vatorum hominum acta dictis ac gestu canebant atque stupra virginum et amores meretricum in suis fabulis exprimebant.

2. Euanth. de tr. et com.: comoediae aut motoriae sunt aut statariae aut mixtae. motoriae (sunt) turbulentae, statariae quietiores, mixtae ex utroque actu consistentes. According to this the Plautine plays are nearly all motoriae, the Terentian mixtae, Phormio is a motoria, Hautontim. a stataria (Haut. prol. 36). In agreement with this the actors (Donat. ad Ter. Ad. prol. 24 and Quintil. XI 3, 178) and then also the orators (Cic. Brut. 20, 116. 68, 239) were divided into statarii and motorii.

=

3. Diomedes III p. 489 P. 491, 29 sq. K.: latinae comoediae chorum non habent, sed duobus membris tantum constant, diverbio et cantico. primis autem temporibus, sicuti adserit Tranquillus, omnia quae in scena versantur in comoedia agebantur. nam et pantomimus et pythaules et choraules in comoedia canebant (the pantomimus perhaps after the separation of singing and acting: see Liv. VII 2, 10: inde ad manum cantari histrionibus coeptum diverbiaque tantum ipsorum voci relicta.) Gradually, he states, the histriones (actores comoediarum) were separated from the mimi and tibicines. Id. p. 491, 23 sqq. K.: personae diverbiorum aut duae aut tres aut raro quattuor esse debent, ultra augere numerum non licet. in canticis autem una tantum debet esse persona aut, si duae fuerint, ita esse debent ut ex occulto una audiat, nec conloquatur, sed secum.. verba faciat. Three actors were most probably the normal number in the palliatae too: for a later period this is established by Martial VI 6: comoedi tres sunt, sed amat tua Paula, Luperce, quattuor: et xwqov Рaula лgóσwлоr amat. The Republican ediles were, however, less mindful of economy than the Athenian choregi and allowed the poets even more actors, and thus of the Plautine plays only two (Cist. and Stich., though both incomplete) may perhaps be managed with three actors, while eight require at least 4, and ten at least 5 performers; of the Terentian plays two require 4, two 5, and two even 6 performers. Not even in the limited sense in which Horace (Ep. II 3, 192) warns against scenes with more than 3 speakers, did the poets of the palliatae confine themselves; comp. e. g. Ter. Phorm. III 2. IV 3 and Diomed. III p. 488 = 491, 2 sq. K.: at latini scriptores complures personas in fabulas introduxerunt, ut speciosiores frequentia facerent. Ascon. on Cic. Div. in Caec. 15: latinae fabulae (togatae and others) per pauciores agebantur personas (than the palliatae).

290 sqq.

4. G. Hermann, de canticis in Rom. fabb. scenicis, Opus. I p. G. A. B. Wolff, de canticis etc. Halle 1824. 4o. Grysar (see above 13, 5). There are, however, also comedies without cantica, e. g. Plautus' Miles glor., Persa, perhaps also Epidicus. Traces of 'synodic' cantica, i. eset for several voices, appear espec. at the end of the Captivi; comp. also ib. II 1. Musical accompaniment tibiis paribus aut imparibus aut sarranis, on which e. g. Diomed. p. 492, 10 sqq. K. Don. de com. s. f., praef. Eun. and Adelph. where we read: modulata est tibiis dextris, i. e. Lydiis, ob seriam gravitatem, qua fere in omnibus comoediis utitur hic poeta

(i. e. Terence) saepe tamen mutatis per scenam modis cantica mutavit, quod significat titulus scenae, habens subiectas personis litteras M. M. C. (mutatis modis cantici). Sinistris (or Sarranis) in a higher pitch and therefore for less serious parts. The expression tibiae pares is generally explained 'with nothing but either dextrae or sinistrae' (impares=dextrae or sinistrae), though we should then also expect a notice, whether dextrae or sinistrae. See K. Dziatzko, Rhen. Mus. XX p. 594—597, and comp. Grysar 1. 1. p. 376-378.

