Dum ted apstineas nupta vidua virgine
Luventute et pueris liberis, ama quod lubet.[251]
Something of the same kind is implied in the warning addressed by his father to the young Horace. Any breach of the sanctities of family life is invariably reprobated. On the rare occasions where such breaches occur—as in the Aulularia—they are repaired by marriage. Any one aspiring to play the part of a Lothario—as in the Miles Gloriosus—is made an object both of punishment and ridicule. In this respect the comedy of Plautus contrasts favourably with our own comic drama of the Restoration. There are no scenes in these plays intended or calculated to stimulate the passions; and although there are coarse expressions and allusions in almost all of them, yet the coarseness of Plautus is not to be compared with that of Lucilius, Catullus, Martial, or Juvenal. It is rather in the absence of any virtuous ideal, than in positive incitements to vice, that the Plautine comedy might be called immoral. Although family honour is treated as secure from violation, there is no pure feeling about family life. Sons are afraid of their fathers, run into debt without their knowledge, deceive them in every possible way, occasionally express a wish that their death might enable them to treat their mistresses more generously. Husbands fear their wives and speak on all occasions bitterly against them. Plautus was evidently more familiar with the ways of the 'libertinae' than of Roman matrons of the better sort; and thus while we see little of the latter, what we hear of them is not to their advantage. The only obligation which young men seem to acknowledge is that of honour and friendly service to one another. So too slaves, while they hold it as their first duty to lie and swindle in behalf of their young masters, feel the duty of absolute devotion and sacrifice of themselves to their interests. Plautus shows scarcely any of the Roman feeling of dignity or seriousness, or any regard for patriotism or public duty. There is everywhere abundance of good humour and good sense, but, except in the Captivi and Rudens, we find scarcely any pathos or elevated feeling. The ideal of character which satisfies most of his personages might almost be expressed in the words of Stalagmus in the Captivi—
Fui ego bellus, lepidus,—bonus vir nunquam neque frugi bonae
Neque ero unquam.[252]
But the life of careless freedom and strong animal spirits which Plautus shaped with prodigal power into humorous scenes and representations for the holiday amusements of the mass of his fellow-citizens, does not admit of being tried by any moral or social standard of usefulness. It would be equally unprofitable to search for any consistent vein of irony in him, or any deep intuition into the paradoxes of life. He is to be judged and valued on the grounds put forward in the epitaph, which was in ancient times attributed to himself,—
Postquam est mortem aptus Plautus, comoedia luget,
Scaena est deserta, dein risus, ludu' iocusque
Et numeri innumeri simul omnes conlacrumarunt.