He did not, of course, pretend to have formed his own conclusions on all points, and we find him quoting from various authorities, sometimes naming them and sometimes only indicating, perhaps, that he was "abridging from the best antiquaries." This, however, was chiefly in connection with the ancient drama.

As I have already remarked, we do not find him referring to recent studies on the English drama.

And though Scott had forgotten all his Greek we observe that he is bold enough to disagree with "the ingenious Schlegel" in regard to the comparative value of the Greek New Comedy.

In his treatment of the ancient drama the main point for note is the success with which he gives a broad and connected view of the subject.

His account of the drama in France needs correction in certain respects,[137] but it seems to indicate some first-hand knowledge and very definite opinions.