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(I)
A Journal
of
Studies
Classical
BRILL 60 (2007) 407-426 www.brill.nl/mnem
Mnemosyne
Lisa Maurice
Bar Ilan University, Department Ramat Gan 52900, Israel
of Classics,
net
mauril68@bezeqint.
Abstract
Keywords
Plautus, metatheatricality, stagecraft, structure, Miles Gloriosus
1. Metatheatricality
There has been a growing trend over the last twenty years to focus on the
as well as on the text itself, and a recogni
performance of ancient drama
tion that the text is but one part of the dramatic production. Along with
-
an awareness on the part of characters that are on a as
they stage, they
Whether we
call these aspects metatheatre' or simply 'theatre' is almost
irrelevant, for if the elements are present, it seems reasonable to speculate
upon the dramatic effects they are likely to have produced, in the context
of a play performed upon a stage rather than a text read in classrooms.
In particular, this approach has been a focus of studies of Roman com
!) 2002.
Rosenmeyer
2) Foremost in this area has been Slater Beacham continued to a
(1985). (1991) develop
based the self-consciousness of Roman drama, while
performance approach, emphasising
(1974, 183-96) stresses the of Plautus' audience. See also Barchiesi
Wright sophistication
1970; Muecke 1986 and Frangoulides 1997.
cal play.3) In this paper I wish to take this claim further and demonstrate
how the structureof the play emphasises acting as an important theme. Some
ship has highlighted commonality between the two halves and has sug
a
gested that there is certain amount of unity in the plot.5) In particular,
Charles Saylor has rightly outlined the parallel structure of the two tricks,
as a
considering the play "single artistic composition", and has stressed the
many similarities between the two tricks thatmake up theMiles. This par
allelism may be taken further,however, to reveal two parallel structures
that both are internally symmetrical and also balance each other within the
as a whole, framed
play by the first and last scenes of the play. This struc
ture is depicted in Fig. 1.
graphically
3)
Frangoulidis 1994 and 1996; Moore 1998, 72-7. See also Williams 1993, n. 6.
4) See Leo
1912, 175-85 for the earliest statement of this view. Jachman (1931, 163) accepts
this premise. Similarly, Fraenkel (1960, 245-9) states that theMiles is the only Plautine play
that shows definite evidence that Plautus combined two Greek to make one
plays comedy.
Williams (1958) believes that theMiles was based on only one Greek original, but that
Plautus consistently altered this original by inserting sections in the text that gives free
rein to his own creative comic spirit. More recently, Lef?vre (1984) has argued that
the play is based on one Greek original that Plautus has reshaped into a double comedy,
with the inclusion of the twin sister motif that he also uses in the and the
Amphitryo
Menaechmi.
5) Duckworth to the earlier
(1935) objected interpretations of contaminatio, and to Jach
man's views in particular, suggesting that the play presents a unity. Hammond, Mack &
Moskalew (1970, 25-6) note the of Palaestrio and the theme of self
correctly figure
as
deception unifying factors. Forehand (1973) highlights the imagery that unites the vari
ous elements of the a unified
plot. Leach (1980) considers that Plautus constructed play by
Greek and Roman elements in order to social themes.
blending highlight particular
delusion
being
of
a lover
(1377-93)
Pyrgopolynices' Periplectomenus
defeated
andcastrated
Pyrgopolynices
by (1394-437)
Pleusicles
Palaestrio
+
vs.
(1216-83)
phidippa Philocomasium
+
vs. Pyrgopolynices
(1284-377)_
Palaestrio
+Aero
Pyrgopolynices
teleutium
Mil
+
vs.Milphidippa
Palaestrio
+
Pyrgopolynices
(991-1093)
Pyrgopolynices
vs.
Palaestrio
(947-90)
delusion
being
of
a (874-946)
Pyrgopolynices'
lover
Miles
Figure
Structure
Gloriosus.
