The world around us can be different; both comedy and tragedy are mixed in it in the most fantastic way. And only the person depends on his perception. An understanding of the aesthetic perception of the environment came from distant antiquity, and the comedies of Ancient Rome played a significant role in this.
Life could have been an endless nightmare if it wasn't funny. Obviously, this rule was guided by the Roman poet and comedian Titus Maccius Plautus. Often using the already well-known plots of ancient Greek comedies in his comedies, he brightly decorated them with modern everyday details and crude soldier's humor.
Of course, his work did not claim the attention of the high society, but for the mass audience, Plautus's comedies became that necessary outlet, without which it is so difficult to survive in any society.
Turning to the comedies of Plautus to understand and possibly recreate the cultural atmosphere of everyday life of the Romans, allows you to more sharply perceive the aesthetics of the Roman flavor, which reflects precisely the Roman culture.
Plautus undoubtedly took into account the very specific everyday associations of his viewers, including he relied on recognizing the life prototypes of his characters.
It is clear that the characters and situations of the "cloak comedy" were close to the Roman public also because it was at this time that Roman reality in many respects already corresponded to the image of the Hellenistic world.
Very often comedy as an aesthetic category is very contradictory and acts as a counterbalance to tragedy. Thus, the comic is the result of a certain confrontation.
If we start from the opinion of the prominent philosophers Kant, Schopenhauer, Hegel, then it is easy to come to the conclusion that in any comic contradiction there are two and initially opposite principles, and what at first looked positive eventually changes its sign to the opposite.
The fact that comedy causes laughter is quite understandable, only this laughter has the strongest positive potential, it allows you to largely eradicate the shortcomings surrounding the viewer and create a new system of relations.
In order to create funny situations, the same Plautus, and after him, and William Shakespeare, who took over from him, widely used all kinds of contradictions, substitutions, and confusion. Moreover, the laughing situation, as a rule, was based on the contradiction between order and chaos.
The aesthetics of laughter itself contains various situations of embarrassment, a certain amount of meaninglessness, a certain destructiveness. But these are only external manifestations, in the deep essence of the aesthetics of laughter carries a positive charge and forces a person to look for the optimal way out.
