C. Melissus its originator (§ 244, 2). In the same general sense, and especially of praetextae, SEN. ep. 1, 8, 8 uses the term togatae: non attingam tragicos nec togatas nostras. habent enim hae quoque aliquid severitatis et sunt inter comoedias ac tragoedias mediae.

2. DIOMED. 1. 1.: secunda species est togatarum quae tabernariae dicuntur et humilitate personarum et argumentorum similitudine comoediis (=palliatis) pares.

The name tabernariae was taken from the tabernae, the booths of the artisans and of the industrial class in general. FESTUS 352 v. togatarum enumerates among the characters of the tabernariae besides others plagiarii, servi denique, in general such as ex tabernis honeste prodeant. Cf. also such titles of togatae as Augur, Cinerarius, Fullonia, Libertus, Psaltria, Tibicina. Togatae is the name given to plays of this kind espec. in Cic. Sest. 118. HOR. AP. 288. VELLEI. 2, 9, 3. SEN. ep. 14, 1 (=89), 7 (cf. AFRAN. v. 299). SUET. Ner. 11. QUINT. 10, 1, 100. GELL. 10, 11, 8. 13, 8, 3.

3. The plots of the togatae are generally laid at Rome, though not unfrequently also in a provincial town, in order to ridicule either the life of a small town or satirise Rome in a disguised manner, or to describe the impression produced by Rome on a man from the country; cf. the titles Brundisinae, Ferentinatis, Setina, Veliterna, Ulubrana. From the mere titles appears the large admixture of the female sex (even of virgins), and this is still more shown by the fragments. Cf. also SERV. Aen. 11, 160 in togatis victrices appellantur quae viros extulerunt. DONATUS on Ter. Eun. 12 is very significant: concessum est in palliata poetis comicis servos dominis sapientiores fingere, quod item in togata non fere licet.

4. DIOMED. GL. 1, 490 togatas tabernarias in scenam dataverunt praecipue duo, L. Afranius et G. Quintius. Ps.-ACRO (from Suet.? see AKIESSLING, de personis horat. 8) on Hor. AP. 288 following an absurd explanation of the terms praetexta (=comedy with Roman subject-matter) and togata (= comedy with Greek subjectmatter): praetextas et togatas scripserunt Aelius Lamia, Antonius Rufus (these two otherwise unknown, cf. also § 254, 3), Cn. Melissus (§ 244, 2), Afranius, Pomponius (284, 7). A performance of Afranius' Incendium under Nero, SUET. Ner. 11. Togatae publicly recited: Iuv. 1, 3.—A certain togatarius Stephanio (cui in puerilem habitum circumtonsam matronam ministrasse compererat Augustus and whom he therefore per trina theatra virgis caesum relegavit) occurs in SUET. Aug. 45; cf. PLIN. NH. 7, 159 minus miror Stephanionem, qui primus togatus (more correctly togatas, cf. tragoediam saltare, § 13, 6) saltare instituit, utrisque saecularibus ludis (a. 737/17 and 800/47) saltavisse etc. Thus the Pantomimus appropriated the subject-matter of the togatae, as it had that of the tragedies and palliatae (§ 8, 13).

.

5. In imitation of the arrangement of the palliata AFRANIUS has prologues (v. 25-30. MACR. S. 6, 5, 6 Afranium qui in prologo ex persona Priapi ait, just as, in his Sella, Sophia appeared as a speaker) and cantica (even synodic ones). Cic. Sest. 118 cum ageretur togata—Simulans, ut opinor-caterva tota clarissima concentione contionata est. The adoption of the parasites belongs to the same features, though the Roman clientship and the scurrae offered analogies. The fragments of togatae are collected in RIBBECK, com. 131.JHNEUKIRCH, de fab. togata, Lps. 1833; Ladewig PRE. 6, 3024; MOMMSEN RG. 1o, 904. 26, 436.

18. The Roman writers on literature specify the Rhinthonica as a separate variety of Roman comedy; it was named after the farce-writer (4λvakoуpúpos) Rhinthon of Tarentum, whose iλapoτpay@diaι were travesties of tragic subjects, but none of the names of the Roman adapters nor any titles or remains of Roman Rhinthonicae have come down to us. Some of these however may be incorporated among the Atellanae on mythological subjects.

