In what relation do the plays of Plautus stand to the more serious interests of life? Is he to be ranked among philosophic humourists who had felt deeply the speculative perplexities of this world, whose imagination vividly realised the incongruity between the outward mask that men wear and the reality behind it, and the wide divergence of the actual aims of society from the purified ideal towards which it tends? Is there in him any vein of ironical comment or satirical rebuke? any latent sympathy with any of the objects which move the serious passions of moral and social reformers? Or is he merely a great humourist, revelling in the mirth, the absurdities, the ridiculous phases of character, which show themselves on the surface of life? It must be admitted that it is difficult to find in him any traces of the speculative questioning, of the repressed or baffled enthusiasm, of the rebellion against the common round of the world which tempers or inspires some of the greatest humourists of ancient and modern times. His indifference to the problems of speculative philosophy is expressed in such phrases as the Salva res est: philosophatur quoque iam, non mendax modo'st of Tyndarus in the Captivi[77], and in the Sed iam satis est philosophatum of Pseudolus[78]. Yet to Tyndarus he attributes a sense of religious trust befitting both his character and situation-- Est profecto deus, qui quae nos gerimus auditque et videt, etc.[79], while Pseudolus easily finds an opposite doctrine to suit his ready, self-reliant, and unscrupulous nature-- Centum doctum hominum consilia sola haec devincit dea, Fortuna, etc.[80] Probably the truth is that living in an age of active enjoyment and energy, he troubled himself very little about the 'problem of existence'; but that he had thought enough and doubted enough to enable him to animate his more elevated characters with sentiments of natural piety, and to conceive of the ordinary round of pleasure and intrigue as quite able to dispense with them. There is rather an indifference to religious influences or beliefs, than such expressions of scepticism or antagonism to existing superstitions as we find in the tragic poets. The political indifference of his plays has been already noticed. Yet the sentiments attributed to some of his best characters, such as Philto in the Trinummus, Megadorus in the Aulularia[81], imply that he recognised in the growing ascendency of wealth an element of estrangement between the different classes of the community. His frequent reference to the extravagance and imperiousness of the 'dotatae uxores' seems to imply further his conviction that the curse of money was a dissolving force, not only of the social and political but also of the family life of Rome.