H. Dohm has amply demonstrated how the cook of Plautus, Pseud. 790ff. exhibits characteristic features of the mageiros of Greek comedy. He has also argued, however, that this scene contains substantial Plautine expansion, comparable with that which has been recognised in the cook scene of the Aulularia. I wish to suggest that Dohm is largely right but that the Plautine expansion is even more extensive than he supposes. In 790–838 Plautus is probably for the most part following his Greek model (...) fairly closely. One can trace a logical sequence of ideas, as follows. Ballio: ‘I couldn't have found a worse cook’ . Cook: ‘Why did you hire me then?’ . Ballio: ‘You were the only one left. And why was that?’ . Cook: ‘I am expensive, but nowadays people look for cheap cooks, who produce only concoctions of seasoned vegetables. That is why men are so short-lived’ . Ballio: ‘You can make men live longer then?’ . Cook: ‘Certainly, for 200 years’ . The cook then proceeds to give a list of his fantastic sauces for fish and meat , until he is cut short by Ballio's ‘Damn your lies’ . We have here a typical comic mageiros: he is loquacious and boastful , claims magic powers , denigrates his rivals , reels off lists of foods, real and fictitious , and uses grandiose language . Within this essentially Greek section there are three short passages which look like Plautine additions. First, Dohm is surely right, following E. Fraenkel, to see 790f. as a Plautine addition. (shrink)

That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic (...) criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models. (shrink)

A vast amount has been written on the relationship between Terence's and Menander's Eunuchus. On some points a good measure of agreement has been reached, but much remains in dispute. In an important article W. Ludwig convincingly demonstrated the inner unity of Terence's plot, against earlier theories of large-scale ‘contaminatio’ The nature of the changes made by Terence in introducing two characters from Menander's Colax is now fairly clear, although argument is possible over details. The changes are numerous but relatively (...) small and do not affect the main lines of Menander's plot. In this paper I shall argue that Terence made similar changes in two other parts of the play, and that these caused certain anomalies which have prompted theories of more drastic Terentian change. (shrink)

So far as we can judge from his one completely preserved play and extensive fragments of others, Menander carefully worked out the movements of his characters on and off stage, so as to give an appearance of realism, within certain conventions, and avoid inconsistencies that might distract the audience. Menander's observed practice confirms the famous anecdote, according to which he regarded the construction of a plot as of primary importance, adding the lines as secondary. Thus a character who returns to (...) the stage after an earlier exit always re-enters through the same stage door or wing by which he made his exit; if, for example, he makes his exit in the direction of the market-place, he will be seen by the audience to return from there. Although the ancient evidence is confused, it seems clear, at least, that convention allowed the Athenian audience to regard one wing as leading to the market-place, the other to the country. Similarly, dramatic time is carefully articulated by means of the conventional choral interludes which divide a play into five acts. Some acceleration of dramatic time is possible within an act, but major lapses of dramatic time take place between acts; if a character makes an off-stage trip of some length, for example to the market-place, his exit and re-entry are separated by a choral interlude. Within the act a strict unity of time is maintained and dramatic time does not greatly exceed performance time. (shrink)

A. Frickenhaus argued that in Plautus’ Pseudolus and Stichus and Terence’s Heauton Timorumenos, Hecyra and Phormio the Latin dramatist was responsible for a third stage-house, whereas the Greek models of these plays had only two, the norm for New Comedy. Frickenhaus’ unjustly neglected arguments are here revived and reinforced. It is also argued that Plautus’ Cistellaria and Trinummus are further cases of the same phenomenon.

That the theme of trickery and deception plays an important part in the comedies of Plautus is obvious. Although by no means absent from the comedies of Menander and Terence, it is not nearly so prominent in them as in Plautus. One reason for this difference may be Plautus' choice of Greek models, but there are good grounds for believing that changes made by Plautus to his models also served to emphasize the theme. E. Fraenkel showed that Plautus elevated the (...) scheming slave into a comic hero in a manner alien to Menander and Terence. He identified as an important factor in this heroization of the slave certain features of style, notably the recurring use of military metaphors which equate the slave with a victorious general. He also showed that Plautus probably greatly expanded certain slave roles, this expansion being most evident in elaborate polymetric monodies such as Chrysalus' Troy canticum, Bacch. 925ff. These stylistic effects and the increased bulk of the roles give greater emphasis to the Plautine scheming slave and ipso facto to the element of intrigue in the plot. The omissions which naturally went together with Plautus' insertions could also distort the emphasis of the Greek play in favour of the element of intrigue; a probable example is the Casina, in which it is generally agreed that Plautus cut the original anagnorisis ending. Recent writers have stressed another aspect of Plautus' style which helps to give a particular prominence to the theme of intrigue in his plays, his liking for metatheatrical effects, which remind the spectators that they are watching a stage performance not real life; these effects are pervasive but particularly cluster around scenes of deception, emphasizing that the deception is in a special sense a performance, a play within a play. (shrink)