opinion of the writer that the maximum of comic effect (and that this was
the purpose of the _servus currens_ there can surely be no doubt) could
best be obtained by the actor's making a violent and frenzied pretense of
running while scarcely moving from the spot. Consider the ludicrous
spectacle of the rapidly moving legs and the flailing arms, with the
actor's face turned toward the audience, as he declaims sonorously of his
haste to perform his vital errand, while making but a snail's progress.
Truly then his plea of exhaustion would not be without excuse! This is an
explanation at once simpler, more potentially comic, more in accord with
what we predicate as the spirit of Plautus, and furthermore we have seen
roars of laughter created by the similar device of a low comedian in a
modern extravaganza. Taking advantage of the same subjective license, we
see nothing in Weissman's theory to offset our opinion. But, what is more,
our subjective reconstruction is given color by a shred of tangible
evidence. Suetonius (_Tib._ 38) refers to a popular quip on the emperor
that compares him to an actor on the classic Greek stage: "Biennio
continuo post ademptum imperium pedem porta non extulit; ... ut vulgo iam
per iocum Callip(p)ides vocaretur, quem cursitare ac ne cubiti quidem
mensuram progredi proverbio Graeco notatum est." That this Callipides was
the a1/2'IEuroI?I--III"I(R)I, mentioned by Xenophon (_Sym._ III. 11), Plutarch
(_Ages._ 21 and _Apophth. Lacon._: s. v. _Ages._), Cicyero (_Ad. Att._
XIII. 12) and possibly by Aristotle (_Poet._ 26.), seems highly plausible.
Compare the _saltus fullonius_ (Sen. _Ep._ 15.4).

Most amusing of all is Plautus' introduction of a parody on the parody,
when Mercury rushes in post-haste crying (_Amph._ 984 ff.):

"Make way, give way, everybody, clear the way! I tell you all: don't you
get so bold as to stand in my road. For, egad! I'd like to know why I, a
god, shouldn't have as much right to threaten the rabble as a mere slave