I. Machinery Characteristic of the Lower Types of Modern Drama
A. Devices self-evident from the text.
1. Bombast and mock-heroics.
It is a little difficult to sublimate this entirely from burlesque, but its true nature is instanced by the opening lines of the Miles, where the vainglorious Pyrgopolinices, with many a sweep and strut, addresses his attendants, who are probably staggering under the weight of an enormous shield:
"Have a care that the effulgence of my shield be brighter than e'er the sun's rays in a cloudless sky: when the time for action comes and the battle's on, I intend it shall dazzle the eyesight o' m' foes. (Patting his sword). Verily I would condole with this m' sword, lest he lament and be cast down in spirit, forasmuch as now full long hath he hung idle by m' side, thirsting, poor lad, to meet his fellow 'mongst the foe," and so on.
In line with this, a simulation of the military is a favorite device. So we find Pseudolus addressing the audience in ringing blustering tones and with grandiose gesture (Ps. 584 ff.):
"It now becomes my aim today to lay siege to this town and capture it." (Ballio the procurer is the town). "I shall hurl all my legions against it. If I take it, ... good luck to you, my citizens, for part of the booty shall be yours."
This finds a close counterpart in the Mil. 219 ff., a passage which West[110] thinks was deliberately inserted to rouse the populace into demanding that Scipio be at once despatched to Africa.
Periplecomenus is urging Palaestrio to find a stratagem. Actually he probably addresses the pit:
"Don't you see that the enemy are upon you and investing your rear? Call a council of war, reach out for stores and reinforcements in this crisis: haste, haste, no time to waste! Make a detour through some pass, forestall your foes, beleaguer them, protect our troops! Cut off the enemy's base of supplies!" etc.
Whether this passage had an ulterior purpose or not, the motif is frequent.[111] So we find Chrysalus in Bac. 925 ff. holding the stage for an entire scene with an elaborate comparison of himself to Ulysses, the brains of the Greek host, overcoming his master Nicobulus who represents Priam.
In general the mocking assumption of an heroic attitude recurs with sufficient frequency to stamp it as a staple of comic effect. Many passages would become tiresome and meaningless instead of amusing unless so interpreted. The soliloquy of Mnesilochus in Bac. 500 ff. could be made interesting only by turgid ranting. Similarly in Bac. 530 ff. and 612 ff.[112]
2. Horse-play and slap-sticks.
By this we mean what can in nowise be so clearly defined as by "rough-house." For instance, the turbulent Euclio in Aul. delivers bastings impartially to various dramatis personae and as a climax drives the cooks and music-girl pell-mell out of the house, doubtless accompanied by deafening howling and clatter (415 ff.). Similarly in the Cas. (875 ff.) Chalinus routs Olympio and the lecherous Lysidamus. We may well imagine that such scenes were preceded as well as accompanied by a fearful racket within (a familiar device of our low comedy and extravaganza), the effect probably heightened by tempestuous melodrama on the tibiae, as both the scenes cited are in canticum.
In the Men. we are treated to a free fight, in which the valiant Messenio routs the lorarii by vigorous punches, while Menaechmus plants his fist in one antagonist's eye (Men. 1011 ff.):
(Menaechmus of Epidamnus is seized by lorarii; as he struggles, Messenio, slave of Menaechmus Sosicles, rushes into the fray to his rescue). "MES. I say! Gouge out that fellow's eye, the one that's got you by the shoulder, master. Now as for these rotters, I'll plant a crop of fists on their faces. (Lays about.) By Heaven, you'll be everlastingly sorry for the day you tried to carry my master off. Let go!
MEN. (Joining in with a will.) I've got this fellow by the eye!
MES. Bore it out! A hole's good enough for his face! You villians, you thieves, you robbers! (General melée. Lorarii weaken.)
LOR. We're done for! Oh Lord, please!
MES. Let go then!
MEN. What right had you to lay hands on me? Give them a good beating up! (Lorarii break and scatter wildly under the ferocious onslaught.)
MES. Come, clear out! To the devil with you all! That for you! (Strikes.) You're the last; here's your reward! (Strikes again.)"
