Durham E-Theses Plautus and the Sentimental Ideal of the Roman Family BARBER, HELEN,ESTHER How to cite: BARBER, HELEN,ESTHER (2011) Plautus and the Sentimental Ideal of the Roman Family, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/809/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Abstract Plautus and the Sentimental Ideal of the Roman Family Helen E Barber In 1991 Suzanne Dixon published an article that suggested that, from the late Republic onwards, it is possible to detect a sentimental ideal of family life at Rome. She also argued that there is a significant paucity of affectionate terminology in Plautus' mid-republican works. My thesis looks for traces of a Roman sentimental ideal in Plautus' comedies. I analyse his plays, being careful to interpret them in the light of comic convention and paying attention to the varying forms of comic drama, and I search for sentimental themes related to wives and husbands, parents and children, the home, and slaves and outsiders. I consider the evidence and arguments used by Dixon and other historians and also look at modern examples of sentimentality (in literature and in other cultural material), using these as a tool to measure sentimentality in Plautus. My overall contention is that Plautus' metatheatrical plays deliberately explored and exploited the sentimental ideology of his original audience. In fact, some of the works’ humour depended upon the spectators' knowledge of the ideal and its claims upon their attention; Plautus wryly exposed the tensions that existed between the ideal and the realities of daily life. Plautus’ plays were successful and obviously communicated well with his contemporaries. I therefore conclude that sentimental ideology was well known in Rome prior to the late Republic – that it is an enduring concept, discernible in many cultures and eras. 1 Plautus and the Sentimental Ideal of the Roman Family Helen Esther Barber Thesis submitted for the degree of PhD, 2011 Department of Classics and Ancient History, Durham University 2 Contents Introduction 1. Plus ça change, plus c’est la même chose? 6 2. The Sentimental Ideal Of The Roman Family 9 3. Sentimentality 10 4. The Nature And Purpose Of Comedy 21 5. Methodology 32 Chapter 1: An Exploratory Case – Rudens 1.1. A Prologue To Build Expectation 36 1.2. Romance: ‘Journeys End In Lovers Meeting’? 42 1.3. Dulce Domum: A Haven For The Lost And Lonely? 49 1.4. Pietas: Familial Affection – A Virtue Rewarded? 54 1.5. Outside The Family: The Rope That Binds 61 1.6. Concluding Remarks 68 Chapter 2: Wives & Husbands 2.1. Introduction 70 2.2. Love Trap 72 2.3. Wild Oats 78 2.4. Filthy Lucre 86 2.5. Innocent Women 92 2.6. Happily Ever After 100 Chapter 3: Parents & Children 3.1. Introduction 108 3.2. Family Economics 1 111 3 3.3. Family Economics 2 115 3.4. Parental Power 125 3.5. Parental Love 131 3.6. Filial Pietas 137 Chapter 4: Dulce Domum 4.1. Introduction 142 4.2. ‘Home Is Where The Heart Is’ 144 4.3. Home As A Castle 151 4.4. Home As A Cage? 169 Chapter 5: Slaves & Outsiders 5.1. Introduction 172 5.2. Good Slaves? 174 5.3. Good Neighbours? 188 Chapter 6: Bacchides: an antithesis to Rudens? 204 Conclusion 210 Appendices 1. Comparison Of The Conscious Lovers & Andria 218 2. Information From Plautus’ Plays 234 Bibliography 241 4 Throughout the thesis, abbreviations of the names of classical authors and works are those used in the Oxford Latin Dictionary and the Liddell-Scott-Jones Greek Lexicon. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information derived from it should be acknowledged. Acknowledgments This thesis grew out of previous work: my Classical Studies ‘A’ Level and an undergraduate course studied with the Open University. During all the years of my postgraduate work, I have received generous financial support from the Open University’s Crowther Fund. I wish to express my heartfelt thanks to the Fund and to all those who have helped me to begin and then complete the thesis: my ‘A’ level teacher, Keith Parham; my tutors at the Open University, Gillian Garnham and Donald Smith; my supervisors in the department of Classics and Ancient History, Gordon Cockburn, Ingo Gildenhard and Ivana Petrovic; Sarah Lee, Assistant Senior Tutor of Ustinov College; the staff of DUSSD; my proof readers, Chris Barber and Grace