Theodor Mommsen - The History of Rome. Book III

11.In 599 there were still no seats in the theatre (Ritschl, Parerg. i. p. xviii. xx. 214; comp. Ribbeck, Trag. p. 285); but, as not only the authors of the Plautine prologues, but Plautus himself on various occasions, make allusions to a sitting audience (Mil. Glor. 82, 83; Aulul. iv. 9, 6; Triicul. ap. fin.; Epid. ap. fin.), most of the spectators must have brought stools with them or have seated themselves on the ground.

12.III. XI. Separation of Orders in the Theatre

13.Women and children appear to have been at all times admitted to the Roman theatre (Val. Max. vi. 3, 12; Plutarch., Quaest. Rom. 14; Cicero, de Har. Resp. 12, 24; Vitruv. v. 3, i; Suetonius, Aug. 44, c.); but slaves were de jure excluded (Cicero, de Har. Resp. 12, 26; Ritschl. Parerg. i. p. xix. 223), and the same must doubtless have been the case with foreigners, excepting of course the guests of the community, who took their places among or by the side of the senators (Varro, v. 155; Justin, xliii. 5. 10; Sueton. Aug. 44).

14.III. XII. Moneyed Aristocracy.

15.II. IX. Censure of Art.

16.It is not necessary to infer from the prologues of Plautus (Cas. 17; Amph. 65) that there was a distribution of prizes (Ritschl, Parerg. i. 229); even the passage Trin. 706, may very well belong to the Greek original, not to the translator; and the total silence of the didascaliae and prologues, as well as of all tradition, on the point of prize tribunals and prizes is decisive.

17.The scanty use made of what is called the middle Attic comedy does not require notice in a historical point of view, since it was nothing but the Menandrian comedy in a less developed form. There is no trace of any employment of the older comedy. The Roman tragi-comedy - after the type of the Amphitruo of Plautus - was no doubt styled by the Roman literary historians fabula Rhinthonica ; but the newer Attic comedians also composed such parodies, and it is difficult to see why the Ionians should have resorted for their translations to Rhinthon and the older writers rather than to those who were nearer to their own times.

18.III. VI In Italy.

19.Bacch. 24; Trin. 609; True. iii. 2, 23. Naevius also, who in fact was generally less scrupulous, ridicules the Praenestines and Lanuvini (Com. 21, Ribb.). There are indications more than once of a certain variance between the Praenestines and Romans (Liv. xxiii. 20, xlii. i); and the executions in the time of Pyrrhus (ii. 18) as well as the catastrophe in that of Sulla, were certainly connected with this variance. - Innocent jokes, such as Capt. 160, 881, of course passed uncensured. - The compliment paid to Massilia in Cas. v. 4., i, deserves notice.

20.Thus the prologue of the Cistellaria concludes with the following words, which may have a place here as the only contemporary mention of the Hannibalic war in the literature that has come down to us:

The fourth line ( augete auxilia vostris iustis Iegibus ) has reference to the supplementary payments imposed on the negligent Latin colonies in 550 (Liv. xxix. 15; see ii. 350).

21.III. XIII. Increase of Amusements.

22.For this reason we can hardly be too cautious in assuming allusions on the part of Plautus to the events of the times. Recent investigation has set aside many instances of mistaken acuteness of this sort; but might not even the reference to the Bacchanalia, which is found in Cas. v. 4, 11 (Ritschl, Parerg. 1. 192), have been expected to incur censure? We might even reverse the case and infer from the notices of the festival of Bacchus in the Casina , and some other pieces (Amph. 703; Aul. iii. i, 3; Bacch. 53, 371; Mil. Glor. 1016; and especially Men. 836), that these were written at a time when it was not yet dangerous to speak of the Bacchanalia.

23.The remarkable passage in the Tarentilla can have no other meaning:

24.The ideas of the modern Hellas on the point of slavery are illustrated by the passage in Euripides (Ion, 854; comp. Helena, 728):

25.For instance, in the otherwise very graceful examination which in the Stichus of Plautus the father and his daughters institute into the qualities of a good wife, the irrelevant question - whether it is better to marry a virgin or a widow - is inserted, merely in order that it may be answered by a no less irrelevant and, in the mouth of the interlocutrix, altogether absurd commonplace against women. But that is a trifle compared with the following specimen. In Menander's Plocium a husband bewails his troubles to his friend:

In the Latin edition of Caecilius, this conversation, so elegant in its simplicity, is converted into the following uncouth dialogue:

26.Even when the Romans built stone theatres, these had not the sounding-apparatus by which the Greek architects supported the efforts of the actors (Vitruv. v. 5, 8).

27.III. XIII. Increase of Amusements.

28.The personal notices of Naevius are sadly confused. Seeing that he fought in the first Punic war, he cannot have been born later than 495. Dramas, probably the first, were exhibited by him in 519 (Gell. xii. 21. 45). That he had died as early as 550, as is usually stated, was doubted by Varro (ap. Cic. Brut. 15, 60), and certainly with reason; if it were true, he must have made his escape during the Hannibalic war to the soil of the enemy. The sarcastic verses on Scipio (p. 150) cannot have been written before the battle of Zama. We may place his life between 490 and 560, so that he was a contemporary of the two Scipios who fell in 543 (Cic. de Rep. iv. 10), ten years younger than Andronicus, and perhaps ten years older than Plautus. His Campanian origin is indicated by Gellius, and his Latin nationality, if proof of it were needed, by himself in his epitaph. The hypothesis that he was not a Roman citizen, but possibly a burgess of Cales or of some other Latin town in Campania, renders the fact that the Roman police treated him so unscrupulously the more easy of explanation. At any rate he was not an actor, for he served in the army.

29.Compare, e. g., with the verse of Livius the fragment from Naevius' tragedy of Lycurgus :

Or the famous words, which in the Hector Profisciscens Hector addresses to Priam: