There is an Italian imitation of the _Eunuchus_ in _La Talanta_, a comedy by Aretine, in which the courtezan who gives the name to the play corresponds with Thais, and her lover Orfinio to Phædria,—the characteristic dispositions of both the originals being closely followed in the copy. A youth, from his disguise supposed to be a girl, is presented to La Talanta by Tinca, the Thraso of the piece, who, being exasperated at the treatment he had received from the courtezan, meditates, like Thraso, a military attack on her dwelling-house; and, though easily repulsed, he is permitted at the conclusion, in respect of his wealth and bounty, to continue to share with Orfinio the favours of La Talanta. There is more _lubricity_ in the _Eunuchus_ of Terence, than in any of his other performances; and hence, perhaps, it has been selected by Fontaine as the most suitable drama for his imitation. His _Eunuque_, as he very justly remarks in his advertisement prefixed, “n’est qu’une mediocre copie d’un excellent original.” Fontaine, instead of adapting the incidents to Parisian manners, like Moliere and Regnard, in their delightful imitations of Plautus, has retained the ancient names, and scene of action. The earlier part is a mere translation from the Latin, except that the character of Thais is softened down from a courtezan to a coquette. The next deviation from the original is the omission of the recital by Chærea, of the success of his audacious enterprize—instead of which, Fontaine has introduced his Chærea professing honourable and respectful love to Pamphile. In the unravelling of the dramatic plot, the French author has departed widely from Terence. There is nothing of the alarm concerning Chærea given by Thais’ maid to Parmeno, and by him communicated to the father: The old man merely solicits Parmeno to prevail on his sons to marry:— “Il se veut desormais tenir clos et couvert, Caresser, les pieds chauds, quelque Bru qui lui plaise, Conter son jeune temps, et banqueter a son aise.” This wish is doubly accomplished, by the discovery that Pamphile is of reputable birth, and by Phædria’s reconciliation with Thais. While making such changes on the conclusion, and accommodating it in some measure to the feelings of the age, I am surprised that the French author retained that part of the compact with Thraso, by which he is to remain in the society of Phædria merely to be fleeced and ridiculed.