In this category also belong the revels of the drunken Pseudolus with
his song and dance[155], and the final scene of the _St._[156], where, the
action of the slender plot over, the comedy slaves royster and dance with
the harlot. When Ballio drives his herd before him, as he berates them
merrily to the tune of a whip, we have an energetic and effective
scene[157].
3. Direct address of the audience.
It is a well-established principle that the most intimate cognizance of
the spectator's existence is a characteristic of the lowest types of
dramatic production (v. Part I, Sec. 1, fin.). The use of soliloquy, aside
and monologue all indicate the effort of the lines to put the player on
terms of intimacy with his public. But even this is transcended by the
frequent recurrence in jocular vein of deliberate, conscious and direct
address of the audience, when they are called by name. In _Truc._ 482
Stratophanes says: Ne expectetis, spectatores, meas pugnas dum
praedicem.... In _Poen Truc._ 597 we are told: Aurumst profecto hic,
spectatores, sed comicum; i. e., "stage-money." During a halt in the
action of the _Ps._ (573) we are graciously informed: Tibicen vos interibi
hic delectaverit. Mercury's comments (_Amph._ 449-550 passim), probably
with copious buffoonery, on the leave-taking of Jove and Alemena contain
the remark (507): Observatote, quam blande mulieri palpabitur.
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