possesses few traits in accord with normal human nature. But curiously
enough, as we learn from the _argumenta_ (in view of the loss of the
genuine end of the _Aul._), Euclio at the _denouement_ professes himself
amply content to bid an everlasting farewell to his stolen hoard, and
bestows his health and blessing on "the happy pair." This apparent
conversion, with absolutely nothing dramatic to furnish an introduction or
pretext for it, has caused Langen to depart from his usual judicious
scholarship. After much hair-splitting he solemnly pronounces it
"psychologically possible."[171] LeGrand points out[172] that his change
of heart is not a conversion, but merely a professed reconciliation to the
loss. But there is no need for all this pother. The simple truth is that
Plautus was through with his humorous complication and was ready to top it
off with a happy ending. It is the forerunner of modern musical comedy,
where the grouchy millionaire papa is propitiated at the last moment
(perhaps by the pleadings of the handsome widow), and similarly consents
to his daughter's marriage with the handsome, if impecunious, ensign.


3. Looseness of dramatic construction.

Lorenz with commendable insight has pointed out[173] that IIII., the
goddess of Chance, is the motive power of the Plautine plot, as
distinguished from the I1/4I?a?-II+- of tragedy. A student of Plautus readily
recognizes this point. The entire development of the _Rud._ and _Poen._
exemplifies it in the highest degree. Hanno in the _Poen._, in particular,
meets first of all, in the strange city of Calydon, the very man he is
looking for! When Pseudolus is racking his wits for a stratagem, Harpax
obligingly drops in with all the requisites. The ass-dealer in the _As._
is so ridiculously fortuitous that it savors of childlike naivetA(C).