In the prologue of Terence's Eunuchus, written, according to the didascalia, in 161 BC, the author of the play defends himself against the charge of literary theft. He denies completely any knowledge on his part that the Greek plays he had combined to produce his own play had already been translated into Latin. In the alternative, he argues against the charge of comic theft by way of the very nature of stock characters. ‘If’, argues Terence, ‘a man isn't allowed to make use of the same characters [personae] as other writers, how, all the more, is he allowed to write of the running slave, to make his matrons good and his prostitutes wicked, his hanger-on greedy, his soldier arrogant; how is he allowed to have a child substituted, an old man deceived through his slave, to love, to hate, to be suspicious?’ This last line — amare odisse suspicari — aims to evoke the characteristic attitude of the comic adulescens, whose emotional vacillation is presented as just another stock aspect of the genre, a literary inheritance as clich6d as any of the comedy's archetypal stock characters. ‘Nothing is said nowadays which hasn't been said before’, concludes Terence. Mid second century BC, and the Latin literary lover is already afflicted by textual, as much as emotional, exhaustion.