MASTER NEGATIVE NO. 92-80497-15 MICROFILMED 1992 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK as part of the "Foundations of Western Civilization Preservation Project" Funded by the NATIONAL ENDOWMENT FOR THE HUMANITIES Reproductions may not be made without permission from Columbia University Library COP^^IGHT STATExVIENT The copyright law of the United States - Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material... Columbia University Library reserves the right to refuse to accept a copy order if, in its judgement, fulfillment of the order would involve violation of the copyright law. AUTHOR: LAW, HELEN HULL TITLE: STUDIES IN THE SONGS OF PLAUTINE COMEDY PLACE* MENASHA, WIS. DA TE : [1 9221 COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT Master Negative It M DIDLIOGRAPHIC MICROFORM TARGET Original Material as Filmed - Existing Bibliographic Record BKS/r->ROD Books FUL/BXB NYCG92 -B98D6 Record 1 of G -• F^ecord added today Acqu :i si t ions NYCG~PT 11 LOG RTYP:a ST : p FRN: hS s EL: CSC:? MOD: BNR: ATC: GPC:? B 1 : ? F 1. C s ? CON:??? REP:? CPI :? FBI :? ILC:???? • It RR COL: EML : :[D:MYCG92--B98D6 CC : 9668 BLT : am DCF s ? CP :wiu L:eng ^ I NT:? PC:s PD: 1922/' REP:? CPI:? FBI:? ILC:???? II MMDu OR: POL: DM: RR: COL: EML: GEN: 04D \S\NC^- 1 cNNC 1 G 1 L a w ^ H G .1 e i -» hi i-i 11. u 245 IG StudxBB in the songs of Plzautine comedy=^ 1 hCmi crof ormH n Law « 26G Menaniiha , W i s « , =^ I bGeor ge Ban ta pu bl i sh i ng company , = I c 1. 1 922 1 3DG 3 p , 1 . , 119 p . = I c2A cm . 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Wisconsin (Hlft Imttrrfiita nf ffllftra30 STUDIES IN THE SONGS OF PLAUTINE COMEDY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF LATIN BY HELEN HULL LAW ^K| Gbokgc Banta Publishing Comfamt Mkmasba, Wisconsin PREFACE My purpose in writing these studies in the songs of Plautine com- edy is stated in the introduction pp. 1-6. For the references to the plays of Plautus I have used the Oxford edition of the plays edited by 'Lindsay (1903) and for Terence the Oxford edition edited by Tvrrell (1902). I wish to express my appreciation and gratitude to the members of the Classical Faculties of the University of Chicago and especially to Professor Henry W. Prescott under whose guidance this dissertation was written and to whose most valuable assistance I am indebted at every point. Helen H. Law Meredith College, February 15, 1922 TABLE OF CONTENTS I Introduction ^ II Environment of Song ' III Technique of Entrance ^^ IV Content of Song ^7 V Function of Song '^2 VI Analysis of Individual Plays ^7 VII Leo's Theory of the Cantica 1^7 I. INTRODUCTION Since Roman comedy is based upon the plays of New Greek Comedy any study of the cantica of the Latin plays must mvolve a consideration of the scope of song in the Greek originals. Our knowl- edge of the part played by cantica in Middle and New Greek comedy is based partly upon the external information given by grammarians and inscriptions and partly upon a study of the recently discovered fragments of Menander. It is evident that the importance of the chorus, already decreasing in the last plays of Aristophanes, was still further decreased in later comedy.' The chorus, as it appears m the fragments of Menander, is inorganic; in several places the word XOPOT appears at a vacant stage that marks a pause m the action but no words follow for the chorus to sing.» But the choral part of Menander, if it was song, would hardly serve to explain the presence of cantica in Plautine comedy for the cantica are monodies, duets, and the like, not choral songs. For evidence, therefore, of a possible background for the Plautme canttca we are dependent upon such information as we have that proves the existence of song measures in later Greek comedy. Even this information is not valid. We have no knowledge whether such song measures were parts of choral songs or of songs sung by '"dividual actors- only in the latter case would they be pertinent. And this quite uncertain evidence is very slight in amount, based on statements in grammarians and the metrical character of extant fragments. The information from the grammarians moreover applies, for the most part, only to Menander. The only definite statement made about New Comedy, in general, is that its favorite meter was the iambic trimeter: i, niv Vta t/». ct/. 58 tt.) has shown the probability that certain of the lyric fragments belong to the chorus. Studies in the Songs of Plautine Comedy trimetris comprehenderunt qui appellantur quadrati. postea inconse- quentibus variaverunt: modo enim trimetros, modo addito quadrante vel semisse posuerunt, id est semipede adiecto vel integro pede iambo vel sesquipede. haec per medios actus varie; rursus in exitu fabularum quadrates, quales diximus in secunda scaena, locarunt." Quin- tilian also remarks of Terence's plays (X, 1,99): ''plus adhuc habitura gratiae si intra versus trimetros stetissent." Examples of this sub- stitution of tetrameters for trimeters are found in Terence's Hecyra 286 ff. in comparison with its model, Apollodorus Carystius 'E/cupd 10 K. and 380 with frg. 11. The trochaic tetrameter was, as Lindsay points out, the popular meter of Rome after the Saturnian verse died out and was used by soldiers in their rude songs at triumphs.^* An important bit of evidence is found in Aulus Gellius II, 23 in a passage in which he compares a passage of Caecilius with the original of Menander. Menander's lines are in iambic trimeter and Caecil- ius' passage is a polymetric monody. The scheme consists, according to Lindsay, of anapaestic tetrameters 1-3, trochaic tetrameters 4-8, bacchiacs 9-10, cretics 11-13, iambic senarius U and glyconics 15. It is difi&cult to draw conclusions from this scanty evidence but it is clear that the Roman poets did not always follow the original meters. In some cases they substituted tetrameters for trimeters, recitative for song, and in one case, monody for monologue. The plays of Plautus and Terence differ widely in the use of lyric measures. There are almost no lyric passages in Terence; he confines himself almost entirely to senarii and recitative. Plautus' Miles Gloriosus resembles the plays of Terence in its metrical struc- ture and so also, to a slightly less degree, does the Asinaria with only one lyric passage (126-37). The other plays all have from two to five song passages, varying in length from a few lines to more than a hundred,!^ as Cas. 621-758; Pers. 753-858; Pseud. 133-264. The song passages may consist of an elaborate song sequence as in Bac. 612-70; solo 612-24, duet 625-39, solo 640-70 or in Pers. 753-858; solo 753-62, trio 763-76; solo 777-89, quartette 790-858. The Casina has the most extended use of song. From the facts known about Hellenistic comedy the conclusion has been generally reached that the plays of Terence, together with the Miles Gloriosus of Plautus, in their almost total omission of song >* Capiivi 57. 1^ The Curculio has only one song passage but it is a rather long and elaborate one 96-157. Studies in the Songs of Plautine Comedy 5 represent, in the negative aspect, the metrical conditions of their Greek originals. Leo explains the origin of the songs m Plautus by saying that Plautus found the subject matter in brief non-lyncal form in his originals or occasionally invented it himself and took the musical form from the music hall songs popular in southern Italy m l^isday.i« Leo's theory as to the origin of the cantica'' of Plautus has been very generally accepted but he has himself pointed out the need of further study of songs. His Die Plautinischen Cantica und die hellen- istische Lyrik is devoted almost entirely to a study of the metrical structure of the cantica in his attempt to prove the connection of Plautine songs with Hellenistic lyrics and the songs of Euripides. After a brief introduction (pp. 3-5) he takes up the different lyrical meters used by Plautus (5-76). Then he analyzes the metrical structure of the individual songs in all the plays (76-111). The last three pages are devoted to "Zusammenhang der Cantica mit der Composition der Komodien." He lists the plays that begin with song, those that end with song, those in which song precedes the beginning of the action and those in which it begins the action of the play, pointing out briefly parallels in earlier drama, especially in Euripides. He then notes the resemblance between certam songs of Plautus and the stasima of Euripides and the relation of songs to acts. But this sketch of the part played by songs in the structure of the Latin plays is, necessarily, of the briefest sort. He comes to the conclusion that the chorus evidently exerted considerable influence on the relation of the cantica to the general composition of the plays of Plautus. ''Hier fehlen die Mittelglieder aber die Analyse der Stucke kann vielleicht den Weg zu ihrer Erganzung offnen (114). Leo himself takes up the analysis of the plays in Der Monolog im - Der Monolog im Drama (1910) 46; Geschichie der '^'^^'f^'^^'lf^' ^^^^^^ ^ 125: Die Plautinischen Cantica und. die hellenistiscJie Lyrik, Berlin (1897 85. 1^ The definition of the word canticum varied somewhat in ancient times. It was used in contrast with diverbium (deverbium) to distinguish solo P^^^s from scenes m whfch more than one person took part (Diomedes K. I 61)^ In Livy ^^^^^^ seems to include only monodies. It was also used to denote monodies and duets ^Lodis in contrast with diverMu., stichic passages of either -f ^^^ J^^ Thi^ is the meaning given it by Donatus (praef. Hec. Phorm. Eun.), who defines the l^'^TlLis Jis cantata i^aefUXY. ^ ;^^;^J^ canticum is found in the Palatine manuscripts of Plautus m ^^f^^^'^^^^^ both strictly lyrical and recitative and the letters DV mark only senarii. The defim Hon o Donatus, which limits cantica to strictly lyrical passages, has been generaUy accepted by modern scholars. Pauly-Wissowa, Real-E... s. '. CanHcum, Dn^erUum Dziatzko-Hauler, Phormio, 4th edition (1913) 50 n. 1, 2. Studies in the Songs of Plautine Comedy Drama but he analyzes them according to their use of monologue rather than their use of song. He includes monodies with mono- logues and, in general, makes no distinction between them. He makes a special stylistic study only of those monodies and mono- logues which begin with a generalizing statement and proceed at once to a particular and personal application, drawing some interesting conclusions as to the difference between the monologue and monody. He is interested in monodies as monodies: ''Die plautinischen Mono- dien stellen uns, wie oft gesagt, immer wieder vor dem Zweifel ob und wie weit sie ihrem attischen Original nachgebildet sind" (75) but the limitations of his subject do not allow him to discuss the aspects of song to which my study is devoted. Other studies of the cantica of Plautus have been confined, for the most part, to metrical investigation. An attempt was made by SpengeP^ to show that the regular and symmetrical arrangement of senarii, recitative, and song formed the basis of the division of the plays of Plautus into five acts, but he did not succeed in making his arguments convincing. Sudhaus^^ bases his analysis of the metrical structure of Plautine songs on the Stollentheorie of Schroeder. My own purpose is to study the cantica of Plautus quite apart from their metrical form. The environment of song, the unity or lack of unity, the content of song, and the function of the lyrical parts in the general composition of the plays, are the subjects upon which I have centered my attention. The background in Old Comedy and in Euripides cannot be ignored. At the same time preconceptions easily engendered by prevailing views of Euripidean influence upon many aspects of later comedy are to be avoided. An unprejudiced state- ment of the facts discernible from the text of Plautus is prerequisite to a larger consideration of historical development. In the main, I have endeavored to interpret the structure and function of song from the text and context of the Plautine cantica. By bringing together like features of song, by constant comparison of monody with mono- logue, duets and trios with dialogue, we may be able to discriminate facts of interest and value. Such facts may not always throw light on the main problem whether the cantica of Plautus are original with him, at least in respect to their form. But it may be serviceable by a study of the function and content of song to throw into bold relief outstanding features of Plautine cantica as preliminary to any proper appreciation of Leo's theory and of the poet's art. 1* Die Akteintheilung der Konwdien des Plautus (1877). ^» Sudhaus Der Aufbau der Plautinischen Cantica (1909). II. ENVIRONMENT OF SONG A study of the meters environing passages of song in the plays of Plautus shows that certain meters were preferred to others both before and after the song. Four plays of Plautus begin with song, Cistellaria, Epidicus, Persa, and Stichus. One song is preceded by iambic septenarii. True. 209, the only monody of Plautus that is not an entering song.^ Of the remaining sixty song passages, seventeen are preceded by trochaic septenarii and forty-three by iambic senarn. The meters that ordinarily follow songs, on the other hand, are quite different. Three plays end with song, Persa, Pseudolus and Stichus (two of which, Persa and Stichus, also begin with song); nine song passages are followed by iambic septenarii, seven by iambic senarii, the rest— forty-six, by trochaic septenarii. The contrast on the one hand between the preponderance of iambic senarii before the song and its slight use after the song, and, on the other hand, between the relative infrequency of the trochaic septenarii before and its almost universal use after the song, is striking. The poet evidently greatly preferred the more gradual change from song to recitative to the abrupt change from song to senarii; for only seven of the sixty-five song passages are followed directly by iambic senarn.^ At the beginning of the song, however, the change from senarh to song seems to be preferred to that from septenarii to song. This complete and sudden change in the manner of delivery is less abrupt and harsh at the beginning of a song than at the end; for songs are regularly sung by entering characters and the abrupt change of meter is quite in harmony with the new arrival and, frequently, with the consequent introduction of a new chapter of the action. On the other hand, a break in the action after a song is quite unusual. The relative infrequency of iambic septenarii^ before and after song is commensurable with the slight use of this meter in the plays as compared with trochaic septenarii. Though a common meter in Old Comedy, iambic septenarii are not found in Greek tragedy, ^Aul.m, Cure. 147, and Epid. 81 are also link monodies but do not begin the song passage as the singer, on entrance, has already taken part in a duet. , ,. ^, « In addition, three Hnes of iambic senarii at the end of Mercury s monody {Amph, 984 ff.), 1006-8, mark a change from a monologue to a direct address to the audience, changing at 1009 to recitative. » Mohr, P. De lambico apud Plautum Septenario (1873). 8 Studies in the Songs of FlauUne Comedy New Comedy, or Roman tragedy. Two of the plays of Plautus {Amph. and Bac.) have no iambic septenarii while six have only isolated lines forming a part of a canticum. There are only twenty passages of stichic iambic septenarii in all the plays. Certain plays have a considerable amount of it, Asinaria, more than 300 lines, a third of the whole play, the Miles Gloriosus and Rudens, about 200 lines each. It may be observed that two {Asinaria, Miles Gloriosus) of the three plays with the greatest amount of iambic septenarii have little or no song and that the plays richest in song have no stichic iambic septenarii {Cas., Bac, and Pseud.). On the other hand, the Rudens is well-supplied with both songs and iambic septenarii while the Mercator is defective in both respects. The seven cases of change from song to iambic senarii require further study. In the Stichus the change to senarii at 48 is due to an error in the transmission of the text. In the opening song (1-47) the two sisters discuss their father's desire that they marry again. In line 47 Panegyris says, placet, taceo and her sister answers at ynemineris fa- cito. This ought, it seems, to close the discussion but a long speech of Panegyris follows in iambic senarii on exactly the same lines. Conse- quently, Ritschl reached the conclusion that the iambic lines 48-57 and the lyric passage 1-47 are really variant versions of the same opening scene, a view accepted by Lindsay and Leo in bracketing lines 48-57. In two cases, Bac. 997 and Pers. 501, the change to senarii is due to the reading aloud of a letter, which seems con- ventionally to have been written in senarii.* The conversation, when resumed after the letter, is in the first case in senarii and in the second in septenarii, rather than in song. At Cas. 758 there is a vacant stage and evidently a pause in the action; Olympio and Lysidamus leave the stage at 758 and Pardalisca comes out at 759 and relates what they have been doing in the house. Her speech in senarii, as it is an unemotional narrative of offstage action, accords with Plautus' normal procedure. The short pas- sage of senarii (eight lines), Cas. 847-54, in the midst of a long and elaborate song passage may be due to a desire to heighten the comic effect. The slave Chalinus, dressed as the maiden Casina, has been led out to Olympio and Lysidamus and a scene of love- making follows, interrupted by the senarii at 847, when they begin to suspect that something is wrong. The fact that two of these seven cases of a change from song to senarii occur in the Casina, the ^ Compare the letter in Asinaria, 751; Pseiid. 998. I Studies in the Songs of Plautine Comedy 9 play which is richest in song, and that the passages of senarii are both short, is not without significance. The dramatist may have been governed by a practical desire to give the flute-player a chance to rest since, except for these brief passages of senarii, there are about four hundred lines in succession of song and recitative, or to vary the monotony of an unusually long song sequence which extends, except for these brief senarii passages and a brief passage of trochaic septen- arii (798-814), from 621 to 963. The two remaining passages {Most. 746 and True. 630) afford no definite explanation.^ In the Mostellaria after an entering song by Simo, a duet follows between Tranio and Simo. In answer to Simo's questions Tranio says that the ship has been wrecked. With an inquiry for further details the meter changes to senarii while Tranio is explaining the actual case and telling his errand. Although there is no break in the situation at the end of the song, there is a change from the vague and figurative to the definite and explicit. In the Truculentus, after a heated duet m which the soldier Stratophanes threatens Cyamus, Cyamus leaves the stage. At his departure (630) the meter changes to iambic senaru, in this case at a break in the situation and a consequent change m emotion. . A song or series of songs, in general, begins with the entrance ot one or more persons on the stage and almost never does a person or group of persons already on the stage change from senarii or reci- tative to song. Only four exceptions to this general rule are found, one monody and three duets. The monody True. 209 has already been mentioned as the only song preceded by iambic septenarii. After a dialogue in this recitative measure, Diniarchus leaves the stage and Astaphium, left alone, sings a link monody until Truculen^ tus enters. This monody, like the entrance monodies, is set off sharply from the preceding verses; the departure of one of the speakers makes a break in the action before the monody begins. The duets are Capi. 833-7, Most. 783-803, Stich. 769-75. The passage of the Captivi is very short, only five lines preceded and followed by trochaic septenarii. Ergasilus enters at 768 and sings a monody, Hegio enters and sings a monody at 781. Hegio recognizes Ergasilus (788) but is not recognized by him. Ergasilus, changing to recitative, as a servus currens soliloquizes (790-832), interrupted by the aside ^ The change in these cases from song to senarii is less abrupt as the songs end with 5 lines of iamb. oct. and one line of iamb. sept. {Most. 741-6) or 5 lines of trochaic sept, and oct. {True. 626-30). 10 studies in the Songs of Plautine Comedy remarks of Hegio. As Hegio addresses Ergasilus, the meter changes to song (833) and then at the end of their preliminary remarks and greetings changes back to recitative (838). The general character of this short duet resembles closely that of the duets which frequently follow the entrance solos of A and B, changing to recitative after the conventional salutations. (Compare, for instance, Persa 272-9). The servus currens monologue, then, seems to be merely parentheti- cal, as far as the structure of the passage is concerned. The passage of the Mostellaria (783-803) is set off from the rest of the scene and is preceded by what is practically, if not actually, an entrance. Simo enters at 690 with a monody which is followed by his duet with Tranio, 718, changing to a dialogue in senarii at 747. This dialogue is followed by Tranio's link monologue 775-82, after which he addresses Theopropides and a duet begins which, in turn, changes to recitative when Simo is addressed. Theopropides has been on the stage all this time but has had no part in the action except for the one line 721. The stage action must have made a distinct break before 783. Theopropides, if he remained on stage from 683-784, was half-asleep; Tranio delivered his monologue (775ff.) and addressed Theopropides, recalling him to the action.^ The banquet-scene of the Stichus (683-775) is largely in recitative but after a short passage of senarii (762-8) while the fluteplayer is given a drink, the play ends with a short lyric scene, accompanied by the dancing of Stichus and Sangarinus (769-75). The conclusion of a song is brought about in a greater variety of ways. Some song passages are units in themselves, ended by a complete break in situation or thought; others are fused with passages of recitative or speech that follow. The break in situation is of various kinds. The conclusion of three songs coincides with the end of the play, in the Persa, Pseudolus and Stichus- and a fourth is followed only by the concluding speech of the grex, Bac. 1207. Three songs end with the exit of the singer or singers, Cas. 621-758, Riid. 185-289, True. 551-630 (exit of one singer). Two of these passages are followed by iambic senarii and one {Rud.) by iambic septenarii. Seven songs end at the entrance of another person or persons. Cure. 96-157; Most. 84-156; 313-47, 858-903; Pers. 168-82; Trin. 820-42; True. 209-255. Sixteen monodies end at a change to lines spoken by another person on the stage.' Ordinarily this marks • The fact that senarii directly follow the first song is in itself unusual. 7 In the case of a double monody, after the monody of B, the change to recitative may come with the speech of A. Studies in the Songs of Plautine Comedy 11 the beginning of a dialogue between the singer and second speaker but occasionally the lines are not addressed directly to the singer {Amph. 654; Aul. 731; Bac. 671; Capt. 541, 790; Cas. 963; a*5/.704; Epid. 190, 547; Men. 135, 369, 604, 775; Merc. 364; Most. 805; Pseud. 604). In these thirty cases, nearly half the songs, there seems to be a definite break in situation at the change from song to recitative or senarii. There is also a group of cantica that are set off at the end by a change not in situation but in subject-matter or tone. Often in changing from introductory remarks, greetings, etc., to serious conversation along some more definite line there is a corresponding change in meter. For instance, when Bromia begins her actual account of what has happened, the song changes to recitative {Amph. 1086). Frequently the change is marked by an abrupt phrase as sed quid ais? Cas. 252 or quid factumst? Rud. 962. Other cases that show this tendency to avoid the carrying on of serious conversation in song form are Capt. 930; Most. 747; Pseud. 265, 951; Rud. 682; Stich. 331 ; True. 129.« Occasionally the song ends at a change from a speech addressed to a particular person to a monologue or a direct address to the audience. At Epid. 341, Epidicus after four lines addressed to some one in the house, begins a real monologue with the words pro di immortales and the meter changes from song to recita- tive.^ In Amph. 1006, the change from a monologue to a direct address to the audience is also marked by a change in meter. The change in Trin. 1120 seems to mark a change from the general to the particular {modo me). In two cases {Bac. 997; Pers. 501) the break comes with the reading of a letter. In Cas. 847 the change of meter may be for comic effect. (See p. 8.) A group of eighteen cantica, or about a quarter of the whole number, remain, in which there seems to be no break either in situation or subject-matter but which are completely fused with the following lines. In two cases the song ends with a change of speaker in an aside remark but this is not the first interruption by the speaker and » For more detailed discussion see p. 44. » The duet preceding Epidicus' entrance ends with a single line of iamb. sept. 336. Epidicus enters with iambic sept. (337-38) and two lines of uncertain meter 339-40, which are followed by iamb. sept. If 339-40 are emended to iamb. sept, there is a continuous passage of recitative from 336 on, but there does not seem to be sufficient reason for changing the manuscript tradition. See Leo PL Cant. 52. As the text is defective after Cist. 203-29 this song may not be used for this purpose. 12 Studies in the Songs of Plautine Comedy the monody continues as monologue (Amph. 263) and the duet as dialogue (Poen. 1201) without any change except the change in meter. The change from a monody to a monologue without a break of any kind {A sin. 138; Aul. 447; Epid. 99; True. 465) is somewhat less frequent than from a duet or trio to a dialogue (Aul. 161; Capt. 240; Cist. 38; Men. 1008; Merc. 141; Pers. 43; 280; Poen. 261; Pseud. 1134; 5/iV/r. 48; Triw. 301; True. 730.) To sum up, then, of the sixty-five song passages, in the case of thirty there is, at the end, a break in situation; in sixteen, a change in subject-matter or tone; in eighteen, no perceptible break but a fusion with the lines that foUow.^^ " In this discussion of the unity and environment of song passages, the definition of various song passages given by Leo in PL Cant, has been kept for the most part. There is occasionally, however, ground for difference of opinion as to the exact point at which a given song ends. Sudhaus {op. cit.) basing, as he does, his metrical analysis of the songs on the symmetry and balance of the thought units, sometimes includes in the songs lines of trochaic septenarii, iambic septenarii, and in one case, iambic senarii, which Leo does not include in his metrical analysis of the songs. Sudhaus does not dis- cuss all the cantica but in the following cases his definition of the song differs from that of Leo: Asin. 127-50 (138-50 trochaic septenarii) and Aul. 406-48 (447-8 troch. sept); Epid. 166-95 (190-3 troch. sept.); Amph. 551-93 (586-93 troch. sept); Amph. 1053-87 (1086-87 troch. sept.); Cos. 815-54 (847-54 iamb, sen.); Cist. 671-709 (704-9 iamb, sept.); Pers. 1-52 (43-52 iamb, sept.); Trin. 1115-24 (1120-24 troch. sept). From the standpoint of unity his definitions of certain songs are easier to accept than those of Leo, that is, when according to Leo's definition the song changes to recitative without any apparent change of feeling as Pers. M2; Asin. 127-38; Aul. 40646. However, occasionaUy Sudhaus' inclusion of recitative lines in the song, lessens rather than increases the unity of the song. For instance, in the song Cist. 671, the break at the end comes more logically at 704 (the beginning of the iambic septenarii) when Phanostrata addresses Halisca than at 709, in the middle of Halisca's speech. Conse- quently, because of the danger of subjective analysis, it seems better to follow Leo's example and to consider that trochaic and iambic septenarii do not form part of a song unless used in combination with octonarii or lyric measures. In a few cases my definition of individual songs differs from that of Leo, when it is necessary to decide whether octonarii or octonarii in combination with septenarii form an integral part of the song or not. Leo himself admits the difficulty in his discussion of Capt. 240 where two Imes of trochaic octonarii followed by septenarii come at the end of the song "Es lasst sich also auch hier nicht mit Sicherheit sagen an welcher Stelle der Gesang im Rede ubergeht; das Ethos ist 240 sq. von vorigen nicht verschieden und v. 239 gibt weder metrisch noch im Dialog einen Abschluss" {PI. Cant. 91). In such cases I have included the doubtful lines in the song: Capt. 516-40 (533-40 iamb, oct., 534-5 troch. tetram.); Capt. 922-29 (928-9 troch. oct.), M^n- 966-1007 (986-1007 iamb, oct. and troch. sept.). Slightly different is Men. 571-603. Leo concludes the song at 601, the end of the monody, but 602-3, anap. tetram. cat. are naturally included in the song. III. TECHNIQUE OF ENTRANCE The most striking fact about Plautine use of song is that the songs are, almost without exception, entrance songs. Yet entering charac- ters come upon the stage more frequently speaking than they do sing- ing (ratio of entrance speech to song is 229:81). Solo entrance parts, whether song or speech, are preferred to duo entrance parts (ratio of solo parts to duo entrance parts is 229:81; the fact that the figures are the same as those of entrance speech and song is merely a coincidence). A character who appears alone comes on the stage speaking or singing rather than silent. The ordinary procedure, if A and B are ultimately to converse on the stage but do not enter together is this: A enters with a solo speech or song, B enters with a solo speech or song, A and B recognize each other and engage in con- versation. Instead of a monologue proper A or B may come out speaking to someone in the house, B may address a silent character entering with him, or A may call to B who is still in the house. Of the forty-seven cases of double initial solo parts,i ten are m song: a) monody, b) monody, c) duet or dialogue; eight combine song and non-song: a) monody, b) monologue, c) dialogue-three ;2 a) mono- logue, b) monody, c) duet or dialogue, five);^ twenty-nme are non- song: a) monologue, b) monologue, c) dialogue. Ordmarily a monologue of A is followed by a monologue of B and a monody of A by a monody of B. A second method by which A and B are brought on the stage together for an ultimate dialogue is this: A enters with a monologue or monody, B enters, AB begin dialogue or duet at once. This is used less frequently than the double solo part (27 cases as against 47) and only under limited circumstances; i.e., (1) A calls B out of the house, B enters and the dialogue begins (7 cases) ;^ (2) A enters with a monologue at the end of which he speaks of the delay of B who has been with him or who is impatiently awaited (8 cases) ;^ 1 See tables at end of chapter I, A, 1; II, A, 1; III, A, 1, 3, B, 1,2. » In two cases the monody of A changes to monologue before its close. 3 All except True. 699 come early in the play; three are prologue speeches or play the part of prologue {Amph. 1, Merc. 1, True. 22); Men. 77 is a professional parasite s speech, conventionally in senarii. * Aul. 40, 268; Bac. 573; Miles 596; Most. 1; Pseud. 1246 (m); True. 645. ' Men. 882; Mere. 588. 667; Poen. 449, 504; Pseud. 905 {m)',Rud. 485, 1191. 14 Studies in the Songs of Plautine Co^nedy (3) B comes on the stage looking for A (4 cases) ;« (4) B enters with A but is not addressed until the end of A's monologue or monody (4 cases). ^ Ordinarily then, unless his entrance has been directly prepared, B as well as A enters with a monologue.^ When A enters with solo, B enters and the dialogue begins at once; A sings a monody in eleven cases and delivers a monologue in sixteen. It happens more frequently that B is already on the stage and A enters with a monologue or monody which is followed by the dialogue (duet) of A and B. In the 82 examples of this kind of entrance technique A sings a monody 24 times and delivers a monologue 58 times. « In only 30 cases does A enter and begin a dialogue or duet (four cases) with B, who is already on the stage, without this prelim- inary solo part.io \vhen this occurs, the entrance of A is ordinarily directly prepared as when, after the entering monologue of A, B enters without monologue, i. e., (1) A appears summoned from the house by B (on stage) or C (of! stage)." (2) A appears looking for B.^^ When an entrance does not issue in a dialogue or duet between A and B, A may come on the stage, deliver a solo part and make his exit at once (15 cases). ^"^ This solo part is only twice in song, in both cases leading up to a dialogue; for A's exit after his monody is followed by the entrance of B with a monologue {Amph. 1009) or monody {Capt. 516) at the end of which A returns and a dialogue between A and B begins (included with double solo entrances). The obvious alternative to solo entrance is duo entrance. There are 81 cases of duo entrance as compared with 229 cases of solo entrance. A and B may enter together on an unoccupied stage either talking or singing, continuing the conversation or song already ^ Aul. 406(m); Most. 858(m); Rtid. 906(m); Trin. 223(m). ' Capt. 922(m) ; Most. 313(m) ; Pers. 753(m) ; Slich. 402. 8 The text following Cist. 203(m) is uncertain. Asin. 127(m), Cist. 653, E^id. {^^1) may not be included in any of these groups. In each the approach of B is men- tioned and in the last A questions B. » See I, A 3; B I b; II, A, 3; III, A, 5. 10 See 11^ B^ 3, " Amph.9k\ Aid. 350; Bac. 1120(song); Capt. 978; Cas. 279; Cure. 158; Epid. 475; 570; Men. 182, 219, 675; A/i/. 818; Pers. ¥>l;Poen. 711,796, 1120; /?/«i. 259(song), 414; Slich. 325(song); Trin. 1093; Triu:. 256(m), 352. ^^Ctirc. 251; Men. 524; xMerc. 474; Mil. 1200; Pers. 683; Rud. 1227. In Most. 998, on the other hand, the situation is different, for Simo's entrance is not motivated; he merely happens to come home from the forum opportunely. " See II, A, 4. Sludies in the Songs of Plautine Comedy 15 begun (song, nine cases,i^ dialogue, thirty-six cases^^). A and B may enter either talking or singing on a stage occupied by C, or by C and D, converse or sing together for a few lines and then join wdth C m song or conversation, just as A in solo entrance, entering alone, delivers a monologue before seeing B and conversing with him (song 3,i« dialogue ?^?>^''). These facts in regard to the conventions of en- trance technique are important in a study of song, primarily, because of the light they throw upon certain unemotional songs and emotional monologues. The general observation that monodies rather than monologues are used to express emotion admits of several undeniable exceptions, some of which can be explained by the preference for a double entrance monody or a double entrance monologue rather than a combination of monody and monologue. The use of monody rather than monologue by A may ordinarily be explained by the emotional character of the song^« but the monody of B, which is usually short, seems to owe its song form to the fact that it follows the monody of A rather than to the presence or absence of emotion. Cas. 165, Men. 990, Pers. 7, 272, Pseud. 