1.
the
of
display:
ActingPhilocomasium
vs. +
Palaestrio
Sceledrus(411-80)
display:
ActingPhilocomasium
vs. +(354-410)
Sceledrus
Palaestrio
and (1-78)
soldier
the
great
lover
Pyrgopolynices,
From this analysis, it can be seen that the first and last scenes of the play
in his success and defeat respectively, and form a
depict Pyrgopolynices
framework for the play as a whole. Two separate tricks take place between
these two scenes, the first against the soldier's slave, Sceledrus, and the
second against the soldier himself. After the initial introduction to Pyrgo
ploynices in the first scene, he disappears for the entirety of the first trick,
which is independent of the second in terms of the action. The first trick,
however, parallels the second by stressing the ideas of roleplaying and act
on the
ing and the illusions created thereby. This emphasis illusory power
of drama highlights the character of Pyrgopolynices, whose whole life is an
illusion. This becomes clear in the last scene, which mirrors the first. In the
first scene, Pyrgopolynices depicts himself as the ultimate lover and a
a
magnificent soldier; in the last he is beaten by bunch of cooks and slaves
and threatened with castration.6) Thus, the gradual shattering of the illu
sion under which Pyrgopolynices lives is depicted through the symmetry
of the play, and emphasised through the continual stress on acting.7)
6)
SeeSaylorl977,9.
7)Moore in theMiles
(1982) has successfully shown how the music highlights the unusual
character of Periplectomenus and emphasises the contrast between the opening crisis and
final resolution, backing up this structure. As he stresses, the music also works to frame
sections, namely the Sceledrus plot, the deceptions of Milphidippa, Acroteleutium, and
Philocomasium respectively and the defeat of Pyrgopolynices.
8) See n. 5, who demonstrates these patterns clearly.
Saylor 1977,
ends with Pleusicles versus the soldier, once again showing a progression
from slave versus master to master versus master.
The apex of both tricks are sections featuring acting. In the firsthalf, the
audience actually witness a performance, as Philocomasium tricks Scele
drus into believing that she has an identical twin sister. The pivotal scene
of the second trick, that featuring Palaestrio's centrepiece of acting instruc
tion and direction, goes back one stage to that of rehearsal,
enabling the
audience towitness the preparatory stages that lead to performances such
as the one one
they viewed in the first half, and the theywill view in the
rest of the structure of the tricks in
play. The general, and the centralised
position of these scenes in particular, interplaywith thewealth ofmetathe
atrical elements that fill the comedy to underscore the importance of act
ing within the context of this comedy. Let us now turn to a detailed
analysis of the pairs of parallel scenes that comprise the two tricks.
It is generally accepted that scenes that do little to further the plot are often
'And so that you won't be mistaken, this woman will take on the appearance
of two people in turn, in thishouse and in thatone, but bothwill be the same
she will to be another'
person, really be pretending
The scene that balances the prologue is themuch-debated scene with Lur
cio. This scene is generally regarded as an addition to theGreek original,n)
and is thought to stand out as a misplaced and unnecessary scene that
breaks up the action of the second trick that has just got underway. If the
structure of the play set out above is scene
accepted, however, the Lurcio
becomes not an isolated scene dangling in the second trick, but rather the
final scene of the first trick.According to this structure, the purpose of the
scene becomes clear.Where the
prologue had presented the audience with
the plan to defeat Sceledrus, the Lurcio scene demonstrates the success of
this plan.12) Palaestrio's intention had been tomake Sceledrus believe that
he had not seen what he had seen. As Leach points out, in this concluding
scene, Sceledrus does not even appear, having resorted to drink, presum
ably to drink ofFhis troubles (Leach 1980, 198-9). Even his cellarmans job
is under threat by the end (857-61). Yet it is not Sceledrus himself who
arrives on stage but Lurcio, Sceledrus' on
underling, and entering, Lurcio
announces that non operaest Sceledro (818), translated as
usually something
like 'Sceledrus isbusy. The word opera has a wide range ofmeanings, from
'service to need' to 'leisure', but as it is a word that can refer to the activity
and efforts of a slave, it is often used by crafty Plautine slaves to indicate
their plans and tricks.13)Thus, Lurcio is also perhaps informing Palaestrio,
and the audience, that Sceledrus has no such plan, and his defeat is plain.
At the end of the scene, he also addresses the audience directly,
breaking
the dramatic illusion as Palaestrio had done in the prologue:
n) See
e.g. Fraenkel 1960, 245-6; Williams 1958, 96-9. Leach (1980) believes that the
scene contributes to the the nature of
thematically play, highlighting repressive Pyrgopoly
nices' house and its character as a social unit, which is contrasted sharply with the house of
Periplectomenus.
12) See scene in the first half of the
Saylor 1977, 2, who also places the Lurcio play, but does
not
expand upon this point.
