" Indeed, he
possesses few traits in accord with normal human nature. But curiously
enough, as we learn from the _argumenta_ (in view of the loss of the
genuine end of the _Aul._), Euclio at the _denouement_ professes himself
amply content to bid an everlasting farewell to his stolen hoard, and
bestows his health and blessing on "the happy pair." This apparent
conversion, with absolutely nothing dramatic to furnish an introduction or
pretext for it, has caused Langen to depart from his usual judicious
scholarship. After much hair-splitting he solemnly pronounces it
"psychologically possible."[171] LeGrand points out[172] that his change
of heart is not a conversion, but merely a professed reconciliation to the
loss. But there is no need for all this pother. The simple truth is that
Plautus was through with his humorous complication and was ready to top it
off with a happy ending. It is the forerunner of modern musical comedy,
where the grouchy millionaire papa is propitiated at the last moment
(perhaps by the pleadings of the handsome widow), and similarly consents
to his daughter's marriage with the handsome, if impecunious, ensign.
3. Looseness of dramatic construction.
Lorenz with commendable insight has pointed out[173] that {~GREEK CAPITAL LETTER TAU~}{~GREEK SMALL LETTER UPSILON WITH TONOS~}{~GREEK SMALL LETTER CHI~}{~GREEK SMALL LETTER ETA~}, the
goddess of Chance, is the motive power of the Plautine plot, as
distinguished from the {~GREEK SMALL LETTER MU~}{~GREEK SMALL LETTER OMICRON~}{~GREEK SMALL LETTER IOTA WITH PERISPOMENI~}{~GREEK SMALL LETTER RHO~}{~GREEK SMALL LETTER ALPHA~} of tragedy.
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