594 are in no sense emotional. In the same way, a monologue of B expressing emotion frequently follows an unemotional monologue of A in accordance with this common form of entrance technique, the double entrance monologue. The unemotional prologizing monologue of Jupiter {Amph. 861) is followed by the emotional entrance monologue of Alcumena (882), both senarii. Daemones' narrative of his dream {Rud. 593) is followed bv Trachalio's excited appeal for help (615). In this case the emotional character of B's monologue is marked by the change from the senarii of A's monologue to recitative. Lysimachus' narrative of unessential off stage action {Merc. 692 senarii) is followed by Dorippa's entering lament in the same meter (700). The prayer of the returned traveller, conventionally in senarii, given by Sangar- inus {Stich. 649), is followed by the joyful monologue of Stichus m the same meter (655). The unemotional, reflective monologue of Libanus {Asin. 249) is followed by the excited and joyful servus ^*Amph. 551; Aid. 120; Capt. 195; Cas. 855; Cist. 1; Epid. 1, 166, 320; Stich. 1. "Seell, B. 1. ^*Cas. nO;Poen. 210, 1174. »7II,A, 5;B, 2;III, A,4. tMW. 713, Bac. 1076; Capt. 498, 768; Cas. 144; Pers. 251; Pseud. 574; Rud. 185 are motivated as song by the presence of emotion. In Pers. 1 ; Men. 966 the monody of A as well as the monody of B is unemotional. 16 Studies in the Songs of Plautine Comedy currens monologue of Leonidas (267), both in recitative. The mono- logue rather than song form of all these emotional monologues, then, is determined by the conventions of entrance technique. The monologue of A is, in each case, in senarii or recitative in accordance with the dramatist's ordinary usage and the solo part of B is also in monologue form in spite of its emotion. On the other hand. True. 699 is a unique example of an emotional monologue of A (recitative after senarii) followed by a non-emotional monody of B and Merc. 830 of an emotional monologue of A followed by emotional monologue of B (both recitative after senarii). But it must be remembered that the Truculentus is unique and isolated in its use of song^^ and that the Mercator has very little song. The few other emotional mono- logues are not affected by this question of entrance technique and will be discussed later.^^ In comparing the entrance technique of Terence with that of Plautus the only possible basis of comparison is of the relative fre- quency of monologue and dialogue by entering characters; Terence uses entrance song only three times {And. 481, 625; Ad. 610). Using the term monologue to include monody, and dialogue to include duet, a comparison of the twenty plays of Plautus and the six plays of Terence show the following results. Though the plays of the two dramatists have approximately the same average number of lines, they differ in the number of entrances, which average fourteen in the plays of Plautus and twenty-one in those of Terence. For that reason, any calculation of the relative frequency of entering mono- logue and dialogue in Terence and Plautus must be based on the pro- portion of l:2i rather than of l:3i. In the plays of Terence the four Menandrian plays may be compared with the two non-Men- andrian plays, Phormio and Hecyra. 1' It contains the only non-entering monody and only one of its five songs is in any way emotional (448). =0 Aid. 808; Bac. 842; Merc. 588; Afosl. 348; Riid. 1191; 1281. Studies in the Songs of Plautine Comedy 17 Plautus Terence Ter. on Men. Non-Men. Basis of . 279 ent. 125 ent. 91 34 275 A mon. B mon. AB dial. 47 15 10 5(10) 33 A mon. B enters AB dial. 27 2 1 1(2) 4 B on stage, A mon. AB dial 79 52 42 10 (20) 114 4 A mon. exit 15 2 2 B on stage A enters 30 14 11 3(6) 31 AB dial. 45 22 13 9(18) 48 C on stage AB dial. 27 18 12 6(12) 39 A ent. mon. BC ent. dial. 9 - — Plautus uses the double monologue for entrance more often than Terence. The entrance of B without a monologue after A's mono- logue is rare in Terence. The situation in which B is on the stage and A enters with a monologue occurs more frequently in Terence than in Plautus but the number of times that A enters without a monologue while B is on the stage is about the same in the two dramatists. A more striking difference is seen in the use of an entrance monologue immediately followed by the exit of the speaker. There are only two cases in Terence, both not monologues proper but speeches addressed to someone in the house; at Ad. 511,^1 A enters on empty stage; at And. 481, A enters on a stage already occupied by B, smgs a monody and leaves the stage without addressing B. Terence uses entrance dialogue somewhat more frequently than Plautus. There is very little difference between the Menandrian plays and the non- Menandrian plays of Terence. A enters with a monologue while B is on the stage about twice as often in the Menandrian plays. 45 29 Entrance Technique I. SONG A. Initial Monody 1. A entrance monody B entrance monody AB duet 6 Bac. 1076 ^^^' ^ Cos. 144 Men. 966 251 Rud. 185 21 Conrad {Calif. Stud. Cla^s. PhU. II 291 fif.) proves the authenticity of these lines, which has been doubted because of Donatus' statement that they are lackmg in some manuscripts. 18 Studies in the Songs of Plautine Comedy 2. A entrance monody B enters Aul. 406 Most. 313« 858 Pers. 753" AB duet 8 Pseud. 905 1246 Rud. 906 Trin. 223 3. (B on stage) A entrance monody AB duet 15 \jm/>A. 1053 Most. 690 ^ac. 612" 925 Cas. 217 621 815" Cure. 96 ^ Epid. 526 Pers. 470 Pseud. 133 1103» /?« 759 a a a Cist. 536 a a a Cure. 216 a a a 371 Epid. 607 Men. 4^6 a b» b' a b^ a a b> a 701 a a a Mere. 544 a a a 692 a a a 803 830 Miles 79 Most. 1041 a b' a b» a b^ b» b« a Pers. 53 a a a 400 Poen. 817 a aM-a» a b» a Pseud. 1052 a a a Rud.%i a a a 290 593 a» a a» b» a* b^ 1281 a» a^ a* Stick. 649 a a a Trin. 23 a a a 2. A ent. monol. B enters AB dial. 1 Aul. 40 268 a a b* Bac. 573 Cist. 653 a a b^ EpU. 382 a a €1 Men. 882 a cl b» Merc. 588 b* 667 a a " a iambic senarii, a» iambic septenarii a« iambic octonarii, b^ trochaic sep- tenarii b> trochaic octonarii. Instead of a strict monologue A or B may address some one in the house, B address silent character on stage, A address B in the house. " A ent. monol. B ent. monol. (exit) A exit monol. 20 Studies in the Songs of Plautine Comedy 2. A cnt. monol. B. enters AB dial, MUes 596 b^ \^ Most. 1 a a Poen. 449 a a 504 b» • b» Rud. 485 a a 1191 a b» Stick. 402" a a True. 645 a a 3. (B on stage) A ent. monol. AB dial. 58 Asin. 381 a» a» 407 ai a» Aul. 79 • a a 178 b» b» 449 b» b* 475 a a 808 b» b> Bac. 235 a a 770 a a 799 a a 842 a a Capt. 251 b» b> 998 b» b* Ca5. 309 a a 563 a a 591 a a 798 b^ b» Cist. 639 b^ b» Cure. 280 b» b^ 557 b^ b» 679 b» b» Epid. 437 a a 675 bi b» 3/en. 273 a a 899 W V 1060 a« b^ Merc. 741 a a 962 b^ b» MUes in bi b» 411 a» a' 486 a a 991 b» b> 1284 a a 1378 a a Most. 348 b» b» 431 532 1122 Pers. 731 738 Poen. 615 746 1280 1338 Pseud. 956 >'4 1038 /?«m/. 104 Miles 354 874 1137 1216 1311 Most. 904 Pm. 302 549 Poen. 578 PjeM b> a> b» b» a^ b» b» a b> b> a b» a b» b^ b> a» b' b» a b» b» a» b» b» a» b' b» a b' b> a b^ b> a b» b» 86 36 a a b* a> b» a b> b> a a a- a b» b" i>> a 24 Studies in the Songs of Plautine Comedy 3. (B on stage) A enters AB dial. Amph. 956 Aul. 350 Ca/»/. 978 Coj. 279 Cure. 158 251 £/^. 475^ 570 Men. 182 219 524 675 Merc. 474 Mi/ej 818 1200 Most. 998 P• A exit after monody, returns at end of B's monody (monologue). •^^ A ent. monody. B ent. monody, A monologue with aside remarks by B. AB duet, dial. ^ Changes from song to recitative or senarn before end. '^ B enters with A. *» Text at end of song defective, apparently as stated. . . . , " A before house, BC on stage coming from harbor, reach house at end of A s raonodv. 24 Studies in the Songs of Plautine Comedy 5. (B on stage) Cos. 937 Cist. 671 Men. 351 571 753 Merc. 335 B. Initial monologue 1. A ent. monol. Merc. l*»a True. 22 a 699 b» 2. A ent. monol. Amph. 1" a Men. 77 a I SONG A Initial monody 1 A ent. monody 2 A ent. monody 3 (B on stage) B Initial duet 1 AB ent. duet 2 (CD on stage) 3 (CD on stage) A ent. monody B ent. monody B ent. monody AB dialogue a> b» AB duet song to 149 +b* song to 130+ a* song to 790 -}-b* AB dialogue Summary of Entrance Technique B ent. monody B enters AB ent. monody AB duet AB duet AB duet AB ent. duet A or AB entrance ABC song B ent. monol. B enters A ent. monol. II SPEECH AND RECITATIVE A Initial monologue 1 A ent. monologue 2 A ent. monologue 3 (B on stage) 4 A entrance and exit monologue 5 A ent. monol. BC ent. dial. B Initial dialogue 1 AB dialogue 2 (C or CD on stage) AB ent. dial. 3 (B on stage) A enters III SONG COMBINED WtTH SPEECH OR RECITATIVE 1 A ent. monody 2 A ent. monody 3 A ent. monody 4 A ent. monody 5 (B on stage) B Initial monologue 1 A ent. monol. 2 A ent. monol. B ent. monody B enters B ent. monol. BC ent. monol. A ent. monody B ent monody B ent. monody AB dialogue AB dialogue AB dialogue ABC dialogue ABC dialogue AB dialogue AB dialogue AB dialogue AB dialogue ABC dialogue AB dialogue AB dialogue AB dialogue 45 29 6 8 15 16 9 3 4 209 123 29 16 58 15 5 86 36 24 26 25 4 3 3 4 6 5 3 2 Amph. Asin. Aul. Bac. Capi. Cos, Cist. Cure. Epid. Men. Merc. Mil. Most. Pers. Poen. Pseud. Rud. Stick. Trin. True. Studies in the Songs of Plautine Comedy Scheme of Entrances by Plays Song 2 2 4 1 6 1 1 4 1 3 4 2 4 4 3 1 2 45 209 25 Types of Entrance with Speech or Recitative** 25 Speech Combination of or Song with Speech Recitative or Recitative 3 3 8 11 1 12 17 1 20 11 15 6 3 10 11 1 18 6 2 9 12 U 8 12 13 4 18 12 2 14 18 IS 8 1 12 9 1 14 13 15 8 1 U 17 21 11 14 7 2 10 8 3 13 279 ** A's entrance monologue, prologue speech. Afni>h Al 1 1 1 2 2 1 2 1 2 4 1 1 2 1 1 4 1 1 29 A2 2 1 1 1 1 2 1 1 2 2 1 1 16 A3 2 5 4 2 4 1 3 2 3 2 6 4 2 4 2 2 5 1 4 58 A4 5 1 2 1 1 1 2 2 15 A5 1 1 1 1 1 5 Bl 6 3 2 2 2 3 1 3 2 3 1 1 2 1 2 2 36 B2 1 2 2 1 5 1 2 1 2 4 2 1 24 1 ^ j% B3 1 1 1 1 2 2 4 1 2 1 2 3 2 1 2 26 3 Asin 11 Aid 17 Bac 11 CaM 6 Cos 11 Cist 6 Cure 12 Rind 8 Men 13 Merc 12 Mil 18 Most 8 Pers 9 Poen 13 Pseud 8 Rud 17 Stick 11 Trin 7 True 8 206 « For the significance of the symbols A^ A«, etc. cf. note 27, p. 19. '■^'"?^^'5?'*??.'^*g^#*^ 26 Studies in the Songs of Plautine Comedy Types of Song Entrance Amph A sin. . Aid... Bac... Capt. . Cos.. . Cist. . Cure. . Epid.. Men.. Merc. MU.., Most. . Pers.. Poen.. Pseud. Rud.. Stick. . Trin. . True. . Al A2 2 1 2 1 8 A3 1 2 3 15 Bl 1 1 1 1 B2 B3 1 1 Types of Entrance Combining Song with Speech or Recitative Amph A sin. . Aul.. Bac.. Capt... Cos.. . Cist.. Cure. . Epid.. Men. . Merc. MU.. Most. . Pers.. Poen. Pseud Rud.. Stick. Trin. . True.. Al A2 1 1 A3 1 1 1 A4 1 A5 1 1 3 1 Bl B2 1 2 2 4 1 6 1 1 4 1 3 4 2 4 4 3 1 2 45 3 1 1 3 1 2 4 2 1 1 1 2 3 IV. CONTENT OF SONG The most obvious fact about the songs of Plautus is that they are, in the main, emotional in content, and that any narrative element refers to facts already known to the audience or of little importance. I shall consider first, the songs that are primarily emotional or narrative with emotional coloring, secondly, the reflective songs. Throughout this discussion I shall compare with the songs the content of passages in speech and recitative with a view to determin- ing whether song is associated with any special kinds of content and definite themes. In many cases the song seems to be the natural outpouring of an overpowering emotion and the brief narrative element, although usually present, is hardly more than enough to motivate the expres- sion of emotion. In Rud. 185 the shipwrecked Palaestra declares that the fortunes of men are said to be less wretched than they really are, as she has found out by bitter experience. She bemoans the injustice of her fate; she is suffering, not through her own fault or through that of her parents, but through the wickedness of her master, and she laments her utter loneliness and helplessness. The brief narrative of 198-201, which explains the reason for the grief, gives only facts already known to the audience. The same note is carried out in the following monody of her shipwrecked comrade, Ampelisca, (220) who declares that since all hope is gone there is no reason why she should desire to live longer. Alcumena's monody in Amph. 633 also expresses grief; she has just discovered that her supposed husband must leave her after only one night. Her com- plaint is Ita dis est placitum voluptatem ut maeror comes consequatur, (635) ; applying it to her own case, she feels more grief at her hus- band's departure than pleasure at his coming. She consoles herself in her unhappiness with the thought that he will return after he has won glory for himself, and she ends with the moralizing reflection. Virtus praemium est optumum (648). The narrative of 639 also gives merely facts already known to the audience. In Epid. 526 Philippa comes on the stage with the lament Si quid est homini miseriarum quod miserescat, miser ex animost. Id ego experior—. She tells of her fear and despair and her brief reference to facts already known, Ita gnata mea hostiumst potita neque ea nunc ubi sit scio (532), merely explains her emotion. In Cist. 671 the ancilla, Halisca, coming back 25 ■^■-^ ■--•**''««i%'^?^'N^B«*^S«( 28 Studies in the Songs of PlaiUine Comedy to look for the box she has lost cries out in deep distress Nisi quid mi opV di dant disperii neque unde auxilium expetam habeo. She tells of the punishment that she expects and appeals to the spectators for help. When she does not find the box, her fear increases Nulla est, neque ego sum usquam. perdita perdidit me (686). She ends her vain search with the words quod periit, periit, meum corium cum cistella (703). In still greater excitement and grief the miser Euclio, rushing on the stage when he discovers the loss of his money, cries {Aul. 713) Ferii, interii, occidi. quo curram? quo nan curram? tene, tene. quern?, quis? He too entreats the aid of the spectators and laments his mis- fortune with the same repetition of miserum and perii, perdidi} So Tyndarus iCapt. 516) rushes out of the house when he unexpect- edly sees Aristophontes and realizes that his identity will be known and the trick disclosed. He expresses his complete despair Nunc spes opes auxiliaque a me segregant spernuntque se (517), an idea which he repeats and amplifies at some length. Near the end of the song he tells the reason for his distress by a narrative of facts already known to the audience (527-8) and declares again that there is no way of escape. In great terror Palaestra rushes forth from the temple to escape the violence of the leno {Rud. 664). Her sense of helplessness and fear is expressed in language much like that of Tyndarus: Nunc id est quom omnium copiarum atque opum, auxili, praesidi viduitas nos tenet. So great is her despair that she sees escape from her ill-fortune only in death. The monody of Pardalisca (Cas. 621) expresses terror in an even more exaggerated form. NuUa sum, nulla sum, tota, tota occidi. As one of the tricks tried on Lysi- damus, she is trying to make him believe that Casina is mad and ready to kill him. For that reason, her monody, as she rushes wildly from the house, expresses the most violent emotion. The brief narrative (670-71) is of facts not known to the audience, but easily imagined and unimportant. In Aul. 406 the cook rushes out of the kitchen to escape the blows of Euclio, and calls for help. Attatae! cives, populates , incolae, accolae, advenae omnes, date viam qua fugere liceat. He complains of the beating he has received, totus doleo atque oppido perii, but from the nature of the situation the effect is merely comic. Again the facts narrated are not known to the audience but unimportant. ^ * The striking similarity between Cist. 671 and AuL 713 may be used as cumulative evidence that Menander was the author of the Greek models in both cases. - With this monody may be compared Rud. 615, a monologue in recitative follow- ing a monologue in senarii. Trachalio, rushing from the temple to complain of the Studies in the Songs of Flautine Comedy 29 Allied in feeling to these songs that portray grief, fear, or despair, are those in which the singer expresses self-reproach and chagrin. In Bac. 612 Mnesilochus, who through distrust of his friend and sweetheart has given to his father the money which was to purchse her freedom, in regret at his impetuous act, reproaches himself bitterly: Petulans, protervo iracundo animo, indomito, incogitato sine modo et modestia sum. The songs of the old men frequently express their self-reproach and chagrin when they discover how they have been made victims of the intrigue. Nicobulus {Bac. 1087) is greatly ashamed of his stupidity. Quiquomque ubi sunt, qui fuerunt quique futuri sunt posthac stulti, stolidi, fatui, fungi, bardi, blenni, buccones, solus ego omnis longe antideo stultitia. It is not the loss of the money that distresses him, but the thought that he has allowed himself to be cheated twice. The brief narrative of 1096ff. gives facts already known to the audience. The same emotion is expressed in Hegio's monody (Capt. 781). His fear is that he will become a laughing stock throughout the city when the trick becomes known. So also in Cas. 937 Lysidamus comes on the stage covered with morti- leno's violence, calls for help in much the same way as the cook did. Pro Cyrenenses populares! vostram ego imploro fidem, agricolae, accolae propinqui qui estis his regioni- busj ferte opem inopiae. The use of the monologue rather than song form here is probably due to the conventions of entrance technique; it is preceded by Daemones' monologue narrating his dream. (See p. 15.) Moreover, the efifect of Palaestra's monody (664 see above), which follows fifty lines later, would be weakened if it were preceded at such a short interval by another song of similar nature. There are four other monologues that express emotion of this sort, grief, despair, or fear. Two of these may be explained, as Rud. 615, by the conventions of entrance technique; Amph. 882 (senarii) is an emotional monologue in which Alcumena expresses her grief at her husband's unjust accusations, a monologue in senarii following the prologizing entrance monologue of Jupiter, also in senarii. The entrance monologue of Dorippa {Merc. 700) , also in senarii, is emotional; Dorippa, coming out of the house after she has discovered the girl inside, laments her own unhappy fate in the words Miserior muLier me necfiet nee fuit, tali viro quae nupserim. But since it is preceded by Lysimachus' entrance monologue narrating off-stage action in senarii, its monologue form is in accordance with the ordinary procedure of entrance (p. 15) . The other two emotional monologues of this sort are also in the Mercator. At 588, Charinus considers in anxiety the uncer- tainty of his fate as he waits for Eutychus. At 830, after making up his mind to leave home he returns sadly for a last farewell. The question of entrance technique does not affect these monologues since they are both entrance monologues of A but the fact that they both occur in the M creator, a play with very little song, is important. It is important to observe that these emotional monologues are both in trochaic septenarii, following iambic senarii. 30 Studies in the Songs of Plautine Comedy fication and shame. In the case of the leno^ {Pers. 777) it is the loss of his money that arouses his lamentations and he bewails his mis- fortune in words much like those of Nicobulus (Bac. 1087-89) : Qui sunt, qui erunl quique fuerunt quique futiiri sunt posthac, solus ego omni- bus antideo facile, miserrumus hominum ut vivam. The narrative of 781 ff. is of facts already known to the audience. The monody in some cases expresses anger. In Asin. 127 the young man, Argyrippus, who has evidently been forcibly thrust out of the house, cries out in a rage against the lena and threatens legal procedure.'' Menaechmus {Men, 110) rails at his wife who, like the lena in Asin. 127, is in the house, and threatens to indulge in any pleasures that he likes. In Cas. 144 it is the wife who expresses her indignation and anger at her husband. The monody of the servus currens expresses eagerness and breath- less haste and, ordinarily, joy at his good tidings. In Capt. 768 the parasite Ergasilus, returning from the harbor with the news that Hegio's son has returned, sings the conventional servus currens monody.^ The song is taken up, for the most part, with his anticipa- tion of the joys in store for him as a reward for bringing the news, but he does not state expressly what his good tidings are. In Stick. 274 Pinacium rushes back from the harbor in great excitement and joy. Again the news of the return of Epignomus is implied rather than stated, and the thought of the reward expected is uppermost in his 3 With this may be compared the brief monologue in iambic septenarii of Labrax {Rud. 1281). The situation is the same for, in both cases, the leno has been dragged to court, the girl taken away from hun, and he returns to lament his misfortune. But the monologue differs decidedly from the monody. The emotional element is briefly and coldlv expressed in the monologue, and the main part of the speech is concerned with the exposition of important action not already known to the audience, a comment in the form of a pun on the pleasure taken in the discomfiture of a leno and the state- ment of his purpose in coming. Although Labrax left the stage nearly 400 lines before, the recognition scene has interv-ened and the result of the action has not yet been dis- closed In the monody, however, the inevitable result of the praetor's action is easily anticipated bv the audience and the downfall of the letw has already been celebrated. The emphasis of the monody, then, is on the emotional element and its incoherence and excitement are entirely lacking in Labrax's cahn and orderly state- ment of the case. *The shift to recitative at 138 is not accompanied by a corresponding shilt ot emotion. See p. 12. The identity of the singer is of no importance from this point of view. (On Havet's theory cf . Revue de Phil. XXIX, 94.) ' This is not given as a monody by Leo {Monolog 59) but its combination of iam- bic octonarii and trochaic septenarii is very much like that of Capt. 516. which is so designated by him. Studies in the Songs of Plautine Comedy 31 mind (281-2). He exhorts himself to hasten and threatens those who get in his way (284-7). Of a different tone is the servus currens monody of Merc. 111. As the news Acanthio brings is bad news there is naturally none of the joy of the preceding monodies. The chief emotion is that of breathless eagerness and he exhorts himself to hurry in spite of his physical exhaustion. The first lines of Mercury's song (Amph. 984 ff.) are the conventional words of a servus currens: Concedite atque apscedite omnes, de via decedite, nee quisquam tarn audax fuat homo qui obviam opsistat mihi. But the next* lines show that it is a humorous parody of the servus currens monologue rather than a serious expression of haste: Nam mihi quidem hercle qui minus liceat deo minitarier populo, ni decedat mihi, quam servolo in comoediis? UV navem salvam nuntiat aut irati adventum senis. The rest of the monody is a prologizing account of future action. (See p. 35.)^ The most frequent expression of joy is the song of triumph of the arch-intriguer at the success of his scheme. In Bac. 640 Chrysalus « There are several servus currens monologues in recitative but none in senarii, a natural outcome of the excited nature of the scene. The monologue of the parasite Curculio {Cure. 280) does not indicate whether his news is good or bad but consists simply of a succession of threats warning people to get out of his way. These conven- tional threats are found in brief form in monody {Stick. 285-7) and in more detailed form in Capt. 790 ff., when the monody of Ergasilus (768-80) is resumed in recitative after Hegio's monody. The monologue of Epidicus {Epid. 192) may be compared in form with this monologue of Ergasilus. Both enter with a jo>^ul monody, which after an interruption by another speaker becomes a monologue. In the passage of the Epidicus, Epidicus' monody is followed by a brief dialogue in trochaic septenarii of Apoecides and Periphanes, already on the stage (190-92). Epidicus, seeing them, remarks on their presence in trochaic septenarii (192-3), then addresses himself in iambic octonarii (194-5) and in 196-200 gives the servus currens speech proper in troch. sept. This brief monologue expresses the conventional eager haste. In Trin. 1008, Stasimus urges himself to hasten, going off into a long and irrelevant digression. The monologue in Asin. 267 expresses joy at the good news which the speaker is bringing. The monologue of Tranio {Most. 348), though not strictly a servus currens monologue, resembles them. Tranio, coming back from the harbor with the news of Theopropides' return, delivers an emotional monologue which is expository of important action. This, unlike the other servus currens monologues and monodies, is not overheard by the persons on the stage. Terence as well as Plautus uses recitative rather than senarii for the serous currens {Adelp. 299, And. 338, Ph. 179, 841). For the part played by the servus currens see Wagner De Nuntiis Comicis (1910) and Weissmann De Servi Currentis Persona apudComicos Romanos (1911). Leo, PI. Forsch.- 137 points to the prototype in Old Greek Comedy of the slave who brings his master good news and compares PlutUS 644 Tax«wy, raxcws, 0€p' olvov w dkairoLv\ Iva KavT-q xtry? with the words of Ergasilus {Capt. 843 ff.) and ws ayada ovWv^Srjv Siiravrk trot <^tpui (646) with Ca/»/. 869 and Stick. 339. 32 Studies in the Songs of Plautine Coynedy expresses his exaltation at having cleverly deceived the senex and helped his young master. He considers that his act has been the proper kind of service and wonders how much money Mnesilochus decided to keep. Later in the play when his second trick proves successful and the money has been obtained from Nicobolus he sings a joyful and triumphant monody of more than fifty lines that carries out in detail an elaborate simile of the Trojan War {Bac. 925). He likens himself to Agamemnon, Nicobolus to Priam, and compares the steps of the intrigue to those by which Troy was taken. The military figure is common in songs of this sort, but this is unique in the particu- lar details given and its elaborate form. So in Pers. 753 Toxilus' song of triumph at his success begins with two lines wholly military in language Hostihu' victiSy civibu' salvis, re placida, pacibu' perjectis, belle exsiincto, re bene gesta, integro exercitu et praesidiis. After expressing his gratitude to the gods he turns to the preparation of the banquet with which they are to celebrate their triumph. Pseu- dolus {Pseud. 574) sings with joyful self-confidence of the success in prospect. His monody also is full of metaphors from the military field ubiquomque hostibu'' congrediar .... facile ut vincam, facile ut spoliem meos perduellis meis perfidiis (580-3) and meas legiones adducam (586), for instance.^ Epidicus' monody {Epid. 181), though shorter, has the same tone of bold self-confidence. The joy expressed may be the premature satisfaction of the ane who is later to prove the victim of the intrigue. Dordalus {Pers. 470), the leno, comes in and tells with complacent pride of the good bargain which he has made. This emotion is made as strong as possible since it leads to his downfall and is contrasted with his later discomfiture (777). The slight narrative is of facts already known or easily guessed by the audience.^ The song may express the grateful joy of the father who has found his son, as Hegio's prayer of thanksgiving at the return of Philopolemus {Capt. 922).^ The monody of Lysiteles {Trin. ' Pseudolus' later monok)gue (septenarii) 667 and Tranio's monologue (senarii) {Most. TIS) may naturally be compared with these because of their tone of triumphant self-confidence but they are both link monologues and song is ordinarily used only for entrance monologues. 8 With the emotion expressed compare Capt. 498 and see pp. 34 f . 'With this may be compared Daemones' monologue (senarii) Rud. 1191. He exclaims over his joy at having found his daughter in the words Pro di immortales! quis me est fortunatior qui ex improviso filiam inveni meant, but the main part of his monologue consists in exposition of action essential for the plot and a disgusted com- Studies in the Songs of Plautine Comedy 33 1115) expresses his pleasure at the news that Charmides has re- turned.^° The emotion expressed may be joy artificially aroused by wine. In Pseud. 1246 Pseudolus comes on the stage, hilarious and intoxi- cated, and describes the banquet that he has just left. Although there is a narrative element in the song, the narrative is of irrelevant and unessential action. With this may be compared the short monody of Callidamates, who is also under the enlivening influence of wine {Most. 313). The lena's praise of wine {Cure. 96) is also in song form, though it differs from the song of Pseudolus in that the joy is that of anticipation rather than realization. The prayer song is a natural outburst of gratitude to the gods. Trin. 820 is the prayer of the returning traveller expressing his gratitude to Neptune for his safe return. The whole prayer is a direct address to the god, praising him for his kindness and defending him from adverse criticism. The song merely expresses the emotion of the singer without contributing to the action.^^ The other two long song prayers, Pers. 251 and Rud. 906, on the other hand, narrate ment on the over-indulgence in emotion on the part of his wife and daughter. In its narrative of important future action, it is essentially a prologizing monologue, which is regularly written in senarii. ^0 Examples of monologues expressing joy are Atd. 808, Merc. 842, Stick. 655, and Triic. 699. AuJ. 808 is a very brief monologue (three lines) expressing the joy of the slave at having found the treasure. The use of recitative may be explained by the fact that it occurs in the last scene of the play, which is regularly in trochaic septenarii. The monologue form of both Merc. 842 and Stick. 655 may be explained by the con- ventions of entrance technique as they are both entrance monologues of B following the entrance monologue of A (see pp. 15 f.). In the first case after the mournful mono- logue of Charinus, Eutychus rushes out in excited joy since he has found that the girl for whom they are looking is already in the house (both monologues, recitative). The fact that the Mercalor contains little song must again be noted. In Slick. 655 after the prayer of the returned traveller, conventionally in senarii, Stichus comes in and expresses his joy in a brief monologue (655-9), which is also in senarii. True. 699 is the monologue of Diniarchus telling of his great good fortune and4ie successful turn of his love-affair. It is unique in being an emotional entering monologue of A (reci- tative after senarii) followed by the non-emotional entering monody of B. Again, the Truculentus diverges from the norm as in many other matters. " There are several travellers' prayers in senarii: Bac. 170; Merc. 678; Most. 431; Poen. 950; Stick. 402; but none in septenarii. These differ from the song Trin. 820 m being stereotyped and conventional in form; they are formal and ritualistic rather than emotional. Instead of an elaborate expression of gratitude, only a brief phrase or, at the most, two or three lines are addressed to the god. The prayer is used as a conveni- ent method of introducing the speaker and informing the audience of certain facts. 34 Studies in the Songs of Plautine Comedy facts necessary for the progress of the action. Rud. 906 is a monody sung by the fisherman, Gripus, when he enters with the box containing the crepundia by which Palaestra's identity is to be proved. His prayer is also addressed to Neptune but it is to Neptune, god of fishermen, rather than to Neptune, protector of travellers by sea. His expression of gratitude for his strange catch takes a much simpler form than in Trin. 820: Neptune has ago graiias meo patrono qui salsis locis incolit pisculentis. He goes on to relate that he rose early and went out into the storm as a faithful slave should do, digressing in reflections on the duty of a slave. ^- Then, giving free rein to his imagination, he builds air-castles with the possible contents of the box. In Pers. 251, the slave Sagaristio gives thanks lovi opulento, indulOj Ope gnato, supremo^ valido, viripotenti, for his good fortune in being able to serve a friend. He explains that he intends to give to Toxilus the money which his master has given him for buying oxen, and reflects with cheerful unconcern on the punishment which he expects for his action. Although both these songs {Rud. 906 and Fers. 251) narrate facts necessary for the development of the plot they resemble Trin. 820 in portraying deep joy and gratitude. They differ from it in that the emotion while coloring the whole narrative finds direct expression only in the first lines. All three prayer songs occur in plays rich in song. This strong emotional coloring is found even in most of the songs that primarily narrate action. Joyful self-satisfaction is the key-note of the song that Hegio sings (Capt. 498) when he comes in con- gratulating himself on his wisdom in buying prisoners: Quid est suaviu^ quant bene rem gerere bono publico, sicut ego feci heri, quom emi hosce homines. Then he goes on to relate in detail his action since he left the stage, action that is essential to the development of the plot.^^ In Cas. 875, on the other hand, the slave Olympio Several, especially Bac. 170, Poen. 950, and Stick. 402, are really prologizing mono- logues in their niiration of essential presuppositions of the plot. The short link prayer Merc. 678 is not narrative but is obviously a mechanical means for filling a time interval. " Fraenkel De media et nova comoedia quaestiones sclcctae (1912) 51 remarks on the lack of the detailed narrative which might be expected to follow 914-17. He thinks that there was such a narrative in Diphilus, for which Plautus substituted general sentiments as more suitable for song. His comparison with Bac. 640 lacks force as there is no reason to think that there was ever any narrative at that point. " This may be compared with Pcrs. 470 in showing the premature satisfaction of the later victim but in Dordalus' monody there is less narrative and the narrative is of less essential facts. See p. 32. Studies in the Songs of Plautine Comedy 35 enters overcome with mortification and shame: iVeg«e quo fugiam neque ubi lateam neque hoc dedecu' quo modo celem scio, tantum erus atque ego flagitio superaviu' nuptiis nostris. Then with the direct address to the audience operam date, dum mea facta itero, he tells what happened off-stage and how the trick was discovered. In both these songs there is a clear demarcation between the expression of emotion (Capt. 498-504 and Cas. 875-78) and the simple and straight- forward narrative of the rest of the song. The narrative itself in both songs and the direct address to the audience inCas. 879 resemble the prologizing monologue closely. A still better example of the prologizing monody is Amph. 984, the song of Mercury. The song begins like that of a servus currens (See p. 31). Then Mercury describes his own function and the character of his master. After that he goes on to give an account of future action in detail, beginning with the direct address to the audience (997-8) faxo probe iam hie deludetur, spectatores, vobis inspectantibus. This monody differs from those just discussed, first in lacking the emotional setting of Capt. 498-504 andCa^. 875-78, and second in that the action described is entirely unessential and trivial.