The same grammarian paid to his style a compliment similar to that which had been paid to Plato, by saying, that if the Muses spoke in Latin they would borrow the language of Plautus.[182] Whatever might have been the faults of the Plautian comedy, it maintained its position on the Roman stage for at least five centuries, and was acted as late as the reign of Dioclesian. It does not appear that Plautus ever attained the full privileges of a Roman citizen. Probably he had no powerful friends to press his claims, and therefore enjoyed no more than the Italian franchise to the end of his days. No fewer than one hundred and thirty comedies have been attributed to him, but of these many were spurious. Varro considers the twenty which are now extant genuine, together with the Vidularia, of which only a few lines remain, and those only in the palimpsest MS. already mentioned. The rest, the titles of which alone survive, are of doubtful authority. All the comedies of Plautus, except the _Amphitruo_, were adapted from the new comedy of the Greeks. The statement that he imitated the Sicilian Epicharmus,[183] and founded the _Menæchmi_ on one of his comedies, rests only on a vague tradition. There can be no doubt that he studied also both the old and the middle comedy; but still Menander, Diphilus, and Philemon furnished him the originals of his plots. The popularity of Plautus was not confined to Rome, either republican or imperial. Dramatic writers of modern times have recognised the effectiveness of his plots, and, therefore, have adopted or imitated them, and they have been translated into most of the European languages. The following is a brief sketch of the subjects of his extant comedies. I. Amphitruo. This is the only piece which Plautus borrowed from the middle Attic comedy; the plot is founded on the well-known story of Jupiter and Alcmena, and has been imitated both by Molière and Dryden. II., III., IV. The Asinaria, Casina, and Mercator, depict a state of morals so revolting that it is impossible to dwell upon them. V. In the Aulularia, a very amusing play, a miser finds a pot of gold (aulula,) and hides it with the greatest care. His daughter is demanded in marriage by an old man named Megadorus, the principal recommendation to whose suit is, that he is willing to take her without a dowry. Meanwhile the slave of her young lover steals the gold, and, as may be conjectured, for no more of the play is preserved, the lover restores the gold, and the old man, in the joy of his heart, gives him his daughter. This comedy suggested to Molière the plot of L’Avare, the best play which he ever wrote, and one in which he far surpasses the original. Two attempts have been made to supply the lost scenes, which may be found in the Delphin and Variorum edition.