And perhaps _St._ 307 is a joke on the running slave: Sed spatium hoc occidit: brevest curriculo: quam me paenitet? That violent haste was considered a slavish trait is evidenced by _Poen._ 523-3.

2. Wilful blindness.

In the scene recently quoted (_Cur._ 279 ff.), Curculio, after his violent exertions in search of his patron, is for a time apparently unable to discover him, though he is on the stage all the time. This species of blindness must be wilfully designed as a burlesque effect and again finds its echo in low comedy types of today. The breadth and depth of the Roman stage alone will not account for this either; indeed, its very size could be utilized to heighten the humor, as the actor peers. .h.i.ther and yon in every direction but the right one. So Curculio (front) may pa.s.s directly by Phaedromus (rear) without seeing him, to the huge delight of the audience, and turn back again, while saying (301 ff.):

"Is there anybody who can point out Phaedromus, my guardian angel, to me?

The matter's very urgent: I must find this chap at once.

PALINURUS. (_To Phaedromus._) It's you he's looking for.

PH. What do you say we speak to him? h.e.l.lo, Curculio, I want you!

CUR. (_Stopping and again looking vainly round._) Who's calling? Who says "Curculio"?

PH. Somebody that wants to see you.

CUR. (_At last recognizing him when almost on top of him._) Ah! You don't want to see me any more than I want to see you."

Acanthio in _Mer._ 130 ff. is still more blind to the presence of Charinus and raises a deal more fuss, as he enters in the wildest haste looking for Charinus, who is of course in plain sight. Acanthio, with labored breathing and the remark that he would never make a piper, probably pa.s.ses by Charinus and goes to the house.

"AC. What am I standing here for, anyway? I'll make splinters of these doors without a single qualm. (_Hammers violently. Charinus approaches, vainly trying to attract his attention._) Open up, somebody! Where's my master Charinus, at home or out? (_Still hammering._) Isn't anybody supposed to have the job of tending door?

CH. (_Shouting._) Here I am, Acanthio! You're looking for me, aren't you?

AC. (_Still punishing the door._) I never saw such slovenly management.

CH. (_Finally grabbing and shaking him._) What the deuce has got hold of you?"[130] And so in the case of practically all the _servi currentes_.

The opening scene of the _Per._ (13 ff.) between two slaves apparently unable to distinguish each other's features from opposite sides of the stage affords an opportunity for a similar species of farcical by-play.

Toxilus and Sagaristio stroll slowly in from the different side-entrances, alternately soliloquizing. Suddenly, when probably fairly close, both look up and peer curiously at each other:

"TOX. (_Shading his eyes with his hand._) Who's that standing over there?

SAG. Who's this standing over here?

TOX. Looks like Sagaristio.

SAG. I bet it's my friend Toxilus.

TOX. He's the fellow, all right.

SAG. That's the chap, I'm sure.

TOX. I'll go over to him.

SAG. I'll go up and speak to him. (_They draw closer._)

TOX. Sagaristio, I hope the G.o.ds are good to you.

SAG. Toxilus, I hope the G.o.ds give you everything you want. How are you?

TOX. So so."[131]

Note that this is _cantic.u.m_ and the effect of the two "sing-songing"

slaves on the audience must have been much the same as, upon us, the spectacle of a vaudeville "duo," entering from opposite wings and singing perchance a burlesque of grand opera at each other.

3. Advent.i.tious entrance.

This is of a piece with the above, but is usually due to a weakness of composition, to the G.o.ddess ????, who is the presiding deity of the plots of New Comedy.[132] However, there are times when appreciable fun can be extracted from this, if the actor speak in a bland jocular tone, taking the audience into his confidence, as _Trin._ 400 f.:

"PHILTO. But the door of the house to which I was going is opening. Isn't that nice? Lesbonicus, the very man I'm looking for, is coming out with his slave."

And _Aul._ 176 f.:

"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 pa.s.s 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 pa.s.sages_.

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 pa.s.sages 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 amus.e.m.e.nt. To attempt a complete collection of these pa.s.sages 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 n.o.ble regard for the value of his own society. This is attested by many pa.s.sages, such as _Amph._ 381: Etiam muttis?; _Aul._ 52: At ut scelesta sola sec.u.m murmurat; _Aul._ 190: Quid tu solus tec.u.m 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....

SC. Why deck yourself out, when your charm lies in your charming manners?

It isn't gowns that lovers love, but what bellies out the gowns.

PHILO. (_Aside._) G.o.d bless me, but Scapha's clever; the hussy has horse-sense....