1. For the authorities on the Roman Rhinthonica see § 12, 1. LYD. de mag. 1, 40 'Pivowvik (¿OTìv) † ¿žWTIKÝ (cf. PLAUT. Men. 2, 1, 11 Graeciamque exoticam of southern Italy). For Rhinthon, who flourished under Ptolemaios I Soter (a. 320-285 B.c.=437/469 u.c.), see esp. Suid. s.v. 'Pivewv. STEPH. BYz. v. Tápas. The кwμdoTpay dia of Alkaios, Deinolochos and Anaxandrides (MEINEKE, hist. crit. com. gr. 247) is older than the iλaporpaywdía, of which Rhinthon was the άpxnyòs (see SUID. s.v.), and is therefore not identical with it. Perhaps the kwuwdorpaywdia was more like a comedy compared with the farcical iλaporpaywdia, possibly like Plaut. Amphitr., which in the prologue v. 59 and 63 is called a tragi [co] comoedia. (Tragicocomoedia in LUTAT. on Stat. Theb. 5, 160.) Cf. also VARRO'S Pseudotragoediae (§ 165, 2). Plautus' Amphitruo is certainly not a Rhinthonica; see VAHLEN, RhM. 16, 472.

2. The separation of the Rhinthonica from the Atellana is probably only founded on a quibble of the theorists. Titles of Atellanae which indicate farcical travesties of mytho-tragical subjects are Agamemno suppositus, Ariadne, Armorum iudicium (?), Atalante, Sisyphus by Pomponius, Phoenissae by Novius, Autonoe (Iuv. 6, 71).— In general cf. NEUKIRCH, de fab. tog. 15. EMUNK, de fabb. Atell. 84. VAHLEN, RhM. 15, 472. E. SOMMERBRODT, de phlyacogr. graec. (Bresl. 1875) p. 43.

19. The Romans possessed a tendency to preserve and cherish the recollection of past events; and as they perceived that metre facilitated both recollection and tradition, we find here a field favourable to the development of epic poetry. Hence we have at an early age ancestral songs and inscriptions of various kinds somewhat like the epic in style. The saturnian measure employed in them was also used by the most ancient epic poets, Andronicus and Naevius, the first a mere translator in his Latin Odyssey, the latter in his bellum punicum boldly plunging into the life of his nation and time. Like him, his successor Ennius chose, in his Annals, a national subject, which he expanded to a complete Roman history down to his own time, and treated in dactylic hexameters. His example became the type for later poets, both as to subject-matter and form. During the next century no other poet attempted an epic poem; but then Hostius, plainly following Ennius, wrote a bellum istricum, and similarly L. Accius and A. Furius and later on Tanusius wrote epics. entitled Annales. Cicero himself wrote poems in hexameters on his consulship and exile (de suo consulatu, de temporibus meis), while Varro Atacinus treated of Caesar's bellum sequanicum. In the Augustan period Anser eulogised M. Antony, and others treated subjects of the history of the period in the manner of the Alexandrine poets and partly with panegyric tendencies, as L. Varius (de morte, sc. Caesaris; Panegyricus Augusti), Tibullus (?Panegyricus Messalae), Octavianus himself (Sicilia); important epic fragments remain to us by Cornelius Severus (res

romanae), Rabirius (bellum actiacum ?), Albinovanus Pedo (de navigatione Germanici per oceanum septentrionalem). In the Imperial period epic poetry was chiefly devoted to the past: Lucan's Pharsalia, the epic poem de bello civili (in PETRONIUS sat. 119), and Silius Italicus' Punica). About the middle of the 3rd century of our era such subjects still found favour, and Alfius Avitus treated them even in iambic dimeters. But when contemporary history furnished the material, as under Trajan authors selected a bellum dacicum and parthicum, such subjects could only be treated in courtly fashion. To this class belong Gordian's Antoninias, Claudian with his numerous eulogistic epics on Stilicho, and the bellum gildonicum and pollentinum; lastly Corippus' Johannis and laudes Iustini.

1. The interest of the epic subject-matter remained always predominant and decisive. Cic. de imp. Pomp. 25 sinite hoc loco, sicut poetae solent qui res romanas scribunt, praeterire me nostram calamitatem. The Roman magnates longed to be glorified in poetry, e.g. Cic. Arch. 26. 27. Augustus systematically favoured and promoted epic compositions, and to abstain from them almost required an excuse, as in the case of Horace. A large number of real or pretended epic poets enumerated by OVID. Pont. 4, 16. In the time of Nero epic composition was fashionable, see PERSIUS 1, 69. Cf. PETRON. 118. MARTIAL. 4, 14. 10, 64. STAT. Silv. 2, 7, 48. HSCHILLER, Nero 611. In PRISCIAN. GL. 2, 237 are three hexameters taken from the epic poem, in at least three books, of a certain Gannius (G. Annius ? cf. § 209, 12). Phrases (in prose) taken from a certain (orator, cf. § 137, 4) Gannius, Paul. Festi 369 v. veteratores. A certain Canius as author of an iambic verse in VARRO LL. 6, 81.

