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Plautus' Poenulus Zwischen Nea Und Stegreifspiel

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Plautus' Poenulus Zwischen Nea Und Stegreifspiel Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg ECKARD LEFÈVRE Plautus’ Poenulus zwischen Nea und Stegreifspiel Originalbeitrag erschienen in: Thomas Baier (Hrsg.): Studien zu Plautus' Poenulus. Tübingen: Narr, 2004, S. [9] - 59 PLAUTUS' POENULUS ZWISCHEN ΝΕΑ UND STEGREIFSPIEL Erd fēvr (rbr Inhalt: Einleitung 9 5. Advocati — plauti- IV. W e l t b i l d 39 I. Forschung 10 nh Srτ 24 . fbr statt Τύχη 39 1. Wertung 10 6. άνανωρίσιις — 2. Milphio — ein 2. Analyse 11 plautinische pltnhr δΙς II. A n a l y s e 14 Kumulation 25 έξιπιιτώι 40 1. Intrigen — II1. S t r u k t u r 27 3. Leno als Symbol der plautinische 1. Nahtstelle der Macht 41 Labyrinthe 14 Intrigen 27 4. Saturnauen 42 2. Anterastilis — 2. Verkleidung 29 5. Hetärenmilieu 44 plautinische 3. Metatheater 30 6. Intrige als Spiel 45 Doppelgangerin 21 4. Aparte 33 7. Punierspott 46 3. Giddenis — 5. Servus currens 34 B. Ein Stuck fur plautinisches 6. Personen- Veteranen? 48 Anhangsel 22 exuberanz 34 9. Datierung 49 4. Agorastocles — 7. Moraldefizit 35 10. Original 50 plautinischer B. Satire 36 Ausblick 53 Karthager 23 Literaturverzeichnis 54 Einleitung «una delle commedie plautine d'impianto piii ambizioso d r pτbltt» Es ist nicht erlaubt, an den Poenulus die Maßstäbe der griechischen Komödie anzulegen. Das doppelte Gestoppel der Intrigen und das dop- pelte Stoppen derselben sind kaum für ein anderes Publikum verfaßt als eines, das in besonderem Grad den witzigen Dialog und das effektvolle Ziel — auf dieser Ebene ist das Stück fraglos beeindruckend —, nicht 1 Paratore (1976) 1992, 119. 10 Erd fēvr aber die sorgfältige Durchführung der Motive und Absichten würdigt. 2 Wenn im folgenden bei der Frage eines Originals nur der Bereich der Νέα in Betracht gezogen wird ist für den Fall, daß Alexis sein Verfas- ser sein sollte vorausgesetzt " that Alexis wrote plays of the type we call `new comedy ". 3 I. Forschung „Beim Poenulus lage die Annahme einer Kontamination ziemlich nahe wenn dadurch etwas gewonnen w^re" 4 Der Poenulus ist seit je ein Stiefkind der Forschung Er wird in der Re- gel nur wegen Einzelheiten — zum Beispiel wegen Milphios Einfalls- reichtum oder der punischen Passagen — geschätzt Da Wertung und Analyse des Stücks eng zusammenhängen , 5 konzentriert sich der fol- gende knappe Überblick auf diese beiden Punkte. 1. Wertung 1853 erscheinen in derselben Zeitschrift zwei entgegengesetzte Beur- teilungen des Poenulus . Ritschl 6 äußert sich so positiv wie es bis in die neueste Zeit hinein singulär bleibt Es sei ein Schwank der auf die Ver- höhnung und Bestrafung des Kupplers ausgehe „ Er erhält uns daher auch nicht in der spannenden Hoffnung oder Furcht für Gelingen oder Mislingen sondern lässt uns vollkommene Ruhe zum Genuss der ganz meisterhaft gearbeiteten Scenen Mit seltener Kunst sind die frappante- sten Gegensätze in Charakteren und Situationen gegen einander ge- stellt, und auch wieder kunstvoll verschlungen " 7 W. S. Teuffel ist da- gegen der Ansicht, daß die beiden Intrigen „ die völlig unvermittelt und zusammenhangslos neben einander herlaufen und von denen eine die andere überflüssig macht " passend aus der , allgemeinen Mangelhaftig- keit ` der Komödie abzuleiten seien.