^* True. 448 is also prologizing. In the first lines (448-62) Phronesium reflects with feigned emotion on the anxious cares of mothers. Then, directly addressing the audience, (463) vosmet iam videtis ut ornata incedo, she explains the trick that she is playing, the meter changing almost at once to recitative. Since the facts are already known to the audience, the explanation is unessential. In the case of the two narrative monodies of the Amphitruo the background furnished by the tragic messenger must be considered. In 1053 Bromia, the ancilla, rushes forth from the house in breathless »*With this may be compared two prologizing monologues of the Amphilruo which are very similar, that of Mercury (463) and that of Jupiter (861), both of which narrate future action with a direct address to the audience iamne hoc scitis quid siet 485 and nunc hue honoris vostri venio gratia 867. Both of these monologues, as well as Mercury's monody, are entirely unessential for the structure of the play as far as their content goes. Prologizing monologues may, however, give important presuppositions of the plot as Cist. 120 (exit), Bac. 170, Poen. 950, Stich. 402. The future action that they narrate may be important, as in Rud. 1191 or unessential as Pseud. 562 (exit) and Stich. 673. The audience is addressed either by implication or directly as Cist. 146, Pseud. 562, Stich. 410, 673. These prologizing monologues are ordinarUy in senarii, the meter regularly used for prologues (Stich. 673 iambic sept.). The prologue proper of the Truculentus, which gives very little information about the plot, is followed by the prologizing monologue of Diniarchus 22-94, which narrates in detail the neces- sary presuppositions of the plot, also in senarii. 36 Studies in the Songs of Plautine Comedy Studies in the Songs of Plautine Comedy 37 terror with the words Spes atque opes vitae meae iacent sepultae in pectore — me miser am quid a gam nescio}^ Then in dignified and impres- sive language she describes the miraculous birth of Hercules. Bro- mia's song is naturally compared with the narrative monody of the Phrygian, Euripides Orestes 1369ff., when he rushes forth in terror to tell of Helen's death. Although this is the one example in Greek tragedy of the messenger's narrative in song rather than in iambic trimeter, it is easy to see how the use of song in messengers' roles might be extended by later writers when there was a desire to empha- size the emotion. 1^ The next step in the natural development would be the use of song in messenger speeches in which the emotion was not emphasized. An example of this is Sosia's monody, Amph. 153. Sosia, Amphitruo's slave, comes in somewhat frightened at the lonely night hour and lamenting the hard fate of the slave of a rich man. He has been sent to inform Alcumena of what has happened and decides to practise his speech beforehand, prius ipse mecum etiam volo hie meditari. sic hoc proloqiiar (202). From this point the monody consists of a long, detailed narrative of previous action changing to iamb. oct. at 248 and to troch. sept, at 263 and inter- rupted by the side remarks of the listening Mercury. This monody differs from that of Bromia in its lack of emotion and in the greater length of the narrative. It is in subject-matter and style quite clearly a parody of the conventional messenger's speech in tragedy. ^^ ^^This may be compared with Cos. 621 when Pardalisca rushes out of the house in feigned terror at Casina's madness, but in the Casina the actual narrative is given in duet in answer to questions rather than in monody. Moreover Pardalisca's monody is merely a parody on the tragic messenger for comic effect. See p. 28. ^' Leo, PI. Cant., 92 points out the resemblance between Orest. 1369 ff. and A mpli. 1053 5. (Cf . also Monolog 73, Fraenkel op. cit. 39 and 65 and Fischl De nuntiis tragicis, Dissert. Vindobonenses vol. X (1910) 67). The probable extension of the use of song in cases of this sort is discussed byHenning De tragicorum Atlicorum narrationibus (1910) 26 "in monodia Phrygis hi affectus metris et arte musica expressi sunt et sic afiPectuum in ceteris narrationibus ratione habita intellegimus facile accidere potuisse ut hae narrationes ad monodiam adducerentur." He points to the similarity of form between this monody and the narrative chorus of Hel. 515. Leo {PL Cant. 79) con- siders this monody important as a model "Man geht gewiss nicht fehl, wenn man dieses Stiick unter die Muster derauf Euripides folgendendramatischenLyrik rechnet." For the messenger in comedy see also Beyer De scaenis cofnoediae veleris quibus, quae ad actionem spectant, narrantur, nofi aguntur (1912). ^^ Leo, PL Forsch.^ 134 points out the special resemblance of Sosia's speech to the description of the battle by the messenger in Eur. HerakL 800 ff., which is, however, in iambic trimeter. The fact that it is the only narrative song in Plautus which is not justified in some measure as song by its emotional coloring is in itself significant. The narrative of the battle is of little importance for the development of the plot.^^ The significance of the emotional content of song is sometimes brought into prominence through the artifice of contrasted songs portraying opposite emotions. In the Bacchides Mnesilochus' mon- ody expressing self-reproach and despair (612) is contrasted with Chry- salus' song, congratulating himself triumphantly on his success (640). Mnesilochus' first lines, in which he upbraids himself bitterly, are con- trasted with Chrysalus' complacent statement that he deserves a golden statue. Mnesilochus feels that he no longer deserves a friend; Chrysalus thinks that he has fulfilled the whole duty of a slave to his master. Mnesilochus gives as the reason for his self-reproach qui patri reddidi omne aurum amans (623). Chrysalus echoes the words when he wonders quantum erus sibi dempsit et quid sua reddidit patri (663). The two monodies are separated by a short duet between Mnesilochus and his friend continuing the tone of the first monody. The two monodies begin with three lines in the same meter and then change to different meters. So, too, at the end of the Persa, the triumph of Toxilus' monody, rejoicing at his success and preparing to celebrate (753), is in direct contrast to Dordalus' deep chagrin at his defeat and sorrow over the loss of his money (777). Like the duet in Bacchides a short trio, carrying out the tone of the first monody, separates the two monodies, which are about equal in length and written in the same meter. In Captivi the balance is even more strongly brought out. Hegio's joyful monody of 498 contrasts directly with Tyndarus' despairing monody 516, while Ergasilus' joyful monody 768 contrasts with Hegio's disconsolate monody 781. Not only are there two balanced pairs of monodies expressing in regu- lar alternation joy and sorrow, but the contrast is further emphasized by the close parallelism between the first joyful monody of Hegio 498 and his second sad monody 781. In the first song he prides himself on his wisdom and expresses his pleasure at the congratulations of his fellow citizens, while in the second he bewails his own stupidity and fears laughter at his expense when his folly becomes known. The lines Ubi quisque vident, eunt obviam gratulanturque earn rem .... vix ex gratulando miser iam eminebam (501, 504) correspond with quod quom scibitur tum per urbem inridebor, quom extemplo ad forum -* See excursus at end of chapter. 38 Studies in the Songs of PlauUne Comedy adveneroy omnes loquentur: ' hie illest senex doctus quoi verba data sunt' (785-87). The chiastic arrangement of the meter of the four songs makes the parallelism between the two monodies of Hegio still stronger: 498 bacchiac, 516 iamb, oct., troch. oct. and sept., 768 troch. sept, iamb, oct., 781 bacchiac. ^^ In addition to the songs that are purely emotional and those that have a narrative element, there are certain songs that are reflective in character. In the reflection, a certain amount of emotion may be involved. In Bac. 1076 Philoxenus reflects with anxious concern on the conduct of his son. In True. 448 Phronesium, in her assumed role of mother, reflects with feigned emotion on the anxious cares of mothers.2o The short monody of Pseud. 905 consists of reflections on the character of the sycophant colored by a certain anxiety and impatience. In Epid. 81, Epidicus, in the rare link monody after the duet in which he learns of the complicated problem before him, reflects on the proper method of extricating himself from his diffi- culties, exhorting himself to action with the thought ilaque in te inruont monies mali (84). The narrative of facts 88-90 continues the exposition of the preceding duet. The song of Sophoclidisca (P^^ri. 168) consists for the most part in impatient and irritated remarks addressed to her mistress who is in the house, ending with two lines reflecting on the wretchedness of a person in love. The most important group of these reflective-emotional songs consists of those sung by the adulescentes on the general topic of love. These differ in the relative amount of emotion and generalizing reflection. In Cist. 203, Alcesimarchus follows his general statement credo ego Amorem .primum apud homines carniificinam commentum directly with the personal application hanc ego de me conjecturam domifacio. He goes on to relate his sufferings in detail and tells how Love tortures him. His brief statement that his father has kept him in the country so that he has not seen his love for six days merely explains his emotion rather than narrates important facts. In Merc. 335 Charinus complains of his ill-fortune and wretchedness and 19 The joyful monody of Ergasilus also contrasts with his doleful monologue of 461. In 461 he is utterly discouraged at his lack of success in getting an invitation to dinner; in 768 he joyfully anticipates feasts without end. A clear parallel in language is seen in the lines Nam herclc ego huic die, si liceat, ocidos ecjodiam libens, ita yyialigni- tate oneravit omnis mortalis mihi (464-5) and ita hie me amocnitate amoena amoenus oneramt dies (774). The monologue is in trochaic septenarii and the monody com- bines trochaic septenarii and iamb, octonarii. 2° For the prologizing force of the last part of this monody see p. 35. Studies in the Songs of Plautine Comedy 39 considers whether he shall follow the slave's advice or not. In despair, he declares, igitur hoccine est amare? arare mavelim quam sic amare (356). The brief narrative is of facts already known to the audience and again merely justifies his emotion. In Most. 84 Philolaches appears in a gloomy state of mind, full of remorse, and sings a long, carefully elaborated song in four stanzas on the simile of the house. The first stanza states the theme in general terms, the second elaborates it, describing the house in its beauty, in its neg- lected condition and in its ruin. The third stanza gives the general application of the simile and in the fo^urth the personal application to himself is made. He confesses his guilt and laments his deplorable state, showing that he considers love the cause of his trouble by the words (142) continuo pro imbre amor advenit in cor meum. Trin. 223 is also a long and elaborate song. Lysiteles reflects on the evils of Love which he knows from his own experience and resolves to change his manner of life. Pers. 1 resembles this but is in briefer form. The song of Lysidamus Cas. 217 is unique in showing the lover in a complacent rather than in a gloomy state of mind. He speaks in general terms of the personal charm enhanced by Love and points with satisfaction to himself as an example, qui quom amo Casinam, magi' niteOy mundiliis Munditiam antideo (225).^^ In addition to these reflective monodies which are more or less colored by the emotion of the singer there are a number of topical monodies on stereotyped, recurring general themes which are, on the whole, unemotional. The theme of the good and bad slave appears most frequently; Men. 966; Most. 858; Pers. 7; Pseud. 1103 and also, incidentally, in Bac. 654-62 and Rud. 920-24. In Men. 966, Messenio, the slave, comes in reflecting on the general subject of the duties of a good slave and the punishment of a bad slave. It is through fear of this punishment that he obeys his master (977). He explains that he has carried out the orders of his master about the baggage and slaves and now has come to meet him. In Most. 858 the slave 2> Merc. 1 and True. 22 (both senarii) deal with the theme of love. The Mere. passage serves as a prologue, giving the presuppositions of the plot and is mainly narrative, and the reflection on love comes between two portions of narrative 11-13 and 39-1 10. The True, passage follows the prologue directly and after a long general- izing reflection 22-76 also gives presuppositions of the plot. In both cases the subject of love is treated in a generalizing, unemotional way and the brief personal applica- tion {True. 77) only serves to motivate the reflective passage. In the lack of strong, personal emotion these monologues, then, differ decidedly from the monodies on the same theme. 40 Studies in the Songs of Plautine Comedy Phaniscus, a puer delicatus, points, with the same satisfaction, to himself as an example of the bonus servus. His general statement expressed in the first lines Servi qui quom culpa carent, tamen malum metuont, i solent esse eris utibiles. nam illi qui nil metuont postquam sunt malum meriti, stulta sibi expetunt consilia, shows a decided parallelism both in thought and language to Men. 983, Servi qui quom culpa carent metuont, i solent esse eris utibiles. nam illi qui nil metuont, postquam malum-\ promeritumque'\ ei metuont. He points to his fellow slaves who have refused to accompany him, according to their master's orders, as examples of the bad slave and to himself as an example of the good slave, in having obediently come to meet his master. The same general theme is carried out in the entering monody of the slave Harpax {Pseud. 1103). The idea that a slave should fear and obey his master as much in his absence as in his presence is found both here (1113-15) and in Men. 968-9. After giving himself as an example of the good slave, he explains why he has come. Pers. 7 is shorter than the other monodies on this topic. The same idea of the good slave pleasing his master present or absent is here, but instead of pointing to himself as a good slave, the speaker says neque satV sum ero ex sententia and likens himself to a sore eye which his master cannot let alone.^^ The monody of Men. 753 treats the theme of old age. The senex comes in complaining of the hardships of old age, which not only deprives him of strength but brings other attendant evils (753-60). After this emotional prelude, he turns to reflection on the probable cause of his daughter's summons, concluding that she must have had some trouble with her husband. He goes on to the general « The only real parallel in monologue form to these monodies on the good and bad slave is the entrance monologue (in recitative) of the entering slave Aul. 587. He also points to himself as an example of the good slave in the line hoc est servi /acinus Jrugi facere quod ego persequor (587). The language of 589 nam qui ero ex sententia servire servos postulat resembles closely Pcrs. 10 ego neque lubenter servio neque satis sum ero ex sententia. After his general reflections on the duty of a slave to help his master in all his difficulties, he explains his entrance by telling of the errand on which his master has sent him. The two exit monologues in senarii, Bac. 913 and Rud. 1258, are scarcely comparable since they are both spoken by masters, not slaves, and deal with the theme briefly and incidentally. In Rud. 1258 the generalization consists of only one line iUuc est quod nos nequam servis ulimur. In Bac. 913-15 the comparison of the slave to a sore eye resembles Pers. 11-12. This theme of the good and bad slave is found also in Euripides although he does not enlarge upon the theme {Helen 726-33). Studies in the Songs of Plautine Comedy 41 thought of the arrogance of dowered wives but adds that the husbands, too, are not free from blame. The theme of domestic troubles appears also in Most. 690, Men. 110, and Cas. 144 (from the wife's standpoint), but with the difference that the marital infelicity in these songs is the singer's own and for that reason there is a certain amount of personal emotion that is lacking in the generalizing reflections of the senex. Simo {Most. 690) comes out of the house delighted at his success in escaping the vigi- lance of his wife. He complains of the evils of a dowered wife, addressing the audience directly in expectation of sympathy. Men- aechmus {Men. 110) coming out of the house in anger, accuses his wife of too much interest in his affairs and threatens to indulge in any pleasures that he likes. He also addresses the audience directly and asks for the thanks of husbands for his service to their common cause. In Cas. 144 the wife expresses her anger against her husband and her purpose to punish him (See p. 30). These songs, however, differ from Most. 690 in that they are closely connected with the situation and advance the plot, while Most. 690 is entirely irrelevant and unessential.^^ This dissatisfaction with affairs may be extended beyond the domestic circle. In Men. 571, Menaechmus, returning from the forum, sings a monody reflecting on the general evil of the client system. Everyone wishes to have as many clients as possible whether good or bad and cares more for the amount of his client's property than for \i\?> fides. After these general reflections, he brings » This theme of domestic troubles appears also in monologue form. The long harangue of Megadorus (senarii) Aul. 475 is an impersonal proposal for public reform. After stating his plan to marry a girl without dowry, he goes on to say that if other men did the same, the state would be in a much better condition and the men would be subject to less expense. He concludes with a long tirade on the extravagance of women. In Merc. 817 (senarii) the ancilla, Syra, as she leaves the stage, proposes, aroused by the domestic troubles of her master and mistress, that there should be equality before the law in such matters for men and women. In addition to these general discussions of the subject there are many personal allusions which show what a common theme domestic infelicity was in the literary cant of the period; Asin. 19-22, Merc. 700, Trin. 42, for instance, but with these must be contrasted the devotion to their husbands of the sisters in the Stichus. This idea, both the woman's lament on her hard lot and the man's complaint in regard to the evils of women, appears also in Euripides. (See Leo, PI. Forsch.^ 115 ff.). One of the best examples of the tirade of a man against women in general is that of Hippolytus {Hipp. 616 ff.) and of the lament of a woman, that of Medea {Med. 230 ff.). Clytemnestra's words {Elect. 1035 ff.) may be compared with those of Syra {Merc. 817 see above). 42 Studies in the Songs of Plautine Comedy in the personal application (588) and explains how he has been delayed by a client in spite of his impatience to return to Erotium and to the feast.^'* In addition to these topical songs which are irrelevant in theme and unessential in material, there are four songs in the Truculentus on the same general topic, the mercenary relations between lovers and meretrices, which throw some light on the situation and provide atmosphere. Three of these songs are sung by Astaphium, Phrone- sium's ancilla, 95, 209, 711, and one by Cyamus, Diniarchus' slave (551). In the first monody (95) Astaphium, saying that she wiU stand outside as a guard to see that no one comes out with more than he has brought, generalizes on the thieving tendency of lovers but adds that the meretrix is not the loser in the end. In her third monody (711) she advises her mistress to make the most of her opportunities and again takes up her position as restitrix. Her second song is unique in that after a dialogue with Diniarchus and his exit she turns to the audience and begins to sing, the only example of a link monody beginning the song sequence. Her general theme is that lovers should expect to be favored only as long as they can give substantial gifts, with the usual personal application at the end. The monody of Cyamus (551), on the other hand, tells how Diniar- chus is ruining himself financially and likens the greed of a meretrix to the sea. The song of the meretrix, Erotium {Men. 351), shows briefly the same mercenary characteristic in her statement that munditia is a source of gain for a meretrix.^ The monody of the leno, Ballio {Pseud. 133), addressed to the members of his household, carries out the same idea in the commands that he gives to the meretrices.^ M Criticism of existing public abuses appears also in monologue form. The speech of the parasite Pets. 65 fl. includes an attack on the evils of informing and a suggested remedy, ending with the lines (75-6) sed sumne ego stiilius qui rem euro puhlicam ubi sint magistratus quos curare o par teat. The second {Men. 459), also m the mouth of a parasite, is more humorous in tone in suggesting that only those who have no dinner engagement eos oportct conlioni dare operam atque comitieis. In Trin. 220 a suggestion is made to do away with gossiping publico fiat bono. Suggested reform of social evils appears also in Euripides {Phoen. 1015, and Andr. 693, for instance. See LeoP/. F<7r5cA.M16fF.). . ^ But 351-3 may be compared with Pers. 757 ff. They both give directions for the preparations of the feast. Cf. 357 ff. with Pseud. 908 fif.; in both the delay of someone expected is mentioned. « The topic of the meretrix appears elsewhere in comedy but not in monologue. Her insatiate nature is brought out in the dialogue between the aduhscens and Una Studies in the Songs of Plautine Comedy 43 A small group of monodies, short and unimportant and miscellane- ous in subject-matter, remains to be discussed. The preference for song rather than monologue in these cases results, evidently, from the conventions of entrance technique. Since the succession of monody, monody is preferred to that of monody, monologue, the second solo part, whatever its content, is ordinarily a monody if it follows a monody (See p. 15). So after Pseudolus' song of triumph, Harpax, entering, sings a brief monody telling his errand {Pseud. 594). Euclio's monody lamenting the loss of his gold {Aul. 713) is followed by the short monody of Lyconides who thinks that Euclio has dis- covered his daughter's secret (727). After the entering monody of Messenio on the good and bad slave, comes the short song of the senex, giving directions to the slaves {Men. 990). In Pers. 272 after Sagaristio's song of thanksgiving, Paegnium enters, motivating his entrance with one line. In Cas. 165 after Cleustrata's emotional monody, Myrrhina's address to her slaves is in song form. An entrance duet is followed by an entrance monody rather than an entrance monologue. The only other monody affected by this technique is Epid. 337, an address to some one in the house which changes to recitative at 341 when it becomes a real monologue. Similarly, a duet is followed by a link monody {Aid. 445; Cure. 147; Epid. SI). In considering the content of duets, a distinction may be made between the duets that are preceded by a monody and those that themselves begin the song sequence. A preference for a succession of monody, duet over that of monody, dialogue is evident. There are 32 cases in which an entrance monody is followed directly by a duet (see I A; B, 1 ; III, B, 1 on pp. 17f., 24), and 28 cases when it is followed directly' by a dialogue.^' These duets following entrance monodies may be divided into those in which the song fuses with the following dialogue, and those in which the duet is a unit in itself ending with a break in' the situation. Ordinarily the duet is but a brief and un- important lyrical prelude to the ensuing dialogue, and when the singers {Asin. 153 ff.). In Cist. 21 ff., trio and dial, the lena talks to the meretrices of the difficulties of their position. In Most. 157, the ancilla advises the young meretrix as to the proper method of procedure (recit.). " Not including Cist. 203 since the text is uncertain. Asin. 127; Epid. 181; 337; Trin. 1115 change to recitative before the dialogue begins. See p. 18, 1, B, 1, b; p. 23, III, A. 44 Studies in the Songs of Plautine Comedy come to a serious discussion of an important matter, the meter changes to recitative. In Amph. 1076-85 Bromia after her monody sees Amphitruo and addresses him, the meter changing to recitative when she begins her account of what has happened. In Cas. 230-5 1 after the entrance monody of Lysidamus, he and Cleustrata sing a duet of twenty lines in which she reproaches him and he tries to conciliate her. Finally the real discussion is commenced by Lysidamus' words sed quid ais? and the song changes to dialogue. In Epid. 533-46 Philippa, after her entrance monody, sees Periphanes and the two recognize each other in a short duet which changes to recitative as Periphanes decides to address her Compellabo 547. In Most. 717-47 the duet between Simo and Tranio after the former's entering monody consists of mere jesting and raillery, changing tosenarii when Tranio states his errand nunc hoc quod ad U nosier me misit senex. The long monody of Ballio addressing his slaves (Pseud. 133) is followed by a trio with Calidorus and Pseudolus, consisting of rough raillery and abuse. When Pseudolus brings matters to an issue by the words />o/i«w/ .... Ballio, hue cum lucro respicias (264), the meter changes to recitative. In Pseud. 913-50 the duet between Pseudolus and Simio following Pseudolus' brief monody is unessential in material and jocular in tone, changing to dialogue when Simio says sed propera mi monstrare uhi sit lenonis aedium. The words of recognition and greeting exchanged by Trachalio and Palaestra after her entering monody are in song which changes to septenarii when she begins to tell him of her trouble {Rud. 676-81). In Rud. 938-62, after his song prayer, Gripus sings a duet with Trachalio that consists largely of an exchange of jesting remarks. With Gripus' question quid factumst Trachalio begins his direct statement of the case and the meter changes. After Astaphium's entering monody {True. 95), the recognition and greetings are expressed in a duet between Astaphium and Diniarchus, which changes to dialogue with Diniarchus' words, sed quid ais? (129). Occasionally the change from duet to dialogue comes before the change from the unessential, preliminary remarks to the serious discussion. In the two servus currens scenes, the duet {Merc. 131-40; Stich. 315-31) changes to dialogue before the end of the unusually prolonged exchange of abuse and jesting and the message is not definitely given until some lines later {Merc. 180-81; Stich. 364-71). In the Persa too the change from the short preliminary duet (272- 79) is not marked by a change in tone; for the abuse and jesting Studies in the Songs of Plautine Comedy 45 continue in the dialogue. Occasionally important facts are brought out in the song itself. In True. 719-29 the fact that Strabax is now the favored lover is given in the song (726-27). In Pers. 13-42 Toxilus tells Sagaristio of his need of money in the duet, and the change to recitative is not accompanied by a corresponding change in tone. In a few other songs the change from duet to recitative is not marked by any evident difference of thought or feeling. In Men. 995-1008 the entering monodies are followed by a duet between Messenio and Menaechmus in which Menaechmus calls for help and Messenio responds. The scene changes to recitative at the point where Messenio gives actual aid. In Trin. 276-300 Lysiteles' long entrance monody is followed by a duet which consists, for the most part, in a long harangue by the father at the close of which the meter changes. The short aside duet between Ballio and Simo, Pseud. 1124-33, after Harpax' monody, changes to recitative three lines before Harpax is addressed. The love-making scene follow- ing the song to the bride Cas. 825-46 changes to senarii abruptly in the middle. In general, however, the duets that are not separated by any break in situation from the dialogue which follows are mere unessential preludes to the dialogue, and the change of meter marks a very definite change of thought. Duets ending with a break in situation rather than a fusion with the succeeding dialogue often merely carry out the emotional tone of the preceding monody. After his entering monody {Bac. 612-24) lamenting his action, Mnesilochus sings a duet with Pis- toclerus in which he continues his lament and Pistoclerus tries to console him. This is followed by an entrance monody of Chrysalus. Similarly, in Persa 763-76 the trio following the monody of Toxilus carries out the tone of rejoicing in portraying the hilarity of the feast. It is also followed by an entrance monody sung by Dordalus who then joins the preceding singers in a quartette. The same atmosphere of hilarity and dissipation is also portrayed in the duet of Callidamates and Delphium which follows the short entering monody of Callidamates {Most. 320). The trio and quartette which follow carry on the same emotion. The song sequence ends at the entrance of Tranio. The duet {Cas. 165-216) also carries out the tone of the preceding monody in which Cleustrata complains angrily of her husband. In the duet with her friend, Myrrhina, she pours forth her troubles still further while Myrrhina tries to soothe her. In the Aulularia after Congrio's entrance monody calling for 46 Sttidies in the Songs of Plautine Comedy help comes a duet between Congrio and Euclio in which Euclio, in great excitement, questions Congrio (415-44). The duet is followed by a short link monody sung by Congrio as Euclio leaves the stage. In Cure. 110-46 the trio following the lena's entrance monody contains much unessential material for its comic effect but ends with her promise to bring Phaedromus his sweetheart. Her absence is covered by a duet and a link monody, the serenade to the doors. The song ends with the return of the lena. In Bac. the duet 1105-18 following the entrance monodies carries out the note of anxiety and discomfiture as the old men tell each other their troubles. At the entrance of the sisters the duet changes to quartette. In Rud. 229-58 the duet following the entrance monodies of Palaestra and Ampelisca consists of an exchange of greeting and a consideration of plans in the same emotional tone as that of the preceding monodies. It is followed at the entrance of the priestess by a trio in which the girls ask her for help. The song sequence ends with their exit from the stage. In addition to the songs which hardly do more than carry out the emotional tone of the preceding monody, there are a few duets following entrance monodies, which are of some organic importance for the carrying out of the plot. The two duets Bac. 979-96 and Pers. 482-500 are both preceded by an entering monody and end with an abrupt change to senarii at the reading of a letter. In the Persa, Toxilus, carrying out the trick that he has planned, tells Dordalus of the letter that he has received from his master. In the Bacchides, Chyrsalus reports to Nicobolus on the result of his errand and brings him a letter from his son. The duet, changing to trio {True. 577-630), that follows Cyamus' entering monody is also not unessential to the action of the play. Cyamus delivers to Phronesium his master's gifts and when the soldier, entering, becomes angry and threatens him, departs at once. With his exit the song ends. The duet sung by Simo and Pseudolus (Psetid. 1285-1334) after the latter's long monody is unnecessarily long and padded for comic effect but not unessential since it ends with their reconciliation and return to the banquet. In Cas. 892-936 the trio following Olympio's entrance monody is narrative of off-stage action and carries on the emotion of the monody. It is followed by the entrance monody of Lysidamus. The long duet sung by Pardalisca and Lysidamus (Cas. 630-719) after her brief monody is distinctly emo- tional in tone and of organic importance. In answer to his ques- Studies in the Songs of Plautine Comedy 47 tions she tells him that Casina is mad and determined to kill him and Olympio. The duet ends at the exit of Pardalisca and at the entrance of new characters a trio begins which is quite unessential in material and humorous in tone. These duets, then, which end with a break in situation are, as a whole, of somewhat greater organic importance than those that are fused with the following dialogue and instead of being mainly comic in their appeal, they ordinarily carry out the emotion expressed in the preceding monody. There is a comparatively small group of songs in which the duet is not preceded by a monody but itself begins the song sequence. These are found, as a rule, either at or near the beginning of the play (Amph. 551, Cas. 855, Most. 783, Poen. 1174 are exceptions). They differ from the duets which follow monodies in being, on the whole, of greater organic importance and quite unemotional. In accordance with their position near the beginning of the play they often give presuppositions of the plot, explain the situation, and start action. In the Stichus the play begins with the duet of two sisters, who express their anxiety at their husbands' long absence and discuss their father's wish that they marry again. In the Epidicus the play begins with the duet of two slaves, which both gives presup- positions of the plot and starts action. Thesprio tells Epidicus of the girl whom Stratippocles has brought home and Epidicus explains that, according to his master's earlier orders, he has bought the music girl. Epidicus begins to plan how he may obtain the money necessary. (Cf. Pers. 13-52 p. 45.) In Aul. 120 the duet of Eunomia and Megadorus, following the first expository scene, starts the action through the advice to marry that Eunomia gives her brother. In Capt. 195 the important fact of the change of roles is impressed upon the audience by Tyndarus' words urging Philocrates not to desert him. Through the second duet of the Epidicus (166) the audience learns of Periphanes' desire to marry the woman by whom he has had the daughter who is now, as he thinks, in his house. In Most. 783, another rare example of the song not at but after entrance, Tranio reports to Theopropides the result of his interview with Simo. Other songs portray character or provide atmosphere rather than advance the plot. The opening trio of the Cistellaria contains nothing essential to the action. The song consists merely of an exchange of polite remarks and a long speech by the lena on the position of women of their class and changes to dialogue at 38; the story of the love-affair is not begun until 89. The content of the duets of the 48 Studies in the Songs of Flautine Comedy Poenulus is equally unessential except as they throw light on the character of the girls (210, 1174). The first deals with the general theme of the labor involved in a woman's toilet and the second describes the festival that they have just seen. The third duet of the Epidicus (320-36) adds nothing to the development of the plot. Stratippocles expresses his anxiety and reproaches Chaeribulus for not helping him while Chaeribulus declares his inability to do so. The scene, obviously time-filling, has a certain emotional coloring. With this may be compared Cas. 855, also clearly unessential and time-filling. The women enter discussing the success of their trick and take positions so as to intercept the victims when they leave the house. Amph. 551-632 is a duet between Amphitruo and Sosia on the subject of the mistaken identities. It is distinctly comic in effect and serves to relieve the seriousness of the environing scenes. The last scene of the Stichus is in lyric measures as Sangarinus and Stichus dance (769-75). (Cf. Pers. 763; Most. 320; Pseud. 