Abstract

A. Frickenhaus argued that in Plautus’ Pseudolus and Stichus and Terence’s Heauton Timorumenos, Hecyra and Phormio the Latin dramatist was responsible for a third stage-house, whereas the Greek models of these plays had only two, the norm for New Comedy. Frickenhaus’ unjustly neglected arguments are here revived and reinforced. It is also argued that Plautus’ Cistellaria and Trinummus are further cases of the same phenomenon.