Though no females are introduced in it, the _Captivi_ is the most tender and amiable of Plautus’ plays, and may be regarded as of a higher description than his other comedies, since it hinges on paternal affection and the fidelity of friendship. Many of the situations are highly touching, and exhibit actions of generous magnanimity, free from any mixture of burlesque. It has indeed been considered by some critics as the origin of that class of dramas, which, under the title of _Comedies Larmoyantes_, was at one time so much admired and so fashionable in France(238), and in which wit and humour, the genuine offspring of Thalia, are superseded by domestic sentiment and pathos. Hegio, an Ætolian gentleman, had two sons, one of whom, when only four years old, was carried off by a slave, and sold by him in Elis. A war having subsequently broken out between the Elians and Ætolians, Hegio’s other son was taken captive by the Elians. The father, with a view of afterwards ransoming his son, by an exchange, purchased an Elian prisoner, called Philocrates, along with his servant Tyndarus; and the play opens with the master, Philocrates, personating his slave, while the slave, Tyndarus, assumes the character of his master. By this means Tyndarus remains a prisoner under his master’s name, while Hegio is persuaded to send the true Philocrates, under the name of Tyndarus, to Elis, in order to effect the exchange of his son. The deception, however, is discovered by Hegio before the return of Philocrates; and the father, fearing that he had thus lost all hope of ransoming his child, condemns Tyndarus to labour in the mines. In these circumstances, Philocrates returns from Elis with Hegio’s son, and also brings along with him the fugitive slave, who had stolen his other son in infancy. It is then discovered that Tyndarus is this child, who, having been sold to the father of Philocrates, was appointed by him to wait on his son, and had been gradually admitted to his young master’s confidence and friendship.