1285 for other convivial songs.) To sum up, then, the facts observed about the content of song; of the 73 monodies, 2>3> are expressions of emotion pure and simple,^* 5 are both emotional and narrative,^^ 9 are both emotional and reflective.3^ 47 monodies, then, or approximately two-thirds are motivated as song by their emotional content. Of the remaining 26, the song form of 9, varying in content, evidently results from the conventions of entrance technique.^i The 17 remaining are not motivated as song by their emotional content nor are they due to the conventions of entrance technique. Their content varies; Amph. 153 narrative; Amph. 984 prologizing; Pseud. 905 reflective; Cas. 815, Pers. 168, Pseud. 133, address to silent characters; Men. 351, address to silent character and reflective; Men. 966, Most. 858, Pseud. 1103, Men. 753, Most. 690, Men. 571, True. 95, 209, 551, 711, generalizing on topical theme with personal application. These seventeen songs come from six plays.^^ '^Amph. 633, Asin. 127, Aul. 406, 713, Dae. 612, 640, 925, 1087, Capt. 516, 768, 781, 922, Cas. 144, 621, 937, Cist. 671, Cure. 96, Epid. 181, 526, Men. 110, Merc. HI, Most. 313, Pers. 470, 753, 777. Psetid. 574, 1246, Rtid. 185, 220, 664, Stkh. 274, Trin. 820, 1115. '-« Amph. 1053, Capt. 498, Cas. 875, Pers. 251, Rud. 906. ^°Bae. 1076, Cas. 217, Cist. 20S, Epid. 81, Merc. 335, Most. 84, Pers. 1, Trin. 223, True. 448. 3» Aul. 445, 727, Cas. 165, Cure. 147, Epid. 337, Men. 990, Pers. 7, 272. Pseud. 594. ^^Amph. 153, 984, Cas. 815, Men. 351, 57 1, 753, 966, Most. 690, 858, Pers. 168, Psei4d. 133,905, 1103, Tn^c. 95, 209, 551, 711. Studies in the Songs of Plautine Comedy 49 Songs other than monodies may be divided into those 1) that are preceded by an entrance monody or a double entrance monody and 2) those that themselves begin the song sequence. Those preceded by a monody (32 in number) are, in general, unemotional and only a brief and unimportant prelude to the dialogue that follows, ordinarily changing from song to recitative at the beginning of serious conversation. In a few cases, the duet carries out the emotion of the preceding monody {Amph. 1076, Aul. 415, Bac. 62:), 1105, Cas. 170, 630, 892, Epid. 533, Pers. 763, Rud. 229, 676). Sev- eral consist of only an exchange of raillery and abuse and seem designed for comic effect (Cas. 229; Merc. 131; Most. 718, 885; Pers. 273; Pseud. 230, 913; Rud. 938; Stich. 315; True. 115, 719). Only a few have any importance for the organic structure of the play {Bac. 979; Cas. 630; 892; Pers. 13; 482; Pseud. 1285). There are fourteen duets that in themselves begin the song sequence. Of these, six have an organic function in the development of the plot, ordinarily in giving the presuppositions of the plot or starting action {Aul 120; Capt. 195, Epid. 1; 166; Most. 7S3;Stich. 1). They are, on the whole, unemotional. To conclude, then, a greater proportion of monodies are moti- vated as song by their emotional content than of duets. Emotion finds expression more easily when the singer is alone on the stage. The song form of duets, in the case of two-thirds, seems to result from the conventions of entrance technique, rather than from the presence or absence of emotion; i.e., the succession of monody, duet is preferred over that of monody, dialogue. Excursus I. Narr.ative and Emotional Solo Parts Narration of previous off-stage action or of future action essential to the plot is given ordinarily in monologue rather than in monody. Leo {Monolog 71-72) classifies the monologues, including monodies, of the Persa and the plays of Philemon, Diphilus and Menander as to whether they are emotional, reflective, generalizing, or narrative. The results as far as the entrance monologues are concerned are these (Link and exit monologues may be ignored since song was used only for entrance.) He lists as emotional twenty-three mono- dies and seven monologues. Of these entrance monologues Bac. 842 is too brief to be of any real importance (two lines) and Most. 348 is not only emotional but also a narrative of essential action. The remaining five come from two plays, two from the Rudens 50 Studies in the Songs of Plautine Comedy Studies in the Songs of Plautine Comedy 51 (615 and 1191) and three from the Mercator (588, 830, 842). The monologue form of Rud. 615 may be explained as resulting from the conventions of entrance technique; it balances the preceding entrance monologue. Rudens 1191 is essentially a prologizing narrative. As to the monologues from the Mercator, 842 may also be explained as the result of conventional entrance technique (see p. 16). The other monologues of the Mercator, 588 and 830, are clear examples of emotional monologues, but it may be observed that the Mercator has little song and that only two of the twelve entrance solo parts are monodies. The conditions in that play, then, seem peculiar to the play. On the other hand, Leo lists as narrative four monodies and eleven monologues. The strong emotional coloring of the monodies has already been discussed {Cas. 875, Pers. 251, 470, Rud. 906, see pp. 34 f.) ; a fact recognized by Leo since he also classifies as emotional all of these narrative monodies but none of the narrative monologues. Leo's classification is interesting since, without any attempt on his part to differentiate monologues and monodies, his results show the preponderance of emotion in monodies and of narration in mono- logues. But since he treats only about half the plays in this way, it is necessary to extend his differentiation of emotional or narrative solo parts to the monologues and monodies in all the plays before any conclusions can be drawn. There are fourteen entrance monologues in Plautus that may be considered emotional. The monologue form of six of these may be explained through the conventions of entrance technique {Amph. 882, Asin. 267, Merc. 700, 842, Rud. 615, Stich. 655, see p. 15). The monologue form of three may be explained by the fact that they are also narratives of essential action {Most. 348, Rud. 1191, 1281); one is very brief {Bac. 842); one occurs in the last act of the play, which is regularly in trochaic septenarii {Aul. 808). There remain three emotional monologues in which the monologue form admits of no such explanation, two from the Mercator, 588, 830 (see above), and one from the Truculentus, 699, a play which is unique in its use of song (see p. 95). In contrast with the small number of emotional monologues there are forty-seven emotional monodies, of which thirty-three are purely and simply the portrayal of emotion.^' As for narrative monodies, there are five which narrate 33 Five others combine narration and emotion; nine are reflective and emotional. Sec pp. 38 f. action essential to the plot and not known to the audience, ail of which are emotional in setting {Amph. 1053, Capt. 498, Cas. 875, Pers. 251, Rud. 906). Amph. 153 is an unemotional, detailed narra- tive of action which has no really essential bearing on the plot since the necessary facts have already been given in the prologue. There are twenty-five entrance monologues which narrate in some detail action essential to the plot. At certain points it will be seen that these figures differ from those of Leo. Pers. 470 has not been included in the narrative monodies; the narrative is slight and easily guessed by the audience. Merc. 700 is clearly emotional although not so classified by Leo. Rud. 1281 is also emotional in its first lines. Sudhaus' statement, therefore, ''Es gibt Dutzende von Monodien in stichischen Versen" (i. e. in recitative) ''die sich in Ton und Inhalt von lyrischen Stucken in nichts unterscheiden" {op. cit. p. 84) seems somewhat exaggerated. As examples, he cites True. 699, Merc. 830, and Aul. 608-23. Certain conclusions as to the use of senarii and recitative for the expression of emotion can be drawn from these fourteen emotional monologues. Five are in senarii and nine in recitative. Of the five in senarii, four continue the meter of the preceding lines {Amph. 882, Bac. 842, Merc. 700, Stich. 655). In Rud. 1191 there is a change from the preceding recitative to senarii to be explained, probably, through the prologizing force of the monologue as a whole. Of the nine cases of recitative in emotional monologue, on the other hand, four involve a change from preceding senarii to recitative {Merc. 588, 830, Rud. 615, True. 699). The conclusion can be drawn, then, that the dramatist preferred the use of recitative to that of senarii for the expression of emotion. - 1 V. FUNCTION OF SONG In studying the function of song in Roman comedy any attempt to classify with absolute precision different songs under definite and exclusive^ categories must be avoided since any given song may easily serve more than one purpose. Still it may be possible to dis- cover the most conspicuous function of any song and to draw certain conclusions as to the most important functions of song in general. The history of choral song in drama points to the limited use of song for strictly organic purposes and its more extended use, however closely related to the environing scenes, to fill time-intervals for the completion of off-stage action or the change of roles. On the other hand, songs from the stage in Greek drama, monodies, duets, etc., sung by actors, especially in Euripidean tragedy, are naturally more closely connected with the development of dramatic action even if they do nothing more than set forth an emotional disturbance. It is desirable, then, waiving the question of the relation of comedy and tragedy, to determine whether the songs of Plautus contribute to the development of the action or whether they are inorganic, filling time-intervals with unessential material or irrelevant themes. It is possible also that song may be used for other purposes, to vary delivery, etc. As before I shall constantly compare the function of song with that of monologue and dialogue. Among the functions of song in the structure of the play, its part in the preliminary exposition at or near the beginning of the play is prominent in a few cases. Duets, rather than monodies,^ are occa- sionally used to set forth the presuppositions of the plot. In the opening duet of the Persa, Toxilus tells his friend of his love-affair and his need of money. In the Epidicus also the presuppositions of the plot are disclosed through the opening duet of two slaves. In the Stichus the two sisters set forth the situation through their open- ing duet.^ iThe monody of Sosia {Amph. 153) narrates previous action but the detailed account of the battle is unessential since the necessary facts have already been given at sufficient length in the prologue. 2 The plays may be divided into those in which the exposition is given in monologue and those in which it is given in dialogue (or duet; see above). For a full discussion see Leo PI. Forsch^ p. 188 ff. The expository narrative is given in prologue form in the A7nph., Aid., Capt., Cas., Cist, (intercalated), Men., Merc, Miles (intercalated), Poen., Rud. In the Tructdentus the main exposition is given in the prologizing mono- Studies in the Songs of Plautine Comedy 53 Duets near the beginning of the play sometimes initiate action. The action of the Aulularia is started by the duet (120) in which Eunomia urges her brother to marry. The duet of Tyndarus and Philocrates {Capt. 195) serves to impress the audience with the important fact of the change of roles and starts the action. Similarly the second duet of the Epidicus (166) sets the stage for the ensuing action. Both monodies and duets are occasionally used to advance the plot by the narration of essential off-stage action. In Pets. 251 Sagaristio tells in his monody how he has succeeded in getting the money needed by Toxilus, a fact in itself important although the securing of the money does not prevent the earlier plans of intrigue. The monody of Hegio {Capt. 498) is of primary importance for the development of the plot since the fact that he has found a captive who knows Philocrates leads directly to the discovery of the intrigue. In the Cas. the narration of off-stage action is given in duet (630). Pardalisca in answer to Lysidamus' questions tells of Casina*s madness. Although her story is a mere invention to frighten him it is of organic importance as it is one of several tricks tried by Cleus- trata. The duets of B ac. 979 and Pers. 482 are alike in that the logue of Diniarchus, which follows the prologue proper. In the Cistellaria the prologue foUows the monologue of the Una (120) but gives the same general facts in greater de- tail. In these plays any narrative of previous action found in other monologues (as m Capt. 92-101, Rud. 83) is in var>ang degrees a repetition of that already given in the pro- logue and is relativelv unimportant. In plays not beginning with a prologue, an mitial monologue occasionally helps in expounding the situation. As the begmnmg of the Bacchides is lost, the method of exposition cannot be definitely determmed but the monologue of Chr>'salus ( 1 70) gives the necessary facts, which are substantially repeated in Mnesilochus' entrance monologue (385). In the Mostellaria, after the expository dialogue, Grumio's exit monologue adds the fact that the father has been absent for three years (79) and Theopropides' entrance monologue gives the additional fact that he has been in Egypt (440). In five plays the exposition is given in dialogue form; m the Asin., Cure, and Psetid. the dialogue is between a master and slave, in the Most between two slaves, and in the Trin. between two friends. The Trinummus is unusual in that the expository dialogue is preceded by a prologue in dialogue form and a short, moralizing entrance monologue. OccasionaUy as in Cas. and Poen. the exposition is elaborated in a dialogue scene after the prologue. To sum up, then, in three plays the main exposition is given in duet, in five, in dialogue and in eleven, in prologue mono- logue (including the monologue of Diniarchus in the True.). The Bacchides cannot be counted as the beginning of the play is lost. It is noteworthy that monody alone is not used for exposition at the beginning of the play. The reason is probably that the use ot prologue speeches in iambic trimeter had become so stereotyped that any solo part with this function falls naturally into iambic senarii. 54 Studies in the Songs of Plautine Comedy Studies in the Songs of Plautine Comedy 55 intriguer informs the victim of the intrigue of a certain alleged fact and gives a letter as proof, in this way bringing about the deception of the victim and the catastrophe of the play. These duets are alike in being preceded by a monody while the duets concerned with the exposition of the plot are not so introduced with the exception of Pers. 13.3 Song is also used to advance the solution of the plot. The monody of Gripus (Rud. 906) prepares directly for the denouement; the discovery of the box containing the crepundia makes possible the recognition scene. If the denouement takes place ofif the stage it may be described in monody. In Amph. 1053 Bromia tells of the birth of Hercules and in Cas. 875 Olympio tells how the trick was discovered. The narrative is in neither case completed in the mon- ody, but is carried on by the dialogue in the Amphitruo and by duet in the Casina. A duet at the end of the play ordinarily adds little, since the action is already completed, but in the Pseudolus (1285) it brings about the reconciliation of Pseudolus and Simo and in the Bacchides (1120) (quartette) of the old men and the sisters.^ There are, then, relatively few songs which have a really impor- tant part either in the preliminary exposition, the advancement of the plot, or the solution. On the other hand, there is a large group of songs which, as their primary function, bring the singer on the stage for the action which is to follow. These monodies frequently portray atmosphere or reveal character but their content is relatively unim- portant in comparison with the duet or dialogue to which the monody serves as prelude. The fact that a character enters speaking rather 3 Monologue is used frequently throughout the play for the narration of off-stage action but the narrative is frequently merely a means of accounting for the absence of the speaker and does not advance the action, as Merc. 692, or narrates purely inorganic narrative for its comic effect, as Capt. 461, 909; Eunuchus 232. Narrative monologues are frequently used to explain why the speaker has come: Bac. 573, Most. 1122, Poen. 950, True. 645. Essential facts for the development of the plot are fre- quently given in monologues. In Bac. 530 Mnesilochus says that he has returned the money to his father; the monologue of Tranio, Most. 348, informs the audience of the arrival of Theopropides. Dialogue is also used frequently for the narration of off-stage action. The fact that the father has seen the girl is given in dialogue {Merc. 180); Curculio tells his stor>' in answer to questions {Cure. 327). The main function of the dialogue, however, is to advance the action on the stage. * The solution is ordinarily given in recitative dialogue. Since the denouement usually takes place on the stage, there is ordinarily no occasion for narrating off-stage action in monologue. Labrax {Rtid. 1281) tells how he lost Palaestra but this follows the recognition scene, the real denouement. than silent is due largely to the racial fondness for monologue. The preference for song over monologue proper is due ordinarily to the emotional content, occasionally to the conventions of entrance technique, sometimes, perhaps, to a desire to vary the method of delivery. Whether the monody adds to the better understanding of the situation through the portrayal of atmosphere or character or whether it really retards the action by the introduction of extraneous material depends largely on the part played by the singer in the action of the play. If he is an important character, closely bound up with the intrigue, it may easily and naturally enough throw light on the situation. If he is a minor character brought on the stage for a temporary purpose, not yet acquainted with the intrigue, his song must of necessity be irrelevant in theme. Monodies of this sort, i.e., bringing on the stage characters needed for the dialogue or duet which follows, if they occur in the early part of the play before the action really begins, ordinarily portray the atmosphere of the play as a whole, and throw considerable light upon the general situation. The sentimental theme of the play is fre- quently shown by the monody of the young lover which usually comes directly after the first expository scene. This monody is always on the general topic of love but varies in the degree and kind of personal emotion portrayed. The song of the adulescens {A sin. 127), an angry tirade addressed to those in the house, complaining of his ill-treatment, gives the emotional tone of the dialogue that follows when the lena comes on the stage. From Cist. 203 we learn that Alcesimarchus is suffering from the cruelties of Love and in particular from the enforced separation from his loved one. Though the text that follows is defective, it is reasonable to suppose that this monody also leads up to his dialogue with the slave. The monody of Most. 84 expresses Philolaches' remorse at his submission to love and forms a part of the unusually long and elaborate series of scenes protraying atmosphere. Though the action does not really begin until 348, it is with this action in view that Philolaches is brought on the stage. In Trin. 223, the monody of the adulescens expressing resentment at the mercenary demands made upon a lover prepares the way for the duet-dialogue which follows. The monody of Pers. 1 is on the same theme as Trin. 223 but much shorter, and together with Pers. 7 merely serves to introduce an essential duet. The song of the senex, Lysidamus, {Cas. 217) is on the same subject of love, differing, however, from the songs of the adulescentes in II » 56 Studies in the Songs of PlauUne Comedy expressing the joy rather than the sorrows of love. This, with the preceding monody of his wife {Cas. 144), an angry complaint at the conduct of her husband, serves as an emotional prelude to the dialogue with which the real action of the play begins. In a siniilar angry tirade, Menaechmus {Men. 110) complains of his wife's inquisitiveness. In the light this monody throws upon the singer's domestic affairs and, in particular, by the mention of the theft of the palla, it adds important material as well as brings the necessary character upon the stage. The monodies of Palaestra and Ampelisca (Rtid. 185, 220), lamenting their sufferings from the shipwreck, enhance the tragedy of the situation and form an important part of the unusually long and elaborate preliminary exposition. The monody of the leno {Pseud. 133) provides atmosphere and helps to furnish motive for the intrigue. To a less degree, the monodies of the ancillae, Sophoclidisca {Pers. 168) and Astaphium {True. 95) throw light upon their mistresses' affairs. The monodies of the servus currens {Merc. Ill ; Stick. 274) serve to bring on the stage the charac- ter who is, by his announcement of important news, to start the real action of the play. In addition to these monodies which, occurring in the preliminary exposition of the play, have a more or less important part in making clear to the audience the opening situation, there is a group of songs, fewer in number, which come later in the play and also give matter relevant to the action. The monody of the adulescens {Merc. 335) resembles the other monodies of the adulescentes in being on the general subject of love but differs from them in not being part of the preliminary exposition but in showing the effect of the bad news just heard. Mnesilochus {Bac. 612), entering, sings a monody full of remorse for his impulsive act. The monody of Alcumena {Amph. 633), who enters to lament her husband's sudden departure, sets the stage for the dialogue to come. The monody of Philippa {Epid. 526) expressing her grief at her daughter's sad fate serves as the emotional prelude of the next scene and the lament of Halisca over the loss of the box {Cist. 671) leads up to the important disclosures which follow. The monody of Euclio {Aul. 713) expressing his great distress at the loss of his gold and that of Lyconides (727), who fears the disclosure of his secret, give the emotional tone of the dialogue which follows. In Men. 990, the senex gives directions to his slaves to seize Menaechmus. (The song form in this case is due to the conventions of entrance technique. See p. 15.) Phronesium Studies in the Songs of Plautine Comedy 57 (True. 448) gives the audience information about her plans. All these monodies, then, give relevant material of more or less impor- tance for the understanding of the situation and, in general, set the emotional tone of the dialogue which follows. With a few exceptions {Cist. 671, Epid. 526, Merc. Ill, Pers. 168, Stick. 274) they are sung by important characters closely bound up with the action. They are, on the whole, emotional {Men. 990, Pers. 7, 168, Pseud. 133, True. 95 excepted). The portrayal of character in these songs seems rather incidental than primary; in as far as the monodies express personal emotion, they, to a certain degree, portray character, yet the singers seem to represent types rather than clearly differentiated individuals. The adulescentes, for instance, are members of a certain well-defined class, not marked by any special individuality. In contrast with these songs presenting relevant material is a group of songs which rather retard the action by irrelevant and unnecessary material than add to the better understanding of the situation. These songs are, for the most part, sung by minor and temporary characters who, as they are not directly concerned with the action must, of necessity, sing of some theme unrelated to the plot. Occasionally the device used to bring on the stage the charac- ter needed for the action is an address to someone inside the house or to a silent character. Myrrhina delivers entirely unessential directions to her slaves {Cas. 165); Erotium {Men. 351) orders the preparations for the feast; Astaphium {True. 711) addresses her mis- tress who is in the house (cf. True. 95, p. 50); Epidicus directs his first lines to someone in the house {Epid. 337) ; Pseudolus {Pseud. 905) addresses a character who he wrongfully thinks is accompanying him. Sometimes the entering monody is a narrative of unessential action. When Sosia comes on the stage {Amph. 153), he says that he has been sent to bear news of the battle and, in rehearsing his story, gives a detailed narrative of action of no real importance for the play. So too the cook {Aul. 406), rushing on the stage, tells of the ill-treatment that he has received, information entirely unessential. But most frequently, the singer who is not yet related to the action, takes, as his theme, some general, stereotyped topic. This theme may be concerned with the situation of the play as in True. 551, the song on the relations between lovers and meretrices. (Cf. on the same general theme True. 95, 711.) Certain types of character are asso- ciated with particular themes. The slave who plays a subordinate role in the play comes on the stage singing on the subject of the good 58 Studies in the Songs of Plautine Comedy and bad slave {Me7i. 966, Most. 858, Pers. 7, Pseud. 1103). The monody may be brief {Pers. 7) or long and elaborate {Men. 966) but its main function is to bring on the stage the characters necessary for important action in the next scene. The lena {Cure. 96) when she comes on the stage at the beginning of the play sings a song, necessarily unconnected with the action, but characteristic of the proverbially bibulous lena. Simo {Most. 690) comes on the stage for the first time about the middle of the play, through the exigencies of the plot, entirely unaware of the preceding action. He sings of the stereotyped theme of domestic infelicity, thus identifying himself as a member of a certain class. (For the same theme used relevantly see Men. 110, Cas. 144, p. 56.) In Men. 753, the senex arrives, summoned by his daughter. As he does not yet know what the trouble is, he sings of a subject natural to one of his class, the evils of old age. Menaechmus (Men. 571) returns from the forum with a song on the evils of the client system, at the end, explaining his delay. This is the only song on a general theme sung by a character who plays an important part in the play. To sum up, then, in regard to these monodies whose main function is to bring on the stage naturally and easily a character needed for ac- tion, the dramatist shows considerable skill in using these songs also incidentally to give atmosphere or throw light on the situation or emotional reaction of the characters. It is only rarely and in the case of characters necessarily not yet involved in the action that he is driven to the awkward use of stereotyped and irrelevant themes that retard rather than advance the action. Even these monodies harmonize with the role of the singer and identify him as a member of a certain class. ^ ^ Minor and temporary characters more frequently come on the stage with mono- logue than monody, whether at their first appearance or later in the play. The use of the professional monologue in senarii at the first appearance of a member of a pro- fessional class is especially frequent; parasite Capl. 69, Men. 77, Pers. 53, Stick. 155; leno, Poen. 449; danista Cure. 371, Most. 532, Pers. 400; pucr delicaliis Pseud. 767. (Cf. also'the speech of the fishermen Riid. 290 and the miles True. 482 recit.) No attempt is made to individualize the speaker as the traits of character depicted are those con- ventionally associated with the members of that class. The monologue may state directly why the speaker has come as does that of the mercator Asin. 381, the matrona Merc. 667, the sycophant Trin. 843, the rusticus True. 645. He may identify himself by the prayer of the returned traveller {Poen. 950) or give the stereotyped speech of the serous currens {Asin. 267, Cure. 280, Trin. 1008) or indicate that he is the person being sought {Miles 272). Occasionally a character who has an important part in the action also comes on the stage for the first time with a monologue rather than a monody, Studies in the Songs of Plautine Comedy 59 Duets are also used, though to a less degree, tobrmg characters on the stage. It is noteworthy that the element of interest in charac- ter portrayal, negligible in monodies, is of primary importance m several duets. The advantages of duet over monody for this purpose are clear- in this way two members of the same stereotyped class may be differentiated and the character of the stronger brought out by con- trast with the weaker. The duet of the two sisters portrays charac- ter as well as narrates facts {Stich. 1-47). The opening trio of the Cistellaria has the portrayal of character as its sole function since the presuppositions of the plot are not given until later. In the wo duets in the Poemdus, 210-60 and 1174-1200, the characters of the two sisters are clearly differentiated. In Cas. 170-216 (not an entrance duet) the character of Cleustrata, who is impetuous and violent m temper, is brought out effectively by the contrast with the weaker and more yielding Myrrhina. The fact that these five duets are all concerned with the portrayal of the character of women may be only a coincidence but considering the comparatively unimportant role played by women in comedy it is not without mterest. Songs are frequently used to fill time-intervals for the carrying on of off-stage action and the changing of roles. Not all songs that cover the interval between the exit and entrance of a character are strictly time-filling in function for frequently a person must leave the stage without any really plausible excuse to free it for others and the action on the stage carried on during his absence is of more importance for the progress of the plot than his unessential errand. the prayer of the returned traveller {Bac. 170, Most. 431, Stich. 402) a narrative of a dreaTC 25, a brief motivation of entrance Bac. 235, or a reflective narrative dream ^^^^J;^^' monologues which are all except the last (recitative) m :^Z noTefoLI an^a:^^^^^^^^ in the meter conventionally suited to their content Three of these monologues given by important characters on their firs entrance comlTn the BaccMdes (170, 235, 385), a play with no song until 613, as far as '"Sgues abused very frequently for the purpose of character portrayal. The oS Ilo^e of the Lies, the dialogue of ^^^^ 157) the dialogue between Simo, Pseudolus, and Callipho (P..u^. 415) ^^^ ^^^^P^^^ ofdia oLes in which an interlocutor is brought on the stage for this scene only for :lt^7urVOS^oi allowing the character of the other to be Pojt-^^^^^^^^^^^^ versation The opening scene of the Mostellaria shows a careful contra t between Grumio and Tranio, although the former is a protatic chara^er^ Th s contras between Dairs of characters of the same type is especially common m Terence. In tne '^:Z:^i:^^^c. ... character of the adulescentes and the .n. ^^^^ carefully differentiated and in the Adelphoi the brothers are very clearly contrasted. 60 Studies in the Songs of Plautine Comedy Capt. 195-250 is an example of this. Hegio leaves the stage at 194 saying that he is going into the house to reckon up his accounts and returns at 251 without accomplishing anything specific in his absence. In the meantime comes the important duet between Tyndarus and Philocrates. (See above, p. 53.) Another example is Sagaristio's monody, Persa 251-71. Paegnium leaves the stage at 250 and returns at 272 with the words pensum meum quod datumst confeci but the letter that he has delivered has no vital connection with later action and the errand seems to have been invented to get him on the stage for the banter before and after the monody and to get him off the stage for the important narrative monody of Saganstio itself. Although such scenes as the monodies of Hegio and Sagaristio fill time-intervals in a certain sense, they are not primarily or mainly time-filling in function but are a part of the web and woof of action, interwoven with varying degrees of artistic skill."' In contrast with these scenes essential for the plot carried on during an actor's somewhat rudely enforced absence from the stage are the scenes still essential in character which are simultaneous with the carrying out of off-stage action necessary for the plot. Capt. 768-80 is an example of this. Hegio leaves the stage at 767 and returns at 781 after taking back Aristophontes. In the meantime Ergasilus enters and sings a monody which although unnecessarily padded informs the audience that he has good news for Hegio. (Although he does not expressly state that Hegio's son has returned, the audience, knowing the situation, would understand what the good news was.)^ Epid. 166-81 is an example of this in duet. While Epidicus goes into the house to warn his young master, the two old men enter and ' Similar examples may be found in dialogue. In Cure. 532 Cappadox says that he is going into the house to sacrifice. During his absence Therapontigonus and Lyco come on the stage and through their conversation the trick is discovered, Cappadox returning opportunely at the end. In Men. 226^72, while Cylindrus goes to the market and returns, a dialogue takes place between Menaechmus and Messenio which is of more importance for the organic structure of the play than Cylindrus' absence. As for monologue, the presuppositions of the plot given in Chrysalus' entrance mono- logue Bac. 170 are also more important than Pistoclerus' errand in the house durmg the interval. For further examples see Conrad op. cit. p. 18 fif. > Examples in monologue are more frequent. Tranio {Most. 1041-1063) narrates off-stage action whUe Theoprv lides goes into the house to obtain chains and lorarii. The conventional traveller's monologue of Hanno {Poen. 950-60) gives important presuppositions of the plot whUe Milphio tells Agorastocles what he has just heard. Mnesilochus' narrative and reflective monody {Bac, 385-104) covers the time while Lydus is informing the father of what he has discovered. Studies in the Songs of Plautine Comedy 61 through their conversation inform the audience of important presup- positions of the plot.