... Tentamen strictuarum in quasdam M. Accii Plauti comoedias

An ornate rectangular headpiece features a central composition of a globe, an open book, and an eagle, flanked by two classical urns on pedestals. The name "Grütner" is faintly visible at the bottom left of the illustration.

On the occasion of the vacant Chair, having been named among the Candidates, I considered it not alien to the purpose to make public, in the manner of a specimen, some matters that presented themselves to me as additions to the Commentaries of the renowned Taubmann on the plays of Plautus.

--- PHI. Indeed, he does not praise me for even the hundredth
Part that he himself has deserved, so that he may be praised with praises.

Having read this hemistich together with the following verse, I could not sufficiently wonder how it happened that in most editions, which I have been able to compare, these words were assigned to the role of Tyndarus the slave. The commentators who edited it this way seem to have forgotten that the main point of the oikonomia dramatic arrangement/plot structure in this play is the deception in which Philocrates, a son of the house, pretends to be the slave Tyndarus, and Tyndarus pretends to be his master, Philocrates. If, therefore, the praises which the false Tyndarus falsely attributes to Philocrates move the old man Hegio, then the response—since it is Philocrates himself who is speaking, having declared himself a slave, while Tyndarus the slave is playing the persona of Philocrates—should have been attributed to the master whom Tyndarus was representing on stage, not to Philocrates himself, inasmuch as he was hiding under the persona of Tyndarus, which he had assumed for the purpose of deceiving Hegio.