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!