descants on the joys of the old bon vivant and the expense of a wife. The
delights or pains of love[146], the ruminations of old age[147], marriage
reform[148] and divorce[149], the views of _meretrices_ and their victims
on the arts of their profession[150], the habits of cooks[151], the pride
of valor and heroic deeds[152] are fruitful subjects. In _Cur._ 462 ff.
the _choragus_ interpolates a recital composed of topical allusions to the
manners of different neighborhoods of Rome. We have two descriptions of
dreams[153], and a clever bit which paints a likeness between a man and a
house[154]. In foreign vein is the lament of Palaestra in _Rud._ 185 ff.,
which sounds like an echo from tragedy. The appearance of the Fishermen's
Chorus (_Rud._ 290 ff.) is wholly adventitious and seems designed to
intensify the atmosphere of the seacoast, if indeed it has any purpose at
all. In this category also belong the revels of the drunken Pseudolus with
his song and dance[155], and the final scene of the _St._[156], where, the
action of the slender plot over, the comedy slaves royster and dance with
the harlot. When Ballio drives his herd before him, as he berates them
merrily to the tune of a whip, we have an energetic and effective
scene[157].


3. Direct address of the audience.

It is a well-established principle that the most intimate cognizance of
the spectator's existence is a characteristic of the lowest types of
dramatic production (v. Part I, ASec. 1, fin.). The use of soliloquy, aside
and monologue all indicate the effort of the lines to put the player on
terms of intimacy with his public. But even this is transcended by the
frequent recurrence in jocular vein of deliberate, conscious and direct
address of the audience, when they are called by name. In _Truc._ 482
Stratophanes says: Ne expectetis, spectatores, meas pugnas dum