$ 2 Es ist daher nicht angebracht, von der „Akribie " zu sprechen, „mit der offenbar Plautus seine griechische Vorlage übertragen hat" (Zwierlein 1990, 147; dazu Lowe 1992 242: "I believe he is an the wrong track"). 3 Arnott 1959 255. Vgl Kap. IV, 10. a Teuffel ( 1853 1889, 337. 5 Vgl. Langen 1886 , 181; Maurach 1964, 247. 6 Zur Verfasserfrage vgl. Lef^vre 1991 71 Anm. 2. ' (153 1 73 8 (1853) 1889, 337-338. Plautus' Poenulus zwischen Νέα und Stegreifspiel 11 1866 erkennt K. Weise in dem „berühmten Poenulus fast durchgän- gig ein Stück [...j, in dem uns auf allen Schritten Fehler über Fehler aufstossen, und das wir deshalb unmöglich als ein ächt plautinisches betrachten" könnten . 9 Die „logischen Mängel sind zu stark und zu zahl- reich". 10 P. Langen hebt die „Mängel der Anlage und Charakterzeich- nung" hervor. 11 G. Norwood spricht von "crass nonsense [...], unless indeed we are to suppose the audience as indifferent to intellectual de- cency as the author; and even if it was, that merely shows Plautus to have known his public — it confers no obligation on us to echo their art- less plaudits, always supposing they gave any." 12 Für Ph. W. Harsh ist der Poenulus "miserably constructed and [...J a poor play in every re- spect", 13 für G. E. Duckworth "one of the least successful of Plautus' comedies", 14 für W. H. Friedrich ein „hübsches Stück, aber alles andere als bedeutend, eher uninteressant im Problem, konventionell in den Charakteren, durchschnittlich in der Szenenführung." 15 G. Maurach zieht das Fazit: „Der Poenulus gilt allgemein als schlechtes Stück". ι6 2. Analyse Die im Vergleich zu der ίκvμία der griechischen Komödie auffal- lende Zweiteiligkeit der Handlung versucht man am Ende des 19. und im ersten Drittel des 20. Jahrhunderts mit der Annahme einer Kontami- nation durch Plautus zu erklären. In dieser Richtung argumentieren: l 1876 C. M. Francken, 17 88 G. nrhτ, 1g 886 nn, 8 nd 2 22 2 . ο,20 0 . Krtn, nd G. hnn. An dr ,rßn` Kntntn hält 6 nh . lt Crt ft.2 W ntlhn ht, lt nn lr dr: „ Köd nt hält z n dn Kpplr rhtt Intrn, lh bd n 9 1866, 170. t 1866, 158. " 1 11 1 1932, 91. 1 3 193 1 1952, 154. 15 (1953 1973 17 6 197 " 17 15 nd 1 1 1883, 14. 19 1886, 181. 20 1912, 170 (so auch schon in der ersten Auflage 1895, auf die sich Karsten 1901 und Jachmann 1911 beziehen). 1 1901, 368. 22 1911 9; 1931 195-19 3 19713 12 Erd fēvr den nämlichen Zweck verfolgen. Nach dem ersten Plane des Milphio soll der Kuppler samt seinem ganzen Gesinde dem Agorastokles als Ei- gentum zugesprochen werden, so daß etwas Weiteres noch gegen den- selben zu thun keine Möglichkeit ist".24 „Der zweite Plan, den Mäd- chen die Freiheit zu verschaffen und sie aus der Gewalt des Kupplers zu entfernen, hätte nur als Reserve behandelt werden dürfen für den Fall, daß der erste nicht gelinge, aber diese Einschränkung wird durch- aus nicht gemacht 919: satine, priusquam unumst iniectum telum, iam instat alterum? Milphio setzt auch sofort den zweiten Plan ins Werk in der zweiten Scene des fünften Aktes, ohne abzuwarten, wie