eve. But if this was so, why
arraign them on the charge of trying to convince us that everything is
happening in a perfectly natural manner? The outer form to be sure is that
of everyday life, but this is no proof that the poets demanded of their
audiences a belief in the verisimilitude of the events depicted. Can we
have no fantastic fairyland without some outlandish accompaniment such as
a chorus garbed as birds or frogs? But we reserve fuller discussion of
this point until later. We might suggest an interesting comparison to the
nonsense verse of W. S. Gilbert, which represents the most shocking ideas
in a style even nonchalantly matter-of-fact. Does Gilbert by any chance
actually wish us to believe that "Gentle Alice Brown," in the poem of the
same name, really assisted in "cutting up a little lad"?

Korting regains his usual clear-headedness in pronouncing 'that there is
little in the technique of _palliatae_ to excite our admiration.' Again we
insist (to borrow the jargon of the modern dramatic critic) it was but a
"vehicle" for popular amusement.

[Sidenote: Schlegel] Wilhelm Schlegel, in his _History of the Drama_[39]
has the point of view of the dramatic critic, rather than the professional
scholar; while expressing a measure of admiration for the significance of
Plautus in literature, he is impelled to say: "The bold, coarse style of
Plautus and his famous jokes, savour of his familiarity with the vulgar
... <He> mostly inclines to the farcical, to overwrought and often
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_,
ma