The soliloquy is constantly used to keep the audience acquainted with the advance of the plot[137], or to paint in narrative intervening events that connect the loose joints of the action. This is of course wholly inartistic, but may often find its true office in keeping a noisy, turbulent and uneducated audience aware of "what is going on." In many cases the soliloquy is in the nature of a reflection on the action and seems to bear all the ear-marks of a heritage from the original function of the tragic chorus[138]. It devolved upon the actor by sprightly mimicry to relieve, in these scenes, the tedium that appeals to the reader. So in Cap. 909 ff. the canticum of the puer becomes more than a mere stopgap, if he acts out vividly the violence of Ergasilus; and in Bac. 1067 ff. the soliloquy would acquire humor, if confidentially directed at the audience. In As. 127 ff., as Argyrippus berates the lena within, it must be delivered with an abundance of pantomime.
2. Lengthy monodies, monologues and episodical specialties.
Frequently the soliloquy takes the form of a long solo passage directed at the audience, while the action halts for a whole scene to allow the actor to regale his public with the poet's views on the sins of society, economic topics of the day, or topics of the by-gone days in Athens, and the like. The resemblance to the interpolated song and dance of musical comedy is most striking. The comparison is the more apt, as about two-thirds of the illustrative scenes referred to in the next paragraph are in canticum. It is a pity that the comic chorus had disappeared, or the picture were complete. That it is often on the actor's initial appearance that he sings his song or speaks his piece, strengthens the resemblance. But this is a natural growth under the influence of two publics, the Greek and the Roman, notably fond of declamation and oratory. LeGrand believes this a characteristic directly derived from a narrative form of Middle Comedy embodied in certain extant fragments.[139]
The slave class is the topic of many of these monodies: either the virtues of the loyal slave are extolled[140], or the knavery of the cunning slave[141]. The parasite is "featured" too, when Ergasilus bewails the decline of his profession[142], or Peniculus and Gelasimus indulge in haunting threnody on their perpetual lack of food[143]. Bankers, lawyers and panders come in for their share of satire[144]. Our favorite topic today, the frills and furbelows of woman's dress and its reform, held the boards of ancient Athens and Rome[145]. In Mil. 637 ff, Periplecomenus descants on the joys of the old bon vivant and the expense of a wife. The delights or pains of love[146], the ruminations of old age[147], marriage reform[148] and divorce[149], the views of meretrices and their victims on the arts of their profession[150], the habits of cooks[151], the pride of valor and heroic deeds[152] are fruitful subjects. In Cur. 462 ff. the choragus interpolates a recital composed of topical allusions to the manners of different neighborhoods of Rome. We have two descriptions of dreams[153], and a clever bit which paints a likeness between a man and a house[154]. In foreign vein is the lament of Palaestra in Rud. 185 ff., which sounds like an echo from tragedy. The appearance of the Fishermen's Chorus (Rud. 290 ff.) is wholly adventitious and seems designed to intensify the atmosphere of the seacoast, if indeed it has any purpose at all. In this category also belong the revels of the drunken Pseudolus with his song and dance[155], and the final scene of the St.[156], where, the action of the slender plot over, the comedy slaves royster and dance with the harlot. When Ballio drives his herd before him, as he berates them merrily to the tune of a whip, we have an energetic and effective scene[157].
3. Direct address of the audience.
It is a well-established principle that the most intimate cognizance of the spectator's existence is a characteristic of the lowest types of dramatic production (v. Part I, § 1, fin.). The use of soliloquy, aside and monologue all indicate the effort of the lines to put the player on terms of intimacy with his public. But even this is transcended by the frequent recurrence in jocular vein of deliberate, conscious and direct address of the audience, when they are called by name. In Truc. 482 Stratophanes says: Ne expectetis, spectatores, meas pugnas dum praedicem.... In Poen Truc. 597 we are told: Aurumst profecto hic, spectatores, sed comicum; i. e., "stage-money." During a halt in the action of the Ps. (573) we are graciously informed: Tibicen vos interibi hic delectaverit. Mercury's comments (Amph. 449-550 passim), probably with copious buffoonery, on the leave-taking of Jove and Alemena contain the remark (507): Observatote, quam blande mulieri palpabitur. At the close of the Men. (1157 ff.) Messenio announces an auction and invites the spectators to attend.
When Euclio discovers the loss of his hoard, he rushes forth in wild lament. In his extremity he turns to the audience (Aul. 715 ff.):
"EUC. I beg, I beseech, I implore you, help me and show me the man that stole it. (Picking out one of the spectators, probably a tough looking "bruiser", and stretching out his hand to him.) What do you say? I know I can trust you. I can tell by your face you're honest. (To the whole audience, in response to the laughter sure to ensue.) What's the matter? What are you laughing at?" etc.
Moilère has imitated this scene very closely in L'Avare (IV. 7), with a super-Plautine profusion of verbiage.
In Mil. 200 ff. Periplecomenus obligingly acts as guide and personal conductor to the manoeuvers of Palaestrio's mind, while it is in the throes of evolving a stratagem. Palaestrio of course indulges in vivid, pointed pantomime: