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Copyright by Amanda Neill Krauss 2004 the Dissertation Committee for Amanda Neill Krauss Certifies That This Is the Approved Version of the Following Dissertation Copyright by Amanda Neill Krauss 2004 The Dissertation Committee for Amanda Neill Krauss certifies that this is the approved version of the following dissertation: Untaming the Shrew: Marriage, Morality and Plautine Comedy Committee: ______________________________ Timothy Moore, Supervisor ______________________________ Jennifer Ebbeler ______________________________ M. Gwyn Morgan ______________________________ Andrew Riggsby ______________________________ Anne Duncan Untaming the Shrew: Marriage, Morality and Plautine Comedy by Amanda Neill Krauss, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2004 Acknowledgements I owe thanks to many people. My parents have always been supportive, and have been especially forgiving during the last few months. I am under a heavy obligation to my committee, and especially Tim Moore, for his inexhaustible concern for minutiae; the ever-encouraging Anne Duncan; and Gwyn Morgan, optimus arbiter eloquentiae. Throughout my time at the University of Texas, Theresa Vasquez has been a constant and reliable guide through the administrative hurdles that come with teaching and researching. I must also thank Jess Miner, my intellectual therapist, without whom large portions of my argument would not exist; Lisa Edwin, for being my co-conspirator and unpaid editor; David Hill for proofreading and PDF advice; and Stephie Nikoloudis for her friendship and encouragement. Finally, Kevin Pluta and Joann Gulizio's porch and hospitality have gotten me (and others) through many a dark night of the soul. I dedicate this dissertation to my fellow students, who have been my colleagues and co-sufferers for seven years, and who, more than anyone else, have provided a support network and intellectual community: per aspera ad astra, guys. iv Untaming the Shrew: Marriage, Morality and Plautine Comedy Publication No. _______________ Amanda Neill Krauss, Ph.D. The University of Texas at Austin, 2004 Supervisor: Timothy Moore In this dissertation, I theorize Plautine humor as a relatively naturalistic, and essentially Roman, phenomenon. As such, I follow recent scholarship that emphasizes the topical features of Roman comedy, and thus resists reading the plays as based entirely on inversion of social roles or on Saturnalian escapism. In light of this more naturalistic reading, I describe the Plautine stage in terms of the ideological imaginary, that is, as a space in which the audience could see its own possible identities in the characters onstage. I employ the character of the wife (matrona) to mediate between a literary and historical reading of the plays. I problematize the traditional assumption that the matrona is meant to be an object of laughter, and demonstrate how her comic agency and moral position go hand-in-hand. This reconsideration of the figure of the matrona and her relationship to the audience compels us to reconsider the very nature of Roman comedy. I thus re-analyze Plautine marriage as a satiric medium for the expression of Roman values, many of which demonstrate continuity with later Republican ideals. I conclude by speculating that the primary focus of marital humor is its relationship to concordia, spousal harmony. All of Plautus' comic marriages engage with this ideal, and demonstrate the gap between ideal and practice. In fact, the conflicts arising onstage foreshadow themes that will later appear in historical marriages, such as that of Cicero and Terentia. v Table of Contents Introduction.....................................................................................................................1 Chapter 1: “Good” Matronae: Stichus, Aulularia, Cistellaria, Amphitruo...................... 26 Chapter 2: “Bad” Matronae: Casina, Asinaria, Mercator, Menaechmi .......................... 88 Chapter 3: Conclusions: Marriage in the Time of Plautus ............................................ 183 Appendix: Evidence for Greek Wives Onstage............................................................ 