THE DRAMATIC VALUES IN PLAUTUS

increases immeasurably as we go down the scale; second, that the
degree of familiarity with the audience and cognizance of the
spectator's existence varies inversely as the degree of dramatic
value. Thus, at one end of the scale we have, for instance, Mrs.
Fiske, whose fondness for playing to the centre of the stage and
ignoring the audience is commented upon as a mannerism; at the
other, the low comedian who says his say or sings his song directly
at the audience and converses gaily with them as his boon companions.
Now it will be shown that familiar address of the
audience and the singing of monodies to musical accompaniment
are essential features of Plautus' style, and many other implements
of the lower types of modern drama are among his favorite devices.
If then we can place Plautus toward the bottom of the scale, we
relieve him vastly of responsibility as a dramatist and of the necessity
of adherence to verisimilitude. Where does he actually
belong? The answer must be sought in a detailed considerati.on
of his methods of producing his effects and in an endeavor to
ascertain how far the audience and the acting contributed to them.
§ 2. THE PERFORMANCE
As it is perfectly patent that every practical playwright must
cater to his public, the audience is an essential
THE AUDIENCE feature in our discussion. The audience of
Plautus was not of a high class. Terence, even
in later times, when education had materially progressed, often
failed to reach them by over-finesse. Plautus with his bold brush
pleased them. Surely a turbulent and motley throng they were,
with the native violence of the sun-warmed Italic temperament and
the abundant animal spirits of a crude civilization, tumbling into
the theatre in the full enjoyment of holiday, scrambling for vantage
points on the sloping ground, if such were handy, or a good spot
for their camp-stools. In view of the uncertainty as to the actual
site of the original performances, this portraiture is "atmospheric"
rather than "photographic." (See Saunders in TAPA. XLIV,
1913). At any rate, we have ample evidence of the turbulence of
the early Roman audience. (Ter. Prol. Rec. 39-42, and citations
immediately following) . Note the description of Mommsen :46
"The audience was anything but genteel. The body of
spectators cannot have differed much from what one sees in the
46History of Rome, Vol. III, p. 139. Cf. note 3 7.
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