EUC. Come now, shake out your cloak.
STR. (Doing so.) As you please.
EUC. (Stooping to see if anything falls out.) Haven't got it under your shirt? (Pounces upon him and ransacks clothing.)
STR. (Resignedly.) Search me, if you like;" and so on with "Give it back," What is it? "Put out your right hand," etc., etc.
Molière again imitated almost slavishly (L'Avare, V. 3). Longwinded as the thing is, it is clear that the liveliness of the action not only relieves it, but could make it immensely amusing. At least it is superior to the average vaudeville skit of the present day. It must not be forgotten too that, as Plautus was in close touch with his players, he could have done much of the stage-directing himself and might even have worked up some parts to fit the peculiar talents of certain actors, as is regularly done in the modern "tailormade drama."
There are numbers of scenes of the sort quoted above, where the apparent monotony and verbal padding could be converted into coin for laughter by the clever comedian. Amph. 551-632 could be worked up poco a poco crescendo e animato; in Poen. 504 ff., Agorastocles and the Advocati bandy extensive rhetoric; in Trin. 276 ff., the action is suspended while Philto proves himself Polonius' ancestor in his long-winded sermonizing to Lysiteles and his insistent laudatio temporis acti; in St. 326 ff., as Pinacium, the servus currens, finally succeeds in "arriving" out of breath (he has been running since 274), bursting with the vast importance of his news, he postpones the delivery of his tidings till 371 while he indulges in irrelevant badinage. This is pure buffoonery. And we can instance scene upon scene where the self-evident padding can either furnish an excuse for agile histrionism, or become merely tiresome in its iteration[161]. The danger of the latter was even recognized by our poet, when, at the end of much word-fencing, Acanthio asks Charinus if his desire to talk quietly is prompted by fear of waking "the sleeping spectators" (Mer. 160). This was probably no exaggeration.
When the padding takes the form of mutual "spoofing," the scene assumes an uncanny likeness to the usual lines of a modern "high-class vaudeville duo." Note Leonida and Libanus, the merry slaves of the As. in 297 ff., Toxilus and Sagaristio in the Per., Milphio and Syncerastus in the Poen. (esp. 851 ff.), Pseudolus and Simia in Ps. 905 ff., Trachalio and Gripus in Rud. 938 ff., Stichus and Sagarinus in the final scene of the St., and in Ps. 1167 ff. Harpax is unmercifully "chaffed" by Simo and Ballio. Or, in view of the surrounding drama, we might better compare these roysterers to the "team" of low comedians often grafted on a musical comedy, where their antics effectually prevent the tenuous plot from becoming vulgarly prominent.
2. Inconsistencies of character and situation.
The Plautine character is never a consistent human character. He is rather a personified trait, a broad caricature on magnified foibles of some type of mankind. There is never any character development, no chastening. We leave our friends as we found them. They may exhibit the outward manifestation of grief, joy, love, anger, but their marionette nature cannot be affected thereby. That we should find inconsistencies in character portrayal under these circumstances, is not only to be expected, but is a mathematical certainty. The poet cares not; they must only dance, dance, dance!
Persistent moralizers, such as Megaronides in the Trin., who serve but as a foil from whom the revelry "sticks fiery off," descend themselves at moments to bandying the merriest quips (Scene I.). In Ep. 382 ff., the moralizing of Periphanes is counterfeit coinage. Gilded youths such as Calidorus of the Ps. begin by asking (290 f.): "Could I by any chance trip up father, who is such a wide-awake old boy?", and end by rolling their eyes upward with: "And besides, if I could, filial piety prevents." The Menaechmi twins are eminently respectable, but they cheerfully purloin mantles, bracelets and purses. Hanno of the Poen. should according to specifications be a staid pater familias, but Plautus imputes to him a layer of the Punica fides that he knew his public would take delight in "booing." And the old gentleman enters into a plot (1090) to chaff elaborately his newly-found long-lost daughters, whom he has spent a lifetime in seeking, before disclosing his identity to them (1211 ff.). Saturio's daughter in the Per. is at one time the very model of maidenly modesty and wisdom (336 ff.), at others an accomplished intriguante and demi-mondaine (549 ff., esp. 607 ff.). When the plot of the Ep. is getting hopelessly tangled, of a sudden it is magically resolved as by a deus ex machina and everybody decides to "shake and make up."