instance, Mrs. Fiske, whose fondness for playing to the centre of the
stage and ignoring the audience is commented upon as a mannerism; at the
other, the low comedian who says his say or sings his song directly at the
audience and converses gaily with them as his boon companions. Now it will
be shown that familiar address of the audience and the singing of monodies
to musical accompaniment are essential features of Plautus' style, and
many other implements of the lower types of modern drama are among his
favorite devices. If then we can place Plautus toward the bottom of the
scale, we relieve him vastly of responsibility as a dramatist and of the
necessity of adherence to verisimilitude. Where does he actually belong?
The answer must be sought in a detailed consideration of his methods of
producing his effects and in an endeavor to ascertain how far the audience
and the acting contributed to them.



ASec.2. The Performance


[Sidenote: The Audience] As it is perfectly patent that every practical
playwright must cater to his public, the audience is an essential feature
in our discussion. The audience of Plautus was not of a high class.
Terence, even in later times, when education had materially progressed,
often failed to reach them by over-finesse. Plautus with his bold brush
pleased them. Surely a turbulent and motley throng they were, with the
native violence of the sun-warmed Italic temperament and the abundant
animal spirits of a crude civilization, tumbling into the theatre in the
full enjoyment of holiday, scrambling for vantage points on the sloping
ground, if such were handy, or a good spot for their camp-stools. In view
of the uncertainty as to the actual site of the original performances,