disgusting drollery." This is doubtless true, but, by making the
incidental a criterion for the whole, it gives a gross misconception to
one that has not read Plautus.

[Sidenote: Donaldson] J. W. Donaldson, in his lectures on the Greek
theatre[40], has plagiarized Schlegel practically _verbatim_, while giving
the scantest credit to his source. His work thus loses value, as being a
mere echo, or compilation of second-hand material.

We learn from Schlegel that Goethe was so enamored of ancient comedy that
he enthusiastically superintended the translation and production of plays
of Plautus and Terence. Says Schlegel[41]: "I once witnessed at Weimar a
representation of the _Adelphi_ of Terence, entirely in ancient costume,
which, under the direction of Goethe, furnished us a truly Attic evening."

[Sidenote: Scott] In this connection the opinion of Sir Walter Scott may
be interesting. He too, not being a classical scholar _par excellence_,
may be better equipped for sound judgment. In the introduction to Dryden's
_Amphitryon_ he says: "Plautus ... left us a play on the subject of
Amphitryon which has _had the honour_ to be deemed worthy of imitation by
MoliA"re and Dryden. It cannot be expected that the plain, blunt and
inartificial style of so rude an age should bear any comparison with that
of the authors who enjoyed the highest advantages of the polished times to
which they were an ornament." There speaks the sophisticated and conscious
literary technician![42]

[Sidenote: LeGrand] The most comprehensive and judicious estimate of all
is certainly attained by LeGrand in _Daos_.[43] He appreciates clearly
that "la nouvelle comA(C)die n'a pas A(C)tA(C), en toute circonstance stance, une
comA(C)die distinguA(C)e. Elle n'a pas dA(C)daignA(C) constamment la farce et le gros