In general the mocking assumption of an heroic attitude recurs with
sufficient frequency to stamp it as a staple of comic effect. Many
passages would become tiresome and meaningless instead of amusing unless
so interpreted. The soliloquy of Mnesilochus in _Bac._ 500 ff. could be
made interesting only by turgid ranting. Similarly in _Bac._ 530 ff. and
612 ff.[112]


2. Horse-play and slap-sticks.

By this we mean what can in nowise be so clearly defined as by
"rough-house." For instance, the turbulent Euclio in _Aul._ delivers
bastings impartially to various _dramatis personae_ and as a climax drives
the cooks and music-girl pell-mell out of the house, doubtless accompanied
by deafening howling and clatter (415 ff.). Similarly in the _Cas._ (875
ff.) Chalinus routs Olympio and the lecherous Lysidamus. We may well
imagine that such scenes were preceded as well as accompanied by a fearful
racket within (a familiar device of our low comedy and extravaganza), the
effect probably heightened by tempestuous _melodrama_ on the _tibiae_, as
both the scenes cited are in _canticum_.

In the _Men._ we are treated to a free fight, in which the valiant
Messenio routs the _lorarii_ by vigorous punches, while Menaechmus plants
his fist in one antagonist's eye (_Men._ 1011 ff.):

(Menaechmus of Epidamnus is seized by _lorarii_; as he struggles,
Messenio, slave of Menaechmus Sosicles, rushes into the fray to his
rescue). "MES. I say! Gouge out that fellow's eye, the one that's got you
by the shoulder, master. Now as for these rotters, I'll plant a crop of
fists on their faces. (_Lays about._) By Heaven, you'll be everlastingly