13) See
e.g Epid. 653-4; As. 734 {mala opera)-, Cist. 777-8.
TU flee somewhere and put off this evil to another day. Don't tell him, I
beseech you'/
'Just look at that, now, how he stands there, with frowning brow, considering
and cogitating.With his fingershe's knocking at the door of his breast; he's
to invite his to come out I imagine. There, he turns away.
going intelligence
He restshis lefthand on his leftthigh,and with the fingersof his rightdoes
After one more line that reminds the audience of Palaestrio's status as a
servus callidus non expromet, bene coctum dabit,
{quidquid est, incoctum
'Whatever it is, he won't produce a potboiler, he'll provide a real scorcher'
(208), Periplectomenus continues with the famous lines that have occa
sioned such discussion among critics (209-12), plausibly considered to be
a reference to Naevius,16) but certainly containing a clear reference to a
next line:
poet.17) The metatheatricality isheightened by the eugel euscheme
hercle astitit et dulice et comoedice, 'Hooray! He stands there fittingly, by
a in a comedy' (213). Palaestrio, according to Periplectomenus,
god, like slave
at this point goes into a trance, prompting the old man towake him with
the first piece of extended military imagery in the play (219-30).18)
Palaestrio then lays out his plan at last, punctuated by admiring comments
from Periplectomenus that reinforce his status as a servus callidus: Euge
Whereas in the first case the plan was quickly disposed of within sixteen
lines, here the plot is delayed until the end of the scene and takes up only
a quarter of the entire scene. As before, most of the scene is devoted to a
demonstration of theatrical ability, but this time not by Palaestrio but by
as the slave becomes the that Peri
Periplectomenus, admiring audience
himself had been in the first scene.
plectomenus
as a senex a stock
Periplectomenus portrays himself explicitly lepidus,
character in Plautine comedy, and Palaestrio backs him up, addressing him
as: o man (649),20) and Pleusicles
lepidum semisenem, charming semi-old
repeats this description ten lines later.21)This stress on the word lepidus
on a theatrical role, that of the
emphasizes that Periplectomenus is taking
senex
lepidus. The theatricality of this role is highlighted by Periplecto
menus' next speech (661-8), inwhich he portrays himself as an actor able
to take on characters atwhim: a fierce advocate or a a
gentle one, congenial
dinner a a caterer, even a ballet dancer. He then
companion, parasite, goes
on to demonstrate this talent, as he takes role after stereotypical role for
almost one hundred lines, portraying himself first as a carefree bachelor
(672-81), then as a henpecked husband (685-700), a Roman patron (705
15), a devoted father (718-22), zpius host (736-9), a sternmaster (745-9)
and a wise philosopher (751-62).22)
lack of comprehension of the nature of acting
In this scene, Pleusicles'
shows up the knowledge of the other two characters. In the second half of
the scene, where the focus shiftsback to the plot of the play and the second
trick to be perpetrated against the soldier is outlined, Palaestrio, having
shown off his star actor, now takes on the role of director-playwright. He
describes the plan that he has devised and the actors he will need to per
form the trick, sends Periplectomenus offwith his orders (765-804), and
In the central four scenes of the first trick, the audience is treated to a dis
as Palaestrio, Philocomasium and
play of acting ability Periplectomenus all
put on a show for Sceledrus, convincing him that the girl he has seen kiss
a
ing young man, is really Philocomasium's twin sister. Throughout these
scenes the artificiality of the pretence is stressed
again and again. Thus,
there are constant stage directions,24) as Palaestrio warns Philocomasium to
follow his instructions (354-7) and Periplectomenus gives her orders:
23) Those who favour the theory of contaminatio have seized upon by these lines with
since they appear immediately after the outline of the
delight, plan involving the fake 'wife',
inwhich the twin sister, Dicea, does not appear at all (see e.g. Jachmann 1931,
phantom
165; Fraenkel 1960, 245). As Duckworth has pointed out, however, Palaestrio's words here
can be an instruction to Pleusicles he appears in the role of the ship captain later
that when
on, he must be careful to use the same name for the imaginary twin sister that had been
used earlier; Palaestrio even refers to these instructions later on in the play, when he gives
Pleusicles further orders (1175) (see Duckworth
1935, 231-2). This argument is even more
occur the scenes
convincing when it is noted that both sets of instructions during
inwhich
and Palaestrio's role as a director are central themes.
acting
24) See also Moore
1998, 74.