5. In the old Attic Comedy and perhaps also the Middle one the intervals were marked and filled up by choric songs, in the New One most probably by the avinrns. Only in the last the division into acts can have been customary, nor does Aristotle say anything on this point. Their theory seems to have been invented by the Alexandrines. It is assumed in Cic. ad Qu. fr. I 16, 46: ut hic tertius annus imperii tui tamquam tertius actus perfectissimus atque ornatissimus fuisse videatur (comp. Apul. Flor. 16, 64 p. 132 Bip.: cum iam in tertio actu, quod genus in comoedia fieri amat, iucundiores affectus moveret), even more explicitly in Horace's rule (Ep. II 3, 189): neu sit quinto productior actu fabula. But the original MSS. of Plautus and Terence cannot yet have contained any division into acts and scenes. This appears from Donatus' repeated complaints about the difficulty of this division (comp. Euanth. de tr. et com.: postremo ne locum quidem reliquerunt choro quod latini fecerunt comici, unde apud illos dirimere actus quinquepartitos difficile est) and from the frequent want of regularity, if not the inaccuracy of the traditional division. In general see Don. arg. Andr.: est attente animadvertendum, ubi et quando scena vacua sit ab omnibus personis, ut in ea chorus (in tragedy) vel tibicen (in comedy) audiri possit; quod quom viderimus, ibi actum esse finitum debemus agnoscere. Five acts are set down as the highest number in Donatus' rule (ib.): nullam personam egressam quinquies ultra exire posse. They are generally so arranged that the first contains the explanation of the plot (ngóras), while the knot is entangled in acts II to IV (iniraois), when the dénouement is given in the fifth (xaraorgo4). Comp. G. A. B. Wolff, de actibus apud Plautum et Terentium, Guben 1814. 4. Ritschl, Rhen. Mus. IV p. 597 sqq. K. F. Hermann, de Ter. Adelphis (Jahn's Jahrb. Suppl. VI p. 71 sqq.) G. Schmitz, de actuum in Plautinis fabulis descriptione, Bonn 1852.

6. The prologues commonly contained a summary of the subject of the play (Ter. Andr. prol. 5 sqq.), but like the parabasis of the Old Comedy, were also used for the cxplanation of the poet's personal requests. Euanth. de tr. et com. distinguishes 4 kinds: OVOTATIXÓS, commendaticius; avaqoqixós, relativus; no97xós, argumentarius; MxTós, mixtus. The prologue was recited without any theatrical costume (sine ornamentis Plaut. Poen. prol. 123 ornatu prologi Ter. Hec. prol. B 1) by an actor who did not appear in the first act (change of dress, Poen. prol. 126; exceptions in Ritschl Parerg. p. 19) or by the dominus gregis (so several times in Terence). But it does not

always precede the first act (Plaut. Mil. Gl. II 1. Cist. I 3; comp. Don. praef. to Ter. Phorm. s. f.) and may even be omitted altogether (Plaut. Curc.) For the new performances of a play, even after the poet's death, new prologues used to be composed, and those prefixed to the Plautine plays are mostly of this kind, see Ritschl, Parerga p. 209 sqq. 225 sqq. 233 sqq. and below § 88.

7. The customary form of the epilogue is plaudite. Comp. Menand. fr. 831 gavres Enixpornoare with Plaut. Truc. fin.: plaudite atque exsurgite. See also Quintil. VI 1, 52: illud quo veteres tragoediae comoediaeque cluduntur, Plodite. Hor. Ep. II 3, 155 etc.

8. Naevius already, Plautus, Ennius, and Terence following them (Andr. prol. 17 sqq.) as a compensation for their curtailing of the originals and in order to increase the attraction of a play, transferred single scenes of a Greek play of similar plot, into the one adapted by them, a proceeding called contaminare by Luscius: see Andr. prol. 16. Haut. prol. sqq. On the other hand the πρόσωπα προτατικά serve especially to facilitate the exposition, see Don. arg. Andr.: persona protatica intelligitur quae semel inducta in principio fabulae in nullis deinceps fabulae partibus adhibetur. (Euanth.) de trag. et com.: ngorarızà ngóówna, i. e. personas extra argumentum arcessitas, non facile ceteri habent (though Piautus has Artotrogus in the Miles); quibus Terentius saepe (in the Andria and Eun.) utitur, ut per harum inductiones facile pateat argumentum.

