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Prologue to Plautus's Amphitruo and Its Sense of Humour

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Prologue to Plautus's Amphitruo and Its Sense of Humour PROLOGUE TO PLAUTUS'S AMPHITRUO AND ITS SENSE OF HUMOUR By Dr. Mehmet ÖZAKTÜRK Most of the twenty-one extant plays of Plautus are thought to have been adapted from the comedies of various Greek dramatists, chiefly of the New Commedy1. They seem to be adaptations rather than trans­ lations, for, apart from the many allusions in his comedies to customs and conditions distinctly Roman, there is enough evidence in Plautus's language, style and his humour to show that he was not a close trans­ lator or imitator. The favourable judgement which certain Roman cri­ tics passed on his literary merits, on the whole, confirms this argu­ ment2. Taking this fact into consideration, H.J. Rose rightly says: ".. .. for the more, original genius of Plautus, one of the best comic writers of the world, did not allow him to follow so different an author as Menander, or indeed any Greek, with sufficient closeness for us to criticize the original on the basis of his adaptation."3 It is a well-known fact that every nation has its own peculiarities, and a piece of comedy, while being introduced to a different people, has to be adapted to its taste and pleasures. Accordingly we may be right in thinking that Plautus made radical changes particularly in language to achieve comic effect in Latin. At the same time we must 1 The original of the Asinaria is Said to he the Onagos of the unknown playwright Demo- philos (Asin- 11); from Diphilos of Sinope come two plays: The Casino is an adaptation of his Klerumenoi (Cas- 31—34) and the Rudens, probably of his Pera (Rud-, 32); perhaps the Vidu- laria and the lost Commorientes come from some other plays also of Diphilos; from Philemon's Emporos and Thesauros were translated respectively the Mercator (Mer-, 9—10) and the Tri- nummus (Trin-, 18—9), probably the Mostellaria also comes from him (Most-, 1149); from Me- nander's Adelphdi comes the Stichus, from his Dis Exapaton the Bacchides, from his Sunaristosai the Cistellaria, also the Aulularia comes from a play of Menander (title unknown). 2 See note 11 below. 3 H.J. Rose, A Handbook of Gteek Literature, pp. 245, Metheun, 1964. See also T.BX. Webster, Hellenistic Poetry and Art, p. 266 ff., Metnuen, 1964; idem p. 267: "Then plays of Pla­ utus also exhibit a far greater variety of metre than any Greek New Comedy that we know." 346 MEHMET ÖZAKTÜRK note that most of the prologues to Plautus's plays4 are his own writings and to a great extent they are original pieces independent of the plays adapted from Greek sources. It has been suggested that the Amphitruo too is an adaptation, of the Nyx (Night) attributed to Philemon by Dietze,5 or according to Casaubon, of the Nyx Makra (Long Night) of Platon the comic play­ wright, whereas Vahlen thought that it was modelled on one of Rhin- ton's phlyax-plays6. On this much-disputed question scholarly views differ widely from one another. A large number of classical scholars in the past sought an acceptable model for Platus's Amphitruo among the works of the playwrights of the New Comedy, on the basis of the fact that the Roman comedy was almost entirely based on the New Comedy. In contrast to this old tendency a great many modern scholars have posited Middle Comedy originals for both the Amphitruo and the Menae- chmi for the reason that they, particularly the Amphitruo, do not comply with the general requirements of the New Comedy. This point will be discussed in detail below in connection with Amph. 50-63. Mercury expresses the "argumentum" of the play to the audience in the second half of the prologue to the Amphitruo and refers to its theme as a worn and ancient tale (Amph 118: veterem atque antiquam rem novam ad vos proferam,). By these words he means that he is going to submit to them a new version of the tale which is very old and well-known by the majority of people. But, although this is a suitable occasion, he does not tell us how new and whose version it is. The earliest mention of this tale in literature is made in Homer's Illiad, (XIV. 323-34), where Zeus confesses his furtive love affairs to his wife Hera without hesitation in order to express the extent of the de­ sire, now he feels for her.7 The same tale has been told at length in the Shield of Heracles (26-56). Before Plautus there had been tragic ver- 4 Four of Plautus'plays have prologues without argumentum. These are the Pseudolus, the Trinummus, the Asinaria and the Truculentus. The other ten have pologues with argumen­ tum: The Amphitruo, the Aulularia, the Captivi, the Casina, the Cistellaria, the Menaechmi, the Mercator, the Miles, the Poenulus, the Rudens. Six plays do not have prologue: the Stichus, The MosteUaria, the Persa, the Curculio, the Epidicus and the Bacchides. The Vidularia has a prologue in fragmentary form. 5 Dietze, De Philemone comica, Göttingen, 1901, p. 22—23. 