Note 67 — Chapter VI

These three plays show Plautus at his best in regard to the delineation of character, to moral tendency, to the conduct of a story by means of humorous incidents and situations. The three which still remain to be considered assert his claim to some share of poetic feeling and genius, and to at least some sympathy with the more elevated motives and sentiments which dignify human life. The 'Rudens' is inferior to several of the other plays in purely dramatic interest; but it has all the charm and freshness of a sea-idyll. The outward picture imprinted on the imagination is that of a bright morning after a storm, of which the effects are still apparent in the unroofing of the villa of Daemones, in the wild commotion of the sea67, in the desolation of the two shipwrecked women wandering about among the lonely rocks where they have been cast ashore, in the touching complaint of the poor fishermen deprived by the storm of their chance of earning their daily bread. The action, which consists in the rescue of innocence from villainy, and in the recognition of a lost daughter by her father, entirely enlists both the moral and the humane sympathies. There is imaginative as well as humorous originality in the soliloquies of Gripus, and in his altercation with Trachalio; and a sense of sardonic satisfaction is experienced in contemplating the plight of Labrax (a weaker and meaner ruffian than Ballio) and his confederate chattering with cold and bewailing the loss of their illgotten gains. But the peculiar charm of the play, as compared with any of those which have been already noticed, is the sentiment of natural piety—not unlike that expressed in the 'rustica Phidyle,' of Horace68—by which the drama is pervaded. This key-note is struck in the prologue uttered by Arcturus, whose function it is to shine in the sky during the night, and during the day to wander over the earth, and report to Jove on the good and evil deeds of men:—