9. On Masks. Diomed. III p. 486 P. = 489, 10 sqq. K.: antea galearibus, non personis, utebantur, ut qualitas coloris indicium faceret aetatis, cum essent aut albi (old men) aut nigri (young men) aut rufi (slaves). personis vero uti primus coepit Roscius Gallus, praecipuus histrio, quod oculis perversis erat nec satis decorus sine personis nisi parasitus pronuntiabat. But Don. de comoed.: personati primi egisse dicuntur comoediam Cincius Faliscus, tragoediam Minucius Prothymus, the latter also performer in the Adelphi. Add to this Don. praef. to Ter. Ad.: haec acta est.. agentibus L. Ambivio et L..., qui cum suis gregibus iam tum personati agebant. But the Phormio e. g. was acted without masks, as is shown by I 4, 32 sqq. = 210-212. After their introduction masks appear to have remained the rule; this would seem to result from such passages as Cic. de or. III 59, 221: in ore sunt omnia... personatum ne Roscium quidem magnopere laudabant (nostri senes), as well as from cogi in scena ponere personam, quod ceteris histrionibus (besides the Atellani) pati necesse est (Fest. p. 217 M.); we also find that since then the actores comoediarum (as distinguished from the mimi = artifices scenici, Sen. Ep. I 21, 7) are only recommended for their recitation and acting (Quintil. III 8, 51. XI 3, 178). Of such actores com. we know only one in Plautus' time, (C. Publilius) Pollio (Ritschl, Parerga p. 250. 256. 261 sq. 392); in Terence's time through Donatus and the scenic notes, besides those already mentioned, esp. (L.) Ambivius Turpio, L. Atilius of Praeneste; in Quintilian's time Stratocles and Demetrius (I. O. XI 3, 178).

17. Togatae in a wide sense is the name given to all plays not imitated from the Greek, but of Italian origin, whether the braided (praetexta and trabeata) or the simple toga was the costume of the performers. In a more limited acceptation togata denotes that kind of national drama in which the performers appeared in a simple toga, togati. Later on, the name tabernaria became more usual to denote this. This togata represents the life of the lower classes in Rome, thus possessing a tone more coarse than the palliata, but also greater freshness and real life. But it surpasses more especially the palliata in the idea of domesticity, the female sex being far more prominent in it, and the slaves holding comparatively insignificant parts. The chronology of the togata is defined on the one hand by the over-refined palliata of Terence, and on the other by the artificial Atellana and the mimus. Its principal poets are Titinius, Quintius Atta and L. Afranius, all between 585 and 675 v. c. Afranius raised the togata into higher circles of society, introduced the arrangement and tone of the palliata into it, sometimes even used Greek plays for his purposes, and in this way created a kind of mixed species, which, however, died out with him. Even in the Imperial period Afranius' togatae were performed, though with an admixture of pantomimic art, to suit the taste of the period.

1. Among the togatae in the broadest sense of the word (as a nomen generale) Diomedes III. p. 486 sq. P. = 489 sq. K. enumerates: a) praetextatae, b) togatae tabernariae, c) Atellanae, d) planipedes, and defines them: quae scriptae sunt secundum ritus et habitum hominum togatorum, i. e. Romanorum. In this sense togata comprises also the trabeata which Diomedes omits, though this was merely a transient and unimportant species, devoted especially to the knights whose peculiar habit was the trabea (Pers. III 29. Dio LVI 31), and a species merely due to Maecenas' freedman, C. Melissus; Suet. de gramm. 21 extr. (p.116 Rffsch.): fecit (Mel.) et novum genus togatarum inscripsitque trabeatas. In the same general sense, and especially of praetextae, Sen. Ep. I 8, 8 uses the term togatae; non attingam tragicas nec togatas nostras. habent enim hae quoque aliquid severitatis et sunt inter comoedias ac tragoedias mediae.

