and the FEW so qualified, that such who write with care and pains
can hope to be distinguished: for the prostituted name of poet
promiscuously levels all that bear it.

Terence, the most correct writer in the world, had a Scipio and a
Lelius, if not to assist him, at least to support him in his
reputation. And notwithstanding his extraordinary merit, it may be
their countenance was not more than necessary.

The purity of his style, the delicacy of his turns, and the justness
of his characters, were all of them beauties which the greater part
of his audience were incapable of tasting. Some of the coarsest
strokes of Plautus, so severely censured by Horace, were more likely
to affect the multitude; such, who come with expectation to laugh at
the last act of a play, and are better entertained with two or three
unseasonable jests than with the artful solution of the fable.

As Terence excelled in his performances, so had he great advantages
to encourage his undertakings, for he built most on the foundations
of Menander: his plots were generally modelled, and his characters
ready drawn to his hand. He copied Menander; and Menander had no
less light in the formation of his characters from the observations
of Theophrastus, of whom he was a disciple; and Theophrastus, it is
known, was not only the disciple, but the immediate successor of
Aristotle, the first and greatest judge of poetry. These were great
models to design by; and the further advantage which Terence
possessed towards giving his plays the due ornaments of purity of
style, and justness of manners, was not less considerable from the
freedom of conversation which was permitted him with Lelius and
Scipio, two of the greatest and most polite men of his age. And,