Faust further finds a parallel (p. 14) between the "ring with a token in a cloute" sent by Roister Doister to his lady-love (R. D. II, 1, 43), and the ring which Palæstrio brings Pyrgopolinices as if from the wife of Periplecomenus. There is a ring sent in each case, that is all. As to Faust's further contention (p. 15) that the representation of Dame Custance as a widow may be a reminiscence of two passages in the Miles Gloriosus, the one of which the pretended wife of old Periplecomenus is called, by an infamous construction, both wife and widow; and in the other of which the braggart pleads that he supposed she was a widow when he paid her his attentions, such contention is so imaginative as to be futile. (See also this essay p. 263.) in We think that thus far it has appeared that, while several passages, not inconsiderable in total length, show resemblance between Udall's play and the Miles Gloriosus of Plautus, this resemblance has largely to do with the figure of Roister Doister, which is itself somewhat altered from the original. It has also appeared that there is sometimes a tendency to magnify the resemblance between the two plays. There remains the task of showing, by reference to other plays, that Udall had no exclusive preference for any single play by either of the two authors named in his Prologue. The common conception of a captain, throughout the plays of Plautus, includes the quality of boasting. For example, in Poenulus (Poe. II, 1, p. 374), Anthemonides relates how in one day he slew sixty thousand winged men, by having his troops sling bird-lime at them. "Each one did they hit with the birdlime they fell to the ground as thick as pears. As each one dropped, I straightway pierced him through the brain with his own feathers, just like a turtle-dove". In Epidicus IV, 2 (Ep. P. 442) a captain is announced by the question: "But who is this I see coming this way, that with his swaggering makes his scarf stream in the wind?" In the fragments of the Bacchides (I, 1, B. 153), a soldier is described as "such a boaster", and a little later in the play (IV, 9, B. 197), is mentioned “the blustering Captain, who, unarmed, takes cities with his words". Harpax, the servant of a captain, has caught his master's habit, when he declares: "I am wont to carry off my enemies alive from the battle-field" (Ps. II, 2, p. 286). The name of this Captain, Polymacharoplagides, that is, "the son of many blows with the sword", comically reinforces his reputation (Ps. IV, 2-7; pp. 301, 307). The device of the seal of another Captain, "Therapontigonus Platagidorus", suggests his relationship to Pyrgopolinices: "a man, holding a shield, is cleaving an elephant asunder with a sword." (Cur. III, 1, p. 549.) Curculio, the crafty servant, attempts to invent exploits for him that suggest the "Blanche-powder land" where Roister Doister killed the blue spider (R. D. I, IV, 64): "Within twenty days he singly has subdued the Persians, Paphlagonians, Sinopians, Arabians, Cretans, Syrians, Rhodia and Lycia, Peredia (that is, 'hungry-land'), and Bibesia (that is, thirsty land'), Centauromachia and Classia Unomammia, and all Libya, and all Conterebromia" (Cur. p. 550). When the real Captain appears, he tries to live up to his reputation, and does a little boasting for himself (Cur. IV, 4, p. 556), so that he is spoken of as "the swaggerer" (p. 560, V, 2). In short, not to cite all possible examples, it would appear that the braggart captain was a stock figure, a view that finds confirmation in the Prologue to the Captivi, wherein the auditor is assured that the coming play contains "neither the perjured procurer, nor the artful courtesan, nor yet the braggart captain", with each of whom the spectators of the plays of Plautus were assumed to be familiar. The braggart naturally strutted about, as Udall shows (in R. D. I, 2, 28—32, p. 9; III, 3, 111—123, p. 49), “with a breast to blow out a candle", "jetting up and down". There is a rather striking parallel to Merygreeke's effort to get his patron to assume a manner of importance, in the Phormio (Terenti I, 4, 210—211 = II, 1. 31-33, pp. 158, 159): This passage is translated by Riley as follows (I, 4, pp. 314, 315): Ant. Pray, now, if I assume an air, will that do? (He endeavors to assume another air.) Geta. You are trifling. J. Hoops, Englische Studien. 38. z. 18 Ant. Well then, this? (Assuming a still bolder air.) Geta. That's just the thing. Strutting is also done by the servant Sagaristo, in Persa (Per. II, 5, p. 275), and apparently by Olympio the Cook (Cas. III, 6, p. 337), and by Menæchmus Sosicles when he is wearing his wife's palla (Men. I, 2, p. 325 and Note; cf. top of p. 328). Concerning other features of Roister Doister there are occasionally parallels in the plays of Plautus and Terence. Thus the Prologue of the Captivi, with its promise that there will be no ribald lines unfit for utterance in the coming drama, reminds us of the "mirth with modestie" [moderation] of Udall, "Wherein all scurilitie we utterly refuse." The list of patrons upon whom Merygreeke relies for his feasting is paralleled in the Asinaria V, 3, p. 520): Ant. For this it is, i' faith, that he's going out to dinner every day. He says that