The lines themselves are sufficiently graphic and need but little annotation. Other pugilistic activities crop up at not infrequent intervals in the text,[113] and in Ps. 135 ff. Ballio generously plies the whip. In the lacuna of the Amph. after line 1034, Mercury probably bestows a drenching on Amphitruo.[114] In As. III. 3, especially 697 ff., Libanus makes his master Argyrippus "play horsey" with him, doubtless with indelicate buffonery. With invariable energy, even so simple a matter as knocking on doors is made the excuse for raising a violent disturbance, as in Amph. 1019 f. and 1025: Paene effregisti, fatue, foribus cardines.[115] And this idea is actually parodied in As. 384 ff. No, Plautus did not allow his public to languish for want of noise.
3. Burlesque, farce and extravagance of situation and dialogue.
Under this head we include such conscious strivings for comic as are frankly and plainly exaggerated and hyper-natural.
a. True burlesque.
This is in effect pure parody, cartooning. Patent burlesque of tragedy appears in Trin. 820 ff. (Charmides returns from abroad.)
"CHAR. To Neptune, ruler of the deep, and puissant brother unto Jove and Nereus, do I in joy and gladness cry my praises and gratefully proclaim my gratitude; and to the briny waves, who held me in their power, yea, even my chattels and my very life, and from their realms restored me to the city of my birth," etc., etc.
To tickle the ears of the groundlings, this must have been delivered in grandiloquent mimicry with all the paraphernalia of the tragic style. Horace notes a kindred manifestation of this tendency (to which he himself is pleasingly addicted), in Ep. II. 3.93 f.:
Interdum tamen et vocem comoedia tollit
Iratusque Chremes tumido delitigat ore.
Tragic burlesque is again beautifully exemplified in Ps. 702 ff. The versatile Pseudolus after a significant aside: "I'll address the fellow in high-sounding words," says to his master Calidorus:
"Hail! Hail! Thee, thee, O mighty ruler, thee do I beseech who art lord over Pseudolus. Thee do I seek that thou mayst obtain thrice three times triple delights in three various ways, joys earned by three tricks and three tricksters, cunningly won by treachery, fraud and villainy, which in this little sealed missive have I but erstwhile brought to thee....
CHAR. The rascal's spouting like a tragedian."
When Sosia, in the first scene of Amph. (203 ff.), turgidly describes the battle between the Thebans and Teleboans, he is parodying the Messenger of tragedy. Another echo from tragedy is heard at the end of the play, when Jupiter appears in the role of deus ex machina.[116]
Burlesque of character and calling puts in an occasional appearance. The recreant Sosia in Amph. 958 ff. mimics the dutiful slave. As. 259 ff. contains an ironical treatment of augury, while in 751 ff. the poet has his satirical fling at the legal profession.
b. True farce.
This is of course the comedy of situation and finds its mainstay in mistaken identity. The Men. and Amph. with their doubles are farce-comedies proper, but the element of farce forms the motive power of nearly all the plots; for example, the shuffling-up of Acropolistis, Telestis and the fidicina in Ep., the quarrel between Mnesilochus and Pistoclerus in Bac. resulting from the former's belief that his friend had stolen his sweetheart, the exchange of names between Tyndarus and Philocrates in Cap., the entrapping of Demaenetus with the meretrix at the dénouement of As., etc., etc. It is understood, we presume, that the modern farce occupies no exalted position in the comic scale, is distinguished by the grotesquerie of its characters, incidents and dialogue, and is indulgently permitted to stray far from the paths of realism. Even in Shakespearian farce, note the exaggerated antics of the two Dromios in "The Comedy of Errors." It is significant then that farce is a staple of our plays.
The farcical element is strikingly exemplified in Amph. 365-462, where Mercury persuades Sosia that he is not himself. Impersonation and assumption of a role is another noteworthy and frequent medium of plot motivation. In As. 407 ff. Leonida tries to palm himself off as the atriensis. Note the violent efforts of the two slaves to wheedle the cunning ass-dealer (449 ff.). In Cas. 815 ff. Chalinus enters disguised as the blushing bride. In Men. 828 ff. Menaechmus Sosicles pretends madness in a clever scene of uproarious humor. In the Mil. (411 ff.) Philocomasium needs only to change clothing to appear in the role of her own hypothetical twin sister, and in 874 ff. and 1216 ff. the meretrix plays matrona. Sagaristio and the daughter of the leno impersonate Persians (Per. 549 ff.), Collabiscus becomes a Spartan (Poen. 578 ff.), Simia as Harpax gets Ballio's money (Ps. 905 ff.), the sycophant is garbed as messenger (Trin. 843 ff.), Phronesium elaborately pretends to be a mother (Truc. 499 ff.). A swindle is almost invariably the object in view. But we have said enough on this score: no one who knows the plays at all can fail to recognize the predominance of farce. Compare on the modern stage the sudden appearance of "the long-lost cousin from Chicago."
c. Extravagances obviously unnatural and merely for the sake of fun.
