The Dramatic Values in Plautus | Page 2

unmerciful battering of doors, meanwhile unburdening himself of lengthy solo tirades with great gusto;[2] and all this dished up with a sauce of humor often too racy and piquant for our delicate twentieth-century palate, which has acquired a refined taste for suggestive innuendo, but never relishes calling a spade by its own name.
If we have sought an explanation of our poet's gentle foibles in the commentaries to our college texts, we have assuredly been disappointed. Even to the seminarian in Plautus little satisfaction has been vouchsafed. We are often greeted by the enthusiastic comments of German critics, which run riot in elaborate analyses of plot and character and inform us that we are reading Meisterwerke of comic drama.[3] Our perplexity has perhaps become focused upon two leading questions; first: "What manner of drama is this after all? Is it comedy, farce, opera bouffe or mere extravaganza?" Second: "How was it done? What was the technique of acting employed to represent in particular the peculiarly extravagant scenes?"[4]
There is an interesting contrast between the published editions of Plautus and Bernard Shaw. Shaw's plays we find interlaced with an elaborate network of stage direction that enables us to visualize the movements of the characters even to extreme minutiae. In the text of Plautus we find nothing but the dialogue, and in the college editions only such editorially-inserted "stage-business" as is fairly evident from the spoken lines. The answer then to our second question: "How was it done?", at least does not lie on the surface of the text.
For an adequate answer to both our questions the following elements are necessary; first: a digest of Plautine criticism; second: a r��sum�� of the evidence as to original performances of the plays, including a consideration of the audience, the actors and of the gestures and stage-business employed by the latter; third: a critical analysis of the plays themselves, with a view to cataloguing Plautus' dramatic methods. We hope by these means to obtain a conclusive reply to both our leading questions.

��1. Critics of Plautus
Plautine criticism has displayed many different angles. As in most things, time helps resolve the discrepancies. The general impression gleaned from a survey of the field is that in earlier times over-appreciation was the rule, which has gradually simmered down, with occasional outpourings of denunciation, to a healthier norm of estimation.
Even in antiquity the wiseacres took our royal buffoon too seriously. Stylistically he was translated to the skies. [Sidenote: Cicero] Cicero[5] imputes to him "iocandi genus, ... elegans, urbanum, ingeniosum, facetum." [Sidenote: Aelius Stilo] Quintilian[6] quotes: "Licet Varro Musas Aelii Stilonis sententia Plautino dicat sermone locuturas fuisse, si latine loqui vellent." [Sidenote: Gellius] The paean is further swelled by Gellius, who variously refers to our hero as "homo linguae atque elegantiae in verbis Latinae princeps,"[7] and "verborum Latinorum elegantissimus,"[8] and "linguae Latinae decus."[9] [Sidenote: Horace] If our poet is scored by Horace[10] it is probably due rather to Horace's affectation of contempt for the early poets than to his true convictions; or we may ascribe it to the sophisticated metricist's failure to realize the existence of a "Metrica Musa Pedestris." As Duff says (A Literary History of Rome, p. 197), "The scansion of Plautus was less understood in Cicero's day than that of Chaucer was in Johnson's." (Cf. Cic. Or. 55. 184.)
[Sidenote: Euanthius] We have somewhat of a reaction, too, against the earlier chorus of praise in the commentary of Euanthius,[11] who condemns Plautus' persistent use of direct address of the audience. If it is true, as Donatus[12] says later: "Comoediam esse Cicero ait imitationem vitae, speculum consuetudinis, imaginem veritatis," we find it hard to understand Cicero's enthusiatic praise of Plautus, as we hope to show that he is very far from measuring up to any such comic ideal as that laid down by Cicero himself.
But of course these ancient critiques have no appreciable bearing on our argument and we cite them rather for historical interest and retrospect.[13] [Sidenote: Festus] [Sidenote: Brix] While Festus[14] makes a painful effort to explain the location of the mythical "Portus Persicus" mentioned in the Amph.,[15] Brix[16] in modern times shows that there is no historical ground for the elaborate mythical genealogy in Men. 409 ff. We contend that "Portus Persicus" is pure fiction, as our novelists refer fondly to "Zenda" or "Graustark," while the Men. passage is a patent burlesque of the tragic style.[17]
[Sidenote: Becker] On the threshold of what we may term modern criticism of Plautus we find W.A. Becker, in 1837, writing a book: "De Comicis Romanorum Fabulis Maxime Plautinis Quaestiones." Herein, after deploring the neglect of Plautine criticism among his immediate predecessors and contemporaries, he attempts to prove that Plautus was a great "original" poet and dramatic artist. Surely no one today can be in sympathy with such a sentiment as the following (Becker,