der erstere auslaufen wird oder ausgelaufen ist; es muß dies um so ungerechtfertig- ter erscheinen, als der erstere sich in der That wirksam erweist, was man aus den Worten des Kupplers schließen muß, 1340f.: nam omni- bus amicis meis idem unum convenit Ut me suspendam ne addicar Agorastocli. Meines Erachtens ist es undenkbar, daß der griechische Dichter in dieser unbegründeten Weise zwei Intriguen mit doppelter Wirkung nebeneinandergestellt haben sollte. Anders dagegen liegt die Sache, wenn wir annehmen, daß Plautus, um mehr Leben in die Hand- lung zu bringen und die komische Wirkung bei den Zuhörern zu stei- gern, zwei Vorlagen mit einander kontaminiert hat." 25 ,Kleine` Kontamination nehmen 1922 E. Fraenkel, nach dem I 2 eine Einfügung aus einem zweiten Original ist,26 und 1982 A. S. Gratwick an, nach dem die Partie 1086-1110 Menanders Sikyonioi 343-360 zum Vorbild hat.27 In neuerer Zeit wird überwiegend die Einheit der von den beiden gro- ßen Intrigen bestimmten Handlung vertreten. In diesem Sinn äußern 28 2 sich: 1919 K. Kunst, 20 G. Mhαt, 22 rαnl,0 2 33 rdrh,31 60 . . Wbtr, 6 . En, 82 Grt,4 88 . C. 35 nd Mrh,6 0 O. rln,37 2000 hnr. 8 24 1886,181-182 (Verweis auf 185-186, 564 und 907-909). 2 1 1 26 19 7 2 1982,101-103. Zustimmung bei Zehnacker 2000, 415. 28 1919 1-1 2 1920, II, 272. 0 19 -7 31 (1953 1973 17 2 19 13-139 33 193 9-13 4 19 9 35 19 11 6 19 1-1 37 199 11 8 -5 Plautus' Poenulus zwischen Νέα und Stegreifspiel 13 Dennoch werden plautinische Anderungen konstatiert. Ungewiihn- lich ist 1932/33 der Versuch von B . Krysiniel in einer klugen, von J. Strx btrtn rtαtn, 39 Cllyb rt b dr rtn Intr i Ornl nn zzhrιΡbn. 4Plautus gestalte „die Handlung durch die Einführung der Rolle des Sklaven in eine Intrige um." 41 1982 hält Gratwick 330-410 und 1086-1110 für Einlagen des römischen Dichters .42 1988 vermutet Lowe die weit ehend plautinische Herkunft • von I 2 — etwa dre i Viertel der 210 Verse. In demselben Jahr ist Mau- rach „überzeugt, daß Plautus den gesamten 1. Akt des Originals (mit Prolog, Kuppler-Aufbruch zum Tempel unter Gesprächen mit Suncera- stus [... 1) strich, daß er die originale Mädchenszene ersetzte, daß er es war, der die Intrige ,zu früh` beginnen ließ; daß er vor 4, 2 eine Szene durch Milpios unbeholfenen Auftrittsmonolog ersetzte und nach 4, 2 ein Bild fortließ, dafür die unklaren Redensarten des Dieners hersetzte. Weniger sicherbar, aber doch wahrscheinlich kommt mir vor, daß Plau- tus der Verfasser der Punica war, sowohl in 5, 1 wie in 5, 2 und daß Milpios Übersetzungsfiasko sein Werk war; zuletzt, daß Plautus weit- gehend, wenn auch wohl nicht zur Gänze für die uns geschmacklos er- scheinende Quälerei der armen Mädchen in 5, 4 verantwortlich war." 44 1990 legt Lowe dar, die Advocati des dritten Akts seien im Original κωψά Πρόσωπα gewesen45 — eine Vermutung, die in die richtige Rich- tung geht. 39 Die Arbeiten von 1932 und 1932/33 sind identisch, auch in der Seitenzählung. Die Dissertation enthält eine Liste mit Errata, die in der Eos-Veröffentlichung fehlt. 40 193/331-13 41 1932/33,14. Zustimmung bei Klotz 1934, 295. 19 9 43 1988, 105-108 (dagegen — frustra — Zwierlein 1990, 157-158).
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