Terence knows nothing of such caprices; his dialogue moves on with the purest symmetry, and its points are elegant epigrammatic and sententious turns.

The comedy of Terence is not to be called an improvement, as compared with that of Plautus, either in a poetical or in a moral point of view.

Originality cannot be affirmed of either, but, if possible, there is less of it in Terence; and the dubious praise of more correct copying is at least outweighed by the circumstance that, while the younger poet reproduced the agreeableness, he knew not how to reproduce the merriment of Menander, so that the comedies of Plautus imitated from Menander, such as the -Stichus-, the -Cistellaria-, the -Bacchides-, probably preserve far more of the flowing charm of the original than the comedies of the "-dimidiatus Menander-." And, while the aesthetic critic cannot recognize an improvement in the transition from the coarse to the dull, as little can the moralist in the transition from the obscenity and indifference of Plautus to the accommodating morality of Terence.

But in point of language an improvement certainly took place.

Elegance of language was the pride of the poet, and it was owing above all to its inimitable charm that the most refined judges of art in aftertimes, such as Cicero, Caesar, and Quinctilian, assigned the palm to him among all the Roman poets of the republican age.