216 Bibliography ...............................................................................................................268 Vita..................................................................................................................................276 vi Introduction While this project started as an examination of the character of the matrona, it has become a study of marriage in Plautus and its relationship to Roman society. My initial aim was to examine the matrona as a comic figure. As I delved more deeply into the plays and their characters, however, I began to realize that the complaints of the matronae did not seem very far-fetched and, in fact, corresponded to some historical conditions of the time. This led me to consider the question of Plautine marriage more generally, and to ask how the marriages portrayed in Plautus' plays might have been situated in contemporary society. Hence, this dissertation is either feminist history or cultural history or both. It is not, of course, traditional history, in that it does not use writers calling themselves historians as its primary source, nor is it based solely on other "historical" texts such as inscriptions, laws, or decrees. It participates in the movement of cultural poetics, to use Stephen Greenblatt's term, in that it does not aim to explain things in terms of causality, or to order them chronologically. Rather, it aims to tell us something about the culture that produced the plays, and to create a synchronic snapshot of cultural information. It is feminist history in that it has women as its topic, and it aims to understand their place in Republican Roman marriage as refracted through Plautine plays. Nobody would claim that the plays give an undistorted view of reality. However, we should not assume that they are completely unrealistic. On the contrary, these plays are in some sense realistic, or at least naturalistic. Past interpretations have tended to concentrate on carnivalesque inversion, a notion that implies the plays not only distort 1 everyday reality, but overturn it entirely. I will discuss the problems of the model in detail below, but it is particularly important to question inversion as the best analytical tool for Plautine husband-wife relationships. If women in charge are an inversion of the normal power structure, how can we take the claims of their "henpecked" husbands seriously, as scholars have done when they make certain assumptions about the audience's reaction to the characters? The Myth of the "Shrew" When analyzing Plautine matronae, scholars have tended to distinguish between "good" and "bad" wives. I do not find this division useful, but it is so firmly entrenched in Plautine studies that it must be addressed. The Plautine matrona is described by scholars as a typical stock character, and invariably in negative terms ("shrewish" being the most common).1 She is considered the object of audience laughter, usually as a satiric parody of real, contemporary uxores dotatae.2 Two matronae are set out as exceptions: the Amphitruo's Alcumena and the two matronae in the Stichus.3 Only Segal and Williams explicitly link these women's outstanding character with the Roman notion of a wife being morigera and obsequens,4 and they take these terms to mean that an ideal wife should be entirely obedient to her husband's wishes. But other critics implicitly 1 Slater: wives are typically "scolding" (61); agelastic (62); "figure[s] of repression" (129). Segal 1971: wives are "henpecking" and "bitchy" (23); "a parade of untamed shrews" (25); "usually need no specific call to war" (28). Duckworth: "not pleasant" (282); "disagreeable" (283); "unattractive" and "shrewish" (255, 318). Moore 1998a: "shrew(ish)" 166, 168, 170; agelasts who do not bond with audience (159). Stärk 71: "unattraktiv". Wives more generally assumed to be typically unlikeable: Bond 210; Christenson 2001: 244-5; Grimal 85-6, 89; Segal 1969: 79; Schuhmann 1976, 1977, 1978; Della Corte. 2 Schuhmann 1977, 1978; Grimal; Gruen: 144; Treggiari: 329-331; Llinás 89. 3 Segal 1971: 22; Duckworth 256, 282; Moore 1998a: 159; Bond 210; Grimal 85-6. 2 utilize the same standard when judging all wives: uxores dotatae are "shrewish" precisely because they tell their husbands what to do. Scholars are, in effect, defining the wives relationally: the "bad" wives are set off as such because of the virtue of the "good" wives. There are problems with this categorization. In the first place, "good" matronae are not utterly obedient. Even Alcumena resists her husband: she does not submit meekly to his accusations of adultery, but instead threatens to divorce him. The Stichus sisters, who are admirable because of their devotion to their husbands, must defy their father. More generally, defying authority does not necessarily make characters unsympathetic-- witness the clever slave--and women's roles are no different than men's in this regard. Further, the quality of being morigera might be one wifely virtue, but we should not use it as the sole criterion by which to define an ideal wife, nor should we assume that it means slavish and unquestioning obedience.5 Finally, the idea of a woman being morigera is not as unequivocally positive as these critics imply. An Afranius fragment states that morigeratio is one of the poisons (venena) that women use to get what they want from men.6 In the Menaechmi,
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