Lectures on Dramatic Art and Literature, August Wilhelm Schlegel [best electronic book reader TXT] 📗

the imitations of Terence, on the other hand, from his lack of invention, turned out somewhat meagre, and he filled up the gaps with materials borrowed from other pieces. Even his contemporaries reproached him with having falsified or corrupted a number of Greek pieces, for the purpose of making out of them a few Latin ones.

Plautus and Terence are generally mentioned as writers in every respect original. In Romans this was perhaps pardonable: they possessed but little of the true poetic spirit, and their poetical literature owed its origin, for the most part, first to translation, then to free imitation, and finally to appropriation and new modelling, of the Greek. With them, therefore, a particular sort of adaptation passed for originality. Thus we find, from Terence's apologetic prologues, that they had so lowered the notion of plagiarism, that he was accused of it, because he had made use of matter which had been already adapted from the Greek. As we cannot, therefore, consider these writers in the light of creative artists, and since consequently they are only important to us in so far as we may by their means become acquainted with the shape of the Greek New Comedy, I will here insert the few remarks I have to make on their character and differences, and then return to the Greek writers of the New Comedy.

Among the Greeks, poets and artists were at all times held in honour and estimation; among the Romans, on the contrary, polite literature was at first cultivated by men of the lowest rank, by needy foreigners, and even by slaves. Plautus and Terence, who closely followed each other in time, and whose lifetime belongs to the last years of the second Punic war, and to the interval between the second and third, were of the lowest rank: the former, at best a poor day labourer, and the latter, a Carthaginian slave, and afterwards a freed man. Their fortunes, however, were very different. Plautus, when he was not employed in writing comedies, was fain to hire himself out to do the work of a beast of burthen in a mill; Terence was domesticated with the elder Scipio and his bosom friend Laelius, who deigned to admit him to such familiarity, that he fell under the honourable imputation of being assisted in the composition of his pieces by these noble Romans, and it was even said that they allowed their own labours to pass under his name. The habits of their lives are perceptible in their respective modes of writing: the bold, coarse style of Plautus, and his famous jests, betray his intercourse with the vulgar; in that of Terence, we discern the traces of good society. They are further distinguished by their choice of matter. Plautus generally inclines to the farcical, to overwrought, and often disgusting drollery; Terence prefers the more delicate shades of characterization, and, avoiding everything like exaggeration, approaches the seriously instructive and sentimental kind. Some of the pieces of Plautus are taken from Diphilus and Philemon, but there is reason to believe that he added a considerable degree of coarseness to his originals; from whom he derived the others is unknown, unless, perhaps, the assertion of Horace, "It is said that Plautus took for his model the Sicilian Epicharmus," will warrant the conjecture that he borrowed the Amphitryo , a piece which is quite different in kind from all his others, and which he himself calls a Tragi-comedy, from that old Doric comedian, who we know employed himself chiefly on mythological subjects. Among the pieces of Terence, whose copies, with the exception of certain changes of the plan and structure, are probably much more faithful in detail than those of the other, we find two from Apollodorus, and the rest from Menander. Julius Caesar has honoured Terence with some verses, in which he calls him a half Menander, praising the smoothness of his style, and only lamenting that he has lost a certain comic vigour which marked his original.

This naturally brings us back to the Grecian masters. Diphilus, Philemon, Apollodorus, and Menander, are certainly four of the most celebrated names among them. The palm, for elegance, delicacy, and sweetness, is with one voice given to Menander, although Philemon frequently carried off the prize before him, probably because he studied more the taste of the multitude, or because he availed himself of adscititious means of popularity. This was at least insinuated by Menander, who when he met his rival one day said to him, "Pray, Philemon, dost thou not blush when thou gainest a victory over me?"

Menander flourished after the times of Alexander the Great, and was the contemporary of Demetrius Phalereus. He was instructed in philosophy by Theophrastus, but his own opinions inclined him to that of Epicurus, and he boasted in an epigram, "that if Themistocles freed his country from slavery, Epicurus freed it from irrationality." He was fond of the choicest sensual enjoyments: Phaedrus, in an unfinished tale, describes him to us as even in his exterior, an effeminate voluptuary; and his amour with the courtesan Glycera is notorious. The Epicurean philosophy, which placed the supreme happiness of life in the benevolent affections, but neither spurred men on to heroic action, nor excited any sense of it in the mind, could hardly fail to be well received among the Greeks, after the loss of their old and glorious freedom: with their cheerful mild way of thinking, it was admirably calculated to console them. It is perhaps the most suitable for the comic poet, as the stoical philosophy is for the tragedian. The object of the comedian is merely to produce mitigated impressions, and by no means to excite a strong indignation at human frailties. On the other hand, we may easily comprehend why the Greeks conceived a passion for the New Comedy at the very period when they lost their freedom, as it diverted them from sympathy with the course of human affairs in general, and with political events, and absorbed their attention wholly in domestic and personal concerns.

