Stichus—is so called from a slave, who is a principal character in the comedy. The subject is the continued determination of two ladies to persist in their constancy to their husbands, who, from their long absence, without having been heard of, were generally supposed to be dead. In this resolution they remain firm, in spite of the urgency of their fathers to make them enter into second marriages, till at length their conjugal fidelity is rewarded by the safe arrival of their consorts. It would appear that Plautus had not found this subject sufficient to form a complete play; he has accordingly filled up the comic part of the drama with the carousal of Stichus and his fellow slaves, and the stratagems of the parasite Gelasimus, in order to be invited to the entertainments which the husbands prepared in honour of their return.
Trinummus—is taken from the Thesaurus of Philemon; but Plautus has changed the original title into Trinummus—a jocular name given to himself by one of the characters hired to carry on a deception, for which he had received three pieces of money, as his reward. The prologue is spoken by two allegorical personages, Luxury, and her daughter Want, the latter of whom had been commissioned by her mother to take up her residence in the house of the prodigal youth Lesbonicus. The play is then opened by a Protatick person, as he is called, who comes to chide his friend Callicles for behaviour which appeared to him in some points incomprehensible; in consequence of which the person accused explains his conduct at once to the spectators and his angry monitor. It seems Char[pg 156]mides, an Athenian, being obliged to leave his own country on business of importance, intrusted the guardianship of his son and daughter to his friend Callicles. He had also confided to him the management of his affairs, particularly the care of a treasure which was secreted in a concealed part of his dwelling. Lesbonicus, the son of Charmides, being a dissolute youth, had put up the family mansion to sale, and his guardian, in order that the treasure entrusted to him might not pass into other hands, had purchased the house at a low price. Meanwhile a young man, called Lysiteles, had fallen in love with the daughter of Charmides, and obtained the consent of her brother to his marriage. Her guardian was desirous to give her a portion from the treasure, but does not wish to reveal the secret to her extravagant brother. The person calling himself Trinummus is therefore hired to pretend that he had come as a messenger from the father—to present a forged letter to the son and to feign that he had brought home money for the daughter’s portion. While Trinummus is making towards the house, to commence performance of his part, Charmides arrives unexpectedly from abroad, and seeing this Counterfeit approaching his house, immediately accosts him. A highly comic scene ensues, in which the hireling talks of his intimacy with Charmides, and also of being entrusted with his letters and money; and when Charmides at length discovers himself, he treats him as an impostor. The entrance of Charmides into his house is the simple solution of this plot, of which the nodus is neither very difficult nor ingenious. This meagre subject is filled up with an amicable contest between Lesbonicus and his sister’s lover, concerning her portion,—the latter generously offering to take her without dowry, and the former refusing to give her away on such ignominious terms.
The English translators of Plautus have remarked, that the art of the dramatist in the conduct of this comedy is much to be admired:—“The opening of it,” they observe, “is highly interesting; the incidents naturally arise from each other, and the whole concludes happily with the reformation of Lesbonicus, and the marriage of Lysiteles. It abounds with excellent moral reflections, and the same may be said of it with equal justice as of the Captives:—
‘Ad pudicos mores facta est hæc fabula.’ ”
On the other hand, none of Plautus’ plays is more loaded with improbabilities of that description into which he most readily falls. Thus Stasimus, the slave of Lesbonicus, in order to save a farm which his master proposed giving as a portion to [pg 157]his sister, persuades the lover’s father that a descent to Acheron opened from its surface,—that the cattle which fed on it fell sick,—and that the owners themselves, after a short period, invariably died or hanged themselves. In order to introduce the scene between Charmides and the Counterfeit, the former, though just returned from a sea voyage and a long absence, waits in the street, on the appearance of a stranger, merely from curiosity to know his business; and in the following scene the slave Stasimus, after expressing the utmost terror for the lash on account of his tarrying so long, still loiters to propound a series of moral maxims, inconsistent with his character and situation.
The plot of the Dowry of Giovam-maria Cecchi is precisely the same with that of the Trinummus; but that dramatist possessed a wonderful art of giving an air of originality to his closest imitations, by the happy adaptation of ancient subjects to Italian manners. The Tresor Caché of Destouches is almost translated from the Trinummus, only he has brought forward on the stage Hortense, the Prodigal’s sister, and has added the character of Julie, the daughter of the absent father’s friend, of whom the Prodigal himself is enamoured. In this comedy the character of the two youths are meant to be contrasted, and are more strongly brought out in the imitation, from both of them being in love. A German play, entitled Schatz, by the celebrated dramatist Lessing, is also borrowed from this Latin original. The scene, too, in Trinummus, between Charmides and the counterfeit messenger, has given rise to one in the Suppositi of Ariosto, and through that medium to another in Shakspeare’s Taming of the Shrew, where, when it is found necessary for the success of Lucentio’s stratagem at Padua, that some one should personate his father, the pedant is employed for this purpose. Meanwhile, the father himself unexpectedly arrives at Padua, and a comical scene in consequence passes between them.
Truculentus—is so called from a morose and clownish servant, who, having accompanied his master from the country to Rome, inveighs against the depraved morals of that city, and especially against Phronesium, the courtezan by whom his master had been enticed. His churlish disposition, however, is only exhibited in a single scene. On the sole other occasion on which he is introduced, he is represented as having become quite mild and affable. For this change no reason is assigned, but it is doubtless meant to be understood that he had meanwhile been soothed and wheedled by the arts of some courtezan. The characters, however, of the Truculentus and his rustic master, have little to do with the main plot of the drama, [pg 158]which is chiefly occupied with the fate of the lovers, whom Phronesium enticed to their ruin. When she had consumed the wealth of the infatuated Dinarchus, she lays her snares for Stratophanes, the Babylonian captain, to whom she pretends to have borne a son, in order that she may prey on him with more facility. This drama is accordingly occupied with her feigned pregnancy, her counterfeited solicitude, and her search for a supposititious child, to which she persuades her dupe that she had given birth, but which afterwards proves to be the child of her former lover Dinarchus, by a young lady to whom he had been betrothed.
In the first act of this play an account is given of the mysteries of a courtezan’s occupation, which, with a passage near the commencement of the Mostellaria, and a few fragments of Alexis, a writer of the middle comedy, gives us some insight into the practices by which they entrapped and seduced, their lovers, by whom they appear to have been maintained in prodigious state and splendour. In a play of Terence, one of the characters, talking of the train of a courtezan, says,
“Ducitur familia tota,
Vestispicæ, unctor, auri custos, flabelliferæ, sandaligerulæ,