Viden hostis tibi adesse, tuoque tergo obsidium? Consule,
Arripe opem auxiliumque ad hanc rem, propere hoc non placide decet,
Anteveni aliqua aut aliquo saltu circumduce exercitum,
Coge in obsidium perduellis, nostris praesidium para.
Interclude conmeatum inimicis, tibi moeni viam,
Qua cibatus conmeatusque ad te et legionis tuas
Tuto possit pervenire. Hanc rem age: res subitariast.[228]
The illustrations from the practice of keeping accounts, from banking and business operations, and the references to law forms, such as the mode of pleading a case by sponsio[229], would come home to the experience and habits which were fostered more in Rome than in any other ancient community[230]. Though the Romans never were a mercantile community, like the Carthaginians or the Greek States in their later days, yet from the earliest times they understood the uses of the accumulation and skilful application of capital. Another large class of metaphors, generally expressive of some form of roguery, and taken from the trade of various artisans—such as the smith, carpenter, butcher, weaver, etc.[231]—speaks to the popular as well as the national characteristics of his dramas. If these metaphorical phrases had been mere translations, they would, as thus applied, have had no meaning to a Roman audience. They must have been more or less of slang phrases, formed by and for the people, and suggested by an intimate familiarity with many varieties of trickery and swindling on the one hand, and with the skill and trade of various classes of artisans on the other.
The exuberant use of terms of endearment and of abuse in Plautus may be also mentioned as an original and Roman characteristic of his genius. His lovers' phrases[232], though used by him with a saturnine humour, remind us of the passionate use of similar phrases in Catullus. The slave or cook of Greek comedy may probably have indulged freely in the vituperation of his fellows; but there is an idiomatic heartiness in the interchange of curses and verbal sword-thrusts among the slaves, panders, and cooks of Plautus, which seems congenial to the race who enjoyed the spectacles of the amphitheatre. The inexhaustible fund of merriment supplied by references to or practical exemplifications of the various modes of punishing and torturing slaves, tells of a people not especially cruel, but practically callous either to the infliction or the suffering of pain. The Greek nature was, when roused to passion, capable of fiercer and more cowardly cruelty than the Roman, but was too sensitively organised to enjoy the spectacle or the imagination of inflictions which form the subject of the stalest jokes in Plautus. The spirit of the new comedy as it existed in Greece, was not, on the whole, calculated to elevate, but it certainly was capable of humanising the Roman character.
We are less able to speak of his originality in the selection of incidents and dramatic situations, in the general management of his plots, and his conception of characters. Though more varied than Terence in the subjects which he chooses for dramatic treatment, yet there is great sameness, both of incident, development, and character, in many of them. His favourite subject is a scheme by which a slave, in the interests of his young master, and his mistress, cheats a father, a mercenary captain, or a 'leno,' who are treated, though in different degrees, as enemies of the human race and legitimate objects of spoliation. Some of the best of his plays—the Pseudolus, Bacchides, the Mostellaria, and the Miles Gloriosus—turn entirely upon incidents of this kind,—'frustrationes in comoediis' as they are called. There is nothing on which the chief agent in such plots prides himself so much as on his success 'in shearing,' 'planing away,' or 'wiping the nose' of, his antagonist in the game: there is no indignity about which the sense of honour is so sensitive as that of having had 'words palmed off upon one,' and having thus been made an object of ridicule. The invariable enlisting of sympathy in favour of the cheat and against the dupe is a trait more illustrative of the countrymen of Ulysses than of Fabricius: but the 'Tusci turba impia vici' at Rome had, no doubt, their own native aptitude for cheating and lying.