The principal plot of _The case is altered_, a comedy attributed to Ben Jonson, has been taken, as shall be afterwards shown from the _Captivi_ of Plautus; but the character of Jaques is more closely formed on that of Euclio, than any miser on the modern stage. Jaques having purloined the treasure of a French Lord Chamont, whose steward he had been, and having also stolen his infant daughter, fled with them to Italy. The girl, when she grew up, being very beautiful, had many suitors; whence her reputed father suspects it is discovered that he possesses hidden wealth, in the same manner as Euclio does in the scene with Megadorus. We have a representation of his excessive anxiety lest he lose this treasure—his concealment of it—and his examination of Juniper, the cobbler, whom he suspects to have stolen it; which corresponds to Euclio’s examination of Strobilus. Most other modern dramatists have made their miser in love; but in the breast of Jaques all passions are absorbed in avarice, which is exhibited to us not so much in ridiculous instances of minute domestic economy, as in absolute adoration of his gold: “I’ll take no leave, sweet prince, great emperor! But see thee every minute, king of kings!” It is thus he feasts his senses with his treasure: and the very ground in which it is hidden is accounted hallowed: “This is the palace, where the god of gold Shines like the sun of sparkling majesty!” But the most celebrated imitation of the _Aulularia_ is Moliere’s _Avare_, one of the best and most wonderful imitations ever produced. Almost nothing is of the French dramatist’s own invention. Scenes have been selected by him from a number of different plays, in various languages, which have no relation to each other; but every thing is so well connected, that the whole appears to have been invented for this single comedy. Though chiefly indebted to Plautus, he has not so closely followed his original as in the _Amphitryon_. One difference, which materially affects the plots of the two plays and characters of the misers, is, that Euclio was poor till he unexpectedly found the treasure. He was not known to be rich, and lived in constant dread of his wealth being discovered. When any thing was said about riches, he applied it to himself; and when well received or caressed by any one, he supposed that he was ensnared. Harpagon, on the other hand, had amassed a fortune, and was generally known to possess it, which gives an additional zest to the humour, as we thus enter into the merriment of his family and neighbours; whereas the penury of Euclio could scarcely have appeared unreasonable to the bystanders, who were not in the secret of the acquired treasure. Moliere has also made his miser in love, or at least resolved to marry, and amuses us with his anxiety, in believing himself under the necessity of giving a feast to his intended bride; which is still better than Euclio’s consternation at the supper projected by his intended son-in-law.