Set quasi poeta, tabulas quom cepit sibi,
Quaerit quod nusquamst gentium, reperit tamen;[201]
and he speaks of the pleasure which he took in his play 'Epidicus[202].' Cicero also testifies to the joy which he derived from two of the works of his old age, the Pseudolus and the Truculentus[203]. But his delight was that of a vigorous creator, not of a painstaking artist.
Many allusions in his plays attest his acquaintance with works of art, with the stories of Greek mythology or the subjects of Greek tragedies, and with the names, at least, of Greek philosophers. His extraordinary productiveness in adapting works from the new comedy shows that he had a complete command of the Greek language. He not only uses Greek phrases, but has endeavoured to enrich the native vocabulary with a considerable number of Greek words in a Latin form[204]. Yet the knowledge he betrays is that which a man of versatile intelligence, lively curiosity, and retentive memory, would pick up in his varied intercourse with his contemporaries, without any special study of books, except such as were needed for his immediate purpose. The more recondite learning of Ennius was probably as strange to him as that of Ben Jonson was to Shakspeare.
The great movement of his age acted on the mind of Plautus in a manner different from that in which it affected Ennius. To the younger poet the triumphant close of the Second Punic War brought the sense of a mighty future awaiting the Roman Republic. He appealed to the higher national aspirations stirring the hearts of the governing class. Plautus felt the strong rebound of spirits from a long-continued state of tension, from a time of anxiety and self-sacrifice, in a less noble manner. He appealed to the craving which the mass of the citizens felt for a more unrestrained enjoyment of the pleasures of life. In the spirit which moved him we seem to recognise the same kind of impulse which prompted the repeal of the Oppian law, and which led to the great increase of public amusements of every kind. The newly-acquired peace and ease awoke in him a sense of the immense capacities of the individual for enjoyment. In a passage of one of his later plays he seems to claim this indulgence as the natural concomitant of victory:—
Postremo in magno populo, in multis hominibus,
Re placida atque otiosa, victis hostibus.
Amare oportet omnes, qui quod dent habent.[205]
With this new sense of freedom and of fullness of life, the old restraints of religion and of the morality bound up with it were relaxed. The commons began to exercise less and less influence in the state. Their political indifference finds an echo in the slighting allusions which Plautus makes to the duties of public life[206]. The increased contact with the mind and life of the Greeks powerfully stimulated intellectual curiosity, but at the same time was a great solvent of faith, manners, and morals. The frequent use of the words congraecari, pergraecari, etc., in Plautus, shows that while the highest Roman minds were learning new lessons of wisdom and humanity from the great Greek writers of the past, the ordinary Roman was learning lessons of idleness and dissoluteness from the living Greeks of the time. The armies which returned from the Macedonian wars, and still more from that with Antiochus, brought with them new fashions and new appliances of luxury. Plautus shows a large indulgence, not unmixed with a vein of saturnine humour, for these new ways on which both young and old were eagerly entering. We see in him the unchecked exuberance of animal life, but no sign of the recklessness or the satiety of exhausted passions. Though there is more decorum, more refined sentiment, in the life of pleasure as presented by Terence, there is more often in Plautus an expression of a struggle between the new temptations and the old Roman ideas of thrift, active duty, and self-restraint. The conscience, though easily lulled to sleep, is still capable of feeling the sting of the thought contained in the Lucretian line—
Desidiose agere aetatem lustrisque perire.