^ Frequently a necessary absence from the stage is filled by a song scene that does not advance the action and is unessential for the progress of the plot but yet is organic in portraying character or giving atmosphere. The interval of Dordalus' absence at the praetor's {Pers, 752-77) is filled by the triumphant monody of Toxilus and the joyful trio of the feasters. Similarly at the end of the Pseudolus (1246-84) while Simo goes into the house to get the money Pseudolus enters, intoxicated and hilarious, and gives an account of the feast that he has just attended. In the Mostellaria Tranio's trip to the harbor is covered by a series of scenes (song and recitative) that do not advance the action but do portray character and give atmosphere. Philolaches' long reflective monody (84-156) shows his own character and the duet-quartette of the drinking scene (313-47) gives the desired atmosphere of revelry and dissipation. The duet of the Epidicus, 320, sung while Epidicus goes into the house to obtain money throws light on the character of the singers. During Toxilus' absence from the stage to give Paegnium his instructions {Pers. 168- 82) Sophoclidisca sings a song that is unessential but not irrelevant since it is directly concerned with the general situation. In the trio of the Casina 855-74 the women talk of what is going on inside and of the success of their trick while they are waiting for the victims of the intrigue to appear. These songs whether monodies, duets or trios are alike in that they are sung by entering characters who are needed on the stage for the next scene. Cure. 139-57 dififers from these in as much as the absence of the leaena is covered not by an entering song but by a link song that continues the song begun at the first entrance of Xh^ leaena (96). While she goes into the house to get the girl, Phaedromus and Palinurus sing a short duet commenting on the situation (139-46) and then Phaedromus in his impatience sings a serenade to the doors asking them to open and let his mistress out. So too the short link monody {Aul. 444-46 and 447-8 recitative) continuing the preceding duet fills the brief interval of Euclio's absence by a bewildered comment on the situation. These songs are, however, all alike; for they are unessential in the sense that they could be omitted without injuring the plot structure but yet con- • This is frequently found in dialogue through the natural interrelation of chapters of action. 62 Studies in the Songs of Plautine Comedy tribute more or less to the better understanding of the situation and are directly connected with the theme of the play.^° In addition, songs on stereotyped and wholly irrelevant themes are occasionally used to fill time-intervals. Two of the three exam- ples of this are on the subject of the good and bad slave. In Men- aechmi the senex leaves the stage at 956 to obtain slaves and returns with them at 990. This interval is covered by a monologue of Menaech- mus expressing his bewilderment and by an entrance monody of the slave, Messenio. The unessential link monologue of Menaechmus (957-'65) gives the actor who played the part of the medicus, leaving the stage at 956, time to change his role and appear at 966 as the slave, Messenio, who is needed for the next scene. This explains why two units instead of one were used to cover the absence of the senex. Messenio's entering monody is a long and elaborate treatment of the topic of the good slave's relation to his master, with a personal application at the end. The monody in Most. (858-84) is very simi- lar. While Tranio and Theopropides are examining the house, the slave, Phaniscus, enters and sings a monody about equal in length to that in the Menaechmi, on the same subject and worked out in much the same way except that the personal application is given in more detail. It differs from the other passage in that it is followed by the entrance of a second slave and a duet that is equally unessen- tial. The monody of the returned traveller {Trin. 820-42) fills JO There are several examples of time-filling monologues that are similarly unessen- tial to the plot but likewise throw some light on the character of an individual or the general situation. Those spoken by entering characters needed for the next scene are Bac 526-9, a speech addressed to someone in the house while Mnesilochus is returnmg the money- Merc. 544-61, Demipho's moralizing reflection on the situation while Lysimachus takes the girl into the house; Merc. 830-41, farewell prayer of Charmus, that together with Syra's exit monologue, which precedes, fills the interval of Euty- chus' absence in the house; Triu:. 699-710, Diniarchus' joyful monologue at the success of his love-affair, fills the interval of Astaphium's absence. Stich. 673-82 is spoken by an entering character who leaves the stage at the close of her monologue. During the preparations for the feast Stephanium comes out and in a direct address to the audience tells what preparations are being made. Exit and link monologues of this type are even more frequent. They are short, frequently consist of a comment on the situation or are otherwise related to the theme of the play {Aul. 67-78, 204-6, 243-9- Bac. 795-8, 913-24, 1053-8; Cas. 424-36, 504-14, Men. 876-81, 957-65 (+monody 966-989), 1039-49; Merc. 789-802; Miles 464-68, 522-27, 1388-93; Pseud. 1017-37; Rud. 1353-56). Dialogues are also used in this way. Merc. 957-61 is spoken by entering characters necessary for the next scene, fiUing a time-interval with conversa- tion related to the theme of the play. In Bac. 101-8 the time-interval is filled by an exit dialogue. Studies in the Songs of Plautine Comedy 63 the interval while the sycophant is being hired and instructed. It is entirely inorganic inasmuch as it consists simply of a description, long and elaborate, of the perils of the sea and an expression of thanks for his safe return. All three monodies are sung by entering charac- ters necessary for the next scene. ^^ In conclusion, then, it may be said that song in the plays of Plautus shares with monologues and dialogues a time-filling function. Of the fifteen possible examples of this (not considering as separate items Most. 885-903, which follows a monody, or Most. 313-48, included in the same unit as Most. 84) Pers. 251-71 (monody) and Capt. 195-250 (duet) may be disregarded since their function in advancing the plot is more important than their time-filling function. Of the remaining nine monodies and four duets, all but two (Aul. 444-8, short und unimportant monody changing to recitative, and Cure. 139-57, duet and monody) are sung by entering characters necessary for the next scene and either follow or obviate a vacant stage. Ex- cept for three monodies, all these songs though not ordinarily essen- tial to the plot are still more or less directly concerned with the situation and portray character, give atmosphere, etc. Three, Men. 966-89, Most. 858-903, Trin. 820-42 are decidedly irrelevant in material but at least serve to introduce characters essential for the next scene. For this reason they are less mechanical and artificial than such monologues as Aul. 398-405, Capt. 909-21, Cure. 462-86, Pseud. 767-89, Stich. 673-82. Excursus I Inorganic monologues on irrelevant themes are frequently used to fill time-intervals. Aul. 587-607 (recitative) on the theme of the good slave is very much like Men. 966 and Most. 858. While Euclio is hiding his gold, the slave, entering, moralizes on the duty of a good slave, at the end motivating his entrance. His presence is needed for the next scene. Self-introductory speeches of professional types bringing on the stage persons essential for the next scene are some- times used to fill time-intervals; Cure. 371-84 (senarii), Most. 532 (senarii, together with Tranio's link monologue), Pers. 53-80 (sen- arii). Equally unessential are Lysimachus' narrative of inorganic off-stage action while Dorippa is in the house {Merc. 692-99 senarii) and Daemones' narrative of his dream (Rud. 593-614, senarii). " See excursus at end of chapter. 64 Studies in the Songs of Plautine Comedy (The interval between Labrax's entrance into the temple 570 and Trachalio's exit telling of his violence 615 is covered by three units 571-83, dialogue between Sceparnio and Charmides, exit-monologue of Charmides 584-92, entrance monologue of Daemones 593-614. Since the actor who plays the part of Sceparnio evidently also played the part of Trachalio, time must be given him for the change of roles. The exit monologue of Charinus would alone give him the needed time but Daemones must be brought on the stage for the next scene. Cf. Rud. 404-13 where Ampelisca's link monologue gives time for the actor to change from the role of Trachalio to that of Sceparnio.) In addition to these monologues spoken by characters necessary for the next scene are those spoken by a person who withdraws at the end of his monologue {Aul 398-405; Capt. 461-97, 909-21; Pseud, 767-89). In Capt. 461-97 the monologue of the parasite covers the interval of Hegio's absence by a narrative of decidedly inorganic action, which, however, has the added purpose of relieving the serious nature of the play and amusing the audience. This same desire to amuse the audience may be seen in Capt. 909-21. In covering the interval of Hegio's absence (900-22) two monologues are used, the first 901-8, the exit monologue of Ergasilus telling of the feast in store for him, the second, an entrance monologue of a puer who tells what Ergasilus is doing in the kitchen and then withdraws (909-21). The reason why two monologues are used instead of one is that the actor playing the part of Ergasilus is needed for a new role in the next scene and must have time to change. (Prescott, Harvard Studies XXI (1910) 37-39.) Still more mechanical, since it is without the excuse of a comic appeal, is Aul. 398-405. To fill the interval between Euclio's exit and Congrio's appearance to tell of the ill-treatment that he has received from Euclio, the cook. Anthrax, enters speaking to some one in the house and at the sound of confusion from the other house runs back. In Pseud. l(il-%9, the puer in a self-introductory professional speech gives time for the actor to change his role but plays no other part in the play. (Prescott, op. cit. 40-44.) There are a few examples of inorganic link or exit monologues that are time-filling. Syra's monologue {Merc. 817-29) is a clearly inorganic and irrelevant exit monologue, advising a legislative reform to give women their proper rights. It is followed by the entrance mono- logue of Charinus that assists in filling the time-interval. The reason why two monologues rather than one are used to fill the interval is not clear. In this case it is not for a change of roles Studies in the Songs of Plautine Comedy 65 as Syra and Eutychus or Eutychus and Charinus cannot be played by the same actor. Cure. 462-86 (recitative) is spoken by the choragus who does not have a speaking part in either the preceding or succeeding scene but who, as the first lines of his speech show (462 ff.), has been on the stage during the preceding scene and who probably was addressed, sequere (390). The monologue fills the interval while the buying of a girl is being arranged off-stage. After the first five lines it is general in subject and entirely irrelevant in theme. The mechanical nature of this as a time-filling device is shown by 466-7 sed dum hie egreditur foras commostrabo quo in quem- que hominem inveniatis loco. The Roman contents of the monologue must be noted. Inorganic dialogue is frequently time-filling in function. The scene between Palaestro and Lurcio {Miles 813-66) together with the preceding dialogue between Palaestro and Pleusicles and the succeeding link monologue of Palaestro (867-73) fills the interval while Periplectomenus is giving Acroteleutium her instructions, with comic and unessential material. The short dialogue 805-12 and the monologue 867-73 give a chance for the actor who takes the part of Periplectomenus to change to the role of Lurcio and back again. In the same way while Agorastocles is getting his advocati {Poen. 449- 503) the interval is covered by Lycus' monologue 449-470 and the unessential and humorous dialogue between Lycus and Anta- moenides. The exit monologue of Agorastocles 445-48 and the monologue of Lycus would give the actor who plays the part of Milphio time to change to the role of Antamoenides. The first monologue would make it possible for him to change to Lycus, which would be equally possible as far as the rest of the play goes but since the role of Milphio is a heavy role it seems more likely that he would have the comparatively light role of the soldier rather than the heavy role of Lycus. For other examples of inorganic time- filling scenes, see Conrad op. cit. p. 35 ff. Terence differs noticeably from Plautus in his technique of filling time-intervals. Not only does he omit songs almost entirely but the monologues which he uses to fill the interval necessary for off-stage action are, with a very few exceptions, link and exit rather than entrance monologues. These monologues are, as a rule, very short and do not advance the action but yet are not unrelated to the theme, consisting of a comment on the situation {Eun, 997-1001, Adelph. 783-5, Heaut. 559-61, 949-54, Hec. 794-8 66 Studies in the Songs oj Flauiine Comedy with entrance monologue, Phortn. 778-84) or on the character of some person (And. 716-20, Heaut. 503-7) or motivating exit {Phormio 311-14). In two cases Hec. 361-414, 816-40 the link monologue is long and narrates essential off-stage action. Examples of entrance monologues used to fill time-intervals are Eun. 923-40 and Eec. 799-807 (preceded by exit monologue that assists in filling the interval), both unessential and padded but serving to motivate entrance. There are no monologues used for this purpose that are as decidedly inorganic and irrelevant as several of Plautus'. Dialogues are also used by Terence to cover a necessary time- interval, either essential as Hec. lld-dl or unessential but relevant as Phorm, 441-64. Link dialogues are used for this purpose when two people are left on the stage as Eun. 494-500, 664-7, 1043-9. VI. ANALYSIS OF INDIVIDUAL PLAYS The Casina, the play in which song plays a more important part than in any other play (387 lines, 38%)^ begins with a long prologue speech (1-88, senarii) giving the presuppositions of the plot. A father, Lysidamus, and a son (unnamed) are both in love with a slave-girl of the household, Casina. Each tries to marry her to a favorite slave, Lysidamus to Olympio, the son to Chalinus. Cleus- trata, the wife of Lysidamus, in the absence of her son, favors his desires, in opposition to her husband's suspected purpose. In the opening dialogue scene (89-143, senaiii), the two slaves, Olympio and Chalinus, boast of their expected success and taunt each other. The scene gives no essential information but portrays the atmos- phere of the play as a whole. An elaborate song-sequence of about a hundred lines, consisting of monody, monody, duet, monody, duet follows. In the first monody Cleustrata expresses her anger at the conduct of her husband; in the second monody Myrrhina gives unessential directions to her slaves. (The song form of this is evidently due to the conventions of entrance technique.) In the duet that follows, the emotion of the first monody is continued; Cleustrata complains bitterly of her husband and Myrrhina plays the part of a sympathetic listener. The duet shows a decided contrast between the weak, yielding Myrrhina and the violent- tempered Cleustrata. At Myrrhina's exit, Lysidamus comes on the stage with a complacent, self-satisfied monody on the manner in which his own personal charm is enhanced by his happy love-affair. The emotion of this monody marks a decided contrast to Cleustrata's entering monody and makes his discomfiture at the end, when he sees his wife, greater. In the duet that follows he tries vainly to soothe her and she berates him. As they come to serious discussion of the disputed point, the meter changes to recitative with the words, sed quid ais! The dialogue that follows (252-78 recitative) initiates the action after this succession of expository scenes. Lysidamus and Cleustrata agree, each to influence the other's favorite to withdraw from the 1 The arrangement of lines in Lindsay's edition is used as a basis for these figures but any attempt at estimating the relative amount of song and non-song must be rough and inaccurate as the length of lines varies and their arrangement in the song may differ with the editor. 68 Studies in the Songs of Plautine Comedy contest for the girl. At Cleustrata's exit, Chalinus enters and Lysi- damus tries in vain to persuade him to withdraw (279-308 recita- tive). Then Olympio, entering, relieves Lysidamus' anxiety by saying that he has resisted Cleustrata's urging (309-52 senarii). The next step in the action is an attempt to solve the question by the drawing of lots. Olympio is successful and preparations for his marriage to Casina are begun (353-423 recitative). Chalinus comments on the incident just witnessed in monologue (424-36 senarii) and, remaining on the stage, overhears the conversation between Lysidamus and Olympio and learns that it is Lysidamus and not the slave who is in love with Casina (437-514 senarii). The action in the next scenes is almost at a standstill (515-620). Lysidamus reminds his neighbor Alcesimus of his promise to give him the use of his house, which necessitates getting rid of his wife and slaves (515-30 recitative). Alcesimus tries in vain to have Cleus- trata invite his wife to her house (531-62 recitative). Lysidamus returns from the forum with a monologue explaining his delay (563-75 senarii); Cleustrata tells him that Alcesimus has refused to allow his wife to accept her invitation (576-90 senarii); Lysidamus berates his friend who promises to send his wife at once (591-620 senarii). This rather long non-song passage (252-620, 369 vss) consists of a regular and balanced succession of recitative and senarii (a.b.a.b.a.b.). There is no apparent reason for the frequent change from recitative to senarii and back again to recitative except a possible desire to vary the manner of delivery; i.e., neither the recitative nor senarii is characterized by any special features, such as the display of emotion. The change of meter occurs at the entrance or exit of a character. The passages are fairly well balanced in length (57:44:71:91:48:58). This non-song passage is, as a whole, unemotional, in decided contrast to the emotional song passages that precede and follow it. The second song series (621-759) is longer than the first and consists of monody, duet, duet. It begins with the mock-tragic monody of the maidservant Pardalisca, Cleustrata's ally, as she rushes forth from the house in pretended fear of Casina. The duet that follows continues the emotional tone of the monody; Pardalisca, in carrying out the trick as planned, tells Lysidamus of Casina's madness and succeeds in frightening him. The exit of Pardalisca (719) is followed by the entrance of Olympio who is returning from the market with the cook. A sudden change to the comic comes Studies in the Songs of Plautine Comedy 69 about with Olympio's joke on the thieving nature of cooks and his pompous, boasting attitude towards his master. After a dispute as to who should venture into the house first, they leave the stage together (758). This part of the song, then, (720-58) is unemotional. The song sequence, as a whole, advances the action by carrying out one of the several tricks tried by the women. Pardalisca comes upon the stage (759) and tells of the jokes being played upon Lysidamus and Olympio and of the new trick which is to be tried. Her monologue (759-79), as might be expected from its narrative, prologizing content, is in senarii. It is a rare example of the senarii directly following song; the slight interval that probably occurred before her entrance helps to soften the abruptness of the change. Her monologue is followed by the entrance of Lysidamus. Impatient at the delay, he says that he will dine in the country and sends Pardalisca into the house to help in the wedding preparations (780-97 senarii). Olympio, adorned for the wedding, enters with the tibicen (797-814 recitative) and the marriage hymn is sung. Here the change from senarii is provided for by the presence of the tibicen. The reason for the choice of recitative rather than song, which is limited to two lines of the hymenaeus (800 and 808), may have been again a desire for a greater variety of delivery; song, senarii, recitative, song rather than simply song, senarii, song. The third song sequence (815-963) is interrupted by a short passage of iambic senarii (847-54) but the whole series may be considered as one. It is about equal in length to the second song complex, consisting of monody, trio, duet (senarii), trio, monody, trio, monody. It begins as Pardalisca comes out, leading the supposed Casina (Chalinus, in reality), to whom she sings briefly. She withdraws and leaves the veiled bride to Olympio and Lysidamus, whose love-making is interrupted by senarii as soon as they begin to suspect that something is wrong. Their exit is followed by the entrance of Cleustrata, Myrrhina, and Pardalisca, who, singing of the success of their plan (855-74), conceal themselves so as to intercept the men as they come out. In this way, they cover the interval while Olympio and Lysidamus are discovering the masquerade in the house. The emotional monody of Olympio follows (875-91), in which he expresses his chagrin at being caught in this way and, incidentally, tells how the trick was discovered. The emotion of the monody is continued in a trio (892-936), when Olympio goes on with 70 Studies in the Songs of Plautine Comedy his tale, in answer to questions. The monody of Lysidamus (937-60) expresses the same feeling of chagrin as Chalinus' song (875-91). The meter changes to recitative at the end of his monody and the play concludes with a short scene (963-1015 trochaic septenarii) in which the reconciliation between Cleustrata and her husband is hastily brought about and the announcement made that Casina will be found to be the daughter of the neighbor and will marr>' Lysidamus' son. This change to recitative is natural since the plays, as a rule, end with trochaic septenarii. The Casina, then, as a whole, seems to furnish evidence of a conscious attempt on the part of the dramatist to secure symmetrical balance in the use of meters. It consists of a succession at more or less regular intervals of a (senarii), b (recitative), c (song) as follows: a, c, b, a, b, a, b, a, c, a, b, c, (c, a, c), b. The play is divided into four parts by three long song sequences; the first preceded by iambic senarii and the last succeeded by trochaic septenarii. The first and second songs are separated by three groups of recitative and senarii ; the second and third by one of senarii and recitative. Occasionally, another motive for the choice between recitative and senarii is seen; for instance, the prologizing monologue (759 fiF.) is conventionally in senarii. But, frequently, a desire for variety in the manner of delivery is the only reason discernible for the change from recitative to senarii and back again to recitative. The songs, on the other hand, are motivated as song by their expression of emotion, which is, in fact, entirely confined to song in this play. Certain parts of the songs, however, are unemotional as 720-58 and 855-74. The dramatist motivated the song, as a whole, by the expression of emotion but he did not succeed (supposing that he cared to do so) in the difficult task of keeping up to a high emo- tional pitch the whole passage of more than a hundred lines. He did not change back to recitative or senarii for the unemotional passages, perhaps because it suited his metrical scheme to have the song continue or because he wished the song to be a unit in itself; the first song ends with a definite change from exposition to the initiation of action (252); the second song (621-758) consists of one complete episode; the third (815-962) is again a complete incident. The artistic value of the songs of the Casina as song, then, is two- fold. They enhance the emotional tone of certain passages (144 ff.; 621 ff.; 875 ff.), and they relieve an otherwise rather monotonous succession of senarii and recitative by a complete change in the manner of delivery. Studies in the Songs of Plautine Comedy 71 The Pseudolus is also rich in song (328 lines, 24%). It begins, after a preliminary couplet, with a dialogue scene (3-132) in senarii in which the presuppositions of the plot are given. Calidorus tells his confidential slave, Pseudolus, of his love for a meretrix who is in danger of being sold to a soldier. The soldier has paid fifteen minae and is to send a messenger with five more minae and receive the girl. Ballio, the leno, comes on the stage with his lorarii and mere- trices, giving directions to the members of his household in a monody (133-93) with all the brutality of the typical leno. Calidorus and Pseudolus comment upon him in an aside duet (193-209); Ballio continues his monody (210-29), Pseudolus and Calidorus renew their duet (230-39) and finally address Ballio (240). The trio that follows consists of the ordinary exchange of abuse, finally changing to recitative when serious discussion begins, with the words hue cum lucre respicias? (264). The song portrays the atmosphere of the play by showing the establishment of the leno and introducing him to the audience. It is not emotional except as far as Pseudolus and Calidorus express their indignation, but the song form must have increased the lively nature of the scene. The stage was full of silent characters who may have danced about as Ballio applied his whip and thus the comic character of the scene may have been enhanced in the eyes of the audience. The action is initiated in the dialogue that follows (265-393 reci- tative). Calidorus taxes Ballio with breaking his promise and urges him to wait until he can obtain the money, but Ballio merely says that he will give the girl to the one who brings the money first. After Ballio's exit (380) Pseudolus assures Calidorus that he will get the money and sends him off to find a friend (393). In the meantime Pseudolus reflects on the difficulty of the situation (monologue 394- 414 senarii). Simo, the father of Calidorus, enters with a friend, Callipho, discussing the disgraceful love-affair of his son (415-444). When they see Pseudolus (445), Simo blames him for his son's misconduct. Pseudolus admits all the charges and declares that he will get the money from Simo himself and obtain the girl. Simo promises him twenty minae, if he succeeds (445-573 senarii). Pseudolus, after withdrawing from the stage for reflection, returns and sings a triumphant monody, sure of success (574-93). This joyous monody is followed by a second entrance monody of Harpax, the slave of the soldier, who has come with a letter from his master to obtain the girl. The meter changes to recitative as Pseudolus addresses him. 72 Studies in the Songs of Plautine Comedy In the dialogue that follows (604-66 recitative) Pseudolus tells Harpax that he is Ballio's slave and takes the letter from him while Harpax retires to wait for Ballio's return. Pseudolus speaks another triumphant monologue over his good fortune (667-93 recitative, a link monologue, song being limited to entrance parts). Then Calidorus returns with a friend who promises to furnish five minae, and a clever slave who will play the part of Harpax and thus get possession of the girl (694-766 recitative). While preparations are being made, an unessential scene, padded for comic effect, follows (767-904 senarii) ; a monologue by a puer (767-89); a dialogue between Ballio and a cook (790-891); an exit monologue of Ballio (892-904) in which he says that, warned by Simo, he is taking every precaution against Pseudolus. Pseudolus then enters with a monody (905-12) expressing his impatience at the delay of Simla, the sycophanta. At Simians entrance, Pseudolus warns him to be careful and Simla boasts of his skill. The duet (913-50) changes to recitative when Simla asks for specific directions as to the house of Ballio (951-55). At Ballio's entrance, Pseudolus retires and Simla presents the letter of the soldier (956-997), the meter changing to senarii (998) with the reading of the letter. Ballio, easily persuaded, takes Simla into the house for the girl (1002-1016 senarii). Pseudolus, mean- while, anxious for the outcome, speaks a link monologue (1017-36 senarii). When Simla comes out with the girl, they withdraw (1037-51 senarii). Ballio then appears, expressing his self-satisfaction at having outwitted Pseudolus (1052-62) and tells Simo who enters (1063) that he has sold the girl to the soldier (1063-1102 senarii). At this point, Harpax enters with a monody on the good and bad slave (1103-1123). Ballio and Simo comment upon him in an aside duet, the meter changing to recitative just before they address him (1134). In the dialogue that follows (1136-1245 recit.) they learn of the trick that has been played and leave the stage in chagrin. Pseudolus then enters, intoxicated and hilarious, and tells in a monody of the feast from which he has just come (1246-1284). He calls Simo from the house and a duet follows (1285-1334), at the end of which the two are reconciled and go off the stage together. The song form of this last song scene is evidently due to a desire to heighten the atmosphere of dissipation and hilarity, as in the komos of Old Greek Comedy. Studies in the Songs of Plautine Comedy 73 The Pseudolus in its emtrical structure, shows a balanced and symmetrical arrangement of meters, a succession of senarii, recitative and song as follows: a, c, b, a, c, b, a, c, b, a, c, b, c. It contains five songs, dividing the play into five parts. The last song ends the play, the first song is preceded by senarii and the fourth song suc- ceeded by recitative. Between the first and second, the second and third, and third and fourth occurs a passage of recitative followed by a passage of senarii. Ordinarily the choice of recitative or song for a particular passage seems to be due to this preference for a succession of song, recitative, senarii but occasionally another motive is apparent. For instance, the reading of a letter (998 ff.) and the speech of a professional character (767 fit.) occur regularly in senarii in all the plays. The joy of Pseudolus' monologue (667 ff.) is expressed more suitably in recitative than in senarii as the fact that it is not an entrance part excludes it from song. But, in general, the very regularity of the metrical structure makes these other considerations seem secondary. The songs are, in the main, briefer and less elaborate in form than those of the Casina. It may be noted that the longest comes near the beginning of the play and the second longest at the end and that the other three are comparatively short and not irregular in length. The songs are not uniformly emotional in character. The song form of Pseudolus' triumphant monody (574) heightens the expression of joy; that of the song scene at the end of the play (1246) enhances the atmosphere of dissipation and hilarity; that of Ballio's monody enlivens the scene and increases the comic appeal. The strongest emotion of the play finds expression in song form and any expression of emotion not in song is found in a non-entrance part as 667 ff. But the monodies 594, 905, and 1103 are unemotional. The monody of 594 ff. owes its song form to the conventions of entrance technique since it is the entering monody of B, following the entering monody of A. The song form of 905 and 1103 may be due merely to a desire to vary the meter and to obtain a balanced metrical structure. Other- wise, as far as their content is concerned, they might have been written as well in recitative or senarii as in song. Not only do the songs occur with a definite regularity in the metrical structure of the play, but they also mark successive steps in the advancement of the action. The first song (133) ends the preliminary exposition and leads up to the initiation of the action. The second song (574) is directly followed by the first step in the 74 Studies in the Songs of Plautine Comedy intrigue, the obtaining of the letter. The third song (905) leads up to the actual carrying out of the intrigue. The fourth song (1103) precedes the discovery of the intrigue while the fifth (1246) is itself a final song of triumph over the success of the intriguer and the recon- ciliation of victim and intriguer. Song in the Pseudolus, then, is not, for the most part, in itself of real organic importance but is used as -a prelude to the successive phases of action. In certain cases, it enhances the emotional tone and it is successfully used by the drama- tist to vary the manner of delivery throughout the whole play. The Bacchides has 262 lines of song (21%), excluding the lyrical lines quoted by the grammarians and not found in the extant manu- scripts of the play. Since the opening scenes are lacking in the manuscripts their metrical arrangement can only be conjectured from the fact that the fragments quoted are in senarii and lyrical meters. A comparison with other plays makes it probable that the Bacchides, like the majority of Plautus' plays, began with senarii; these were followed by song. The play begins, according to our manuscript tradition, with a dialogue in recitative (35-108). The two sisters, the Bacchides, tell the adulescens, Pistoclerus, of their difficulties and ask his help. The Samian Bacchis, who is subject to a soldier for a year's service, will have to return to him against her will, unless a sum of money is paid. While Pistoclerus goes out to buy material for a feast, his absence is covered by a short exit dialogue of the Bacchides (101-8). Pistoclerus returns at 109 with the paedagogus, Lydus, who remon- strates with him in vain (109-69 senarii). At their exit there enters Chrysalus, the slave of Mnesilochus, Pistoclerus' friend. He gives presuppositions of the plot in the monologue of a returned traveller (170-77 senarii); Mnesilochus, who has been in Ephesus two years, has sent a letter to his friend, asking him to find his mistress, Bacchis. Pistoclerus, entering, tells Chrysalus that Bacchis has been found but that money must be procured to save her from the soldier (179- 234 senarii). Chrysalus, thinking of a way to get the money, informs Nicobulus, the father of Mnesilochus, that they were able to bring back only part of the money for which they had been sent (235-367 senarii). At their exit, Lydus comes out of the house of the Bac- chides, filled with horror at what he has seen and declares that he will teU the father of Pistoclerus what is happening (368-84, recita- tive). Then Mnesilochus, entering, reflects on how he may escape from his difficulty (385-404 recitative). When Lydus returns with Studies in the Songs of Plautine Comedy 75 Philoxenus, the father of Pistoclerus, Mnesilochus learns that Pistoclerus is in love with Bacchis (405-99 recitative). Not knowing that there are two Bacchides, he is filled with bitterness at the treachery of his friend and his sweetheart and decides, ignoring Chrysalus' plan, to give all the money to his father (500-25 senarii). While he is doing this, Pistoclerus enters and, on Mnesilochus' return, the two engage in conversation. Mnesilochus learns that his friend is in love with the Athenian, not the Samian Bacchis, and they enter the house together (526-72 recitative). In the meantime, the parasite, sent by the soldier to take away the girl if money is not paid, arrives and speaks a monologue (573-83 senarii). Pistoclerus comes out and frightens him away (583-611 senarii). Then Mnesilochus enters with a monody (612-25), the first song in the play, according to our present text, in which he expresses his remorse at his impulsive act in giving back the money. The same emotion is carried out in the duet between the two friends that follows (626-39). Then Chrysalus, ignorant of what Mnesilochus has done, appears with a joyous, triumphant monody at the easy solution of the difficulty (640-70). The emotion of the two monodies is enhanced by the contrast between the remorse and self-accusation of the one and the triumph and pride of the other. In the dialogue that follows (671-760 recitative) Mnesilochus confesses his act and Chrysalus thinks of a new plan. Mnesilochus writes a letter to his father, warning him against Chrysalus, to put him off his guard. Chrysalus, in a link monologue (761-69 senarii), expresses his confidence in his ultimate success. When Nicobulus enters, Chrysalus gives the letter to him and then proceeds to warn him that his son is in great danger because of his love-affair with a soldier's wife. The opportune arrival of the soldier, determined to take away the girl unless he is given money, adds verisimilitude to the story. Nicobulus, in his fear, readily promises money and sends Chrysalus into the house to remonstrate with Mnesilochus (770-924 senarii). Chrysalus returns with a long, triumphant monody, rejoicing at the success of his plans (925-78), followed by a duet with Nicobulus (979-996). He reports on his errand and gives him a letter from his son. The meter changes to senarii with the reading of the letter in which Mnesilochus says that he needs more money as the woman will not leave him unless she is given a certain sum. The father agrees to give it and goes to the forum to make arrangements (997- 1075 senarii). 