The Grecian theatre was originally formed for higher walks of the drama; and we do not attempt to dissemble the inconveniences and disadvantages which its structure must have occasioned to Comedy. The frame was too large, and the picture could not fill it. The Greek stage was open to the heavens, and it exhibited little or nothing of the interior of the houses [Footnote: To serve this purpose recourse was had to the encyclema, which, no doubt, in the commencement of the Clouds , exhibited Strepsiades and his son sleeping on their beds. Moreover, Julius Pollux mentions among the decorations of New Comedy, a sort of tent, hut, or shed, adjoining to the middle edifice, with a doorway, originally a stable, but afterwards applicable to many purposes. In the Sempstresses of Antiphanes, it represented a sort of workshop. Here, or in the encyclema, entertainments were given, which in the old comedies sometimes took place before the eyes of the spectators. With the southern habits of the ancients, it was not, perhaps, so unnatural to feast with open doors, as it would be in the north of Europe. But no modern commentator has yet, so far as I know, endeavoured to illustrate in a proper manner the theatrical arrangement of the plays of Plautus and Terence. [See the Fourth Lecture, &c., and the Appendix on the Scenic Arrangement of the Greek Theatre.]]. The New Comedy was therefore under the necessity of placing its scene in the street. This gave rise to many inconveniences; thus people frequently come out of their houses to tell their secrets to one another in public. It is true, the poets were thus also saved the necessity of changing the scene, by supposing that the families concerned in the action lived in the same neighbourhood. It may be urged in their justification, that the Greeks, like all other southern nations, lived a good deal out of their small private houses, in the open air. The chief disadvantage with which this construction of the stage was attended, was the limitation of the female parts. With that due observance of custom which the essence of the New Comedy required, the exclusion of unmarried women and young maidens in general was an inevitable consequence of the retired life of the female sex in Greece. None appear but aged matrons, female slaves, or girls of light reputation. Hence, besides the loss of many agreeable situations, arose this further inconvenience, that frequently the whole piece turns on a marriage with, or a passion for, a young woman, who is never once seen.

Athens, where the fictitious, as well as the actual, scene was generally placed, was the centre of a small territory, and in no wise to be compared with our capital cities, either in extent or population. Republican equality admitted of no marked distinction of ranks; there was no proper nobility: all were alike citizens, richer or poorer, and for the most part had no other occupation than the management of their several properties. Hence the Attic New Comedy could not well admit of the contrasts arising from diversity of tone and mental culture; it generally moves within a sort of middle rank, and has something citizen-like, nay, if I may so say, something of the manners of a small town about it, which is not at all to the taste of those who would have comedy to portray the manners of a court, and the refinement or corruption of monarchical capitals.

With respect to the intercourse between the two sexes, the Greeks knew nothing of the gallantry of modern Europe, nor the union of love with enthusiastic veneration. All was sensual passion or marriage. The latter was, by the constitution and manners of the Greeks, much more a matter of duty, or an affair of convenience, than of inclination. The laws were strict only in one point, the preservation of the pure national extraction of the children, which alone was legitimate. The right of citizenship was a great prerogative, and the more valuable the smaller the number of citizens, which was not allowed to increase beyond a certain point. Hence marriages with foreign women were invalid. The society of a wife, whom, in most cases, the husband had not even seen before his marriage with her, and who passed her whole life within the walls of her house, could not afford him much entertainment; this was sought among women who had forfeited all title to strict respect, and who were generally foreigners without property, or freed slaves, and the like. With women of this description the easy morality of the Greeks allowed of the greatest license, especially to young unmarried men. The ancient writers, therefore, of the New Comedy paint this mode of life with much less disguise than we think decorous. Their comedies, like all comedies in the world, frequently end with marriages (it seems this catastrophe brings seriousness along with it); but the marriage is often entered upon merely as a means of propitiating a father incensed at the irregularities of some illicit amour. It sometimes happens, however, that the amour is changed into a lawful marriage by means of a discovery that the supposed foreigner or slave is by birth an Athenian citizen. It is worthy of remark, that the fruitful mind of the very poet who carried the Old Comedy to perfection, put forth also the first germ of the New. Cocalus , the last piece which Aristophanes composed, contained a seduction, a recognition, and all the leading circumstances which were afterwards employed by Menander in his comic pieces.

From what has been said, it is easy to overlook the whole round of characters; nay, they are so few, and so perpetually recur, that they may be almost all enumerated. The austere and stingy, or the mild easy father, the latter