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Curculio Di Plauto (Vv.1-370)

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Curculio Di Plauto (Vv.1-370) UNIVERSITÀ DEGLI STUDI DI SALERNO DIPARTIMENTO DI STUDI UMANISTICI DOTTORATO DI RICERCA IN FILOLOGIA CLASSICA XII CICLO TESI DI DOTTORATO IN LETTERATURA LATINA Un Commento al Curculio di Plauto (vv.1-370) Tutor: Candidata Ch.mo Prof. Stefano Grazzini Luigia Cappiello Coordinatore: Ch.mo Prof. Paolo Esposito ANNO ACCADEMICO 2014-2015 Il cerchio si chiude ma non quadra. Ai miei genitori, ancora con infinita gratitudine. Al merlo indiano. Alla bambina che desiderava la cartella di cartone NOTA INTRODUTTIVA Il presente lavoro vuole essere un commento, purtroppo solo parziale, al Curculio di Plauto. Sono state prese in esame le prime sei scene del dramma, ciascuna brevemente introdotta. L’edizione di riferimento è quella approntata da S. Lanciotti, per i tipi dell’editore Quattroventi di Urbino, nel 2008. Da questa ci si discosta solo in pochissimi punti discussi nelle note di commento. Versi o brevi sezioni di testo appartenenti a commedie plautine diverse dal Curculio, sono state citate secondo l’edizione curata da Lindsay nel 1905. Da questa sorta di regola generale ci si è distaccati solo nel caso di Cistellaria, citata secondo Stockert (2009) ed Epidicus, citato secondo Duckworth (1940). Il carattere frammentario e l’incertezza di molti passi della Cistellaria ha indotto ad affidarsi alla sua edizione più recente e aggiornata. Nel caso di Epidicus, invece, la scelta è puramente di comodo. Dei diversi commenti consultati infatti, esso è stato il più ricco di materiale, spesso il solo degno di essere citato. Si è pensato quindi, per una scelta di semplice coerenza, che fosse inopportuno citando il commento, far riferimento a un testo diverso (anche solo per le scelte grafiche) da quello a esso sotteso. Qualora le scelte di Duckworth contrastino con quelle degli altri editori, ciò è stato segnalato. La relativa semplicità o la brevità delle citazioni dalle altre commedie non ha reso necessario il riferimento ad altre edizioni. I frammenti di Plauto sono stati citati secondo Monda (2004). Per l’elaborazione di questo lavoro, sono stati consultati sistematicamente i seguenti testi: Per il Curculio: Collart (1962): J. Collart, T. Maccius Plautus Curculio, Paris. Monaco (1969): G. Monaco, Plauto Curculio, Palermo. Paratore (1958): E. Paratore, Plauto Curculio (Il gorgoglione), Firenze. Wright (1993): J. Wright, Plautus' Curculio, Norman. Per le altre commedie: Aragosti (2003): A. Aragosti, T. M. Plauto Poenulus, Bologna. 2 Barsby (19912): J. Barsby, Plautus Bacchides, Warminster, Wilts, and Chicago (1986). Collart (1970): J. Collart, T. Maccius Plautus Mostellaria (La farce du fantôme), Paris. Christenson (2000): D. M. Christenson, Titus Maccius Plautus Amphitruo, Cambridge. Duckworth (1940): G. E. Duckworth, T. Macci Plauti Epidicus, Oxford. Gratwick (1993): A. S. Gratwick, Plauti Menaechmi, Oxford. Enk (1953): Peter J. Enk, Plauti Truculentus, Leiden. Enk (1932): Peter J. Enk, Plauti Mercator, Leiden. Lindsay (19212): W. M. Lindsay, Plautus Captui, Oxford (1892) Lorenz (18862): O. Fr. Lorenz, Ausgewählte Komödien, drittes Bändchen: Miles Gloriosus, Berlin (1875, Berlin) MacCary - Willcock (1976): W.T. MacCary - M. M. Willcock, Titus Maccius Plautus Casina, Cambridge. Mazzoni (1972): G. Mazzoni, Miles Gloriosus, Torino. Sonneschein (1891): E. A. Sonneschein, T. Macci Plauti Rudens, Oxford. Ove non diversamente indicato, il numero delle occorrenze dei lemmi trattati è un prodotto originale. Deriva dal confronto dei dati provenienti dalla consultazione della Biblioteca Teubneriana Latina on line e del ThlL. Nonostante il commento sia parziale, è sembrato opportuno premettere un’introduzione che, sebbene succintamente, tratti nel complesso l’intera opera. La scelta nasce dalla considerazione che questioni quali la datazione, il modello e l’ambientazione non potessero essere trattate se non alla luce di uno sguardo che abbracciasse tutto il dramma. Si è sentita parimenti la necessità di dare conto di tutto lo svolgimento della vicenda al fine di consentire un giudizio complessivo sullo sviluppo degli avvenimenti. L’auspicio che in futuro il lavoro di commento possa essere concluso e migliorato ha ulteriormente giustificato la decisione presa. 3 INTRODUZIONE DATAZIONE E INCONGRUENZE TESTUALI Nello studio del corpus plautino, un problema non trascurabile è la datazione delle singole commedie. Com’è noto, le didascalie dello Pseudolus e dello Stichus permettono di far risalire i due drammi rispettivamente al 191 a. C e al 200 a. C. Sebbene per tutti gli altri componimenti, la datazione dipenda da elementi interni di volta in volta analizzati, non sono mancati i tentativi di creare un sistema più generale, valido per tutto il corpus. Nel suo The Original Element in Plautus, pubblicato nel 1917, Westaway ha analizzato la presenza di elementi romani osservando come questi tendano a essere sempre più numerosi con il passare del tempo. Sedgwick (1925) pp. 55-58 e (1930) pp. 102-106 ha analizzato la percentuale degli elementi lirici sul numero dei versi totali, notando come questi s’incrementino