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A proof of this is preserved in the epilogue of the -Captivi- of Plautus: -Spectators, ad pudicos mores facta haec fabulast. Neque in hoc subigitationes sunt neque ulla amatio Nec pueri suppositio nec argenti circumductio, Neque ubi amans adulescens scortum liberet clam suum patrem. Huius modi paucas poetae reperiunt comoedias, Ubi boni meliores fiant.

Along with these love-pieces we find others of a pathetic kind. Among the comedies of Plautus, for instance, the -Rudens- turns on a shipwreck and the right of asylum; while the -Trinummus- and the -Captivi- contain no amatory intrigue, but depict the generous devotedness of the friend to his friend and of the slave to his master.

In the later pieces Plautus has evidently bestowed more care on their construction, and the -Captivi- for instance, the -Pseudolus-, and the -Bacchides- are executed in a masterly manner after their kind. His successor Caecilius, none of whose pieces are extant, is said to have especially distinguished himself by the more artistic treatment of the subject. Roman Barbarism

A proof of this is preserved in the epilogue of the -Captivi- of Plautus: -Spectators, ad pudicos mores facta haec fabulast. Neque in hoc subigitationes sunt neque ulla amatio Nec pueri suppositio nec argenti circumductio, Neque ubi amans adulescens scortum liberet clam suum patrem. Huius modi paucas poetae reperiunt comoedias, Ubi boni meliores fiant.

It is not pitched in the sentimental key of the Captivi; but it has a higher, and, in Latin literature, a rarer, note.

Along with these love-pieces we find others of a pathetic kind. Among the comedies of Plautus, for instance, the -Rudens- turns on a shipwreck and the right of asylum; while the -Trinummus- and the -Captivi- contain no amatory intrigue, but depict the generous devotedness of the friend to his friend and of the slave to his master.

Lessing pronounces the "Captivi" to be the finest comedy ever brought upon the stage; he translated this play into German, and it has also been admirably translated into English. The great excellence of Plautus was the masterly handling of language, and the adjusting the parts for dramatic effect. His humor, broad and fresh, produced irresistible comic effects.

Sometimes they are adopted without change, as that of the Trinummus from the Thaesauros of Philemon; sometimes they are patched together from two or more Greek plays, as is probably the case with the Epidicus and Captivi; sometimes they are so slight as to amount to little more than a peg on which to hang the witty speeches of the dialogue, as, for example, those of the Persa and Curculio.

In the later pieces Plautus has evidently bestowed more care on their construction, and the -Captivi- for instance, the -Pseudolus-, and the -Bacchides- are executed in a masterly manner after their kind. His successor Caecilius, none of whose pieces are extant, is said to have especially distinguished himself by the more artistic treatment of the subject. Roman Barbarism

Of those plays which border on the sentimental the best is the Captivi, which the poet himself recommends to the audience on the score of its good moral lesson, adding with truth "Huiusmodi paucas poetae reperiunt comoedias Ubi boni meliores fiant." We are told that Plautus took the greatest pleasure in his Pseudolus, which was also the work of his old age.