borrowed from Plautus appears highly superfluous.

These are samples of Mr. Collins's methods throughout.

Of Terence there were translations--first in part; later, in 1598, of
the whole. Of Seneca there was an English version (1581). Mr.
Collins labours to show that one passage "almost certainly" implies
Shakespeare's use of the Latin; but it was used "by an inexact
scholar,"--a terribly inexact scholar, if he thought that "alienus"
("what belongs to another") meant "slippery"!

Most of the passages are from plays (Titus Andronicus and Henry VI,
i., ii., iii.), which Mr. Greenwood denies (usually) to HIS author,
the Great Unknown. Throughout these early plays Mr. Collins takes
Shakespeare's to resemble Seneca's LATIN style: Shakespeare, then,
took up Greek tragedy in later life; after the early period when he
dealt with Seneca. Here is a sample of borrowing from Horace,
"Persicos odi puer apparatus" (Odes. I, xxxviii. I). Mr. Collins
quotes Lear (III, vi. 85) thus, "You will say they are PERSIAN
ATTIRE." Really, Lear in his wild way says to Edgar, "I do not like
the fashion of your garments: you will say they are Persian; but let
them be changed." Mr. Collins changes this into "you will say they
are PERSIAN ATTIRE," a phrase "which could only have occurred to a
classical scholar." The phrase is not in Shakespeare, and Lear's
wandering mind might as easily select "Persian" as any other
absurdity.

So it is throughout. Two great poets write on the fear of death, on
the cries of new-born children, on dissolution and recombination in
nature, on old age; they have ideas in common, obvious ideas,