Publicums." But how he reconciles this with his previously quoted
convictions and with the declaration (p. 16): "Plautus ist ein sehr
religioser, sehr moralischer Schriftsteller," it is impossible to grasp,
until we recall that the author is a German.

[Sidenote: Langen] Such criticism stultifies itself and needs no
refutation; certainly not here, as P. Langen in his _Plautinische Studien_
(_Berliner Studien_, 1886; pp. 90-91) has conclusively proved that the
inconsistent is a feature absolutely germane to Plautine style, and has
collected an overwhelming mass of "Widerspruche, Inkonsequenzen und
psychologische Unwahrscheinlichkeiten" that would question the
"Plautinity" of every other line, were we to follow Weise's precepts.
Langen too uses the knife, but with a certain judicious restraint.

We insist that the attempt to explain away every inconsistency as spurious
is a sorry refuge.

[Sidenote: Langrehr] Langrehr in _Miscellanea Philologica_ (Gottingen,
1876), under the caption _Plautina_[18] gives vent to further solemn
Teutonic carpings at the plot of the _Epidicus_ and argues the play a
_contaminatio_ on the basis of the double intrigue. He is much exercised
too over the mysterious episode of 'the disappearing flute-girl.'

Langen, who is in the main remarkably sane, refutes these conclusions
neatly.[19] How Weise and his confrA"res argue Plautus such a super-poet,
in view of the life and education of the public to whom he catered, let
alone the evidence of the plays themselves, and their author's status as
mere translator and adapter, must remain an insoluble mystery. The simple
truth is that a playwright such as Plautus, having undertaken to feed a
populace hungry for amusement, ground out plays (doubtless for a