ethical maxims abound. A finale of
reconciliation such as that of the -Bacchides-, where the swindling
sons and the swindled fathers by way of a good winding up all go to
carouse together in the brothel, presents a corruption of morals
thoroughly worthy of Kotzebue.

Roman Comedy
Its Hellenism a Necessary Result of the Law

Such were the foundations, and such the elements which shaped the
growth, of Roman comedy. Originality was in its case excluded not
merely by want of aesthetic freedom, but in the first instance,
probably, by its subjection to police control. Among the considerable
number of Latin comedies of this sort which are known to us, there is
not one that did not announce itself as an imitation of a definite
Greek model; the title was only complete when the names of the Greek
piece and of its author were also given, and if, as occasionally
happened, the "novelty" of a piece was disputed, the question was
merely whether it had been previously translated. Comedy laid the
scene of its plot abroad not only frequently, but regularly and under
the pressure of necessity; and that species of art derived its special
name (-fabula palliata-) from the fact, that the scene was laid away
from Rome, usually in Athens, and thai the -dramatis personae- were
Greeks or at any rate not Romans. The foreign costume is strictly
carried out even in detail, especially in those things in which the
uncultivated Roman was distinctly sensible of the contrast, Thus the
names of Rome and the Romans are avoided, and, where they are referred
to, they are called in good Greek "foreigners" (-barbari-); in like
manner among the appellations of moneys and coins, that occur ever
so frequently, there does not once appear a Roman coin. We form a
strange idea of men of so great and so versatile talents as Naevius
and Plautus, if we refer such things to their free choice: this
strange and clumsy "exterritorial" character of Roman comedy
was undoubtedly due to causes very different from aesthetic
considerations. The transference of such social relations, as are
uniformly delineated in the new Attic comedy, to the Rome of the
Hannibalic period would have been a direct outrage on its civic order
and morality. But, as the dramatic spectacles at this period were
regularly given by the aediles and praetors who were entirely
dependent on the senate, and even extraordinary festivals, funeral
games for instance, could not take place without permi