progressivamente. Hough (1934) pp. 346-364 ha basato invece la sua indagine sulla consistenza dei termini greci. Secondo lo studioso, i drammi possono essere divisi in tre gruppi. Nel primo, le espressioni greche sono sporadiche e almeno apparentemente prive di uno scopo definito. Nel secondo e più ancora nel terzo, esse si concentrano in specifici luoghi della commedia che quindi assumono una caratterizzazione particolare. Sebbene Sedgwick (1925) p. 58 collochi il Curculio tra le commedie centrali della produzione plautina, datandola tra il 199 e il 195 a. C., è convinto che il criterio degli elementi lirici non possa essere totalmente affidabile in questo caso, giacché il testo in possesso sarebbe una versione accorciata dell’originale plautino; cfr. Sedgwick (1930) p. 125. Tale tesi si basa sulla presenza di alcune presunte incongruenze interne nonché sulla mancanza di un prologo. Leo (19122) pp. 219-221 ha dimostrato che quando una commedia non è ambientata ad Atene, ciò è sempre segnalato: Amph. 97 (Tebe), Capt. 24 (Etolia), Cist. 130 (Sicione), Men. 72 (Epidamno), Mil. 88 (Efeso), Poe. 72-73 (Calidone), Rud. 32-33 (Cirene). Fa eccezione il solo Curculio dove gli spettatori sono informati dell’ambientazione a Epidauro al v. 341. Per lo studioso, ciò proverebbe che in origine il testo plautino doveva avere un prologo andato perduto nel corso della trasmissione. La commedia si apre con un dialogo notturno tra il giovane 4 Phaedromus e il seruus Palinurus. I due si stanno recando presso la casa del lenone Cappadox affinché l’adulescens possa avere un fugace incontro con l’amata Planesium, ancillula che lì abita. Nello spiegare la propria situazione, Phaedromus dice che per il riscatto della fanciulla il leno continua a chiedere una cifra sempre diversa: Ph. alias me poscit pro illa triginta minas, / alias talentum magnum; neque quicquam queo /aequi bonique ab eo impetrare (vv. 63-65). Al v. 356, è chiaro però che la donna è stata promessa al soldato Therapontigonus e dunque non può essere in vendita. Sebbene questi non sia descritto affatto quando entra in scena, sembra avere con il suo interlocutore, il parassita Curculio, un forte grado di familiarità (vv. 338- 344). L’incontro avviene in Caria, dove il parassita è stato inviato da Phaedromus per ottenere un prestito da un amico, rivelatosi però impossibilitato a fornire alcun aiuto. Dal soldato Curculio sa che il denaro necessario a completare l’acquisto dell’ancillula è depositato presso il banchiere Lico. Il miles rivela inoltre come chi si recherà presso il trapezita portando lettere siglate con il suo anello, potrà ritirare quanto versato e quindi riscattare la donna da Cappadox. Dopo aver ingannato il banchiere con false lettere, Curculio si reca con l’uomo presso il lenone ma questi, ricevuto il denaro, si lamenta di non aver rispettato un precedente giuramento: Ca. quid quod iuratus sum? (v. 459). Secondo Fantham (1965) p. 91, la promessa in questione potrebbe essere quella che nell’originale greco della commedia il leno faceva all’adulescens perché “sospendesse” la vendita della fanciulla se in un certo tempo stabilito, il giovane si fosse rivelato in grado di riscattarla. Un analogo parallelo potrebbe essere trovato in Ter. Phorm. vv. 489 e 513 dove, pur sapendo che l’amata è stata di fatto già venduta, il giovane Phaedria chiede al leno di aspettare lo spazio di tre giorni (triduom hoc). La medesima espressione si trova in Pseud. 316 (hoc triduo), dove Calidorus tenta di prendere tempo presso il leno Ballio. Nel Curculio, una traccia del tempo richiesto potrebbe essere conservata al v. 208, quando l’adulescens promette all’amata di liberarla entro tre giorni (hoc triduum). La situazione iniziale delle tre commedie diverge nel fatto che mentre Phaedria e Calidorus sono informati fin dall’inizio della vendita delle rispettive fanciulle, ciò non accade per Phaedromus il cui unico cruccio, nella prima scena del dramma, sembra quello di dover concludere la trattativa con Cappadox. Solo al v. 605 infine, Planesium rivela la sua nascita libera e soltanto ai vv. 657-658, è chiarito come la 5 donna e il soldato siano fratello e sorella. Alla luce degli elementi citati, Fantham (1965) pp. 99-100 riprende l’idea di Leo circa l’originaria presenza di un prologo per il Curculio, sostenendo però come esso non fosse andato perduto nel corso della tradizione manoscritta, ma prima ancora della redazione varroniana del corpus plautino. In questo testo dovevano essere contenuti tutti gli elementi atti a evitare successive incongruenze. Erano descritti quindi l’originaria condizione libera di Planesium e il suo legame di parentela con Therapontigonus né dovevano mancare il riferimento al giuramento del leno e al tempo concesso a Phaedromus. Sebbene interessante, questa tesi non può essere verificata in alcun modo. Non si può nemmeno escludere a priori, secondo quando suggerito da Sedgwick, che quella in nostro possesso sia una versione accorciata dell’originale plautino. Come già rilevato da Bosscher (1903) p. 163 tuttavia, i punti d’incongruenza fin qui rivelati insieme con una certa frettolosità in alcune fasi dell’azione (cfr.
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