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The popularity of Plautus was not confined to Rome, either republican or imperial. Dramatic writers of modern times, as Shakspeare, Dryden, and Moliere, have recognized the effectiveness of his plots, and have adopted or imitated them. About twenty of his plays are extant, among which the Captivi, the Epidicus, the Cistellaria, the Aulularia, and the Rudens are considered the best.
There is yet one more of the Plautine comedies which deserves special notice, as conceived in a different vein and worked out in a different tone from all those already mentioned the charming romantic comedy called Rudens, or The Cable, though a more fitting name for it would be The Tempest.
When Plautus is at his best in the Aulularia, Bacchides, or Rudens, and most notably in the Captivi he has seldom been improved upon either in the interest of his action or in the copiousness and vivacity of his dialogue. Over and above his easy mastery of language, Plautus has a further Claim to distinction in the wide range of his manner.
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.
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.