6 J. Vahlen, Plautus und die fabula Rhinthonica, Rhein. Mus., 16 (1861), 472, etc. For a detailed discussion of the subject cf. T.B.L. Webster, Studies in Later Greek Comedy., p. 86—97, Manchester 1953. 7 See also Iliad, 19.96 ff.; Odyssey, 11, 266 ff. PROLOGUE TO PLAUTUS'S AMPHITRUO 347 sions of Amphitryon by Sophocles and Aeschylos of, Alexandria, and Alcmenas, also a suitable title under which to treat the same subjest, by Euripides, Ion of Chios, Astydamos, Dionysios the tyrant, Archippos the playwight of Old Comedy and the burlesque writer Rhinthon. Plautus's source can be a work of Greek comedy. But we must not entirely neglect the possibility that Plautus and his predecessors were influenced by Roman tragedy. For the earliest Roman playwights wrote both tragedy and comedy, and therefore, they may very well have borrowed tragic technique for comedy. The prologue to the Amphitruo is the longest one preserved to us in Latin plays and it contains an "argumentum" (Amph. 93-152). This is not without reason;a complicated plot like that of the Amphitruo with the duplication of the leading characters by putting on the same guise needs to be explained at length to the audience to avoid a misun­ derstanding.8 Otherwise the play would fail to achieve its purpose and be lost upon the usually uncultured holiday-makers as the majo­ rity of Roman audience at Plautus's time were. Plautus undoubtedly had this in his mind when he, in addition to the argumentum of the play (Amph. 93-152), made Mercury and Jupiter wear tokens to dis­ tinguish themselves from their human counterparts9, introduce them­ selves directly or indirectly and frequently unfold the plot of the play to the audience when they appear on the stage at the beginning of each scene and also at the end of each scene when they leave.10 A skilful playwright aims to capture the attention of his audience by composing a witty and attractively worded prologue in which he outlines the plot of the play. Plautus is very successful in holding the audience's attention not only in the prologue but also throughout 8 The other notable examples of complicated plots in Plautus's works are those of the Captivi and the Menaechmi, which also have long prologues. 9 Mercury says that he will be wearing a little plume on his hat all through the play and Jupiter will have a little gold tassel hanging from his in order to make it easier for the audience to distinguish them from their counterparts (Amph. 142—145). nunc internosse ut nos possitis facilius, ego has habebo usque in petaso pinnulas; turn meo patri autem torulus inerit aureus sub petaso: id signum Amphitruoni non erit. 10 Merc, Act I, Sc. I., 464—496; Jup., Act III, Sc. 1, 861—881; Jup., Act III, Sc. Ill, 974—983; Merc, Act III, Sc IV, 984—1007. 348 MEHMET ÖZAKTÜRK the play.11 According to Quintilian's quotation from Varro (10, 1, 99), Aerius Stilo thought that if the Muses had wished to speak Latin, they would have used the language (sermone) of Plautus12. In the Amphitruo the prologue is spoken in a pompous way by Mercury, whose name is suggestive of trade (cf. merx, mercimonium, mercari)13. He introduces himself to the audience as the god whom they all call upon in their business affairs such as selling, buying, spe­ culations, present and future undertakings, at home and abroad in order to bring them good luck, ample and constant profit and glad news (Amph. 1-9). In the third line he makes himself a figure of self- importance by ignoring the sphere of other gods' activities: " atque adiuvare in rebus omnibus." Mercury, beginning his boastful words with the topic of money and profit, reminds us of the humorous and greedy bankers or money-lenders of other comedies14. While boas­ ting of his divine power, he does not forget to flatter his spectators at the same time by addressing them as if they were wealthy merchants or big businessmen15. In fact the majority of the people in Rome 11 Among ancient authors the general opinion on Plautus's status as a playwright is fa­ vourable: Cicero ranks him with the Athenian poets of the Old Comedy for his "elegant, polis­ hed, ingenious and witty manner of jesting" (De Officiis, I. XXIX. 104); Volcacius Sedigitus, a contemporary of Cicero, in his lost work De Poetis pnts him second in order of merit among the ten Roman comic playwrights after Caecilius (cf.
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