his consciously employed means of producing his comic effects, and the
peculiarities and abnormalities that evidence his attitude of mind in
writing them. We should make bold to catalogue them as follows:

I. Machinery characteristic of the lower types of modern drama--farce, low
comedy, musical comedy, burlesque shows, vaudeville, and the like.

A. Devices self-evident from the text.
1. Bombast and mock-heroics.
2. Horse-play and slap-sticks.
3. Burlesque, farce and extravagance of situation and dialogue.
a. True burlesque.
b. True farce.
c. Extravagances obviously unnatural and merely for the sake of fun.

B. Devices absurd and inexplicable unless interpreted in a broad
farcical spirit.
1. The running slave.
2. Wilful blindness.
3. Adventitious entrance.

II. Evidences of loose composition which prove a disregard of
technique and hence indicate that entertainment was the sole aim.

A. Solo speeches and passages.
1. Asides and soliloquies.
2. Lengthy monodies, monologues and episodical specialties.
3. Direct address of the audience.

B. Inconsistencies and carelessness of composition.