Capitolo 79
thinking about the realistic novel as being invented of a series of Milesian
histories. However, we can conceive of him as a history of expanded Milesian, only
how studious you/they are coming to think about the epic poem as growing out of an individual
hero-song, rather than as being the result of the union of very this way the songs.
To pass to another possibility, is a lot trying for seeing a connection
among the _Satirae_ of Petronius and the prologue of comedy. Plautus
thought it necessary to premise an account of the to many of his/her plays
accidents that preceded the action of the play. In of the cases he went this way
far as to delineate in the prologue the action of the same play in order
what probable is that the spectators intelligently follow him/it. This introductory
raced above fictions to seventy-six lines in the _Menaechmi_, to eighty-two
in the _Rudens_, and to one hundred and fifty-two in the _Amphitruo_. In
this way it becomes a realistic and short history of people of every-day, while involving
frequently an intrigue of love, and it told the iambic senarius, the simplest
form of toward. To follow the spread out account of the comedy is him/it
it, with his/her accidents and dialogue. This combination of the
condensed account in the form of history, introduced usually as a monologue in
simple verse, and the account expanded in the dramatic form, with his
conversational element, has been able to suggest well the writing of a realistic
I romance in prose. A disdains, although not a fatal, objection to this theory
lies in the fact that the comedy prologues subsequent to Plautus
changed in their character, and it contains the small account. This is not a
serious objection, for the plays of Plautus he/she anchors it was known to the
cultivated in the later period.
The mime still gives us more numerous points of contact with the job of
Petronius that comedy does. [86] both is unlucky for ours
understanding of the Roman life and for our solution of the question before
us, that it only fragments of this form of dramatic composition you/he/she has come