This group of course often contains marked features of burlesque and farce, and hence shows a close kinship with the foregoing.
The extravagance of the love-sick swain is a fruitful source of this species of caricature. The ridiculous Calidorus, always wearing his heart on his sleeve, rolls his eyes, brushes away a tear and says (Ps. 38 ff.): "But for a short space have I been e'en as a lily of the field. Suddenly sprang I up, as suddenly I withered." The irreverent Pseudolus replies: "Oh, shut up while I read the letter over." Calidorus finds his counterpart in Phaedromus of the Cur., who, accompanied by his slave, approaches milady's abode (Cur. 10 ff.):
"PH. (In languishing accents, with eyes cast upward): Shall I not take sweets to the sweet: what is culled by the toil of the busy bees to my own little honey?... (They advance to milady's doorway which he sprinkles with wine, 88 ff.): Come, drink, ye portals of pleasure, quaff and deign to be propitious unto me.
PALINURUS SER. (Addressing the door with mimicry of Phaedromus' airs.) Do you want some olives or sweetmeats or capers?
PH. (Continuing.) Arouse your portress; hither send her unto me. (Lavishes the wine.)
PAL. (In great alarm, grasping his arm.) You're spilling the wine! What's got hold of you?
PH. Unhand me! (Gently shakes himself loose.) Lo! The temple of joys untold is opening. Did not the hinge creak? 'Tis charming!
PAL. (Turning aside in disgust.) Why don't you give it a kiss?"
In each case the impertinent slave provides the foil. When the lovers succeed in meeting, they are interlocked in embrace from 172 to 192, probably invested with no small amount of suggestive "business." This would doubtless hardly be tolerated by the "censor" today. Another variety of lover's extravagance is the lavishing of terms of endearment, as we find in Cas. 134 ff.[117]
When this feature of "extravagance" enters the situation instead of the dialogue, we have episodes such as the final scene of the Ps., where the name character is irrelevantly introduced (1246) in a state of intoxication which, with copious belching in Simo's face, culminates in a rebellion of the overloaded stomach (1294). We can scarcely doubt that such business was carried out in ultra-graphic detail and rewarded by copious guffaws from the populace. In sharp contrast to this, the drunkenness of Callidamates in Most. 313 ff. is depicted with unusual artistry, but still from the very nature of such a scene it may be labeled "extravagant."
Manifestation of violent anger is another source of exaggerated stage business. Ep. 512 ff. should be interpreted somewhat as follows:
"(The deluded Periphanes has just discovered that the fidicina is an impostor and not his daughter.) FID. (Sweetly.) Do you want me for anything else?
PER. (Stamping foot and shaking fists in a passion.) The foul fiend take you to utter perdition! Clear out, and quickly too!
FID. (In alarm.) Won't you give me back my harp?
PER. Nor harp nor pipes! So hurry up and get out of here, if you know what's good for you!
FID. (Stamping her foot in tearful rage.) I'll go, but you'll have to give them back later just the same and it will be all the worse for you.
PER. (Striding up and down in wildest anger.) What!... shall I let her go unpunished? Nay, even if I have to lose as much again, I'll lose it rather than let myself be mocked and despoiled with impunity!" and so on.[118]
Other random scenes that may be classed as "extravagant" are found in Strobilus' cartoon of Euclio (Aul. 300 ff.), Demipho's discovery in the distance of a mythical bidder for the girl (Mer. 434 ff.), Charinus' playing "horsey" and taking a trip in his imaginary car (Mer. 930 ff.), and the loud "boo-hoo" to which Philocomasium gives vent (Mil. 1321 ff.). These all might be classed under either "farce" or "burlesque," but they seem to come more exactly under the kindred head of "extravagance."
A familiar figure in modern farce-comedy is the comic conspirator with finger on lip, tiptoeing round in fear of listeners. He finds his prototype in Trin. (146 ff.):
"(Callicles and Megaronides converse.)
