It is important for our immediate purposes to note: first, (as aforesaid),
that the amount of license allowed author and actor increases immeasurably
as we go down the scale; second, that the degree of familiarity with the
audience and cognizance of the spectator's existence varies inversely as
the degree of dramatic value. Thus, at one end of the scale we have, for
instance, Mrs. Fiske, whose fondness for playing to the centre of the
stage and ignoring the audience is commented upon as a mannerism; at the
other, the low comedian who says his say or sings his song directly at the
audience and converses gaily with them as his boon companions. Now it will
be shown that familiar address of the audience and the singing of monodies
to musical accompaniment are essential features of Plautus' style, and
many other implements of the lower types of modern drama are among his
favorite devices. If then we can place Plautus toward the bottom of the
scale, we relieve him vastly of responsibility as a dramatist and of the
necessity of adherence to verisimilitude. Where does he actually belong?
The answer must be sought in a detailed consideration of his methods of
producing his effects and in an endeavor to ascertain how far the audience
and the acting contributed to them.
Sec.2. The Performance
[Sidenote: The Audience] As it is perfectly patent that every practical
playwright must cater to his public, the audience is an essential feature
in our discussion.
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