That part of the plot of this comedy, where Clitopho’s mistress is introduced as Clinia’s mistress, into the house of both the old men, has given rise to Chapman’s comedy, _All Fooles_, which was first printed in 1605, 4to., and was a favourite production in its day. In this play, by the contrivance of Rynaldo, the younger son of Marc Antonio, a lady called Gratiana, privately married to his elder brother Fortunio, is introduced, and allowed to remain for some time at the house of their father, by persuading him that she is the wife of Valerio, the son of one of his neighbours, who had married her against his parent’s inclination, and that it would be an act of kindness to give her shelter, till a reconciliation could be effected. By this means Fortunio enjoys the society of his bride, and Valerio, her pretended husband, has, at the same time, an admirable opportunity of continuing his courtship of Bellonora, the daughter of Marc Antonio. _Adelphi_.—The principal subject of this drama is usually supposed to have been taken from Menander’s _Adelphoi_; but it appears that Alexis, the uncle of Menander, also wrote a comedy, entitled _Adelphoi_; so that perhaps the elegant Latin copy may have been as much indebted to the uncle’s as to the nephew’s performance, for the delicacy of its characters and the charms of its dialogue. We are informed, however, in the prologue, that the part of the drama in which the music girl is carried off from the pander, has been taken from the _Synapothnescontes_ of Diphilus. That comedy, though the version is now lost, had been translated by Plautus, under the title of _Commorientes_. He had left out the incidents, however, concerning the music girl, and Terence availed himself of this omission to interweave them with the principal plot of his delightful drama—“Minus existimans laudis proprias scribere quam Græcas transferre.”