CAL. (In a mysterious whisper.) Look around a bit and make sure there's nobody spying on us--and please look around every few seconds. (They pause and peer in every direction, perhaps creeping round on tiptoe.)
MEG. Now, I am all ears.
CAL. When you're through, I'll talk. (Pauses and nods.) Just before Charmides went abroad, he showed me a treasure, (stops and looks over his shoulders) in his house here, in one of the rooms. (Starts, as if at a noise.) Look around! (They repeat the search and return again.)
MEG. There's nobody."[119]
Another old stage friend is the detected plotter trying to lie out of an embarrassing situation. He is lineally descended from Tranio in the Most. Tranio has just induced his master Theopropides to pay forty minae to the money-lender on the pretext that Theopropides' son Philolaches has bought a house (659 ff.):
"TH. In what neighborhood did my son buy this house?
TR. (Aside to audience in comic despair, with appropriate gesture.) See there now! I'm a goner!
TH. (Impatiently.) Will you answer my question?
TR. Oh yes, but (Stammering and displaying symptoms of acute embarrassment) I--I'm trying to think of the owner's name. (Groans.)
TH. Well, hurry up and remember it!
TR. (Rapidly, aside.) I can't see anything better to do than tell him his son bought the house of our next-door neighbor here. (With a shrug.) Thunder, I've heard that a steaming lie is the best kind. (Mock-heroically.) 'Tis the will of the gods, my mind's made up.
TH. (Who has been frowning and stamping in impatience.) Well, well, well! Haven't you thought of it yet?
TR. (Aside.) Curses on him!... (Finally turning and bursting out suddenly.) It's our next-door neighbor here--your son bought the house from him. (He sees that the lie goes and sighs with relief.)"[120]
Another variation on this theme is the futile effort of the plotter to get rid of a character armed with incriminating evidence. Again we quote Most. (573 ff.), where Tranio is conversing with Theopropides. The money-lender from whom young Philolaches has borrowed appears on the other side of the stage. Tranio espies him. He must keep him away from the old man. With a hurried excuse he flies across to meet Misargyrides.
"TR. (Taking Misargyrides' arm and attempting to steer him off-stage.) I was never so glad to see a man in my life.
MIS. (Suspiciously, holding back.) What's the matter?
TR. (Confidentially.) Just step this way. (Looks back apprehensively at Theopropides, who is regarding them suspiciously.)
MIS. (In a loud and offensive voice.) Won't my interest be paid?
TR. I know you have a good voice; don't shout so loud.
MIS. (Louder.) Hang it, but I will shout!
TR. (Groans and glances over shoulder again.) Run along home, there's a good fellow. (Urges him toward exit.)", etc.
Tranio has a chance for very lively business: a sickly smile for the usurer, lightning glances of apprehension towards Theopropides, with an occasional intimate groan aside to the audience. Other farcical scenes of the many that may be cited as calling for particularly vivacious business and gesture are, e.g., Cas. 621 ff., where Pardalisca befools Lysidamus by timely fainting, Rud. 414 ff., where Sceparnio flirts with Ampelisca, and the quarrel scene, Rud. 485 ff.[121]
The last four passages quoted in translation are by no means lacking in artistic humor and a measure of reality, but they imply a pronounced heightening of the actions and emotions of everyday life and lose their humor unless presented in the broad spirit that stamps them as belonging to the plane of farce. We now pass on to motives where the dialogue aims at effects manifestly unnatural and where verisimilitude is sacrificed to the joke, as we have seen it is in the employment of "bombast," "true burlesque," etc.
The first of these motives is a stream of copious abuse, as in Per. 406 ff., where Toxilus servos and Dordalus leno exchange Rabelaisian compliments.
"TOX. (Hopping about with rabid gestures.) You filthy pimp, you mud-heap, you common dung-hill, you besmirched, corrupt, law-breaking decoy, you public sewer, ... robber, mobber, jobber, ...!
DOR. (Who has been dancing around in fury, shaking his fist until exhausted by his paroxysms.) Wait--till--(Puffing)--I--get--my breath--I'll--answer you! You dregs of the rabble, you slave-brothel, you 'white-slave' freer, you sweat-of-the-lash, you chain gang, you king of the treadmill, ... you eat-away, steal-away run-away....!" etc.[122]
Perhaps we have here the forerunner of the shrewish wife in modern vaudeville, who administers to her shrinking consort a rapid-fire tongue-lashing. Another phase of this profuse riot of words appears in the formidable Persian name that Sagaristio, disguised as a Persian, adopts in the Per. (700 ff.):
"DORDALUS. What's your name?
