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to act as messenger from the absent father; and he gives his name to the play. To the fourth class belong the three most important comedies: the Captives' and the 'Menæchmi,' abstracts of which follow; and the Amphitruo,' a tragicomedy, which is interesting as showing. some tendency to burlesque the religious myths of the people. The play gives the story of how Jupiter and Mercury personated Amphitruo and his slave Sosia, for the purpose of beguiling Amphitruo's wife Alcmena.

Two of the best plays may be sketched in outline. We place first the 'Captives,' though the plot hardly justifies Lessing's extravagant praise of it as the best ever devised. At the outset we are informed that Philopolemus, only son of a certain Hegio, was some time previously captured in battle and made a slave in Elis; since which time Hegio has been buying war captives, with the hope that he might finally secure some Elean of quality with whom to effect an exchange for his son. The stage represents Hegio's court-yard. He, entering, informs us that he has recently made a purchase of important captives, two of whom he thinks may serve his purpose. After he retires, the two captives, Philocrates and his slave Tyndarus, are brought in, guarded, and lamenting their fate. They plan to personate each other, with the hope that Philocrates, if looked upon as the slave, may the easier escape. In the next scene Hegio learns from them that his son is actually in bondage to Philocrates's father, and the supposed Tyndarus (really the master, Philocrates) is sent away to negotiate an exchange. Subsequently Hegio introduces another of the captives, Aristophontes, who claims to have known Philocrates in Elis. He being brought face to face with the supposed Philocrates, immediately discloses the true state of affairs; and Hegio in a fury orders the now discovered Tyndarus to punishment. Later, Philocrates returns with Philopolemus; and in the ensuing explanation Tyndarus is discovered to be a long-lost son of Hegio, who was stolen when he was but four years old.

In the Menæchmi,' the prologist states that an old Syracusan merchant had two sons. Once on a business trip to Tarentum he took one of the boys, who strayed away in the crowd and was stolen. On his return the father was shipwrecked and drowned. The grandfather bestowed the name of the lost boy, Menæchmus, upon the surviving son at home. Long afterwards the son set out in search of his brother; and in the course of his travels arrived at Epidamnus, where the play opens. The first scene is an interview between a parasite and Menæchmus I. (the lost one), who gleefully explains how he has stolen his wife's cloak, and is going to bestow it upon Erotium, a courtesan. On the appearance of Erotium he presents the cloak, and bespeaks a dinner for himself and the parasite. In the next scene Menæchmus II. and his servant Messenio appear. Then follow

two amusing scenes, first with the cook who is to prepare the dinner, and later with Erotium; both think they are talking with Menæchmus I. finally Menæchmus II. goes in with Erotium to dinner. Later the parasite appears, complaining that he has been detained and is afraid he has lost his dinner. Menæchmus II. comes out of Erotium's house with the cloak, which he is to take to a cleaner's to be cleaned. The parasite, thinking that he is Menæchmus I., attacks him for not waiting for him, and finally, in high dudgeon departs to inform the wife of her husband's doings. After Menæchmus II. leaves the stage, Menæchmus I. appears and is met by his angry wife, whom he tries to pacify by promising to return the cloak. After his departure Menæchmus II. enters with the cloak. He has an amusing discussion with the wife, and later with the wife's father, whom she has summoned in desperation. He finally gets rid of them by feigning madness; and the old man goes in search of a physician, while Menæchmus II. hurries away. Then Menæchmus I. enters, and is pounced upon by the physician and his attendants. He is rescued by Messenio, who has just entered in search of his master, Menæchmus II. In the final scene the two Menæchmi are brought face to face; and the kinship of the long-separated brothers is explained by Messenio, who is given his freedom for his services.

Certain of the plays were performed occasionally down to the close of the Republic, or even later. Indeed, Plautus remained a much read and appreciated author from the time of Varro and Cicero until the dark ages. The Christian fathers, especially Jerome, were very fond of him. At the Renaissance the newly discovered plays were eagerly caught up in Italy, and later in France and Germany. Translations were made; and great authors wrote plays based upon those of Plautus, of which a few may be mentioned: Molière's 'Amphitryon' was based upon the 'Amphitruo,' and the two together inspired Dryden's 'Amphitryon.' Molière's 'L'Avare' was an imitation of the 'Aulularia,' and it in turn inspired Shadwell's 'Miser' and Fielding's 'Miser.' The Captivi' was the basis of Ariosto's 'Suppositi' and of Rotrou's 'Les Captifs.' Ben Jonson's 'The Case is Altered' has scenes from the 'Aulularia' and 'Captivi.' To the Menæchmi must be referred Cecchi's 'Le Moglie,' Goldoni's 'I due Gemelli, Shakespeare's 'Comedy of Errors,' and many others. The 'Miles Gloriosus' formed a favorite type; and we find traces of it in Dolce's 'Il Capitano,' Corneille's 'L'Illusion Comique,' Udall's 'Ralph Roister Doister,' and others. A careful study of Plautus's influence on modern literature may be found in Reinhardtstöttner's 'Spätere Bearbeitungen Plautinischer Lustspiele' (Leipzig, 1886).