76 Studies in the Songs of Plautine Comedy Meanwhile Philoxenus enters with a monody (1076-86) expressing anxious concern for the welfare of his son. Nicobulus, returning from the forum, sings a monody expressing his great chagrin; he has met the soldier and learned of the ease with which he has been tricked (1087-1103). The same emotion is continued in the duet that follows between the two senes (1104-19). Then the Bacchides appear and after making sport of the old men, succeed in winning them over and all four leave the stage together (1120-1206 quartette). The atmosphere of revelry again suggests the komos. The play ends with the short speech of the grex (1207-12 recitative). The Bacchides shows a careful balance in the arrangement of meters: (a, c, ?) b, a, b, a, b, a, c, b, a, c, a, c, b. The last song is about equal in length to the combined length of the other two. The length of the non-song passage before the first song of our text (612) is unusual but the frequent change from recitative to senarii and back to recitative helps to relieve the monotony. One of the rare examples of senarii directly following song, found in this play (997), is to be explained by the conventional use of senarii for the reading of a letter. Occasionally, as in the case of the letter, the choice of senarii or recitative for a particular passage seems to result from its contents. The prologizing character of the prayer of the returned traveller, for instance, makes the use of senarii natural. The mono- logue of Lydus (368) that marks a change from senarii to recitative, is on a clearly higher emotional tone than the preceding scene. But frequently the contents of a passage does not explain the change of meter. The monologue of Mnesilochus shows that he is emotionally excited (500-25) and yet it stands by itself in senarii between two passages of recitative. The chief motive of the dramatist in his metrical arrangement of recitative and senarii seems to have been to vary the manner of delivery at frequent intervals. The songs, on the whole, mark a decided heightening of the emotional tone. The emotion of the play reaches its highest point in three places; the remorse of Mnesilochus contrasted with the premature triumph of Chrysalus (612-70); Chrysalus' second song of triumph, now justified by events (925-78); the chagrin and shame of the victim of the intrigue (1087-1103). The monody of Philoxenus (1076-86) expresses a milder kind of emotion. Its song form may be due to the conventions of entrance technique, looking forward to the entering monody of B, and its less intense emotion leads up to the more violent emotion of Nicobulus as a climax. The duets of the Studies in the Songs of Plautine Comedy 77 play, which are brief and follow the monodies, in two cases carry out the emotion of the preceding monody (625-39, 1105-19); in one case the duet is not emotional (979-96). The song form of the quar- tette (1120-1206) enhances the atmosphere of dissipation and the comic effect. In addition to their regular place in the metrical structure of the play, the songs mark successive stages of action, the disastrous end of the first attempt (612-70); the successful completion of the second (925-96) ; the discovery of the intrigue (1087 ff.). As in the Pseudolus, the final reconciliation is in song form. The songs are, of themselves, of little organic importance but they are important in marking the emotional crises of the play and in varying the manner of delivery. The Mostellaria has 223 lines of song (20% of the play). The play begins with a dialogue scene (1-83 senarii), giving the presuppo- sitions of the plot through the conversation of two slaves. The country slave, Grumio, rebukes Tranio, the city slave, for leading his young master into dissipation during his father's absence. At their exit the adulescens, Philolaches, enters and sings a long monody on love, pointing to himself as an example of its evil effects (84-156). Then the meretrix with whom he is in love, comes on the stage with her ancilla, Scapha. Philolaches overhears their conversation as the girl adorns herself and listens to Scapha's words of advice, but finally greets her and a feast begins (157-312 recitative). Then comes a second song as Callidamates, Philolaches' friend, enters with his sweetheart. Intoxicated and hilarious, he sings a monody, which is followed by a duet and then a quartette as the friends greet each other and all join in the drinking party (313-47). These scenes are all part of the elaborate preliminary exposition and lead up to the initiation of the action in the next scene. As they are feasting, Tranio comes back with the news that Theo- propides, Philolaches' father, has returned (348-62 recitative). He breaks up the feast and sends the revellers into the house (363-408 recitative) while he tries to think up a plan (409-30 senarii). At this point Theopropides enters with the conventional monologue of a returned traveller (431-41 senarii). When he goes up to the house, Tranio greets him and tells him a suddenly invented tale— the house is haunted (442-531 senarii). At this moment, the danista to whom Philolaches owes money, appears and accosts Tranio who finally con- fesses to Theopropides that money is due him, money, he explains, which was borrowed to buy a new house. When Theopropides 78 Studies in the Songs of Plautine Comedy promises to pay, the danista goes away (532-654 senarii). Then Theopropides asks what house was bought and when Tranio finally tells him that it was his neighbor's house, expresses a desire to see it (655-89 senarii). At this point, the neighbor, Simo appears with a monody on his own domestic infelicity (690-710). Tranio goes up to him and their duet (711-46) changes to dialogue when they begin to converse seriously. Tranio asks permission to take his master into Simo's house to look at it as a model for one of his own and Simo consents (747-74). Tranio, after expressing his satisfaction in a monologue (775-82 senarii), reports on his errand to Theopropides (783-803 duet). As they address Simo, the meter changes from song to recitative. After discussing the house in a scene rendered humorous by the fun Tranio makes of the unconscious old men, Tranio and Theopropides enter the house (804-57 recitative). While they are examining the house, a slave comes to meet Callidamates and attend him on his way home. After a monody on the good and bad slave, (858-84) he is joined by a second slave; their duet (885-903) consists of raillery and rude jesting. Then Theopropides and Tranio come out and Theopropides sends Tranio to find his son. In the meantime, the slaves, knocking at the door, attract Theopropides' attention and by questioning them he finds out the trick that has been played upon him (904-92 recitative). His suspicions are confirmed by Simo who arrives opportunely (993-1040 senarii). As Theopropides goes to obtain lorarii, Tranio returns with a monologue (1041-63 recitative) and takes refuge on an altar when Theopropides enters. Then Callidamates comes in and finally succeeds in obtaining forgiveness for Philolaches and even for Tranio (1064-1181 recitative). The Mostellaria has a succession of a, c, b, c, b, a, c, a, c, b, c, b, a, b. The longest song is at the beginning but the songs do not vary greatly in length. The play is unusual in having one of the three cases of non-entrance duet found in the twenty plays (783-803. See pp. 9f.). It also has one of the seven cases of senarii directly following song (747-82), here a short passage (35 lines) separating two songs, the second of which is the non-entrance duet. There is no apparent reason for the use of senarii rather than the more usual recitative for this passage (cf. p. 9). As might be expected, then, from these peculiarities, the play shows a less regular arrange- ment of senarii, recitative and song, than some others. Studies in the Songs of Plautine Comedy 79 In certain passages, recitative seems to give a higher emotional pitch than senarii; for instance, the excited scene in which Tranio tells of the return of Theopropides and breaks up the feast (348-408) is in recitative which changes to senarii when Tranio, left alone, reflects on the situation (409-30). On the other hand, the triumphant link monody of Tranio (775-82) is in senarii and Theopropides is still excited and annoyed at the discovery of the trick when the meter changes from recitative to senarii at 993. The underlying motive, then, in the metrical arrangement of recitative and senarii seems to be the desire for variety in delivery. The songs are not uniformly emotional. The first monody (84) expresses the remorse of the young lover; the second song gives an atmosphere of hilarity and dissipation (cf. Pseud. 1246 ff.; Pers. 753 ff.). The other three songs are not emotional. The monody of Simo may be in song merely to give a pleasing variety in the manner of delivery; it follows a succession of recitative and senarii and separates two passages of senarii. The duet (783-803) might have been in either senarii or recitative, as far as its content is concerned, but its unusual position as a non-entrance song separated by only a few lines from the preceding song probably had all the charm of the unex- pected. The song form of the song of the slaves (858-903) may well have increased the audience's enjoyment of it; the movement which accompanied it, the rude witticisms and horseplay of the duet, prob- ably acted as a relief after the more subtle humor of the preceding scene. The content of the songs is of little importance for the action of the play. The monody of Philolaches (84) and the feasting scene (313) are, it is true, important parts of the rather elaborate prelimi- nary exposition and the duet (783) is of some organic importance as Tranio reports on his interview with Simo. But the monody of Simo (690) and the songs of the slaves (858) are entirely unessential and irrelevant though they do bring on the stage characters needed for the action of the next scene. The first two songs belong to the preliminary exposition; the third and fourth (690, 783) are concerned with the advancement of the intrigue and the fifth (858) directly precedes the denouement. The drinking scene (313 ff.) Leo assigns to the Greek origin a in its musical form as he does not think the Roman dramatist would have heightened the purely Greek atmosphere of revelry by giving it a song form. Aside from this scene and the opening monody (84) 80 Studies in the Songs of Plautine Comedy the value of the songs lies, not in enhancing the emotional tone, but in varying the succession of recitative and senarii by the gayer and livelier element of song. The Amphitriio has 220 lines of song (20% of the play). It begins with a prologue spoken by Mercury, giving the pre-supposi- tions of the plot. While Amphitruo is at war, Jupiter, taking his form, has made love to his wife, Alcumena. Mercury has himself taken the form of the slave, Sosia. Then the real Sosia, Amphitruo's slave, enters with a monody. He has been sent to inform Alcumena of her husband's immediate return and to tell her of the battle. In practising his speech, he gives a detailed account of the battle, while Mercury, listening, makes aside comments (153-262). The monody changes to mono- logue without an apparent change in feeling. When Mercury confronts him in his own form, he is amazed and retreats to the harbor in terror (263-462 recitative). Mercury, after a prologizing monologue (463-98 sen.), leaves the stage and Alcumena and Jupiter (as Amphitruo) enter. Jupiter, saying that he must return to the army, says farewell to Alcumena (449-550 rec). At their exit, the real Amphitruo and Sosia appear, singing a duet. Amphitruo does not believe Sosia's strange story of a double (551-85) ; the duet becomes dialogue without apparent change in emotion (586-632 recitative). As they cross the stage, Alcumena comes out of the house, singing of her ill-fortune in having her husband depart so soon (633-53). When she sees Amphitruo she does not understand his sudden return and he, greatly amazed and disturbed by her story, seeks his friend Naucrates before acting upon his suspicions (654-860 recitative). At their exit, Jupiter still disguised as Amphi- truo appears with a prologizing monologue (861-81 senarii) and when Alcumena, entering, complains at her husband's accusations (882- 90), assures her that they were not seriously meant (891-955 senarii). He gives orders to Sosia (956-73 recitative) and to Mercury (974-83 senarii). Mercury then sings a monody, a parody of the servus currens monody, explaining future action (984-1005 song, 1006-8 senarii). Amphitruo returns after a vain search for Naucrates (1009- 20 recitative) and a dialogue follows between Amphitruo at the house door and Mercury on the roof (1021-34 recitative). Here several pages of the archetype are lost. At the end of the lacuna, Blepharo, evidently called in to decide on the identity of Amphitruo, declares that he cannot settle the point. Amphitruo, angry, tries to get into the house but falls, stricken by a thunderbolt (1035-52 recitative). Studies in the Songs of Plautine Comedy 81 As he lies unconscious, the ancilla, Bromia, comes out of the house in great terror, relating in a monody the miraculous birth of Hercules (1053-75). Amphitruo is aroused (1076-85 song) and hears her strange story (1086-1130 recitative). At this point Jupiter appears in his true form, explains the mystery and proclaims the inno- cence of Alcumena (1131-43 senarii). Amphitruo agrees to forgive his wife (1144-6 recitative). The lacuna following 1034 makes the metrical arrangement of the play uncertain but it seems to be as follows: acbabcbcb a b a c b a (?) b c b a b. The irregular arrangement of recitative and sen- arii is obvious at once. The sparing use of senarii is noteworthy. Aside from the prologue, there are only four passages of senarii most of which are very short (not including the three lines of senarii with which the monody of Mercury ends (1006-8) or the fragments in sen- arii after 1034). One passage is of 10 lines (974-83), one of 13 (1131-43), one of 36 (463-98), and the longest of 95 (861-955). The content of these passages of senarii shows a certain similarity; 463-98 is the prologizing monologue of Mercury; 861-81, the prolo- gizing monologue of Jupiter; 974-83, Jupiter's directions to Mercury, begin with two lines which are evidently a direct address to the audience (cf. similarly 1006-8); 1131-43 is the speech of Jupiter as deus ex machina. The prologizing monologue of Jupiter is followed by the emotional monologue of Alcumena (882-90) and their dialogue (891-955) which is the only dialogue in the play in senarii (with the exception of the fragmentary passage). In short, recitative and song seems to be used to such an extent as almost to limit senani to prologizing passages. In the use of song, the tragic prototype of the Amphitruo is apparent. The background of the tragic messenger is clear m the case of the monodies of both Sosia (153) and Bromia (1053), and the monody of Alcumena, lamenting her misfortunes, is in true tragic vein. The messenger speech of Greek tragedy, of which Sosia's monody (153) is clearly an imitation, was in iambic trimeter. The reason for the song form of Sosia's monody may be that Sosia, frightened at the darkness and loneliness, sings to keep up his courage. The monody of Bromia (1053) on the other hand, though it narrates essential action, is highly emotional and for that reason more effective in song form. (Cf. the monody of the Phrygian, Orest. 1369.) So also the song form of Alcumena's monody (633) heightens the force of the emotion. 82 Studies in the Songs of Plautine Comedy In contrast with these songs which betray the tragic background of the Amphiiruo, the other two songs, the duet of Amphitruo and Sosia on the mistaken identities (551) and Mercury's humorous mon- ody (984), may have been put into song through a desire to lighten by gayer, livelier material, the seriousness of the environing scenes. Too great solemnity and seriousness would be dangerous for a comedy and must be relieved in some way. Song, when accompanied by lively movement, is especially suited for this purpose. Sosia's monody (153) may have been written in song rather than senarii for this reason, i. e., as a parody of the speech of the tragic messenger intended to amuse the audience, instead of as a serious imitation of it. The songs vary in organic importance. Sosia's monody (153) narrates purely unessential action; the duet of Amphitruo and Sosia (551) is concerned with the less serious part of the play, the double identity of Sosia and Mercury; Alcumena's monody (633) is merely a burst of emotion, setting the stage for the dialogue which follows; Mercury's monody (984) might be entirely omitted without injury to the play. Bromia's monody (1053) , on the other hand, is important as giving essential action, the real denouement. The Amphitruo, then, seems to use song not so much to vary the manner of delivery at regular intervals as to heighten the emotion and intensify the tragic element (633, 1053) or to relieve the serious- ness of the play by lighter, purely amusing passages. The Persa begins with song, two brief entrance monodies followed by a duet. The first monody, that of the slave, Toxilus, is on the theme of love (1-6); the second, the monody of his friend Sagaristio, is on the subject of the good and bad slave (7-12). These monodies are cited as the only clear example of responsion in Latin comedy; they are equal in length and have the same metrical structure. They serve merely as an unessential prelude to the duet (13-42), in which the presuppositions of the plot are given. Toxilus tells his friend of his need of money to purchase a meretrix with whom he is in love and asks him for help. The duet changes to iambic septen- arii (43-52) without any apparent change in feeling. Their exit is followed by the entrance of Saturio who delivers a professional parasite's speech (53-80 senarii). Toxilus, who has in the meantime thought up a plan, asks the parasite to let them use his daughter in the intrigue. She is to be disguised as a slave and sold to the leno; then when her free birth is proved, the leno will be punished by the loss of his money. After demurring a little, the parasite consents (81-167 sen.). Studies in the Songs of Plautine Comedy 83 While preparations are being made, the action comes almost to a standstill. Sophoclidisca, an ancilla, comes on the stage with a monody addressed to her mistress in the house (168-82). The monody is unemotional and not essential except as it throws some light on the love-affair. Toxilus then comes out with a letter for his mistress which he gives to the slave boy, Paegnium, to carry. The dialogue between Toxilus and Paegnium and Paegnium and Sopho- clidisca consists of unessential raillery and abuse (183-250 recitative). Sagaristio returns to the stage with a joyous monody (251-71); he has succeeded in obtaining the necessary sum by appropriating the money given him by his master to buy cattle. He asks Paegnium where Toxilus is. After a few lines of abuse (272-9) the duet changes to recitative (280-301). Toxilus enters with Sophoclidisca and Sagaristio tells him of his scheme. They decide to continue the intrigue to obtain money with which to pay back Sagaristio's master (302-28 recitative). At their exit, the parasite and his daughter enter talking. The girl rebukes her father for yielding to the plan (329-99 senarii). When they withdraw, Dordalus, the leno, appears and when Toxilus gives him the money, goes off to arrange for the liberation of the girl (400-48 senarii). In the meantime, Toxilus speaks a link monologue and gives final directions to Sagaristio (449-69 senarii). Dordalus returns from the forum with a link monody expressing his satisfaction at his good fortune (470-79). When he tells Toxilus that the girl is freed, Toxilus, in return, gives him a letter supposed to be from his master, offering a girl for sale (duet 480-500). The letter is in senarii and the dialogue that follows, in recitative (501-12, 520-27 senarii, 513-19, 528-48 recitative). At this point Sagaristio, in disguise, appears with the parasite's daughter who is masquerading as a foreign slave. Dordalus and Toxilus, at first, listen to the conversation, then Dordalus, completely deceived, agrees to buy the girl (549-672 recitative). While he retires to get the money, Toxilus gives further directions to Sagaristio (673-82 senarii). Dordalus pays for the girl (683-710 senarii) and again goes into the house while Toxilus warns Saturio of the part he must play (711-30 senarii). When Dordalus returns, Toxilus leaves the stage and Saturio rushes out, claims the girl as his daughter and drags Dor- dalus off to court (731-52 senarii). The play ends, as it began, with song (753-858). Toxilus, enter- ing with his mistress and Sagaristio, sings a song of triumph at his 84 Studies in the Songs of Plautine Comedy success. Then preparations for the feast are ordered in a trio (766- 76) At this point Dordalus enters, with a monody, expressing his chagrin and grief at his loss (777-89). The play ends with a very lively scene, the feasters make sport of Dordalus, dance and make merry (790-858). The song form greatly enhances the atmosphere of hilarity and dissipation, as in the komos of Old Greek Comedy The metrical arrangement of the play is as foUows: c b a c b c b a c a b a b a c. The longest song is at the end, the other songs are all brief One of the few examples of senarii directly followmg song occurs in this play (501 5.) in the reading of the letter. This conven- tional use of senarii for the reading of lelters helps to explam the rather unusual metrical structure of this non-song passage (501-753), for the senarii of the letter alternate with the recitative of the dia- logue. The change from recitative to senarii and from senarii to recitative seems, on the whole, to be marked only by a desire o vary the delivery. The play, except for certam songs, is decidedly unemotional. . -^fj^'o Some of the songs express very strong emotion. Sagaristio s monody (251) is a prayer of joyful thanksgiving though the expression of gratitude is followed by a narrative of essential action, Dordalus monodv (470) expresses the complacent self-satisfaction of the later victim.' In the last song sequence the monody of Toxilus rejoicmg at his success, is contrasted with the monody of Dordalus lamentmg his ill-fortune. (For a similar heightening of emotion by two con- trasted songs cf. Bac. 612 ff.) Dordalus chagrm (777 ff.) also contrasts with the self-satisfaction of his earlier monody (470)^ The song with which the play opens, however, i^;^^;^^ ^^f ^ ^f there is no strong emotion in Sophoclidisca's monody (168-82). i he song form of the f^rst may be due merely to the desire to begin the play with song rather than the more usual senarii; of the second, to a desire to varv the manner of delivery. A large part of the song of this play Leo thinks was in the Greek original, the case of responsion at the beginning of the play (1-12) and the komos-like scene o revelry at the end (753 ff.), and he is ready to admit the possibihty that still more of the song appeared as song in the Greek. Song has a greater organic importance in this play than m most of the others. The first song gives the presuppositions of the plot (13-42); the third (251 ff.) contains narrative of essential off-stage action The slight narrative element of the monodies of Dordalus (470 and 777), however, consists of facts easily guessed by the Studies in the Songs of Plautine Comedy 85 audience. The artistic value of the song as song consists in the enhancing of emotion (251, 470, 753, 777) and the heightening of the atmosphere of revelry and dissipation. In addition to this, it varies the manner of delivery but only in the first two songs (1 and 168) does this seem to be the only motive for the song form. The Rudens has 180 lines of song (13% of the play). It begins with a prologue (1-82 senarii), giving the presuppositions of the plot. Daemones has lost his daughter, who finally has come into the hands of a leno. A young Athenian, falling in love with her, has arranged to buy her but the leno sets sail with her, breaking the appointment at a temple which he has made with the youth, and is shipwrecked near the temple. The next scene opens with a monologue by the slave, Sceparnio (83-88 senarii). His master, Daemones, comes on the stage and the youth, Plesidippus, who has come to keep his appointment, asks if they have seen the leno. After Plesidippus leaves the stage, Sceparnio exclaims at seeing two girls coming to shore from a shipwreck (89-184 senarii). At the exit of the men. Palaestra enters singing of her despair and loneliness (185-219); her monody is followed by the monody of her companion, Ampelisca, in like vein (220-28). The two meet (duet 229-58) and at the entrance of a priestess ask help from her (259-89 trio). After the women go into the temple, a group of fishermen come on with a monologue (290-305 recitative), complaining of their hardships. Trachalio, the slave of Plesidippus, entering, asks if they have seen his master or the leno (306-30 recitative). At their exit, Ampelisca, appearing, tells Trachalio what has happened and he enters the temple (331-403 recitative). Ampelisca proceeds on her errand for water and calls forth Sceparnio, who goes off to get the water for her (404-41 recitative). Then she sees the leno coming and runs off (442-57 senarii) so that Sceparnio has to take the water into the temple himself (458-84 senarii). Labrax, the leno, and his friend, Charmides, enter blaming each other for their misfortune (485-558 senarii). At the return of Sceparnio they learn that the girls are in the temple, Labrax goes in (559-70 recitative), and after a few jesting remarks Sceparnio and Charmides also leave the stage. Then Daemones, entering, tells of his dream (593-614 senarii). At this point, Trachalio rushes out of the temple in great excitement to call for help (615-26 recitative) and tells Daemones of the leno's rough treatment of the girls (627-63 recitative). 86 Studies in the Songs of Plautine Comedy While Daemones goes into the temple, Palaestra together with Ampelisca rushes out, expressing her terror in a monody (664-75). Her duet with Trachalio (676-81) changes to recitative after the preliminary greeting (682-705). Daemones brings Labrax out of the temple, puts him under guard while Trachalio looks for his master (706-79 recitative) and then himself leaves the stage (780-838 senarii). Plesidippus returns with Trachalio and drags Labrax off to court (839-91 senarii). Daemones comes on the stage to speak a mono- logue, which introduces his slave Gripus, and at once retires (892-905 senarii). Gripus, entering, sings a joyous monody of thanksgiving, telling how he found a chest, while fishing (906-37). Then Trachalio appears and claims a share of the treasure. Their duet (938-62) changes to recitative as the dispute becomes serious (963-1044 recitative). They finally agree to lay the matter before Daemones, who comes on the stage with the girls. When Trachalio declares that the chest contains Palaestra's crepundia, by which her free birth may be proved, an examination is made and Daemones finds that Palaestra is his lost daughter (1045-1190 recitative). They leave the stage and Daemones shortly returns with a monologue, rejoicing at his good fortune and eager to inform Plesidippus (1191-1204 sen- arii). He sends Trachalio in search of his master (1205-26 recitative). Gripus urges Daemones to conceal the chest (1227-64 senarii). Plesidippus enters with Trachalio, delighted at the news (1265-80 recitative). Labrax returns, lamenting his misfortune in losing the girl (1281-7 recitative). He learns from Gripus of the recovery of the chest and promises him a talent if he will restore it to him (1288- 1337). As Gripus makes him repeat after him an oath, the meter changes to senarii (1338-56). Daemones gives Labrax his property but, when the latter refuses to give Gripus the promised talent, per- suades him to free Ampelisca and to give him a half-talent which will secure Gripus' freedom (1357-1423 recitative). The play consists of a succession of a, c, b, a, b, a, b, c, b, a, c, b, a, b, a, b, a, b. The longest of the three songs comes near the begin- ning; the second song is brief and the third somewhat longer. The frequency with which the meter changes in this play is especially to be noted, sometimes after passages of only about twenty lines (14 lines sen. 1191-1204; 19 lines sen. 1338-56; 22 lines recitative 1205-26). In certain cases the change of meter seems justified by the character of the coming scene, as for instance, the change from senarii to reci- Studies in the Songs of Plautine Comedy 87 tative for the emotional monologue of Trachalio (615), and the excited dialogue of Plesidippus and Trachalio (1265) or the change from recitative to senarii for the narration of the dream (593), Daemones' prologizing monologue (1191), or the repetition of the oath (1338). But in other cases, no reason for the sudden change of meter is apparent except a desire to vary the manner of delivery. The meter changes most frequently in the unusually long non-song passage at the end of the play (460 lines). The songs of the Rudens are all highly emotional. The monodies of Palaestra and Ampelisca (185, 220) express their bitter grief at their misfortune, an emotion which continues in the duet and trio (228-89). The second monody of Palaestra (664) shows her helpless terror. The monody of Gripus (906), in contrast, expresses the greatest joy and most optimistic hopes. But as the Rudens is an unusually emotional play, the songs, though they mark the important emotional crises, do not include all the emotion which the action of the play calls forth. Trachalio's appeal for help, for instance, and the victim's expression of chagrin are in recitative (615, 1281), and Dae- mones expresses his pleasure at his daughter's recovery in senarii (1191). But the very coldness and ineffectiveness of the monologues as expressions of emotion show why monodies were used to enhance emotional force. (Cf., for instance, the monologue and monody on the same theme: Rud. 1281, Pers. 777.) The organic importance of the songs differs. The first song (185) plays an important part in the preliminary exposition; the second is merely a burst of emotion which shows, incidentally, the development of the action, the third narrates essential off-stage action. The value of the songs, as a whole, consists in the heighten- ing of emotion and in thus furnishing an almost tragic background for the play. The Menaechmi has 141 lines of song (12% of the play). It opens with a prologue (1-76) giving the presuppositions of the plot. One of two brothers (Menaechmi) was stolen as a child and finally came to live in Epidamnus. The other brother, the Syracusan Menaechmus, going to look for his brother, comes to Epidamnus. The prologue is followed by the professional speech of a parasite, Peniculus (77-109 senarii). Menaechmus I (Epidamnian) comes out with a monody railing against his wife for her curiosity (110-34). He tells Peniculus of his theft of a palla from his wife for the meretrix, Erotium, who, appearing, is directed to prepare a feast (135-218 88 Studies in the Songs of Plautine Comedy recitative). When the men go off to the forum, Erotium sends her cook to market and returns to the house (219-25 recitative). Then the Syracusan Menaechmus (II) enters with his slave, Messenio, (226-72 senarii). When the cook returns he mistakes Menaechmus II for Menaechmus I (273-350). Erotium, coming out with a monody, giving directions for the feast (351-68), makes the same mistake; Menaechmus II is mystified but accompanies her mto the house, to the distress of Messenio (369-445 recitative). Peniculus returns from the forum with a monologue (446-65 recit.) and as he is rebuffed by Menaechmus II when the latter comes out of the house, goes off in anger to tell his wife (466-523 senarii). Meanwhile a maid comes out to give Menaechmus certain ornaments to have mended, in addition to the palla, which he has already promised to have fixed (524-58). At his exit, Peniculus enters with the wife of Menaechmus I, who is angry at his news (559-70 senarii). Then Menaechmus I comes in with a monody on the evils of the client system, explaining his delay (571-601). His wife accuses him of stealing her palla and finally he agrees to get it back (604-74 recit.). He asks Erotium for the palla when she comes out but she is very indignant, thinking that she has already given it to him (675-700 recit.). At his exit Menaechmus II appears and meets the wife of Menaechmus I. When he does not recognize her, she sends for her father (701-52 senarii). . u - -i The old man enters with a monody, complaining of the evils of old age (753-74). When Menaechmus II persists in his strange actions, they conclude that he is mad and he finaUy feigns insanity (775-871 recit.). While the old man goes for a doctor and the woman goes into the house, Menaechmus II escapes (872-81 senarii). When the senex and doctor return (882-98 senarii), they meet Men- aechmus I, who cannot understand why they think that he is mad (899-956 recitative). After the senex departs to get servants (956-65 recitative), Messenio enters with a monody on the good and bad slave (966-89). When the senex returns with slaves, who attempt to carry off Menaechmus I (990-1007 song), Messenio rushes to the aid of his supposed master. In return, Menaechmus readUy agrees^ to proclaim free the slave who does not belong to him (1008-38 recit.). After a brief interval covered by Menaechmus' monologue (1039-49 recit.) Messenio returns with Menaechmus II, who denies that he has freed him (1050-59 recit.). At this point, the two brothers meet and by their mutual recognition the confusion is cleared (1060-1162 recit.) Studies in the Songs of Plautine Comedy 89 The metrical arrangement of the Menaechmi is as follows: a, c, b, a, c, b, a, c, b, a, c, b, a, b, c, b. The play shows a remarkable balance and symmetry in its metrical structure. The first song is preceded by senarii and the last succeeded by recitative as always. The songs are divided by a passage of recitative followed by a passage of senarii except for the fourth and fifth songs. There a second pas- sage of recitative follows the senarii. The songs do not differ greatly in length and divide the play into passages of approximate length (109, 216, 202, 149, 191, 154). There seems to be very little differ- ence in emotional tone between senarii and recitative, though the professional speech of the parasite is, as always, in senarii (77 ff.) and the rather excited tone of the dialogue of Menaechmus I, the senex, and the doctor may explain why in this one place senarii change to recitative before song (899-965 recitative). The songs are, as a whole, unemotional, which may partly be explained by the fact that the action gives opportunity for the display of little emotion beyond the irritation felt by certain charac- ters and the bewilderment of them all; i.e., no strong emotion is expressed either in the songs or outside. The first song, the monody of Menaechmus I (110) expressing his anger against his wife, is the only one which is, in any degree, emotional. The songs are, in the main, irrelevant and of little organic impor- tance. The monody of Menaechmus I (110) is the most essential since it is a real part of the preliminary exposition, and the song of Erotium (351) is not unrelated to the action, but the other three songs are all on topical themes, the client system (571), the evils of old age (753) and the good and bad slave (966), entirely irrelevant subjects which retard rather than advance the action. All the songs, however, bring on the stage characters needed for the next scene. They are all monodies and with the exception of the last (966), which is followed by a second monody and a duet (990-1007), units in themselves. The irrelevant and unemotional character of the songs, together with the symmetrical and balanced metrical struc- ture of the play, makes it seem possible that in the Menaechmi there was a conscious attempt to use song as a means for attaining balance and variety in the manner of delivery. The Captivi begins with a prologue (1-68 senarii) giving the pre- suppositions of the plot. Hegio had had one of his sons stolen as a child and sold as a slave to a man in Elis, who gave him under the name Tyndarus to his son Philocrates. When his second son was 90 Studies in the Songs of Plautine Comedy captured in a war with Elis, Hegio bought, as prisoners for exchange, Philocrates and Tyndarus. In order to make possible Philocrates escape, the two exchange places; Philocrates becomes the slave and Tyndarus the master. The prologue is followed by the profes- sional monologueof the parasite, Ergasilus (69-109 senarn), who, when Hegio appears, succeeds in getting an invitation for dinner from him ( 1 10-94 senarii) . When they withdraw, Philocrates and Tyndarus, m their exchanged roles, come out with the /.ram and in a private interview impress on each other the need of caution (duet 195-239 changing to recitative 240-50 without apparent change m feelmg). Hegio, returning, arranges to have Philocrates exchanged for his son, who happens, as he finds, to be in the possession of Philocrates father (251-360 recitative). Philocrates, the pseudo-Tyndarus, is sent off to make the arrangements and thus escapes (361-84 senarn, 385-460 recitative). While Ergasilus goes to see whether any of his other captives know Philocrates, the parasite returns with an unes- sential monologue on his fruitless search for a dinner (461-9/ reci- ^^^'negio returns with a monody, rejoicing because he has found a captive who can identify Philocrates (498-515). As they enter the house Tyndarus rushes out with a second monody (516-39), alarmed at the unavoidable discovery of the intrigue. When Aristophontes says that he is not Philocrates but the slave Tyndarus, Tyndarus tries to convince Hegio that Aristophontes is mad but finally Hegio sees that he has been tricked (540-658 recitative) and calling out his lorarii, he sends Tyndarus off to the stone-quarries (659-767 senarn). While he is taking Aristophontes back to his brother's, Ergasilus sings a monodv, rejoicing at his good news, (768-80), which is followed by Hegio's monody, lamenting his folly (781-89). Ergasilus continues with a servus currens monologue (790-832 recitative), interrupted by the aside comments of Hegio. Then they greet each other m a few lines of song (833-7), which changes after the first greetings to recita- tive (838-900), as Ergasilus tells Hegio that his captured son has returned and also the slave who stole his other child. When Hegio leaves for the harbor, Ergasilus expresses his joy at bemg left m charge of the pantry (901-8 recitative). His exit is followed almost immediately by the entrance of a slave who tells what havoc Erga- silus is working (909-21 recitative) . u • f Hegio, returning with his son and Philocrates, smgs a briet prayer of thanksgiving (922-27). He has to tell Philocrates that Studies in the Songs of Plautine Comedy 91 Tyndarus is in the stone-quarry but sends for him (928-53 recitative). In the meantime he talks with the slave Stalagmus, who stole his child, and finally learns that Tyndarus is his lost son (954-97 reci- tative). Tyndarus, on his return, is told the news and the slave is properly punished (998-1028 recitative). The play ends with an address to the audience (1029-36 recitative). The metrical scheme of the Captivi is as follows: a, c, b, a, b, c, bacbcbcb. The change from recitative to senarii does not always coincide with the exit or entrance of a character. For instance, when Hegio turns from Philocrates to address Tyndarus (361) the meter changes from recitative to senarii and then a few lines later (385) changes back to recitative as the emotion deepens with the final farewell. At the entrance of the lorarii (657), the meter changes from recitative to senarii without apparent change of feeling. Senarii play a small part in the Captivi, only two passages, one of which (361-84) is very short, besides the prologue and the professional parasite's speech at the beginning. The 124 lines of song are divided into five songs. The unusual brevity of the last two songs must be noted. The shortest song (833-7) is one of the three examples in Plautus of duets sung after entrance in the middle of a scene. It resembles very closely in content the short recognition duets that often follow entrance monodies, changing to recitative after the preliminary greets, but is separated from the entrance monodies by the servus currens monologue of Er- gasilus in recitative (790-832). The songs are, with certain exceptions, emotional, and in two cases the emotion is enhanced by the contrast between two successive monodies. Hegio's joyful monody is contrasted with Tyndarus' dismayed and frightened song (498, 516). The joyful monody of Ergasilus is contrasted with the gloomy, disconsolate monody of Hegio (768, 781). There is a still further contrast between the two monodies of Hegio, the one showing premature satisfaction (498), and the other the chagrin of the victim of the intrigue (781), both in bacchiac meter, and the latter standing between the triumphant monody of Ergasilus (768) and his former discouraged monologue (461). Hegio's prayer song at the return of his son also expresses emotion. The duets, in contrast with the emotional monodies, are unemo- tional. The short duet 833-7 is hardly anything more than the duet ordinarily following entrance monodies, the monologue in recitative 92 Studies in the Songs of Plautine Comedy being really parenthetical. The song form of the duet 195 is probably due to its position in the play directly after the expository scene m senarii, for song follows the opening senarii in the plays of Plautus with striking regularity. The organic importance of the songs varies; the first duet (195) emphasizes the fact of the change of roles and initiates the action; the monody of Hegio gives information of action which eventually leads to the discovery of the intrigue (505-14). But, in general, the songs are merely emotional outbursts, musical preludes which set the tone for the next scene. The value of the songs of the Captivi, then, is their service in enhancing emotion. They also vary the delivery at somewhat irregular intervals but in the case of only one song (195) does the desire to vary the manner of delivery seem to be the only reason for its song form. . . The Epidicus opens with song, a duet between two slaves, giving the presuppositions of the plot. Thesprio, the slave, returning with his master, Stratippocles, meets his fellow-slave, Epidicus, and tells him that his master, falling in love with a captive girl, borrowed money to buy her and now is in trouble because he cannot pay the danista. Epidicus is much disturbed because, in accordance with Stratippocles' directions, he had bought the fidicina with whom the latter had formerly been in love. After Thesprio's exit (80), Epidicus in an exit monody (81-98 song, 99-103 recitative) adds the fact that in order to get money, he has made Periphanes, Stratip- pocles' father, believe that the girl is his daughter. At his exit, Stratippocles comes in, telling his friend, Chaeribulus, of his great need of money and finally Epidicus tells them that he will secure the necessary sum (104-65 recitative). When they withdraw, the two old men, Periphanes and his friend, Apoecides, enter with a duet. The latter urges his friend to carry out his desires and marry the mother of the girl who is, as he thinks, in the house (166-80). Then Epidicus returns with a triumphant monody (181-89) and proceeds to try out on the old men the plan he has de- vised. He tells them that Stratippocles is in love with a fidicina and wishes to buy her and suggests that Periphanes anticipate him by buying the girl himself. They readily agree to the plan (190-305 recitative). Epidicus lingers behind to deliver a triumphant mono- logue (306-19). Stratippocles and Chaeribulus enter, lamenting in a duet (320-36) their failure to secure money. Epidicus, returning Studies in the Songs of Plautine Comedy 93 with a monody that changes to recitative (337-40 song, 341-45 recitative), informs them of his successful plan. He tells them that he intends to have Apoecides bring back a girl hired for a festival (346-81 recitative). Periphanes enters with a monologue (382-95 senarii), which is followed by the entrance of Apoecides with 2i fidicina (396-424 sen.). As the girl goes into the house, Periphanes congratulates himself on the good service of his friend (425-436 senarii). Just then the soldier who wishes to buy the first fidicina (the one with whom Stratippocles had first been in love) appears and Periphanes readily brings forth the second fidicina. But when the soldier fails to recog- nize her, Periphanes sees that Epidicus has played a trick on him (437-525 senarii). At this point, Philippa, the woman by whom Periphanes has had a daughter, entering, sings a monody lamenting the loss of her daughter (526-31). As they recognize each other, they sing a duet (532-46), which changes to recitative as they address each other. Periphanes assures Philippa that her daughter is in the house but when the first fidicina is brought out and Philippa says that it is not her daughter, Periphanes realizes the second deception (547-606 recitative). As he goes off to find Epidicus, Stratippocles enters and after him Epidicus, who realizes that the intrigue is discovered. When the danista arrives with the captive girl whom Stratippocles has bought, Epidicus recognizes her as the daughter of Periphanes and Stratip- pocles' sister. When the old men appear, ready to punish him, he claims all the credit of the daughter's discovery and so receives a reward rather than punishment (607-733 recitative). The metrical structure of the play shows a fairly well balanced arrangement: c, b, c, b, a, c, b, a, c, b. The change from recitative to senarii for Epidicus' brief triumphant monologue (306-19) is evidently caused by a desire to vary the manner of delivery. Aside from this brief passage there is only one other passage of senarii (382-525). The four songs, except for the first which is compara- tively long, are short and do not differ greatly in length. The passages into which the play is divided by the songs are of about the same length except for the unusually short interval between the first two songs (66, 230, 184, 187). The preponderance of duet over monody in this play is noteworthy; three of the four songs begin with a duet which is followed by a briefer monody. 94 Studies in the Songs of Plautine Comedy Studies in the Songs of Plautine Comedy 95 The songs differ as to the expression of emotion. The monody of Philippa expresses deep grief (526) and Epidicus sings a brief triumphant monody (181). Stratippocles' duet with Chaer.bu^us portrays his anxious concern but the first two songs (1 and 166) are quite unemotional. . . , The first song is of organic importance in giving the presupposi- tions of the plot; the second song (166) adds certain new elements; the third (320) is unessential in content but fills a time interval and brings on the stage characters needed for the next scene; the fourth (526) introduces a necessary character and gives the desired emotional tone to the next scene. , . , , .. The songs of the Epidicus, then, in certain cases heighten the emotional effect (526, 181) but serve, mainly, the purpose of varying the meter at certain fairly regular intervals. The Trucukntus begins with a prologue which merely states the general character of the play (1-21). It is followed by the prologizing monologue of Diniarchus, who inveighs against meretrtces in general and Phronesium in particular. Though he has had her favor for some time, he is now cast aside for a returning lover, a soldier. In order to get money from the latter, she is pretending that she has borne him a child (22-94 senarii). . ■ ,qc , m Astaphium, the ancilla, comes out with a monody (95-111), warning her mistress (in the house) against the thieving character of lovers Her duet with Diniarchus (112-29) after the first words of greeting changes to recitative (130-208). He complains that he has spent all his money on Phronesium, and Astaphium, confirming the story of the child, sends him into the house. At his exit, she sings a second monody (209-55) on the folly of lovers who expect favor after their money is gone. Then, continuing on her errand to find Strabax, a lover from the country, she meets his slave, Truculentus, who in answering her questions, lives up to his name (256-321 reci- tative) On her return, Diniarchus, who has been waiting impa- tiently, asks her to go in and summon Phronesium (322-51 senani). Phronesium, on her entrance, tells him that the child is supposititious, intended to get money from the soldier (352-433 senarii). After she returns to the house and Diniarchus goes off with an exit monologue (434-47 senarii), Phronesium returns, in her assumed role of mother, singing a monody on the anxieties of motherhood, taking the audience into her confidence as to the trick she is playing (448-64 song 465-81 recitative). i The soldier now enters with a characteristically boastful speech (482-98 recitative). He learns of the birth of the child and presents Phronesium with gifts which she regards as inadequate. At this point, Cyamus, a slave of Diniarchus, enters with a line of slaves carrying the purchases made, singing a monody on the avaricious nature of meretrices (551-77). In the song that follows, Phronesium accepts the gifts graciously, to the great rage of the soldier, who fright- ens off Cyamus (578-630). Phronesium, going into the house at once, leaves the soldier in a state of bewilderment. He goes off with an exit monologue (631-44 senarii). Strabax, the country youth, entering, tells in a monologue that he has been kept in the country by his father. He is sent into the house by Astaphium (645-68 senarii). Truculentus, then, appearing tells Astaphium that his disposition has changed and he is ready to make love to her (669-98 senarii). Diniarchus enters rejoicing at the news that his gifts have been accepted with favor (699-710 recitative). Astaphium, coming out of the house with a monody (711-18), again warning her mistress to be careful, tells Diniarchus that Strabax is now in her mistress's favor. The duet (719-29) changes to recitative after a few lines (730-57 recit.). Diniarchus is left on the stage, meditating revenge (758-74 recitative). The senex, Callicles, enters with two ancillke whom he questions in regard to the child whom his daughter has borne. He learns that the child has been given to Phronesium for her use and that Diniar- chus is its father. Diniarchus agrees to marry the girl Phronesium, learning of the identity of the child, succeeds in getting Diniarchus to let her keep it for three days to get more money from the soldier. When Strabax and the soldier enter, playing them off against each other, she invites them both inside (775-968 recitative). The metrical scheme of the Truculentus is as follows: a,c,b,c,b,a, c,b,c,a,b,c,b. The unusual irregularity of the metrical arrangement is obvious. The play contains one of the few cases of senarii directly following song. At the end of the heated duet between Cyamus and the soldier, when Cyamus hastily departs, the meter changes from song to senarii (631)^ The sudden change of meter may indicate the reversal of feeling between the excited dispute and Phronesium's calm and collected words. The play also contains one of the few cases of non-entrance song, the only non-entrance monody (209-55). After her conversation with Diniarchus and his exit, Astaphium, turning to the audience, 96 Studies in the Songs of Plautine Comedy sings an unemotional link monody on the general topic of the foUy of lovers. In three cases the play contains exceptions to the ordinary con- ventions of entrance technique, the preference for a succession of monologue, monologue or monody, monody to that of monologue, monody or monody, monologue. The entrance monologue of A is twice followed by the entrance monody of B. In the first case, the monologue of A is natural since it is really a prologue (22); the second case is more remarkable as the emotional monologue of A is followed by the non-emotional monody of B (699). The emotional force of the monologue is, however, increased by the change from the pre- ceding senarii to recitative. In one case (448) the entrance monody of A is followed by the entrance monologue of B (the monody changes to recitative before its close 465). The monodies of the Truculentus are, with the possible exception of the feigned emotion of Phronesium's monody (448), entirely unemotional. They are unessential, though not entirely irrelevant, since they throw some light on the general situation. Four deal with the topic of the relations between meretrices and their lovers; three sung by the ancilla (95, 209, 711) from the point of view of the meretrix, one sung by the slave from the point of view of the lover In general, the dramatist seems, in his use of song, to be moved by a desire to break the ordinary conventions and to bring in startling novelties. The appearance of the same topic in different songs gives the play a certain unity of theme. The Trinummus begins with a prologue giving in dialogue form the name and theme of the play. It is followed by a short monologue of Megaronides (23-38 senarii), then the entrance of Callicles by a dialogue which gives the presuppositions of the plot (39-222 senarii). Megaronides rebukes Callicles because, in the absence of his friend, Charmides, he has bought his house and thus given his son, Lesbonicus, more money to squander. Callicles explains that it was to save the treasure in the house from Lesbonicus that he bought it. Lysiteles, at their exit, enters with a monody on the theme of love, telling of his own sufferings (223-75). His father, Philto, entering, gives his son advice in a solo (276-300). Lysiteles tells his father that he wishes to marry a certain girl but that her brother will not allow it since he cannot give her a dowry (301-91 recitative). At his exit, Philto comments on the situation in a monologue (392-401 Studies in the Songs of Plautine Comedy 97 senarii). Lesbonicus enters conversing with his slave, Stasimus, on his penniless condition and tells Philto that he will give, as a dowry, his oQe remaining field (402-601 senarii). Stasimus tells Callicles that the marriage arrangements have been made and Callicles goes off to find a means of providing a dowry (602-26 recitative). Lysiteles refuses to accept the field which Lesbonicus offers and Lesbonicus refuses to allow the marriage of his sister without a dowry (627-728 recitative). Callicles and his friend, Megaronides, arrange a plan for providing the dowry; a messenger is to come pretending to bring money from Lesbonicus' father (729-819 senarii) . While a sycophant is being hired for this purpose, the father, Charmides, returning unexpectedly, sings a monody, thanking the gods for his safe return (820-42). Then the sycophant appears and after considerable con- fusion learns the identity of Charmides (843-997 recitative). Char- mides speaks a monologue, in perplexity (998-1007 senarii), and then when Stasimus enters with a servus currens monologue (1008-58 recitative) learns that his friend Callicles has bought his house (1059-92 recitative). Callicles explains the situation (1093-1114 senarii). Lysiteles enters, singing a brief monody at the good news of Charmides' return (1115-19 song 20-24 recitative). In the last scene the confusion is cleared up and the marriage arranged (1125-89 recitative). .. ^ , a The metrical scheme of the play is remarkably well balanced: a, c, b, a, b, a, c, b, a, b, a, c, b. The use of senarii for such short passages as 998-1007 and 1093-1114 may possibly be due to a desire to obtam this metrical symmetry. The songs are all monodies, units in themselves, except for the first (223), which is followed by what is practically a second entrance monody (279-300). They vary considerably in length. They are all emotional, the first portraying the wretchedness of the young lover (223), the second the gratitude of the returned traveller (820), the third the joy of the young lover at his prospective escape from difficulty (1115). The first and third express contrasted emotions of the same person. The songs are of little organic importance, merely bring on the stage characters needed for the next scene, and give the emotional tone for the dialogue that follows. In the Trinummus, then, the dramatist seems to have combmed the use of songs to vary the manner of delivery with their use to heighten the emotional tone at important emotional crises. 98 Studies in the Songs of Plautine Comedy The Aulularia begins with a prologue (1-39) spoken by the Lar, who has helped Euclio find a pot of gold that it might be used as his daughter's dowry. She has been ravished during a festival by a youth whose identity she does not know. The miser Euclio in great distress for the safety of his gold comes out talking to his anciUa, Staphyla, and finally goes off to the forum (40-119 senarii). Then Megadorus, a neighbor, enters singing a duet with his sister, Eunomia, who urges him to marry. He answers that he is ready to marry Euclio's daughter, even though she is poor. (The duet 120-60 changes to recitative 161-77 without apparent change in tone.) When Euclio returns from the forum, he asks him for his daughter's hand. Euclio consents, provided no dowry is asked, and Megadorus departs to make preparations for the wedding (178-267 recit.). Euclio tells the news to Staphyla who is in distress as his daughter's condition is still unknown to Euclio (268-79 recitative). The slave, Strobilus, comes back with the cooks and after an exchange of jokes sends one to the house of Megadorus and one to Euclio's (280-370 senarii). Euclio returns from the forum with the humble purchases that he has made for the wedding (371-89 senarii). Hear- ing a noise, he rushes into the house to rescue his treasure (391-405 sen.) . In a moment, the cook runs forth, crying for help in a monody (406-14). An excited duet with the suspicious Euclio follows (415-44). Euclio, assuring himself of the safety of his treasure (445-48 monody-monologue of cook), sends the cook off (449-59 recitative). He remarks on his narrow escape (460-74 recitative) and listens with approval to Megadorus' long harangue on the extravagance of women (475-536 senarii). The two converse, Euclio complaining of Megadorus' arrangements (537-86 recitative). The slave of Lyconides, the youth who is in love with Euclio's daughter, enters with a monologue on the good and bad slave (587- 607 recitative). He overhears Euclio's plan to hide the gold in the temple of Fides and decides to steal it, but Euclio, returning, catches him and accuses him of stealing the jar (608-60 recitative). Euclio goes off to find a new hiding place and the slave determines to fol- low him (661-81 senarii). Lyconides enters with his mother, to whom he has told his story. The cries of the girl, in childbirth, are heard within the house and Eunomia promises to help them (682-700 senarii). . i.-j -^ The slave appears with the gold and hastens away to hide it (701-12 senarii). Then Euclio enters singing a monody, much Studies in the Songs of Plautine Comedy 99 distressed at the loss of his gold (713-26). Lyconides, overhearing him, thinks the girl's secret is discovered (727-30 monody). After a conversation full of mutual misunderstanding, Euclio learns the relations between Lyconides and his daughter and that he desires to marry her (731-807 recitative). As Euclio goes into the house, the slave comes out rejoicing at his good fortune and tells his master what he has found (808-31 recitative). Here the piay ends abruptly as part of the archetype has been lost. The Aulularia has a well-balanced metrical scheme: a, c, b, a, c, b, a, b, a, c, b. The songs differ in length. The first song (120) is quite unemotional. Its song form seems due merely to the desire to have a song follow the opening scenes in senarii. The monody of the cook (406-12) is emotional and the duet which it introduces (415-44) is also extremely excited. One reason for the song form here may have been a desire to heighten the comic effect. The monody of Euclio (713) lamenting the loss of his gold, is highly emotional. The first song is distinctly organic since it initiates the action, the second is unessential, mere humorous by-play, the third song is an emotional outburst, directly connected with the main action. Song, then, in the Aulularia serves various purposes. It increases the emotional force (406, 713), heightens the comic effect, and helps to bring about a symmetrical balance and variety of delivery. The Stichus opens with song, a duet between two sisters giving the presuppositions of the plot. As their husbands have been away from home for three years, their father wishes them to marry again but they do not wish to do so (1-47; 48-57 a variant scene in senarii, see p. 8). Their father Antipho enters, directing his slaves and deliberating on his daughters' marriage (58-87 recitative). He dis- cusses the subject with them and learns of their loyalty to their husbands (88-148 recitative). Panegyris sends the ancilla, Croco- tium, to summon the parasite, Gelasimus (149-54 recitative). Gelas- imus enters with the conventional speech of a parasite (155-233 senarii) and learns from Crocotium that Panegyris has sent for him (234-73 senarii). At this point, the puer, Pinacium, rushes in with the monody of a servus currens (274-314). The song changes after the first greetings to Gelasimus and then to Panegyris (315-30) to recitative (331-401) as Pinacium tells Panegyris of the arrival of her husband. The latter enters at their exit, with the prayer of a returned traveller (402-18 senarii). He gives his slave, Stichus, permission to spend 100 Studies in the Songs of Flautine Comedy the day in feasting (419-53 senarii) . When the parasite enters the hus- band avoids giving the dinner invitation which is sought (454-504 senarii) Antipho and the husband of the second sister come on the stage conversing and are joined (523) by Epignomus. The brothers assure their father-in-law that he will be given the tibicina he desires (505-78 recitative) but make sport of Gelasimus and refuse the invitation which he seeks (579-640 recitative). The slave, Stichus, comments with impatience on the delay of his friend, Sangarinus, who then appears with the prayer of a returned traveller. Stichus anticipates the joys of the feast and, greetmg his friend, takes him into the house (641-72 sen.). Stephanium comes out to inform the audience of the preparations bemg made (673-82 recit ) Then with the entrance of Sangarinus and Stichus the feast begins Stephanium is called out of the house and the merriment continues (683-761 recitative). The music stops while the tibtcen is given a drink (762-68) and then the play ends with a brief song, accompanied by dancing (769-75). The metrical scheme of the play is c (a?) b,a,c,b,a,b,a,b,a,c. Omitting the senarii after the first song (48-57) as a variant version, the play shows a remarkably well balanced arrangement of meters though the passage between the first and second song is only about half as long as that between the second and third. Some facts as to the use of senarii and recitative may be noted: the professional monologue of the parasite (155) and the prayers of the returned travellers (402, 649), are in senarii. Of special interest is the scene in senarii towards the end of the play (762-8), in which the meter changes from recitative to senarii as the tibicen stops playing to drink. The feast is, for the most part, in recitative (683 ff.) but Stichus' anticipation of the joys of the feast (655-59) comes m senarii, as a part of a longer passage in that meter (641-7 2) . The first song is unemotional, the second expresses the joy of a servus currens (274), the third heightens the hilarity of the feast (769) as a climax at the end of the play. The last song is one of the few songs which Leo thinks was song in the Greek because the song form enhances the atmosphere of dissipation. The songs are of httle organic importance except for the first which gives the presupposi- tions of the plot. The motive for the use of song seems to be m two cases the heightening of emotion as well as variety of delivery (274, 769) but in the first song, merely the desire to open the play with song rather than the more usual senarii. Studies in the Songs of Flautine Comedy 101 The Cistellaria begins with song, a trio sung by the lena and the two meretrices, Gymnasium and Selenium. Selenium tells her friends of her trouble; she is in love with Alcesimarchus, who wishes to marry her but is betrothed to another girl. The song changes to recitative (38) without any coincident change in emotion. The lena, left on the stage, tells the audience that Selenium was found by her as a baby and given to a courtesan (120-48 senarii). An inter- calated prologue follows, giving other presuppositions of the plot. The child was the daughter of a woman in Sicyon and a Lemnian merchant, who years afterward married the woman and now seeks to find the child (149-202 senarii). The youth, Alcesimarchus, enters with a monody on the theme of love (203-30). Here a lacuna of some length occurs in the text; the fragments include a conversation of Alcesimarchus with his slave (231-53 recitative) and with some other person (273-304 senarii); of his father and Gymnasium (305-73 recitative); of Alcesimarchus, Selenium and Melaenis, her foster-mother (449-535 recitative). Then the slave, Lampadio, tells his mistress, Phanostrata, Selenium's real mother, that he has seen the woman who picked up the child and learned from her that she had been given to Melaenis. Melaenis, who is listening, is, at first, much distressed but by questioning Lampadio she learns the whole truth and hastens off to find Selenium (536-630 senarii). She returns almost at once with Selenium and a casket containing her crepundia by which her identity may be proved. This she gives to her ancilla, Halisca, to take to the house. Alcesi- marchus in a desperate state enters and carries off Selenium (631-52 recitative). Lampadio and Phanostrata, coming out, find the box that Halisca has dropped (653-70 recitative). Halisca as she hunts for the box and sings a monody (671-703) of lament for its loss is seen by them and questioned. Phanostrata recognizes the cre- pundia and learns where her daughter is (704-46 recitative, 747-73 senarii). Since the free-birth of the girl is proved, the marriage of Selenium and Alcesimarchus is made possible (774-87 recitative). The fragmentary condition of a large part of the play makes the metrical scheme uncertain though it seems to be as follows: c, b, a, c, b, a, b, a, b, a, b, c, b, a, b. In how far the scheme is symmetrical, it is difficult to tell. Song is used twice to heighten the emotional effect (203, 671), but the first song is unemotional and may be in song merely because the dramatist wished to begin the play with song. The remaining plays of Plautus have little or no song. The Poenulus is unique in having two duets and no monodies (210, 1174). 102 Studies in the Songs of Plautine Comedy Both duets are sung by the sisters, interrupted by an aside duet of those on the stage. The songs are unemotional and unessential m content but serve the purpose of bringing on the stage characters necessary for the action and of portraying the character of the two sisters by contrast. In both cases the song changes to recitative without apparent change in tone. The metrical structure of the play shows a certain regularity a,c,b,a,b,a, b,a,c,b,a,b. The Mercator has two songs, both in the early part of the play. The first, directly foUowing the prologue speech (111), is the monody of the servus currens who rushes in with important news. The duet following the monody changes to dialogue (recitative) after the first words of greeting (134-40). The second song is a monody of the adulescens, on the sufferings caused by love (335). Both songs are emotional but emotion is also expressed in certam monologues later in the play (588, 700, 830, 842). The metrical scheme of the play is fairly regular: a, c, b, a, c, b, a, b, a, b. The Curculio has only one song, directly following the openmg scene in senarii, a rather elaborate song sequence, monody, trio, duet monody (96-157). The entering monody of the Una m praise of wine is f oUowed by a trio in which Phaedromus and Palmurus ask her to bring the girl out to them. As she goes into the house, the others sing a short duet and then Phaedronus sings a serenade to the doors The first monody is emotional in that it expresses in antici- pation the joy aroused by wine. Both monodies are irrelevant m content and the song as a whole is of little importance. The metrical structure of the play is a, c, b, a, b, a, b, a, b. The Asinaria has less song than any other play of Plautus except the Miles Gloriosus. Its one song (127) is an emotional monody, expressing the anger of the young lover, changing to recitative after eleven lines without apparent change in emotion. Like the one song in the Curculio it follows directly the opening scene in senarn. ^ The Miles Gloriosus has no lyrical passage. A certain variety in delivery is obtained by the use of recitative in trochaic, iambic and, in one case, anapaestic, measures. Song plays an almost negligible part in the plays of Terence; four plays contain no song (cf. Miles Gloriosus); two contam a small amount of song. The Andria has two short songs, the first, a short monody of the obstetrix, giving directions for the care of the child (481-6). Like several of Plautus' monodies {Pers. 168, True. 95) it is addressed to someone in the house. Its song form adds a certain Studies in the Songs of Plautine Comedy 103 pompous and weighty air to the words. The second song (625-34) is sung by an adulescens, Charinus, in despair at the supposed treach- ery of his friend. The Adelphoe contains one monody (610-17); the adulescens, Aeschines, rushes in, deeply disturbed at what he has heard, and sings a monody which, after the outburst of emotion and at the beginning of the narration, changes to recitative. The songs of Terence, then, differ from the songs of Plautus, first and above all, in being so slight in amount and second, in coming, not after the opening scene in senarii but comparatively late in the play. The songs of Terence are like those of Plautus in being sung by entering characters and in being, in the main, emotional. The two songs of the adulescentes (And. 625, Adelp. 