SAG. Listen then, and you shall hear: False-speaker-us Girl-seller-son Much-o'-nothing-talk-son Money-gouge-out-son Talk-up-to you-son Coin-wheedle-out-son What-I-once-get-son Never-give-up-son: there you are!
DOR. (With staring eyes and gasping breath.) Ye Gods! That's a variegated name of yours!
SAG. (With a superior wave of the hand.) It's the Persian fashion."
The second point in this category is own cousin to the above. We should label it persistent interruption and repetition. An excellent instance is Trin. 582 ff., when Stasimus, Lesbonicus and Philto have just hatched a plot. Philto departs.
"LES. (To Stasimus.) You attend to my instructions. I'll be there presently. Tell Callicles to meet me.
ST. Now you just clear out! (Pushes him after Philto.)
LES. (Calls out as he is being shoved away.) Tell him to see what has to be done about the dowry.
ST. Clear out!
LES. (Raising his voice.) For I'm determined not to marry her off without a dowry.
ST. Won't you clear out?
LES. (Still louder.) And I won't let her suffer harm by reason.----
ST. Get out, I say!
LES. (Shouts.)--of my carelessness.
ST. Clear out!
LES. It seems right that my own sins--
ST. Clear out!
LES.--should affect me alone.
ST. Clear out!
LES. (Mock heroically.) Oh father, shall I ever behold you again?
ST. Out, out, out! (With a final shove.) (Exit Lesbonicus.) At last, I 've got him away! (Breathes hard.)"
The fun, if fun there be, lies in the hammer-like repetition of "I modo," a sort of verbal buffoonery. A clever actor could din this with telling effect. The device is employed several times. In Most. 974 ff. the word is aio, in Per. 482 ff. credo, in Poen. 731 ff. quippini, in Ps. 484 ff. ναι γάρ, in Rud. 1212 ff. licet and 1269 ff. censeo. The last two examples are the lengthiest.[123]
The third of these motives is the introduction of clearly unnatural dialogue, wholly incidental and foreign to the action, for the sake of lugging in a joke. The As. (38 ff.) yields the following conversation between Demaenetus senex and his slave Libanus:
"LI. By all that's holy, as a favor to me, spit out the words you have uttered.
DE. All right, I'll be glad to oblige you. (Coughs.)
LI. Now, now, get it right up! (Pats him on the back.)
DE. More? (Coughs.)
LI. Gad, yes, please! Right from the bottom of your throat: more still! (Pats.)
DE. Well, how far down then?
LI. (Unguardedly.) Down to Hades is my wish!
DE. I say, look out for trouble!
LI. (Diplomatically.) For your wife, I mean, not for you.
DE. For that speech I bestow upon you freedom from punishment."[124]
The childish bandying of words in Truc. 858 ff. is egregiously tiresome in the reading, but in action could have been made to produce a modicum of amusement if presented in the broad burlesque spirit that we believe was almost invariably employed. This gives us a clue to the next topic.
B. Devices absurd and inexplicable unless interpreted in a broad farcical spirit.
This includes peculiarities that have usually been commented on as weaknesses or conventions, or else been given up as hopeless incongruities, but which we hope to prove also yield their quota of amusement if clownishly performed. The foremost of these is the famous
1. Running Slave or Parasite.
We all know him: rushing madly cross stage at top-speed (if we take the literal word of the text for it), with girded loins, in search of somebody right under his nose, the while unburdening himself of exhaustive periods that, however great the breadth of the Roman stage, would carry him several times across and back: as Curculio in 279 ff.:
"Make way for me, friends and strangers, while I carry out my duty here. Run, all of you, scatter and clear the road! I'm in a hurry and I don't want to butt into anybody with my head, or elbow, or chest, or knee.... And there's none so rich as can stand in my way, ... none so famous but down he goes off the sidewalk and stands on his head in the street," and so on for ten lines or more. After he has found his patron Phaedromus, he is apparently so exhausted that he cries: "Hold me up, please, hold me up! (Wobbles and falls panting into Phaedromus' arms.)
PH.... Get him a chair ... quick!"
