For centuries, scholars have found little thematic depth in The Comedy of Errors. The play seemed merely to be little more than a modernized adaptation of Menaechmi by Plautus. The play was not a particular favorite on the eighteenth century stage because it failed to offer the kind of striking roles that actors such as David Garrick could exploit.
The play was particularly notable in one respect. In the earlier eighteenth century some critics followed the French critical standard of judging the quality of a play by its adherence to the classical unities, as specified by Aristotle in the fourth century BC. The Comedy of Errors and The Tempest were the only two of Shakespeare's plays to comply with this somewhat artificial standard.
Law professor Eric Heinze, however, claims that particularly notable in the play is a series of social relationships, which is in crisis as it sheds its feudal forms, and confronts the market forces of early modern Europe.