"MEGADORUS. I'd like to see Euclio, if he's at home. Ah, here he comes! He's on his way home from some place or other."[133]
We believe that enough has been said to prove that the favorite devices of the lower types of modern stage-production form the back-bone of Plautus' methods of securing his comic effects. Let us pass on without more ado to a discussion of points that establish equally well that he was careless of every other consideration but the eliciting of laughter.
II. Evidences of Loose Composition Which Prove a Disregard of Technique and Hence Indicate that Entertainment Was the Sole Aim
A. Solo speeches and passages.
1. Asides and soliloquies.
As it is often important for the audience to know the thoughts of stage characters, the aside and the soliloquy in all species of dramatic composition have always been recognized as the only feasible conventional mode of conveying them. According to the strictest canons of dramatic art, the ideally constructed play should be entirely free from this weakness. Mr. Gillette is credited with having written in "Secret Service" the first aside-less play. But this is abnormal and rather an affectation of technical skill. The aside is an accepted convention. But in the plays of Plautus we
have a profuse riot of solo speeches and passages that transcends the conventional and becomes a gross weakness of composition, pointing plainly to a poverty of technique and hence further strengthening the conception of entertainment as the author's sole purpose. And often too, as we shall point out, this very form can be used for amusement. To attempt a complete collection of these passages would mean a citation of hundreds of lines, comprising a formidable percentage of all the verses.
And furthermore, the Plautine character is not so tame and spiritless as merely to think aloud. He has a fondness for actual conversation with himself that shows a noble regard for the value of his own society. This is attested by many passages, such as Amph. 381: Etiam muttis?; Aul. 52: At ut scelesta sola secum murmurat; Aul. 190: Quid tu solus tecum loquere?; Bac. 773: Quis loquitur prope?; Cap. 133: Quis hic loquitur?[134]
One character standing aside and commenting on the main action is a familiar situation and often productive of good fun. An excellent example is Most. 166 ff., where Philematium is performing her conventionally out-door toilet with the aid of her duenna Scapha. Philolaches stands on the other side of the stage and interjects remarks:
"PHILEM. Look at me please, Scapha dear; is this gown becoming? I want to please Philolaches, the apple of my eye....