Menaechmi | |
---|---|
Written by | Plautus |
Characters |
|
Setting | a street in Epidamnus, before the houses of Menaechmus and Erotium |
Menaechmi, a Latin-language play, is often considered Plautus' greatest play. The title is sometimes translated as The Brothers Menaechmus or The Two Menaechmuses.
The Menaechmi is a comedy about mistaken identity, involving a set of twins, Menaechmus of Epidamnus and Menaechmus of Syracuse. It incorporates various Roman stock characters including the parasite, the comic courtesan, the comic slave, the domineering wife, the doddering father-in-law and the quack doctor. As with most of Plautus' plays, much of the dialogue was sung. [1]
The play is set in a street in Epidamnus, [2] a city on the coast of what is now Albania. Facing the audience are two houses, that of Menaechmus I and that of Erotium, the prostitute he is courting.
Prologue: Moschus has twin sons, Menaechmus and Sosicles. Moschus decides to take only one of the twins, Menaechmus, with him on a business trip, while the twins are still young. During the trip, Menaechmus is abducted and adopted by a businessman who lives in Epidamnus, separating the twins. Their father dies of sorrow and their grandfather changes Sosicles' name to Menaechmus (i.e., Menaechmus of Syracuse). When the twins are grown to manhood, Menaechmus of Syracuse sets out in search of his brother. He arrives in Epidamnus, unaware that his twin brother is there also.
Act 1: Here, the brother is first shown to be, with good cause, the despair of his jealous wife. He is seen leaving his house, berating his spouse as a shrew and a harpy, promising that she shall have good cause for her jealousy. He confides to Peniculus, a professional parasite, that he has stolen his wife's mantle and is going to give it to Erotium, a prostitute who lives next door.
The two go to Erotium's door, and the husband presents the mantle with many blandishments. He suggests that a fitting return would include a dinner for himself and Peniculus. Erotium agrees, and the two men go to the Forum for preliminary drinks while the meal is being prepared.
Act 2: Meanwhile, the twin from Syracuse has arrived with Messenio, his slave. The latter warns him of the depravity of Epidamnus, urging an end to the search for his missing brother since their money is nearly gone. His master gives his purse for safekeeping to the slave who continues his warning against the cunning people of Epidamnus "who think nothing of accosting a stranger" and bilking him of his money, when Erotium steps out of her house and endearingly accosts the Syracuse Menaechmus, thinking him to be his brother.
She asks why he hesitates to enter when dinner is ready, and the confused twin asks her, quite formally, what business he has with her. Why, the business of Venus, Erotium replies coyly. Messenio whispers to his master that the lady undoubtedly is a schemer for his money, and asks her if she knows his master. He is Menaechmus, of course, replies Erotium. This amazes the twin, but Messenio explains that spies of the city's thieves probably have learned his name.
Erotium, tiring of what she considers foolery, tells Menaechmus to come in to dinner and bring Peniculus. Peniculus, he answers, is in his baggage—and what dinner is she talking about? The dinner he ordered when he presented his wife's mantle, she replies. He first protests vainly that he hasn't any wife and has just arrived in the city, then begins to realize the possibilities of a dinner and a pretty girl. He sends Messenio to the inn, giving him orders to return for his master at sunset.
Act 3: After the meal, he leaves his house with a garland on his head and the mantle over his arm; Erotium has told him to have it re-trimmed. He is chuckling over his luck—dinner, kisses and an expensive mantle—all for nothing, when the irate Peniculus, who has lost the Epidamnus twin in the Forum crowd, meets him and berates him for dining before he could arrive. Quite naturally treated as a stranger, Peniculus angrily rushes to tell the other twin's wife of the stolen mantle.
The Syracuse brother, further baffled because the unknown Peniculus addressed him by his name, is pinching his ear to make sure that he is awake when Erotium's maid comes out and hands him a bracelet to be taken to a goldsmith for repair. He suspects that something is amiss, and hurries off to the inn to tell Messenio of the happy shower of valuables that has been raining upon him.
Act 4: Now the furious wife, told by Peniculus of her man's trick, rushes out of her house just in time to meet her husband returning from the Forum, expecting Erotium's banquet. She tells him to return the mantle or stay out of her house, and the husband goes to Erotium to get it, resolving to buy his sweetheart a better one. He is stupefied when she declares him a liar and a cheat, and tells him that she has already given him both the mantle and her bracelet. So the Epidamnus twin finds the doors of both his wife and mistress slammed in his puzzled face, and goes off to get the counsel of his friends.
The Syracuse Menaechmus returns, the mantle still over his arm, in search of Messenio, who has left the inn. His brother's wife sees him, and assuming him to be her husband, demands that he confess his shame. He asks her of what he should be ashamed—and, furthermore, why she should address a total stranger so. He adds that he didn't steal her mantle, that a lady gave it to him. This is too much for the wife, who calls her father from the house. The father, also assuming that he is the husband, tells him that he must be crazy. This idea seems an excellent means of escape for Menaechmus: he feigns insanity so violently that the father rushes off for a physician, the wife seeks safety in the house, and Menaechmus goes off to resume his hunt for Messenio.