2. Diomed. III p. 487 P. 489, 28 sqq. K.: secunda species est togatarum quae tabernariae dicuntur et humilitate personarum et argumentorum similitudine comoediis (= palliatis) pares, in quibus . . humiles homines et privatae domus inducuntur, quae quidem olim, quod tabulis tegerentur, communiter tabernae vocabantur. But there are privatae domus in the palliatae as well, and tabernae are rather the booths of tradespeople

and shopkeepers. Festus v. togatarum (p. 352 a. M.) enumerates among the characters of the tabernariae besides others also plagiarii, servi denique, in general such as ex tabernis honeste prodeant. Comp. also such titles of togatae as Augur, Cinerarius, Fullonia, Libertus, Psaltria, Tibicina. Togatae is the namen given to plays of this kind espec. by Cic. p. Sest. 55, 118. Hor. Ep. II 3, 288. Vellej. II 9, 3. Sen. Ep. XIV 1 (89), 7 (comp. Afranius v. 299). Suet. Ner. 11. Quintil. X 1, 100. Gell. X 11, 8. XIII 8, 3.

3. The pots of the togatae are generally laid at Rome, though not unfrequently also in a provincial town in order to ridicule either the life of a small town or satirize Rome in a disguised manner, or to describe the impression produced by Rome on a man from the country; comp. the titles Brundisinae, Ferentinatis, Setina, Veliterna, Ulubrana. From the mere titles appears the large admixture of the female sex (even of virgins), and this is still more shown by the fragments. Comp. also Serv. Aen. XI 160: in togatis victrices appellantur quae viros extulerunt. Donatus, on Ter. Eun. 12, is very significant: concessum est in palliata poetis comicis servos dominis sapientiores fingere, quod item in togata non fere licet.

4. Diomed. p. 488 P. 490, 16 K.: togatas tabernarias in scenam dataverunt praecipue duo, L. Afranius et G. Quintius. Acro on Hor. Ep. II 3, 288 is confused: praetextas et togatas scripserunt Aelius Lamia, Antonius Rufus, Gn. Melissus, Afranius, Pomponius. A togatarius (histrio) Stephanio (cui in puerilem habitum circumtonsam matronam ministrasse compererat Augustus and whom he therefore per trina theatra virgis caesum relegavit) occurs in Suet. Aug. 45; comp. Plin. N. H. VII 49: minus miror Stephanionem, qui primus togatas saltare instituit, utrisque saecularibus ludis saltasse, et D. Augusti et quos Claudius Caesar consulatu suo quarto fecit, quando LXIII non amplius anni interfuere, quamquam et postea diu vixit. A performance of Afranius' Incendium under Nero is mentioned by Suet. Ner. 11.

5. In unitation of the arrangement of the palliata Afranius has prologues (v. 25-30. Macrob. Sat. VI 5, 6: Afranium.. qui in prologo ex persona Priapi ait, just as in his Sella Sophia appeared as a speaker) and cantica (even synodic ones). Cic. p. Sest. 55, 118: cum ageretur togata Simulans, ut opinor caterva tota clarissima concentione . . contionata est. The adoption of the parasites belongs to the same features, though the roman clientship and the scurrae offered analogies.

6. The fragments of togatae are collected by Bothe and also by J. H. Neukirch, de fabula togata (Lips. 1833) p. 96-280, and in Ribbeck's Com. lat. p. 115-188. On the togata see also Ladewig in Pauly's RealEnc. VI 2. p. 2024 sq. and Mommsen R. H. 12. p. 885 sq. II. p. 438.

18. The Romans admitted also the Rhinthonica, so-called from the Phlyacographer Rhinthon of Tarentum, who travestied tragic subjects by burlesque treatment. This species is also