Last evening in Harvard 1 Mr. E. P. Morris of Yale University gave an instructive lecture under the auspices of the Classical Club. His subject was "A Latin Poet and his Greek Model." Professor White wittily introduced Mr. Morris, saying that the theological disputes of former times between Harvard and Yale had in the lapse of years developed into an "odium athleticum periculissimum," but notwithstanding this, the relations between the Yale Classical Club and the Harvard Classical Club had always been most friendly.

Mr. Morris began by describing the dependence of Latin poets on Greek originals. It is difficult to trace the analogy in tragedy, as merely the scantiest fragments of Roman tragedies are extant; but in comedy the case is quite the reverse, as twenty-six plays of Plautus and Terence are preserved. In poetry the similarity can also be observed. The lyrics of Catullus and Horace were often suggested by those of Archilochus, Sappho, or Alcaeus. In Vergil the analogy is not nearly so apparent.

Granted that the Latin poet depended upon a Greek model, it is next necessary to ascertain just to what degree the former imitated the latter. Until lately the investigation on this subject has been narrow, because the interest has been purely historical. Some authorities say that Plautus was simply a translator and an imitator, while others maintain that he treated his models with great freedom and originality. The latter opinion is probably more just, for the passage of plots from one author to another is permissible and common in the history of literature.

Livius Andronicus was the first Roman to translate Greek plays. His example was followed by Plautus and Terence. These two are much alike. They both followed Greek plays singly or combined scenes from several into one. In Plautus the combinations are often gross and very apparent, while in Terence they are far more subtle and difficult to perceive. In their comedies the scenes are usually laid in Greece, the costumes and money Grecian, but the oaths are always Roman. Plautus's experience as a trader accounts for his knowledge of a seaman's life. "Whoever wants a peck of trouble," he says, "let him get himself a wife and a boat; these two will be enough." Plautus concerned himself little about his relations with Greek originals. He cared only to amuse his audiences, and chose the plots which were easiest to transpose.

Plautus introduced many innovations, especially in metre and in musical accompaniment. The character of the parasite, if not his invention, was certainly elaborated by him. The great proof of Plautus's originality was his popularity. The influence of one poet upon another is always deeply felt, and so the process of transmission from the Greek to the Roman, must not be regarded as imitation, but as continuation.