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. The audience of Plautus was not of a high class.
Terence, even in later times, when education had materially progressed,
often failed to reach them by over-finesse. Plautus with his bold brush
pleased them. Surely a turbulent and motley throng they were, with the
native violence of the sun-warmed Italic temperament and the abundant
animal spirits of a crude civilization, tumbling into the theatre in the
full enjoyment of holiday, scrambling for vantage points on the sloping
ground, if such were handy, or a good spot for their camp-stools. In view
of the uncertainty as to the actual site of the original performances,
this portraiture is "atmospheric" rather than "photographic." (See
Saunders in TAPA. XLIV, 1913). At any rate, we have ample evidence of the
turbulence of the early Roman audience. (Ter. Prol. _Hec._ 39-42, and
citations immediately following). Note the description of Mommsen:[46]
"The audience was anything but genteel.... The body of spectators cannot
have differed much from what one sees in the present day at public
fireworks and gratis exhibitions. Naturally, therefore, the proceedings
were not too orderly; children cried,[47] women talked and shrieked, now
and then a wench prepared to push her way to the stage; the ushers had on
these festivals anything but a holiday, and found frequent occasion to
confiscate a mantle or to ply the rod."[48]

Impatient if the play be delayed, and voicing their disapproval by lusty
clapping, stamping, whistling and cat-calls, they are equally ready with
noisy approval if the dramatic fare tickle their palate.[49] The
_tibicen_, as he steps forth to render the overture, is greeted
uproariously as an old favorite. The manager perhaps appears and announces
the names of those taking part, each one of whom is doubtless applauded or
hissed in proportion to his measure of popularity. Differences of opinion
as to the merits of an individual actor may culminate in the partisans'
coming to blows.[50] Horace (_Ep._ II. I. 200 ff.) comments on the
turbulence of the audiences of his day too; while under the Empire
factions for and against particular actors grew up, as in the circus.[51]
Late-comers of course often disturbed the Prologus in his lines. The
cont