he's going to Archidemus, Chereas, Chærestratus, Clinius, Chremes, Cratinus, Dinias, Demosthenes ... There is a letter and a token, if not "in a clout", in Pseudolus (II, 2, pp. 286, 288-89). "Harpax" is a character-name borrowed by Udall from the same play. The long speech of Charmides, giving thanks on his safe return from a voyage (Trinummus IV, 1) suggests the similar speech of Suresby, at the same part of Udall's play (R. D. IV, 1). In the fifth act of Poenulus, Hanno enters, for the first time, to introduce the dénouement, like Goodluck in the English play. Möller (pp. XVIII, XIX) indicates a parallel between the Eunuch (IV, 7, ll. 41-43 Terenti p. 136) and Roister Doister III, 4. Thraso. Quid nunc agimus? = Thraso (to Gnatho). Why, go back again: she'll soon be with you, of her own accord, to entreat forgiveness. Thraso. Do you think so? Thraso. M. Mery. Certainly, yes. I know the disposition of women: Compare R. D. III, 4, l. 119-123; and 93, 94: Refrain from Custance a-while now, For one madde propretie these women haue, in fey; (For further discussion and references, especially concerning the Phormio and Eunuch of Terence, see Faust p. 15; Habersang p. 7; Graf. pp. 26, 27.) A few words may properly be said in conclusion concerning general resemblances between Udall's play and the Latin comedies. These remarks naturally fall under the headings: character, construction, "business", scene, and style. It would be possible to illustrate at length the relation between patron and parasite in the comedies of Plautus and Terence, since in the twenty-six plays examined there are no fewer than ten parasites, expressly so called. But this relation may be taken for granted once for all, together with the proposition that Udall's parasite is typical, rather than borrowed from a particular play. The servants are fond of drinking, especially the old nurses, and are given to quarrels among themselves, and to the use of saucy language to each other. They are in fear of the master, who frequently threatens and sometimes punishes them with blows. For all this, with due modification, Udall makes room in the single comedy of his that has been preserved. In many comedies, a servant is relied upon by his master to extricate him from some practical dilemma, the servant being the quickest-witted character in the play. Merygreeke has borrowed also this quality, so that he is not a mere parasite, but a Palæstrio, an Epidicus, a Tranio as well. Like most of the characters in Roister Doister, too, the characters in Plautus and Terence have what has been called "speaking names", that is, the name, rightly understood, suggests some quality of its bearer. Examples of descriptive christening are Pseudolus (from yeúdoμai), Congrio and Anthrax, cooks (an eel and a coal, respectively), Gelasimus (from yshaw, to laugh), Peniculus (that is, a sponge). Musicians perform occasionally (Cas. IV, 3, p. 341), and music girls are numerous. As to construction, the plot of Roister Doister is very simple, compared with the Latin plays, which are full of intrigue, involving the conflicting interests of several groups of persons. The unity of place is observed in all, however, and the three days covered by Udall's comedy are so near the requirements of the classic unity of time as to suggest influence, at least. The Prologue in the Latin plays is spoken by a member of the company of actors, is intended to apprise the audience, sometimes very explicitly, of the character of the play, and commonly gives a Grecian source for the comedy, naming the author. Udall's play resembles his models in these particulars, though he does not make the mistake of telling too much. Using the term "stage business" in a large sense, we remark that such thanks as Suresby offers on his return from his voyage are regularly given in the Latin plays, under similar circumstances, but they are offered to the gods in a formal manner, and as something by no means to be omitted. Blows are struck and taken, with more than English vigor, and horse-play occurs, like carrying one character out on the shoulders of another. Dancing is not unknown (Per. V, 2, p. 200), thus setting the fashion for Madge Mumblecrust. And a feast is common, sometimes shown upon the stage, and frequently taking the form of a welcome home, "coena viatica" (Riley's Pl. I, 157, 162, 178: I, 238; II, 519 ff.; 246 ff. &c.). Perhaps the dinner to which Royster Doyster is invited is a remembrance of these feasts with which a Roman play sometimes closed. The scene in Plautus and Terence is commonly the space before two houses, adjoining, or near together; occasionally three houses are indicated; in Udall's play, only one. It is not practicable fully to compare the style of Udall with that of the two Latin authors; even the interesting inquiry concerning the possible effect of the Latin metres upon the English comedy must be left to a more favorable occasion. The actor in the Plautine comedy appeals more often directly to his audience in a confidential way; but the long soliloquies of Udall make the same appeal, in disguise. As to the few passages in country dialect, found in the schoolmaster's drama, the mistakes of the clown Stratilax may be cited |