2. KONE, in his Sprachgebrauch der röm. Epiker, Münst. 1840, argues that the dactylic hexameter is greatly at variance with the phonetic constituents of the Latin tongue, and that the exigencies of this metre imposed many restrictions on the Roman poets. Cf. FCHULTGREN, d. Technik der röm. Dicht. im ep. u. eleg. Versmass, JJ. 107, 745. THBIRT, ad hist. hexam. lat. symb., Bonn 1876. MW HUMPHREYS, de accentus momento in versu heroico, Lps. 1874. HHELBIG, de synaloephae ap. epicos lat. primi p. Chr. saeculi ratione, Bautzen 1878. KP SCHULZE, Hochton u. Vershebung in den 2 letzten Füssen des lat. Hex. Zf GW. 29, 590 etc.

3. FWINKELMANN, d. epischen Dicht. d. Röm. bis auf Virgil, in JAHN's Arch. 2, 558. OHAUBE, de carminibus epicis saec. Augusti, Bresl. 1870; die Epen des silb. Zeitalters d. röm. Lit., Fraustadt 1886. On the introduction of similes among the epic and elegiac writers see JWALSER, ZfdÖG. 29, 595.

4. Collection of the works of the Latin poets (excluding the scenici) by WE WEBER (corpus poett. lat., Frankf. 1831); of the lesser Latin poems preserved in manuscript by JCHRWERNSDORF (poetae lat. minores, Altenb. u. Helmst. 178099 VI) and EBÄHRENS (poetae lat. min., Lps. 1879-83 V). As a supplement fragmenta poett. roman. coll. et emend. EBÄHRENS, Lps. 1886 (containing the passages from poets scattered in various authors, besides the fragments of the scenici and the satura Menippea). On the editions of the so-called Anthologia latina and the collections of the Lat. poems preserved in inscriptions see § 31, 4.

20. An heroic epic was impossible at Rome in its original state, the Italian gods being mere abstractions, and godlike heroes unknown to the people. When, therefore, towards the end of the Republic the influence of the Alexandrine poets caused this class of epic poetry to be cultivated, it was necessary to choose foreign subjects for mythological tales. Thus Varro Atacinus (Argonautae), Catullus (Epithalamium Pelei et Thetidos), Helvius Cinna (Smyrna), Licinius Calvus (Io), Pedo (Theseis), as well as (in respect of its subject-matter) Ovid's Metamorphoses, later on (the Culex and) the Ciris, and Valerius Flaccus (Argonautica). Others translated the Iliad, e.g. C. Matius, at a later time Gaurus and, as appears probable, the young Silius Italicus as the author of the so-called Homerus latinus; aspirants of a higher order reverted to the Epic Cycle, as Ninnius Crassus (the Cyprian Iliad), Furius Bibaculus (Aethiopis ?), Pompeius Macer (Antehomerica and Posthomerica), Julius Antonius (Diomedea), Domitius Marsus (Amazonis), Camerinus (Excidium Troiae), Lupus and Largus; at a later time Nero's Troica, Lucan's Iliaca, Statius' Thebais and Achilleis etc. At the end of the fourth century Claudian wrote his mythological epics Raptus Proserpinae and Gigantomachia. At the end of the fifth the African Dracontius adapted the rape of Helen, the legend of Medea and parts of the myth of Herakles (Hylas and Hydra); he is in all probability also the author of the Orestis tragoedia. Between the historic or national and the Alexandrine or mythological classes stands Vergil's Aeneid, in which an indigenous legend is told in a historic and psychological manner, but with a mythological background; and this became the pattern of poetical composition to the subsequent poets.

1. Influence of rhetoric, especially in the style of description, e.g. SEN. Apoc. 2, 3 omnes poetae, non contenti ortus et occasus describere (like Julius Montanus, SEN. ep. v. 122, 11–13), etiam medium diem inquietant. A pathetic style was required: heroici carminis sonus, TAC. dial. 10. The style of the heroic epic was also transferred to the historic class, as in Silius: cf. PETRON. 118 non enim res gestae versibus comprehendendae sunt, quod longe melius historici faciunt, sed per ambages deorumque ministeria et fabulosum sententiarum tormentum praecipitandus est liber spiritus, ut potius furentis animi vaticinatio appareat quam religiosae orationis sub testibus fides.

2. Influence of Vergil see § 231.-The Troiae halosis in senarii (in PETRON. 89) given as a speech to Eumolpus already diverges from the traditional model. In the same metre Avienus at a later time paraphrased Vergil and Livy (§ 420, 6). Similar Greek paraphrases in trimeter were produced in large numbers (e.g. of Theokritos, Apollonios, Kallimachos and other Alexandrine poetry) by the Hellenised Roman Marianus about the year 500 A.D.; see SUID. S. V.-LACTANT.