By reason of the great difference between the archaic Latin of Plautus and the later classical Latin, the manuscript tradition soon became faulty and the text corrupt. During this century great

progress has been made in the reconstruction of the text, through the labors of many scholars, notably Ritschl and Studemund. Ritschl began a critical edition of Plautus as early as 1849. This was completed after his death by three of his pupils, -Goetz, Schoell, and Loewe, the last part appearing in 1894. This edition has a marvelously complete apparatus criticus, but the text is marred by many violent emendations and arbitrary changes. Two of the same editors, Goetz and Schoell, have since published a complete text in the Teubner series (Leipzig, 1893-95); but this edition is as conservative as the larger one is radical, and the text has been left incomprehensible in many places through despair of certain emendation. The best text for practical use is that of Leo (Berlin, 1895-96). No adequate English translation of the whole of Plautus has appeared. That of Thornton, published in the last century, in blank verse, follows a poor text, and that by Riley in the Bohn collection has no merit but that of literalness. In 1893 appeared the first volume of a new translation in the original metres by Sugden, comprising the Amphitruo, Asinaria, Aulularia, Bacchides, and Captivi. The editor has taken surprising liberties, not merely expurgating his text, but actually « correcting" the plots.

Gonzalez Lorly

[The citations from Plautus are translated for the 'Library› by William C. Lawton.]

FROM MILES GLORIOSUS) (THE BRAGGART SOLDIER)

[The soldier himself opens the play, coming forth from his house, which, with a neighbor's, forms the back of the scene. He is attended by his Falstaffian retinue, and also by his especial flatterer and shadow Artotrogus,— "Breadeater." The pompous veteran has the first word.]

YRGOPOLINICES-See to it that more splendid be my shield,

PYRO
Ρ

Than the sun's rays are when the day is bright;

So when there's need, in battle's close array

Its sheen may blind the eyes of enemies.

And this my cutlass I would comfort too,
That it be not downhearted, nor lament
That it is worn so long in idleness,
Though sadly bent on massacre of foes! -
But where is Artotrogus?

Artotrogus [promptly] —

Here, beside

The man so valiant, kingly, fortunate,
Mars might not such a warrior call himself,
Nor dare to match your valor with his own!
Pyrgopolinices-

Artotrogus

That one I saved on the Curculionian plains,
When Búmbomáchides Clýtomestóridysárchides,
Grandson of Neptune, was commander-in-chief -

I remember. He, you mean, in arms of gold,
Whose legions with your breath you puffed away,
As wind doth leaves and rushes good for thatch.

Pyrgopolinices

Why, that is nothing!

[And the complacent warrior goes striding, with nodding helmet-plumes and waving locks, up and down the stage; so that the weary flatterer, beginning his return compliment, presently has an instant to tell us of the audience - behind his hand-something of his real opinions.]

Artotrogus

To deeds I'll tell

So forsooth it is,

[Aside] which you did never do!

If you can find a more mendacious man,

Or one more boastful than this fellow is,

Take me and hold me for your chattel, then!

Just one thing: olive salad he can bolt!

Pyrgopolinices [turning] —

Where are you?

[The parasite pretends he has been all the time cataloguing the hero's exploits: -]

[blocks in formation]

With effort, through the creature's hide and heart And through his bones your arm had inade its way. Pyrgopolinices [modestly]

That doesn't matter.

Artotrogus

No, 'tis not worth while
For me to tell, who know your valorous deeds.

[Aside]

My belly makes this misery; and my ears

Must hearken, lest my teeth have naught to do.
To every lie he tells I must assent!

[blocks in formation]

Artotrogus [rather wearily]-
Pyrgopolinices [more sharply]-

You remember

Artotrogus [rapidly]—

-?

Yes, a hundred in Cilicia,
And fifty, a hundred in Scytholatronia,
Thirty from Sardis, sixty Macedonians,—
All of them in a single day you slew.

[blocks in formation]

I have no records, remember it so. Pyrgopolinices-—

Your memory's good.

Artotrogus-
Pyrgopolinices—

Artotrogus

The tidbits prompt me aright!

While you shall play your part as you do now,

Table companion will I hold you still.

What! In Cappadocia, at a single blow

You had slain five hundred! But-your sword was dull.

Pyrgopolinices

Poor wretched infantry, I let them live.

Artotrogus

Why say what all men know, that on the earth

You only, Pyrgopolinices, live

In valor, beauty, deeds, unconqueredest ?

All women love you,- and good reason too,
You are so handsome. Like those yesterday
That plucked my cloak.

Pyrgopolinices [eagerly]

Artotrogus

What did they say to you?

They asked me: "Is this Achilles?" so said one.

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