German of a provincial town to the mysteries of the Palais Royal.  A science of cookery, in the strict sense, never entered into his thoughts; the dinner-parties no doubt continued to be very numerous in the Roman imitation, but everywhere the plain Roman roast pork predominated over the variety of baked meats and the refined sauces and dishes of fish.  Of the riddles and drinking songs, of the Greek rhetoric and philosophy, which played so great a part in the originals, we meet only a stray trace now and then in the Roman adaptation.

Construction of the Plot

The havoc, which the Roman editors were compelled in deference to their audience to make in the originals, drove them inevitably into methods of cancelling and amalgamating incompatible with any artistic construction.  It was usual not only to throw out whole character-parts of the original, but also to insert others taken from other comedies of the same or of another poet; a treatment indeed which, owing to the outwardly methodical construction of the originals and the recurrence of standing figures and incidents, was not quite so bad as it might seem.  Moreover the poets, at least in the earlier period, allowed themselves the most singular liberties in the construction of the plot.  The plot of the -Stichus- (performed in 554) otherwise so excellent turns upon the circumstance, that two sisters, whom their father urges to abandon their absent husbands, play the part of Penelopes, till the husbands return home with rich mercantile gains and with a beautiful damsel as a present for their father-in-law.  In the -Casina-, which was received with quite special favour by the public, the bride, from whom the piece is named and around whom the plot revolves, does not make her appearance at all, and the denouement is quite naively described by the epilogue as “to be enacted later within.”  Very often the plot as it thickens is suddenly broken off, the connecting thread is allowed to drop, and other similar signs of an unfinished art appear.  The reason of this is to be sought probably far less in the unskilfulness of the Roman editors, than in the indifference of the Roman public to aesthetic laws.  Taste, however, gradually formed itself.  In the later pieces Plautus has evidently bestowed more care on their construction, and the -Captivi- for instance, the -Pseudolus-, and the -Bacchides- are executed in a masterly manner after their kind.  His successor Caecilius, none of whose pieces are extant, is said to have especially distinguished himself by the more artistic treatment of the subject.

Roman Barbarism