610) are not essen- tially different from such songs as Bac. 612, Merc. 335 in their function and content. Metrical Structure of the Plays of Plautus^ Amph. cbabcbcbabacba(?)bcbab A sin. c b a b Aul. cbacbabacb Bac, (ac?)bababacbacacb Capl. acbabcbacbcbcb Cos. acbab abacabc'b Cist. cbacbababcbab Cure. acbababab Epid. cbcbacbacb Men. cbacbacbacbabcb Merc. acbacbabab * a, senarii b, septenarii c, song. c a c. 104 Studies in the Songs of Plautine Comedy Miles abababababab Most. acbcbacacbcbab Persa cbacbcbacababac Poen, a c bababacbab Pseud. acbacbacbacbc Pud. cbababcbacbababab Stick. c (a?) bacbababac Trin. cbabacbabacb True. cbcb acbcabcb A comparative study of the metrical schemes of the plays of Plautus makes apparent certain facts. The plays all begin with the combination a c b or less often cb. The opening passage of senarii is separated from the song, if by nothing else, by the fact that the song is sung at the entrance of new characters. The song and recita- tive, on the other hand, are ordinarily fused together and separated by some sort of break from the succeeding passage of senarii. Assum- ing that a c b and c b are metrical units, the frequency with which they occur in other parts of the plays as well is noteworthy. Outside the metrical combinations a c b and c b, the plays fall naturally into the divisions a b and less often a c (six cases). Only in two cases, at the end of the Pseudolus and in Truculentus (551, a play sui generis) does a song seem to stand alone outside of these metrical units. In two plays, the Pseudolus and Menaechmiy four of these metrical units a c b appear in succession, in others the units containing song are separated by non-song units a b. The most regular combination of a c b and a b is found in the Trinummus acbabacbabacb. The Epidicus shows a balanced arrangement of the two units con- taining song and no a b combination (cbcbacbacb). The question whether the dramatist was himself consciously striving for this effect of balance and symmetry or whether it is accidental cannot be answered. The fact that in the Trinummus, the most Studies in the Songs of Plautine Comedy 105 regularly balanced of the plays, three of the five passages of senarii are very short and do not differ in tone from the environing recitative suggests that possibility in this particular play. The question naturally arises as to whether these apparent metrical units coincide with units of the action. The entrance feature of song makes necessary a slight break between the senarii and song in the unit a c b though occasionally a seems to be only a prelude leading up to the song, rather than distinct from it (Amph. 974, Epid. 306, Trin. 1093). In approximately three-fourths of the cases, the end of an apparent metrical unit, a c b, c b, a c, a b, comes at a break in the action, sometimes a slight break but often the end of a logical chapter of the action. In the remaining cases, about a fourth, the metrical unit ends abruptly within the unit of action and no relation between the two is apparent. The plays differ widely in this respect. In the Epidicus there is no conflict between the metrical unit and the unit of action. The preliminary exposition is given in the first metrical unit (c b 1-165); action is initiated in the second (c b 166-305); in the third plans for the in- trigue are made (a c b 306-81); in the fourth the intrigue is carried out and discovered (a c b 382-733). Similarly in the Stichus cb contains the presuppositions of the plot (1-154); a c b, the news of the arrival of Epignomus (155-401); ab the conversation of Epig- nomus and his brother with their father-in-law and the parasite (402-640); abac relate to Stichus and his feast (See p. 100). In other plays the metrical unit coincides with the unit of action with one conspicuous exception. In the Pseudolus acb (1-393) gives the presuppositions of the plot; acb (394-766) starts the action, acb (767-997) carries out the intrigue. At 998, within the unit of action before the completion of the trick, the meter changes to senarii for the reading of a letter, acb (998-1245) contains the discovery of the intrigue, and the final song (1246-1334) shows the triumphant joy of the successful intriguer. With Pseud. 998 may be compared Bac. 997 and Men. 872, the only case in these plays in which there is a conflict between the musical unit and the unit of action. In other plays, however, as the Captivi z,nd Mostellaria, the two are in absolute conflict through the greater part of the play. As a result, then, it is difficult to determine whether coincidence in metrical and organic structure, when it does occur, is intentional. The most obvious conclusion to draw from this analysis of individ- ual plays is that they show great variety in their use of song. Although certain general conventions in regard to song are apparent, 106 Studies in the Songs of Plautine Comedy there is no absolute conformity and no two plays are exactly alike. The most striking feature about song, that it is sung by entrance characters, has, to be sure, only three exceptions In the amount of song the plays di£Eer-from none at all in the Miles and 11 Imes m Asinaria to 387 lines (38%) in Casina; in the number of songs from one Usin.) to five {Most., etc.). The length of individual songs ranges from five lines (Ca^^ 833-7, rn«. 1115-19) to more than a hundred {Pseud. 133-264; Cas. 144-251) ; they may be single monodies, units in themselves as in the Men. (110, 351, 571, 753) or form a complicated series (monody, monody, duet, quartette Bac. 1076- 1207). Either monodies {Men., Trin.) or duets {Epid., Poen.) may prevail in any given play. . ,, ■ .„,„,i In the content and function of songs as well as m their external form the individual plays show a wide difference. The songs of a certain play may be almost without exception irrelevant and unes- sential in content {Men., Most., True) or the play may have no reaUy irrelevant song and one or two of importance for the action {Pers Rud.). The songs may be consistently emotional throughout the play {Rud., Trin., Stick.), essentially unemotional {True), or, more often, emotional and unemotional songs may be used together in the same play {Amph., Capt., Pseud.). The plays supposed to be based on originals written by the same author show no special similarity in the use of song. The Mercator, Mostellaria and Trtnum- mus are quite different, the Casina and Rudens differ widely and no individual characteristics are apparent in the Menandrian plays The value of song as song in the plays seems to be three-fold; first and most important, it enhances the force of the emotion ex- pressed, whether grief, fear, or joy; less often, it heightens the atmos- phere of dissipation and frivolity; in all cases, it varies the manner ot delivery at more or less regular intervals. A song may serve the double purpose of expressing emotion and varying delivery but it may though this happens less often, merely vary delivery. By his use of song, the dramatist sometimes enforces the desired note ot pathos or tragedy {Rudens, Amphitruo), but more frequently, from the fact that he is writing comedy and seeking to amuse, the song seems a means of lightening serious material and giving a gayer, humorous touch {Amph. 984, Pseud. 133, Most. 313). The effec- tiveness of song for this latter purpose probably depended somewhat on the lively movement and gesticulation which may have accom- panied it but, except for such passages as Stick. 769-75, this may only be conjectured. VII. LEO'S THEORY OF THE CANTICA The theory that has been generally accepted to explain the cantica of Plautus is the theory of Leo, already briefly stated (p. 5). This may now be considered in more detail. Leo thinks that New Comedy had given up both the organic chorus and the songs of actors (monodies, duets, etc.) and used song merely as an interlude between the acts or as an occasional addition. The Miles Glonosus of Plautus, then, and the plays of Terence, in his view, represent the metrical form of the originals and no play of New Comedy had the metrical structure of the Menaechmi and the other plays rich in song 1 There were no songs like Most. 84 ff. in the Greek plays, and song scenes of this sort are the product of the Roman poet (Gesch. d. rom. Lit. I 112). Plautus, then, differed from the writers of New Comedy in having no chorus and in providing song for individual actors (ibid. 125). The metrical form of these monodies and duets, Leo thinks, Plautus has taken from the contemporary Hellenistic music hall songs of the towns of southern Italy. These songs, of which the dochmiac fragment of erotic song is a good illustration (see p. 3), resemble more closely Plautine verse than do any other extant remains of Greek literature and are themselves closely connected in metrical structure with the lyrics of Euripides {PI Cant. 3-4). The subject matter of the songs, according to Leo's view, Plautus may have taken from short speeches of simple style in the original, amplifying and elaborating a briefly stated theme as Caecilius did in the Plocium (see p. 4). In Philolaches long monody {Most. 84), for instance, Leo considers that Plautus is elaborating the theme found in 161 ff. which, accordmg to his view, alone belonged to the original {Gesch. I 112). So also Alcumena s monody {Amph. 633) Plautus produced himself in accordance with the theme of a few verses spoken by Alcumena.^ In general, mono- dies in Plautus were monologues in the original. But occasionally Plautus produced a monody that was not suggested by any theme in the Greek model. This is likely to be the case when a monody is not woven into the action; and contaminated plays are supposed by Leo to be specially exposed to Plautine invention of song. Leo s • Monol. 46; Gesclt. d. rom. Lit. I 125; PI. Cant. 85. 'Nach. GoU. Gesch. (1911) 256. • Monol. 46. Pi. Forsch.^ 167. 108 Studies in the Songs of Plautine Comedy reasons, then, for his theory that the songs of Plautus were com- posed by him in accordance with the Hellenistic music hall songs either from material found in the original in a brief, non-lyrical form, or invented by him are these: 1) The testimony of the gram- marians and the fragments of Menander furnish no evidence of songs by actors; 2) In one case Caecilius is known to have changed an original monologue into a monody; 3) The plays of Terence uni- formly lack lyrics; 4) The lyrical measures of Plautus resemble more closely the metrical structure of Hellenistic songs than they do any other songs extant in Greek dramatic literature. Against these arguments certain additional points may be con- sidered. New Greek Comedy was written by a number of drama- tists (see Meineke op. cit. p. 445 ff. for a list of twenty-four). These writers seem to have been remarkably prolific. Menander, Philemon, and Diphilus each wrote about a hundred plays. It is possible, then, that these hundreds of plays were of great variety in their metrical structure and that the remarks of the grammarians are not uniformly true of all the plays. The remarks of grammarians gen- erally concentrate upon Menander. It is conceivable that other Greek poets departed from the Menandrian form of comedy. The fragments of Greek comedy now extant represent so small a number of plays in comparison with the whole number written that it is not entirely safe to form a conclusion from these in regard to the plays as a whole. It may be only an accident that the main part of the extant remains of New Comedy consists of the non-lyrical fragments of Menander and other poets, and the finding of a new papyrus fragment may make it necessary to change our views. It is pos- sible, too, that Menander used song less than some of the other dramatists, a view which would explain the lack of lyrics in Terence; for two-thirds of his plays are based on Menandrian originals. No definite conclusions regarding New Comedy as a whole can be drawn from the plays of Terence since he may have deliberately chosen those plays which contained little or no song. Again, if any Menandrian plays contained songs it is conceivable that Terence omitted them or changed their form. Terence does not always in other respects represent the original more closely than Plautus. For instance, the direct address to the audience, found frequently in Menander and also in Plautus, is lacking in Terence.'* Terence * Evanthius III 8; Wessner's edition of Donatus I p. 20 illud quoque mirabile in to (Terence)— ?ttO(i nihil ad populum facit actorem vdul extra comoediam loqui quod vitium Plauti frequentissimum. Studies in the Songs of Plautine Comedy 109 seems to have avoided the use of extraneous material and may have curtailed the lyrical parts of his original for that reason. The resemblance of the meter of Plautine song to that of the Hellenistic music-hall songs which Leo regards as an ultimate issue from Euripi- dean lyrics does not exclude the possibility that songs of similar metrical structure were also found in Greek comedies of the Hellenis- tic period. Since the great influence of Euripides on later drama in general, and on New Comedy in particular, is generally admitted, it is possible that the metrical structure of comedy was affected by the practice of Euripides. The known fact that Caecilius changed a monologue into a monody in one case, while important, does not necessarily lead to the conclusion that the monodies of Plautus were, in general, monologues in the original. These are all a priori pos- sibilities which Leo, perhaps rightly, waives in favor of his theory. Leo makes, however, certain important exceptions to his general statement that the songs of Plautus are, so far as their metrical form is concerned, the invention of Plautus. As regards the Persa he thinks it quite possible that ^'im Original mehr als bei Menander und Philemon gesungen wurde." (Gesch. I 120.) He comes to this conclusion for two reasons. First, the play opens with two short duets which are *'das einzige sichere Beispiel von Responsion'' {Gesch. I 120 n. 2). So he considers it probable that ^'die Eingangs- scene auch im Original lyrisch und in der Weise strophisch war wie Ar. Eccl. 952" {Monol 47) and compares it also with the beginning of the Electra and Helen {Monol 63). Moreover in regard to the last scene he says "sein Schlussakt ist auch, als Erbtheil der dpxaia, ein organischer BestandtheU des Originals und dessen lyrische Form muss fiir das Original vorausgesetzen werden" {PI Cant. 102). He comes to this conclusion partly because he considers that the original of the Persa is earlier in date than the plays of Menander and so belongs to Middle rather than to New Comedy {PL Cant. 102, Monol. 46 ff.). The evidence for dating is not entirely con- vincing^ but whether the Persa is based on a play of Middle or New Comedy makes little difference so far as its metrical form is concerned. If Leo admits that songs of this sort existed in a play of Middle Com- edy, it is quite possible that their use was continued in, at least, some of the great number of plays of later dramatists. If the songs at the beginning and the end of the Persa are Greek and not Plautme, 6 See Meyer De Plauti Persa, Comm. phil. lenenses VIII fasc. 1, 183 ff.; Prescott The Interpretation of Roman Comedy, Class. Phil. XI, 135, n. 2. 110 studies in the Songs of Plautine Comedy one must consider the possibility that similar songs in other plays may also be Greek. He draws only slightly different conclusions about the Sttchus, which is very like the Persa in metrical structure since it also begins and ends with song. Of the last act of the Stichus he says "dessen Art direkt den frohlich festlichen e^odm der alten Komodie ent- stammt und der Art Menanders-fremd ist." The last scene of the Persa then, is ^'urspninglich" while that of the Stichus is ^'zugesetzt" but with the important addition "aber nicht aus eigenen Mitteln des Plautus; er ist so attisch wie moglich." The last act comes from a Greek original like that of the Persa, he concludes {PL Porsche 168, PL CanL 102). Again, granting the possibility of contamma- tion in the Stichus and that the last scene may not belong to the Menandrian original, still Leo's admission that the song is probablv Greek rather than Plautine is significant. Leo also believes that the banquet scene of the Mostellarta (313) was found in lyrical measures in the Greek original. He thinks that it was not invented by Plautus to take the place of an inorganic intermezzo in the original; the atmosphere of the song is thoroughly Attic and the action introduces Callidamates, a person needed for the later action {Hermes, 43, 310). If it was in the original it must have been lyrical "und wir haben ein Beispiel, vielleicht das emzige, einer mit Bestimmtheit dem attischen Dichter zuzuweisenden lyr- ischen Szene die Plautus in seiner Weise lyrisch ubertragen hat'' {Gesch. I. 115). He also calls the scene ''ein Prachtstuck weinseliger Hetarenlyrik, ein Ku^^aanKSp das sicherlich nicht auf romischen Boden gewachsen ist, dessen Muster Plautus schwerlich bei Philemon aber gewiss bei einem Griechen gefunden hat" {PL CanL 95). Leo's reasons, then, for excepting these four songs from his general theory that the songs in Roman comedy are the invention of Plautus are these. The two monodies at the beginning of the Persa are Greek because of their metrical form, a unique example of respon- sion. The other three songs, the last scenes of the Persa and Stichus and MosL 313, represent banquet scenes, drinking and feasting in company with meretrices. Their whole atmosphere is decidedly Greek and quite foreign to the Rome of Plautus' time. For that reason he considers it improbable that the Roman poet should either have invented them or given them a metrical form which enhances the atmosphere of dissipation and hilarity. Moreover, their resemblance to the Kwmos with which several of the plays of Aristophanes end is quite evident. Studies in the Songs of Plautine Comedy 111 In thus admitting that certain songs either from their responsive form {Pers, 1-12) or their un-Roman atmosphere of dissipation {MosL 313; Pers. 753; Stich. 769) were songs in the Greek originals Leo weakens the value of the testimony of the grammarians and the extant fragments. Even granting the conjectural dating of the Persa which Leo accepts, it is merely the resemblance of the final song of the Stichus to that of the Persa which makes him consider that the last act of the Stichus is also from Middle Comedy. The song in the Mostellaria, moreover, he does not attempt to explain in that way. If the presence of any non-choral song in New Comedy is granted, the testimony of the grammarians may be reconciled with this structure as a generalization based on some degree of uniformity in outstanding poets like Menander. The possibility that other songs as well may be Greek in origin cannot be disregarded, a possi- bility which Leo himself concedes in the Persa. Applying the first of Leo's criteria, the responsive character of song, the question may be raised as to whether the metrical structure of the plays shows any other Greek features. Partial responsion is found in the contrasted monodies of Bac. 612 and 640. They begin with three lines of the same meter and then change to different meters In the Captivi there is a chiastic arrangement in the meters of the two pairs of contrasted songs (498, 516; 768, 781) a bacchiac b iamb. Oct., troch. oct. sept; c troch. sept., iamb, oct., d bacchiac. In addition to the contrast between a and b and c and d, the chiastic arrangement brings out still further the contrast between a and d sung by the same character and b and c. Most. 84 is perhaps the best example of the careful and detailed balance of metrical structure and thought. It is divided into four stanzas each elaborating one phase of the topical theme, the first mainly bacchiac, the second cretic, the third bacchiac, the fourth cretic. Two lines of iambic octonarn m each case mark the transition from one stanza to another (103-4 118-19 131-2). A short verse of a different meter marks the end of a smaller thought division (90, 94, 98, 102, etc.). That such com- plicated and highly artistic metrical structure was due to the original genius of the Latin poet is, of course, possible, but considermg the novelty of these lyrical meters in Latin poetry, seems somewhat improbable. The regularity of song near the beginning of the play may suggest to some the parados of Greek drama but it is unnecessary to conclude that there was any connection between the two. Simi- larly, unessential songs, filling time intervals and connecting chapters 112 Sttidies in the Songs of Plautine Comedy of the action as Men. 966, Most. 858, Trin. 820 may possibly suggest a slight resemblance to the stasima of Greek drama. Plautine plays, on the whole, show a greater variety of metrical structure than do the plays of Greek drama, yet it is difficult to believe that the preva- lence of balance and symmetry in many of the plays is accidental (as, for example, Trinummus, see p. 104). If the metrical structure of the play is due to a conscious striving for this balanced effect, it seems to me personally, at any rate, more likely to be Greek than Roman. Leo's other criterion for distinguishing songs of the Greek original must also be applied — the un-Roman atmosphere of dissipation and hilarity which is heightened by the song form. This is as appar- ent in Fsetid. 1246 as in the passages {Most. 313, Pers. 753, Stick. 769) in which Leo admits its force. The feast is not portrayed on the stage but the intoxicated Pseudolus describes it in detail. Leo, however, thinks that this monody was not in the original but was added by Plautus, who makes the most of Pseudolus' intoxication to enliven his last musical scene {PI. Cant. p. 41, n. 1). The reasons for this conclusion are these. Simo leaves the stage at 1245 saying that he is going into the house to get money. He does not return until 1285 when he comes out called by the shouts of Pseudolus. Then two reasons are given for Pseudolus' entrance which are incon- sistent inde hue exii, crapulam dum amoverem and nunc ah ero ad erum maiorem venio foedus commemoratum (1282-3). He thinks it probable that in the original 1283-4 followed directly after 1245. His evidence, however, is not strong enough to make his suggestion plausible. An entrance delayed longer than is necessary or even natural is not uncommon in Plautus. For instance, in the Rudens, Labrax enters the temple at 570 and Trachalio does not rush forth to seek help until 615. Again Daemones enters the temple at 660 and does not come out until 706. Although rapid action would be expected in both these cases, the interval of absence is greater than in the case of Simo. For other examples of delayed entrance see Conrad op. cit, p. 27 ff. As for the two motives of Pseudolus' entrance, only a very literal interpretation would make them seem inconsistent. The first looks backward to the feast and the second forward to the action to come. It is very difficult to see why the arguments given by Leo for the Greek origin of Most. 313, Pers. 753 and Stick. 769 do not also hold good for Pseudolus' monody. (See p. 109 f.) The atmosphere of the song is certainly foreign to the Rome of Plautus' time in its Studies in the Songs of Plautine Comedy 113 account of feasting, drinking, dancing, and meretrtces. What Leo says about Most. 313 may be applied equally well to Pseud. 1246 ^'ein Prachtstuck weinseliger Hetarenlyrik, ein KcoMadriKov das sicherlich nicht auf romischen Boden gewachsen ist, dessen Muster Plautus . . . gewiss bei einem Griechen gefunden hat" {PI. Cant. 95). In particular, compare Most. 330, iacentes toilet postea nos ambos aliquis with Pseud. 1247 an id voltis ut me hinc iacentem ahqms tollat? With these scenes in which the song-form adds materially to the atmosphere of hilarity and dissipation may be compared the last scene of the Bacckides in which the Bacchides make the old men the object of their ridicule and finally succeed in winnmg them over. Again the prominence of drinking and hetairai makes the scene Greek, not Roman in origin, and if it occurred in the Greek origmal the probability that it was in song form cannot be ignored, it seems as little probable that Plautus increased the atmosphere of dissipation by giving the scene its song form in this scene as m any other similar scene. Similarly the song of the lena in praise of wine {Cure. 96) seems Greek and not Roman in material. Again m the scene in the Pseudolus (133 ff.) between Ballio and the meretrtces the elaborate details describing the preparations for the feast could hardly be Plautus' invention. (Observe for instance, the nunaber of transliterated Greek words, ckpe, karpage, penstromata.) ihe detailed directions to the meretrices, in addition, seem strange to the Rome of Plautus' time. That the subject matter was found m the original in dialogue form is, of course, possible, but again the question arises as to whether a Latin writer would have enhanced the atmos- phere of dissipation by introducing lyric measures. The number ot songs sung by meretrices or about them is in itself interestmg. The opening trio in the Cistellaria is not only sung by meretrices but is concerned in theme with their social position. There are several monodies in the Truculentus 95, 209, 551, 711, discussmg the rela- tions between the meretrix and her lover. Both duets in the Poen^ ulus are sung by girls who are freeborn, it is true, but temporarily m the establishment of a leno. The songs are in subject-matter charac- teristic of women of their class. The first tells of the labonousness o a woman's toilet and the second describes the Aphrodisia, a festival of meretrices. Men. 351 is also sung by a meretrix and Pers. 777 is sung by a leno. In general, then, we may observe the frequency • Cf Kunst {op. at. 164 f.) "Deren Monolog spiegelt sich PsetidrsI, I, in der grossen soloarie wieder, die in ihren gedanklichen Grundstock kaum erst Plautinisch ist. 114 Studies in the Songs of Plautine Comedy with which song is used by Plautus for the meretrix and leno scenes, thus enhancing an atmosphere of revelry and dissipation which is essentially Greek rather than Roman. The resemblance of these carousal scenes to the final scenes of such plays as Wasps and Acharnians is obvious. To a less degree other parallels between Old Comedy and the plays of Plautus may be seen. The several examples of a pair of monodies expressing contrasted emotions {Bac. 612, 640; Capt. 498, 516; 768, 781; Pets. 753, 777) have a parallel in the monodies of Lamachus and Dicaeopo- lis at the end of the Acharnians (1193, 1198). The chagrin of Lama- chus and the joyous self-satisfaction of Dicaeopolis may be compared especially to the contrast between the joy of the arch-intriguer and the humiliation of the victim of the trick in the Persa (753, 777). In both cases the monodies come near the end of the play. The use of entrance monodies, primarily to bring on the stage a character needed for the next action, is especially prominent in the Birds (1337, 1373, 1410). The similarity between the monodies of Euripides and certain songs of Plautus is apparent at once. Euripides uses monodies, for the most part, to enhance emotion, grief over the dead, or despair at the singer's own fate. In particular, Amph. 633, Rud. 185, 220, may be compared with such songs as Elect. 112, Hec. 59, Tread. 98. The joy and triumph of many of Plautus' songs would naturally be out of place in tragedy. Amph. 1053 and Cas. 621 resemble closely the monody of the Phrygian {Or est. 1369), the highly emotional monody of the messenger who narrates in song form important off- stage action. The non-emotional monody of Plautus is also not with- out a parallel in Euripides; for the song of Ion {Ion 82) is cheerful and serene in feeling and differs greatly from the other highly emotional monodies. Its position directly after the prologue in iambic trimeter has its counterpart in Plautus (cf. especially Amph. 153, which is also unemotional). Plautus' monody on a general topic has no prototype in the songs sung by the actors in Euripidean drama but has a parallel in those choruses which describe the sufferings of war {Andr. 274, Hzc. 629) or the evils of love {Hipp.. 524, Med. 627, Iph. in Aul. 543). It is the latter theme only that is appropriate in comedy. In brief, then, though no exact or complete parallel between Plautus' use of song and that of either Aristophanes or Euripides can be expected, there do seem to be traces of contact with earlier Studies in the Songs of Plautine Comedy 115 stages of song in the drama. The emotional character of song is still dominant as it was in both Euripides and Aristophanes but the unemotional song, present to only a slight degree in the earlier dramatists, is more frequent. The topical theme, with the dropping of the chorus, seems to have been transferred from the choral ode to the monody. In Aristophanes and Euripides the actors' songs are frequently but not always sung at entrance; in Plautus, the songs are almost without exception entrance songs. One must consider what effect the omission of all song from Plautus would have. If Plautus enlarged on certain themes found in brief non-song form in the Greek, as Leo thinks, the Greek originals would have lacked certain features which seem to be characteristic of the use of song in the Greek drama. Emotional crises, whether grief or joy, would have been heightened by no coincident change in delivery except, possibly, the change from trimeter to recitative, which as a less violent change seems less effective. The regular and monotonous use of trimeter and occasional recitative would have been relieved by no highly diversified lyrical passages. It must remain largely a matter of subjective opinion but the highly artistic value of the songs as song seems more in consonance with Greek genius than with what little is known of Plautus' creative power. Plautus' reputation for careless and hasty workmanship, for which he was criticized by Horace {Ep. II, 1, 175-6), has been emphasized by most of the Plautine scholars of today.^ The effort required in working Latin into difficult Greek lyrical measures, as yet almost new in Latin literature, seems hardly consist- ent with Leo's view. It seems more natural to think that he followed the metrical arrangement before him in his Greek original, with certain variations, than that he laboriously adopted Greek meters from an entirely different branch of literature. If he could, by intro- ducing song, make his dramas more pleasing to the popular taste, it is possible, of course, that he did so.« Still the songs that make 7 Leo PI Forsch} p. 186: "Horaz spricht uber Plautus mit der Einseitigkeit des Vorkampfers einer neuen Zeit; aber wenn man es auf dieStucke beschrankt die es an- geht, so muss man ihm recht gegen-Alles was in Plautus' Komodien der dramatischen Schopferkraft entsprungen ist, ist nicht sein eigen; die Schritte, die er als Dramatiker versuchte,warenFehlschritte." • Legrand, New Greek Comedy trans, by Loeb, (1917) 18 It would seem that Plautus like the Roman public of the day, had little taste for psychological refinement and for outbursts of emotion. If Plautus ever did anythmg beyond inventing the language of his plays it would be to conceive some comical or fantastic 116 Studies in the Songs of Plautine Comedy perhaps, the greatest comic appeal {Most, 313, Pers. 753, Stick 769.) were, according to Leo's view, in the Greek original and show that New Comedy as well appealed to a not altogether refined sense of the ridiculous. Frequently, however, the songs of Plautus do not seem to have been written merely to amuse. The elaborate imagery in Most. 84, for instance, carried on with awkward phraseology and repetition necessitated perhaps by the careful balance between the metrical and thought units, cannot be due merely to a desire to please the taste of the audience. If Plautus was interested merely in a comic appeal to the unrefined taste of his audience, why did he heighten the pathetic and tragic effect by substituting for the brief and only slightly emotional non-song passages of the original, the long and highly emotional monodies of Alcumena (Amph. 633) and Pardalisca {Rud. 185)? It is no part of my intention to attempt to settle the question of the Greek or Roman origin of the songs of Plautus and, in fact, it is doubtful whether the question can ever be satisfactorily answered unless a considerably larger amount of New Comedy is discovered, an amount large enough and varied enough in authorship to be really conclusive. I have wished merely to set forth the outstanding features of the content and function of song in Roman Comedy, incidentally, as a result of the facts seen, pointing out the possibility that Leo's view is not the only plausible explanation of Plautine song and should not, perhaps, meet with unqualified acceptance. episode. His inventions were certainly not in the realm of psychology. We shall not go far astray, if we trace back to Greek works all the pathetic passages, the ingenious observations and delicate analyses that occur in the plays." INDEX OF PASSAGES Aristophanes ^cAarnmn^ 1193, 114; 1198, 114; Birds 1337, 114; 1373, 114; 1410, 114; Ecd. 952, 109; Plutus 644, 31 n.; Wasps, 114. Ennpides Andr. 274, 114; 693, 42 n.; ElecL 1, 109; 112, 114; 1035, 41 n.; Hd. 515, 36 n.; 726, 40 n.; Herakl. 800, 36 n.; Hipp. 524, 114; 616, 41 n.; Ion 82, 114; Iph. in Aid. 543, 114; Medea 230, 41 n.; Orestes 1369, 36, 81, 114; Phoen. 1015, 42 n.; Troad.98, 114. Plautus Amphitruo' 8, 52 n., 80-82, 106; /, 13 n., 80; 153, 36, 48, 48 n., 51, 52 n., 57, 80, 81, 82, 114; 263, 12; 463, 35 n., 81; 551, 12 n, 15 n., 47, 48, 80, 82; 633, 27, 48 n., 56, 80, 81, 82, 107, 114, 116; 654, 11; 861, 15, 35 n., 80, 81; 822, 15, 29 n, 50, 51, 80, 81; 956, 14 n, 80; 974, 80, 81, 105; 984, 7 n, 31, 35, 48, 48 n, 80, 82, 106; 1006, 11, 81; 1009, 14, 80; 1053, 12 n., 35, 36, 48 n., 51, 54, 81, 82, 114; 1076, 44, 49, 81; 1086, 11. Asinaria 4, 8, 53 n, 102, 106; 19, 41 n.; 127, 12 n., 14 n, 30, 43 n., 48 n.; 55, 102; 138, 12; 153, 43 Vi.,249, 15; 267, 16, 31 n., 50, 58 n.; 381, 58 n.; 751, 8 n. Aulularia 52 n., 98-99; 1, 98; 40, 13 n.; 67, 62 n.; 120, 15 n., 47, 49, 53, 98, 99; 161, 12; 204, 62 n.; 243, 62 n.; 268, 13 n.; 350, 14 n.; 398, 63, 64; 406, 12 n., 14 n., 28, 48 n., 57 98 99; 415, 46, 49; 444, 7 n., 43, 48 n., 61, 63, 98; 447, 12; 475, 41 n.; 587, 40'n., 63; 608, 51; 713, 15 n., 28, 43, 48 n., 56, 98, 99; 727, 43, 48 n., 56, 98; 731, 11, 98; 35, 39 n. 94 96; P5, 42 44 48, 48 n., 56, 57, 94, 96, 102, 113; 115, 49; 129, 11 ; 209, 7, 9, 10, 42, 48, 48 n 94, 95, tt 1X3 256 li n. 352, 14 n.; 448, 16 n., 35, 38, 48 n., 57, 94, 96; 465, 12, 96; m, 58'n., 95; 551, 10, 42, 48, 48 n., 57, 95, 104, 113; 577 41 ; 630 9 9 n 95; 645 13 n., 54 n., 58 n., 95; 699, 13 n., 16, 33 n., 50, 51, 62, 95, 96; 711, 42, 48, 48 n., 57, 95, 96, 113; 7/P, 45, 49; 7J0, 12, 95. Terence 3 4 16 17, 102, 103, 108. Addphoi 59 n.; 299, 31 n.; 511, 17; 610, 16, 103, Z,^ AJria 3k, 31 n.; 481, 16, 17, 102; 625, 16, 103; ^i^, 66. £.n«c.^ 232, 54 n.; 494, 66; 664, 66; 923, 66; 997, 65, 1043, 66. Heauton503, 66; 55P 65; 949, 65. Hecyra 361, 66; 726, 66; 794, 65; 816, 66. Phorrmo 59 n., 179, 31 n.; Ji/' 66; 441, 66; 77