When Leonida enters (As. 267 ff.) as the running slave, he is still out of breath at 326-7! Stasimus in Trin. 1008 ff., though his mission is also proclaimed as desperately urgent, pauses to declaim on public morals!
Considerable light has been thrown upon this subject recently by the dissertation of Weissman, De servi currentis persona apud comicos Romanes (Giessen, 1911), though his explanation of the modus operandi is inconclusive. Langen has commented on it at some length,[125] but offers no solution. Weise frankly admits:[126] "Wie sie gelaufen sind, ist ein Rätsel fur uns." LeGrand[127] follows Weise's conclusion that it is an imitation from the Greek and in support of this instances Curculio's use, while running, of the presumed translations from the Greek: agoranomus, demarchus, etc. He also cites as parallels some unconvincing phrases from fragments of New Comedy, while developing an ingenious theory that the device is a heritage from the Greek orchestra, where it could have been performed with a hippodrome effect. Terence berates the practice,[128] but makes use of it himself.[129]
Weissman's conclusions are worth a summary. He notes the following as the usual essential concomitants: 1. It is mentioned in the text that the slave is on the run. 2. He is the bearer of news of the moment; 3. He fails to recognize other characters on stage; 4. He is halted by the very man he is so violently seeking. He cites as the genuine occurrences of the servus or parasitus currens, besides the passages mentioned above, Cap. 781 ff., Ep. 1 ff., 192 ff., Mer. 111 ff., Per. 272 ff., St. 274 ff. Furthermore, he argues convincingly that this was an independent Roman development without a prototype on the Greek stage and neatly refutes Weise and LeGrand by proving that there are no extant Greek fragments sufficient to furnish a ground for any but the most tenuous argument. Above all, he correctly interprets the poet's aim with the dictum: "Praeterquam quod hac persona optime utitur ad actionem bene continuandam id maxime spectat ut per eam spectatorum risum captet." And this from a German youth of twenty-two!
It is in his attempt to explain the mechanism that we believe Weissman fails. He essays an exegesis of each passage, though the separate explanations are naturally similar. It will suffice to quote one, that to As. 267 ff.: "Hoc nullo modo aliter mihi declarari posse videtur nisi sic: Oratio Leonidae currentis maior est quam ut arbitrari possimus currentem semper eum habuisse eam. Ex versu 290 Leonidam de celeritate sua remisisse plane apparet. Quod semel solum eum fecisse cum non satis mihi esse videatur, saepius--bis vel ter--per breve tempus eum cursum suum interrupisse, circumspexisse, Libanum autem non spectavisse (hoc consilium poetae erat, licentia poetica est) et hoc modo per totam scaenam cursum suum direxisse arbitror."
It will be observed that for lack of any tangible evidence he very properly makes use of subjective reasoning. Now it has long been the opinion of the writer that the maximum of comic effect (and that this was the purpose of the servus currens there can surely be no doubt) could best be obtained by the actor's making a violent and frenzied pretense of running while scarcely moving from the spot. Consider the ludicrous spectacle of the rapidly moving legs and the flailing arms, with the actor's face turned toward the audience, as he declaims sonorously of his haste to perform his vital errand, while making but a snail's progress. Truly then his plea of exhaustion would not be without excuse! This is an explanation at once simpler, more potentially comic, more in accord with what we predicate as the spirit of Plautus, and furthermore we have seen roars of laughter created by the similar device of a low comedian in a modern extravaganza. Taking advantage of the same subjective license, we see nothing in Weissman's theory to offset our opinion. But, what is more, our subjective reconstruction is given color by a shred of tangible evidence. Suetonius (Tib. 38) refers to a popular quip on the emperor that compares him to an actor on the classic Greek stage: "Biennio continuo post ademptum imperium pedem porta non extulit; ... ut vulgo iam per iocum Callip(p)ides vocaretur, quem cursitare ac ne cubiti quidem mensuram progredi proverbio Graeco notatum est." That this Callipides was the ὑποϗριτής mentioned by Xenophon (Sym. III. 11), Plutarch (Ages. 21 and Apophth. Lacon.: s. v. Ages.), Cicyero (Ad. Att. XIII. 12) and possibly by Aristotle (Poet. 26.), seems highly plausible. Compare the saltus fullonius (Sen. Ep. 15.4).
