Rudens turns on a shipwreck and the right of asylum; while the Trinummus and the Captivi contain no amatory intrigue, but depict the generous devotedness of the friend to his friend and of the slave to his master. Persons and situations recur down to the very details like patterns on a carpet; we never get rid of the asides of unseen listeners, of knocking at the house-doors, and of slaves scouring the streets on some errand or other. The standing masks, of which there was a certain fixed number - viz., eight masks for old men, and seven for servants - from which alone in ordinary cases at least the poet had to make his choice, further favoured a stock-model treatment. Such a comedy almost of necessity rejected the lyrical element in the older comedy - the chorus - and confined itself from the first to conversation, or at most recitation; it was devoid not of the political element only, but of all true passion and of all poetical elevation. The pieces judiciously made no pretence to any grand or really poetical effect: their charm resided primarily in furnishing occupation for the intellect, not only through their subject-matter - in which respect the newer comedy was distinguished from the old as much by the greater intrinsic emptiness as by the greater outward complication of the plot - but more especially through their execution in detail, in which the point and polish of the conversation more particularly formed the triumph of the poet and the delight of the audience. Complications and confusions of one person with another, which very readily allowed scope for extravagant, often licentious, practical jokes - as in the Casina, which winds up in genuine Falstaffian style with the retiring of the two bridegrooms and of the soldier dressed up as bride - jests, drolleries, and riddles, which in fact for want of real conversation furnished the staple materials of entertainment at the Attic table of the period, fill up a large portion of these comedies. The authors of them wrote not like Eupolis and Aristophanes for a great nation, but rather for a cultivated society which spent its time, like other clever circles whose cleverness finds little fit scope for action, in guessing riddles and playing at charades. They give us, therefore, no picture of their times; of the great historical and intellectual movements of the age no trace appears in these comedies, and we need to recall, in order to realize, the fact that Philemon and Menander were really contemporaries of Alexander and Aristotle. But they give us a picture, equally elegant and faithful, of that refined Attic society beyond the circles of which comedy never travels. Even in the dim Latin copy, through which we chiefly know it, the grace of the original is not wholly obliterated; and more especially in the pieces which are imitated from Menander, the most talented of these poets, the life which the poet saw and shared is delicately reflected not so much in its aberrations and distortions as in its amiable every day course. The friendly domestic relations between father and daughter, husband and wife, master and servant, with their love-affairs and other little critical incidents, are portrayed with so broad a truthfulness, that even now they do not miss their effect: the servants' feast, for instance, with which the Stichus concludes is, in the limited range of its relations and the harmony of the two lovers and the one sweetheart, of unsurpassed gracefulness in its kind. The elegant grisettes, who make their appearance perfumed and adorned, with their hair fashionably dressed and in variegated, gold-embroidered, sweeping robes, or even perform their toilette on the stage, are very effective. In their train come the procuresses, sometimes of the most vulgar sort, such as one who appears in the Curculio, sometimes duennas like Goethe's old Barbara, such as Scapha in the Mostettaria; and there is no lack of brothers and comrades ready with their help. There is great abundance and variety of parts representing the old: there appear in turn the austere and avaricious, the fond and tender-hearted, and the indulgent accommodating, papas, the amorous old man, the easy old bachelor, the jealous aged matron with her old maid-servant who takes part with her mistress against her master; whereas the young men's parts are less prominent, and neither the first lover, nor the virtuous model son who here and there occurs, lays claim to much significance. The servant-world - the crafty valet, the stern house-steward, the old vigilant tutor, the rural slave redolent of garlic, the impertinent page - forms a transition to the very numerous professional parts. A standing figure among these is the jester (parasitus) who, in return for permission to feast at the table of the rich, has to entertain the guests with drolleries and charades, or, according to circumstances, to let the potsherds be flung at his head. This was at that time a formal trade in Athens; and it is certainly no mere poetical fiction which represents such a parasite as expressly preparing himself for his work by means of his books of witticisms and anecdotes. Favourite parts, moreover, are those of the cook, who understands not only how to boast of unheard-of sauces, but also how to pilfer like a professional thief; the shameless leno, complacently confessing to the practice of every vice, of whom Ballio in the Pseudolus is a model specimen; the military braggadocio, in whom we trace a very distinct reflection of the free-lance habits that prevailed under Alexander's successors; the professional sharper or sycophant, the stingy money-changer, the solemnly silly physician, the priest, mariner, fisherman, and the like. To these fall to be added, lastly, the parts delineative of character in the strict sense, such as the superstitious man of Menander and the miser in the Aulularia of Plautus. The national-Hellenic poetry has preserved, even in this its last creation, its indestructible plastic vigour; but the delineation of character is here copied from without rather than reproduced from inward experience, and the more so, the more the task approaches to the really poetical. It is a significant circumstance that, in the parts illustrative of character to which we have just referred, the psychological truth is in great part represented by abstract development of the conception; the miser here collects the parings of his nails and laments the tears which he sheds as a waste of water. But the blame of this want of depth in the portraying of character, and generally of the whole poetical and moral hollowness of this newer comedy, lay less with the comic writers than with the nation as a whole. 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.