Everything distinctively Greek was expiring: fatherland, national faith, domestic life, all nobleness of action and sentiment were gone; poetry, history, and philosophy were inwardly exhausted; and nothing remained to the Athenian save the school, the fish-market, and the brothel. It is no matter of wonder and hardly a matter of blame, that poetry, which is destined to shed a glory over human existence, could make nothing more out of such a life than the Menandrian comedy presents to us. It is at the same time very remarkable that the poetry of this period, wherever it was able to turn away in some degree from the corrupt Attic life without falling into scholastic imitation, immediately gathers strength and freshness from the ideal. In the only remnant of the mock-heroic comedy of this period--the -Amphitruo- of Plautus--there breathes throughout a purer and more poetical atmosphere than in all the other remains of the contemporary stage. The good-natured gods treated with gentle irony, the noble forms from the heroic world, and the ludicrously cowardly slaves present the most wonderful mutual contrasts; and, after the comical course of the plot, the birth of the son of the gods amidst thunder and lightning forms an almost grand concluding effect But this task of turning the myths into irony was innocent and poetical, as compared with that of the ordinary comedy depicting the Attic life of the period. No special accusation may be brought from a historico- moral point of view against the poets, nor ought it to be made matter of individual reproach to any particular poet that he occupies the level of his epoch: comedy was not the cause, but the effect of the corruption that prevailed in the national life. But it is necessary, more especially with a view to judge correctly the influence of these comedies on the life of the Roman people, to point out the abyss which yawned beneath all that polish and elegance. The coarsenesses and obscenities, which Menander indeed in some measure avoided, but of which there is no lack in the other poets, are the least part of the evil. Features far worse are, the dreadful desolation of life in which the only oases are lovemaking and intoxication; the fearfully prosaic atmosphere, in which anything resembling enthusiasm is to be found only among the sharpers whose heads have been turned by their own swindling, and who prosecute the trade of cheating with some sort of zeal; and above all that immoral morality, with which the pieces of Menander in particular are garnished. Vice is chastised, virtue is rewarded, and any peccadilloes are covered by conversion at or after marriage. There are pieces, such as the -Trinummus- of Plautus and several of Terence, in which all the characters down to the slaves possess some admixture of virtue; all swarm with honest men who allow deception on their behalf, with maidenly virtue wherever possible, with lovers equally favoured and making love in company; moral commonplaces and well-turned ethical maxims abound. A finale of reconciliation such as that of the -Bacchides-, where the swindling sons and the swindled fathers by way of a good winding up all go to carouse together in the brothel, presents a corruption of morals thoroughly worthy of Kotzebue.
Roman Comedy Its Hellenism A Necessary Result Of The Law
Such were the foundations, and such the elements which shaped the growth, of Roman comedy. Originality was in its case excluded not merely by want of aesthetic freedom, but in the first instance, probably, by its subjection to police control. Among the considerable number of Latin comedies of this sort which are known to us, there is not one that did not announce itself as an imitation of a definite Greek model; the title was only complete when the names of the Greek piece and of its author were also given, and if, as occasionally happened, the "novelty" of a piece was disputed, the question was merely whether it had been previously translated. Comedy laid the scene of its plot abroad not only frequently, but regularly and under the pressure of necessity; and that species of art derived its special name (-fabula palliata-) from the fact, that the scene was laid away from Rome, usually in Athens, and thai the -dramatis personae- were Greeks or at any rate not Romans. The foreign costume is strictly carried out even in detail, especially in those things in which the uncultivated Roman was distinctly sensible of the contrast, Thus the names of Rome and the Romans are avoided, and, where they are referred to, they are called in good Greek "foreigners" (-barbari-); in like manner among the appellations of moneys and coins, that occur ever so frequently, there does not once appear a Roman coin. We form a strange idea of men of so great and so versatile talents as Naevius and Plautus, if we refer such things to their free choice: this strange and clumsy "exterritorial" character of Roman comedy was undoubtedly due to causes very different from aesthetic considerations. The transference of such social relations, as are uniformly delineated in the new Attic comedy, to the Rome of the Hannibalic period would have been a direct outrage on its civic order and morality. But, as the dramatic spectacles at this period were regularly given by the aediles and praetors who were entirely dependent on the senate, and even extraordinary festivals, funeral games for instance, could not take place without permission of the government; and as the Roman police, moreover, was not in the habit of standing on ceremony in any case, and least of all in dealing with the comedians; the reason is self-evident why this comedy, even after it was admitted as one of the Roman national amusements, might still bring no Roman upon the stage, and remained as it were banished to foreign lands.
Political Neutrality
The compilers were still more decidedly prohibited from naming any living person in terms either of praise or censure, as well as from any captious allusion to the circumstances of the times.