THE DRAMATIC VALUES IN PLAUTUS

absurdities and deficiencies. This was true in a far less degree of
Terence, who dealt in plots more stataria and less motoria. 81
Though using the same store of models, he endeavored to produce
an artistically constructed play, which should make some honest
effort to "hold the mirror up to nature." We are convinced that
even his extensive use of contaminatio was designed to evolve a
better plot. The extravagance of Plautus is toned down in
Terence to a reasonable verisimilitude and a far more "gentlemanly"
mode of fun-making that was appropriate to one in the
confidence of the aristocratic Scipionic circle. But when all is said
and done, Terence lacks the vivid primeval "Volkswitz" of Plautus.
We dare only skirt the edges of this extensive subject.82
Above all, our noble jester succeeds in his mission of laughproducing.
But his methods are not possessed in the main of
dramatic respectability. And it must be apparent that our analysis
and citations have covered the bulk of the plays.
We conclude then that the prevalence of inherent defects of composition
and the lack of serious motive, coupled with the author's
constant and conscious employment of the implements of broad
farce and extravagant burlesque, impel us inevitably to the conclusion
that we have before us a species of composition which,
while following a dramatic form, is not inherently drama, but a
variety of entertainment that may be described as a compound of
comedy, farce and burlesque ; while the accompanying music,
which would lend dignity to tragedy or grand opera, merely
heightens the humorous effect and lends the color of musical comedy
or opera bouffe. 83 K6rting is right in calling it mere entertainment,
Mommsen is right in calling it caricature, but we maintain
that it is professedly mere entertainment, that it is consciously
caricature and if it fulfills thse functions we have no right to
criticise it on other grounds. If . we attempt a serious critique of
it as drama, we have at once on our hands a capricious mass of
dramatic unrealities and absurdities : bombast, burlesque, extravagance,
horse-play, soliloquies, asides, direct address of the
81Euanthius, de Com. IV. 4.
82For an interesting comparison of Plautus and Terence, v. Spengel, Uber
die lateinische Komodie, (Munich 1878).
83The importance of the music is indicated by the transmission of the
composer's name in all extant didascaliae, esp. those of Terence. V. Klotz,'
Altrom; Met. p. 384 ff.
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