Most amusing of all is Plautus' introduction of a parody on the parody, when Mercury rushes in post-haste crying (Amph. 984 ff.):
"Make way, give way, everybody, clear the way! I tell you all: don't you get so bold as to stand in my road. For, egad! I'd like to know why I, a god, shouldn't have as much right to threaten the rabble as a mere slave in the comedies!"
And perhaps St. 307 is a joke on the running slave: Sed spatium hoc occidit: brevest curriculo: quam me paenitet? That violent haste was considered a slavish trait is evidenced by Poen. 523-3.
2. Wilful blindness.
In the scene recently quoted (Cur. 279 ff.), Curculio, after his violent exertions in search of his patron, is for a time apparently unable to discover him, though he is on the stage all the time. This species of blindness must be wilfully designed as a burlesque effect and again finds its echo in low comedy types of today. The breadth and depth of the Roman stage alone will not account for this either; indeed, its very size could be utilized to heighten the humor, as the actor peers hither and yon in every direction but the right one. So Curculio (front) may pass directly by Phaedromus (rear) without seeing him, to the huge delight of the audience, and turn back again, while saying (301 ff.):
"Is there anybody who can point out Phaedromus, my guardian angel, to me? The matter's very urgent: I must find this chap at once.
PALINURUS. (To Phaedromus.) It's you he's looking for.
PH. What do you say we speak to him? Hello, Curculio, I want you!
CUR. (Stopping and again looking vainly round.) Who's calling? Who says "Curculio"?
PH. Somebody that wants to see you.
CUR. (At last recognizing him when almost on top of him.) Ah! You don't want to see me any more than I want to see you."
Acanthio in Mer. 130 ff. is still more blind to the presence of Charinus and raises a deal more fuss, as he enters in the wildest haste looking for Charinus, who is of course in plain sight. Acanthio, with labored breathing and the remark that he would never make a piper, probably passes by Charinus and goes to the house.
"AC. What am I standing here for, anyway? I'll make splinters of these doors without a single qualm. (Hammers violently. Charinus approaches, vainly trying to attract his attention.) Open up, somebody! Where's my master Charinus, at home or out? (Still hammering.) Isn't anybody supposed to have the job of tending door?
CH. (Shouting.) Here I am, Acanthio! You're looking for me, aren't you?
AC. (Still punishing the door.) I never saw such slovenly management.
CH. (Finally grabbing and shaking him.) What the deuce has got hold of you?"[130] And so in the case of practically all the servi currentes.
The opening scene of the Per. (13 ff.) between two slaves apparently unable to distinguish each other's features from opposite sides of the stage affords an opportunity for a similar species of farcical by-play. Toxilus and Sagaristio stroll slowly in from the different side-entrances, alternately soliloquizing. Suddenly, when probably fairly close, both look up and peer curiously at each other:
"TOX. (Shading his eyes with his hand.) Who's that standing over there?
SAG. Who's this standing over here?
TOX. Looks like Sagaristio.
SAG. I bet it's my friend Toxilus.
TOX. He's the fellow, all right.
SAG. That's the chap, I'm sure.
TOX. I'll go over to him.
SAG. I'll go up and speak to him. (They draw closer.)
TOX. Sagaristio, I hope the gods are good to you.
SAG. Toxilus, I hope the gods give you everything you want. How are you?
TOX. So so."[131]
Note that this is canticum and the effect of the two "sing-songing" slaves on the audience must have been much the same as, upon us, the spectacle of a vaudeville "duo," entering from opposite wings and singing perchance a burlesque of grand opera at each other.
3. Adventitious entrance.
This is of a piece with the above, but is usually due to a weakness of composition, to the goddess Τύχη, who is the presiding deity of the plots of New Comedy.[132] However, there are times when appreciable fun can be extracted from this, if the actor speak in a bland jocular tone, taking the audience into his confidence, as Trin. 400 f.:
"PHILTO. But the door of the house to which I was going is opening. Isn't that nice? Lesbonicus, the very man I'm looking for, is coming out with his slave."
And Aul. 176 f.:
"MEGADORUS. I'd like to see Euclio, if he's at home. Ah, here he comes! He's on his way home from some place or other."[133]
We believe that enough has been said to prove that the favorite devices of the lower types of modern stage-production form the back-bone of Plautus' methods of securing his comic effects. Let us pass on without more ado to a discussion of points that establish equally well that he was careless of every other consideration but the eliciting of laughter.