Tomlinson; those friends who have advised me on technical and academic matters, Adrianne Fitzpatrick, Don Garlington, Peter Johnson, Ruth Jolly, Tim Jolly, Ekkehart Reimer, Alan Thomas and John Welford; and all my friends and family, who have provided me with continuous love and emotional support, demonstrating how very much alive my personal ideal is. 5 Introduction 1. Plus ça change, plus c’est la même chose? In 1940 Ernst Lubitsch produced a romantic comedy named The Shop Around The Corner. Based on a play by Laszlo, it tells the tale of two young Hungarians. The pair work in the same shop and quarrel continuously, yet both have a similar preoccupation: they have mystery pen pals, with whom they exchange romantic letters. As the film progresses it transpires that the couple are each other’s pen pal. Christmas nears and their feud dissolves into romance. The lovers’ story is complemented by subplots involving other characters – in particular an older family man, who supports the hero, and an irascible boss, whose wife is having an affair with a treacherous employee. The boss wrongly suspects the story’s hero, but later finds out the truth. The traitor is expelled and the hero acts as a son towards the boss, who, after a moment of despair, mellows and accepts the comfort of his ‘family’ of faithful workers. The Shop Around The Corner, according to Harvey, was the Lubitsch film, ‘most overtly about experiences of love and affection’ (1987, 393). Though only a modest box office success, its story attracted significant, continued interest. Two musical versions appeared, one in 1949 and another in 1963, and the latter was revived in 1993. Then, in 1998, the story was used again, in a film that solidified its stars’ status as, ‘America’s favourite onscreen romantic couple’: You’ve Got Mail (Turner Entertainment Co., 2002). The plot paradigm of this film is almost identical to that of its forerunner. Two young people are at loggerheads; they run bookstores in competition with each other. Meanwhile, though both are ignorant of the identity of their correspondent, they communicate with each other via the internet. And at the end of the movie they are happily and romantically united. 6 Despite the obvious similarities, however, You’ve Got Mail is differentiated from The Shop Around The Corner by more than its evocation of modern technology. For instance, the couple in the older film are single at the start of their story; the couple in You’ve Got Mail both have partners, who have to be removed before the internet romance can progress. Then, in great contrast to The Shop Around The Corner, there is no family man to give advice to the modern hero. He has a father and grandfather, but both are ‘Don Juans’ of the first order. Indeed, the father has had a whole series of wives and divorces; his current arrangement collapses as his latest wife runs off to conduct a lesbian affair. This, then, is how a story, once set in the 1940s, is re-told at the end of the 1990s. Minute analysis is hardly necessary to highlight obvious changes in the moral codes of the two films. In the earlier one, we readily assume that both protagonists are inexperienced; their goal is idealistic, romantic marriage. The subplot, concerning the cuckolded boss, does not undermine, but upholds this. Harvey states that The Shop Around The Corner is ‘a Lubitschean comedy in which the adultery really hurts’ (ibid, 396). The wife is cast as a villain, who has broken the rules by not wishing ‘to grow old’ with her husband. In a symbolic expulsion, her lover is thrown out of the shop by the hero. Certain that the happy protagonists are more ‘worthy’ characters, we never contemplate the idea that they themselves might, one day, experience pangs caused by unfaithfulness. We take it for granted that their relationship, cemented in a romantic Christmas Eve scene, will last, as all fairy-tale romances do, ‘happily ever after’. Superficially, the modern couple in You’ve Got Mail do not seem to fit exactly into the same mould. They are experienced; they begin their email flirtation whilst living with other partners and are not presented as unattractive because of this. Though they might feel a twinge of guilt, their unfaithfulness does not constitute a serious social violation like the wife’s in the earlier film.