25) See Slater
1985, 158-60 on the metatheatrical effect of asides.
helplessness:
'Nowwhat shall I do? The soldierhas appointed me her guard.Now ifI reveal
it, I'm dead; if I keep silent, I'm dead anyway, if it comes to light.
What is
worse or more than a woman? While I was on the roof, she took
impudent
herselfoutside fromher house: By Pollux itwas a daring crime that she did.
If the soldier findsout about this, I thinkhe'll destroy thewhole household
here, and me. whatever I'll
by Hercules, crucify By Hercules, happens, keep
rather than die badly. I can't a woman who's herself!'
quiet guard selling
At the end of the scene, he has a similar speech that shows his bewilder
ment (345-53), and again at the very end of the trick he reveals his confu
sion, totallymisreading Periplectomenus' behaviour, as he believes that the
old man and Palaestrio have tricked him, but is completely mistaken about
the nature of that trick:
The word venalem in this speech picks up theword vendidat in his earlier
words, indicating that nothing has changed; Sceledrus continues to see the
world as he always has, and has not changed his beliefs. Rather his suspi
cions are now confirmed, as he states plainly (580). Yes ironically, although
he is correct to be suspicious, his reading of the situation is completely
wrong, for the actors in the play, Philocomasium, Palaestrio and Periplec
tomenus, have convinced him that he had not seen what he had believed
that he saw.26)The power of illusion, in the form of words and acting, is
Milphidippa and Palaestrio, as they outline the plan. Acting and pretence
are stressed as the heart of the trick, as Palaestrio orders: huius uxorem volo
26) The theme of sight is a central one in the play. See, in the first trick, 147-9; 187-8;
with Saylor
289-93; 336; 341; 345; 368-9; 376-7; 405; 518; 544; 556-7; 564, together
1977, 6.
want you
<ted> adsimulare... quasi militi animum adieceris simulare, T
to pretend to be thisman swife... and to act as ifyou love the soldier'
(908-9). That this pretence is in contrast to the true state of affairs is
asAcroteleutium states her true opinion of the soldiers nature:
emphasised
populi odium quidni noverim, magnidicum, cincinnatum, moechum unguen
tatum, cHow could I not know that public enemy, the big-mouth, coifFured,
scented sex-fiend?' (923-4). The success of the deception is demonstrated
in the short parallel balancing scene with the slave boy, as he tells the
soldier: intro te ut eas obsecrat, te volt, te
quaerit, teque exspectans expetit,
wants you, she's
amantifer opem, 'She begs that you go inside, she desiring
you, she's for you. Bring hope to someone who's in love'
dying waiting
(1385-7). That he is also acting is clear, however, as, like Acroteleutium
earlier, he follows this up with the true state of affairs: eum oderunt qua viri
qua mulleres, 'They hate him, both themen and thewomen' (1392).
The next pair of scenes stress the theme of drama more directly. In the first,
there is a move from planning the trick to its implementation as the first
pretiosa omnia, gold, trinkets, clothing, all the precious things' (1302).
Additionally, Pleusicles enters dressed, to his chagrin, as a sea captain and
stresses that it is only for love that he is appearing ornatu, 'in costume'
playing: oratio alio mihi demutandast mea, 'Now Imust change my manner
of speech' (1291).
This scene, the final one inwhich Palaestrio appears, also shows him
a directorial role over the in the first scene he had
keeping play.Where
devised the plan for the soldier and explained to him how to implement it,
here he controls the pace of the action.When the plot threatens to unravel,
as Pleusicles fondles Philocomasium, ostensibly reviving her from the faint
into which she has fallen on seeing it is
supposedly Pyrgopolynices,
Palaestrio who covers up for him. He invents excuses (1330-4), warns the
lovers (1337) and expresses fear of discovery to Pleusicles (1348), while
continually drawing attention from them by acting out his mock grief at
master (1326-8, 1339-41,
being parted from his 1354-72). Palaestrio
remains the playwright and director of the play put on to deceive the sol
dier and entertain the audience, to the end.
right
plays must be performed, is already here before the house' (991), and
a piece of
explaining how shewill begin this play with acting: dissimulabo,
hos quasi non videam neque esse hic etiam dum sciam, 'I'll pretend that I
don't see them and that I don't yet know they're here' (992). She then
ostentatiously pretends to check that she is alone, and declares her mistress'
love for the soldier. After the two men approach, the scene is peppered
with dialogue between Palaestrio and Milphidippa that breaks the dra
matic illusion in the play they are putting on for Pyrgopolynices. Milphi
dippa asks for instruction (1020-30), and then urges Palaestrio to end the
scene before it kills her (1084-5). The two also compare notes on their
progress (1066-6a, 1073-4) and talk about Pyrgopolynices behind his back
(1044, 1045, 1078). These actions continually underscore the fact that
are
Palaestrio and Milphidippa acting, as they step in and out of their roles,
performing for their unconscious audience (Pyrgoploynices) and for the
conscious spectators watching the comedy.28) The irony is heightened by
28) Ibid.
75-6.
own asides
Pyrgopolynices' throughout the scene, forwhereas the actors'
asides demonstrate their control of the situation, the soldier's comments
reveal that he is completely deceived.
This pattern is repeated in the parallel scene where Acroteleutium joins
acting role consciously, using theword mala, often used of the servus calli
dus, and urging her maid: edepol nunc nos tempus est malas peiores fieri,
'wow! Now it is time for us wicked to become worse!' (1218), and
girls
ne parce vocem, ut audiat, 'Don't spare
gives her instruction as she talks:
your voice, so he can hear' (1220). With the knowledge that the two
women are in on to a
acting firmly place, Acroteleutium goes give dazzling
performance, ostentatiously pretending exaggerated love, while Pyrgop
olynices drinks in everyword, providing a double show for the audience.
Two more short scenes, inwhich the audience see the continuation of the
Philocomasium theme, provide the frame for the central, pivotal scene of
the trick. In the first of the scenes Palaestrio urges the soldier to talk to
Philocomasium himself and send her away with all the gifts he had given
her; in the second, we see the result of this conversation. Although the
audience do not see Philocomasium's acting at this point, theywill know,
ficently, securing not only her own release, along with all her possessions,
but also that of Palaestrio.
29) also points out the structural and thematic parallels between
Frangoulidis (1998, 40-3)
the reactions of Acroteleutium on
and Philocomasium seeing the soldier.
'Cheer up; thewhole affair is falling into place now; you just continue as
you've begun, to lend a hand'
depth.
31) See Forehand 10-1.
1973,
32) CiPoen. 1110.
word ludificarier signals both the trickery and its connection with acting,
within the context of this ludus ('play'). Acroteleutium goes over the plan,
and Palaestrio offersmore direction and advice (1166-73), coaching her in
her role and concluding by asking: satinpraeceptumst?, 'Enough direction?'
(1173). Turning to Pleusicles, his instructions concern the costume that he
is towear (1175-82), and the lines he is to use (1184-8). His final orders
to the man are: abi cito orna te... haec ut memineris, 'Go
young atque
quickly and get into costume... remember these things' (1195), and with
a final thewomen into scene closes.
chivvying place (1196-8), the
There is no doubt that the deceptionof Pyrgopolynices is based upon,
and succeeds because of, his own inability to appreciate the play put on by
Palaestrio. Like Sceledrus, the soldier does not ever grasp the reality of
what is happening. His understanding of the events at the end of the play
is that he has learnt a lesson about adultery (1435-7). Yet this ismissing the
7. Conclusion
The Miles Gloriosus is composed of two tricks, the first played out against
Sceledrus and the second against his master Pyrgopolynices. Both tricks
are built of
parallel balancing scenes that centre around, and highlight,
and structure of each trick therefore
acting roleplaying. The deepens the
impact of themetatheatrical elements running throughout the play, induc
a awareness of the artificiality of the events on
ing greater being acted out
the stage, as each trick stresses the idea of role assumption and drama as a
central theme.
convinced that he has not seen what he did indeed see, and is persuaded to
doubt the empirical evidence of his eyes. Pyrgopolynices himself lives in a
so in the context of a drama, which
fantasyworld of illusion; but he does
is to be an illusion. The audience observe the duping of Sceledrus, and wit
ness his master's
posturing and the illusion that he believes is truth, but
which fools no one. They are then able to contrast thiswith Palaestrio's
acting ability that does convince his intended audience. The Miles Glorio
sus underscores the
paradoxical nature of drama, which convinces despite
on more than illusion; the
being based nothing play thus demonstrates
that herein lies the power of true drama.
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