Act 5: As the father comes back with a doctor, the real husband returns. He flies into a rage when his wife and father-in-law add to his troubles by implying that he is quite mad. His anger convinces the doctor of his insanity, and he summons slaves to bind him and take him to an asylum. Just then, Messenio appears, and, thinking the struggling husband his master, overpowers the slave. As a reward he asks for his own freedom. The husband tells Messenio that he doesn't know him, but by all means to consider himself freed; then he begins to suspect he may really be a bit crazy when Messenio tells him that he will return shortly to give him the money he has been safeguarding. Husband Menaechmus is not too addled, however, to profess his ownership of the purse.
The husband goes to Erotium's house in further search of the mantle. The Syracuse twin returns, in his quest of Messenio, at the moment when the servant hurries back with his purse. His master upbraids him for having been gone so long, but the slave protests that he has just saved his owner from ruffians and has been set free. The master is pondering this new muddle when his twin appears from Erotium's house.
The two brothers rub their eyes in bewilderment on seeing each other, but explanations quickly bring recognition. They embrace. The happy master truly sets the slave free, and the brothers decide that the first Menaechmus shall go to live with his twin in Syracuse. Messenio announces an auction in the morning of the husband's goods, everything to go to the block—even the wife, if there be a buyer.
Plautus's plays are traditionally divided into five acts; these are referred to below for convenience, since many editions make use of them. However, it is not thought that they go back to Plautus's time, since no manuscript contains them before the 15th century. [3] Also, the acts themselves do not always match the structure of the plays, which is more clearly shown by the variation in metres.
In Plautus's plays the usual pattern is to begin each section with iambic senarii (which were spoken without music), then a scene of music in various metres, and finally a scene in trochaic septenarii, which were apparently recited to the accompaniment of tibiae (a pair of reed pipes). Moore calls this the "ABC succession", where A = iambic senarii, B = other metres, C = trochaic septenarii. [4] However, the ABC order is sometimes varied.
If the A passages (iambic senarii) are taken as starting a section, and the C passages (trochaic septenarii) are taken as ending it, in this play the order of the metrical sections is as follows: [5]
Alternatively, following Moore, [6] the sections could be taken as following the two brothers in turn as follows:
In first section there are two "B" passages, the first polymetric and the second in mixed iambo-trochaic metres.
Timothy Moore points out that each time Menaechmus I enters the stage, he is accompanied by music; but throughout almost the whole play each entrance of Menaechmus II coincides with iambic senarii, which were unaccompanied. This no doubt helped the audience to distinguish one brother from the other, if they were identically dressed. [7]
Peniculus returns, having lost track of Menaechmus I in the forum. He is dismayed to see Menaechmus II exiting Erotium's house, wearing the garland customarily put on at a banquet.
A maid comes out and hands Menaechmus II a bracelet, saying that Erotium is asking him to have some gold added to it. Before going in, she cheekily requests him to buy her some gold earrings too. Menaechmus II goes off to find Messenio, throwing down his garland on the opposite side to confuse any pursuers.
Peniculus and Menaechmus I's wife emerge from his house: Peniculus has told her about the cloak. He sees the garland on the ground. Just then Menaechmus I arrives.
Menaechmus I now knocks on Erotium's door. She is at first welcoming, but when he asks for the cloak back and denies having taken the bracelet she grows angry and refuses to admit him. She goes inside, and Menaechmus I goes off to consult his friends.
The old man hobbles back, saying he has summoned a doctor, who arrives shortly afterwards.
Meanwhile Menaechmus I, declaring that he will be happy to steal Messenio's money if he is given the purse, goes into Erotium's house.
As soon as he has gone, Menaechmus II arrives. When Messenio tells him he has just rescued him, Menaechmus II vehemently denies that he has just given Messenio his freedom.
This play was the major source for William Shakespeare's The Comedy of Errors . [8] Shakespeare's work was in turn adapted for the musical theatre by Rodgers and Hart in The Boys from Syracuse and as the 1954 opera Double-Trouble by Richard Mohaupt (Libretto: Roger Maren). [9]
A similar line of influence was Carlo Goldoni's 1747 play I due gemelli veneziani ("The two Venetian twins") (also adapted as The Venetian Twins in 1979). Shakespeare's Twelfth Night also features mistaken twins, the sister dressed as a boy.
Andria is a Roman comedy adapted by Terence from two Greek plays by Menander the first being Samia and the other being Perinthia. It was the first play by Terence to be presented publicly, and was performed in 166 BC during the Ludi Megalenses.
Poenulus, also called The Little Carthaginian or The Little Punic Man, is a Latin comedic play for the early Roman theatre by Titus Maccius Plautus, probably written between 195 and 189 BC. The play is noteworthy for containing text in Carthaginian Punic, spoken by the character Hanno in the fifth act. Another remarkable feature is the sympathetic portrayal of the character of the Carthaginian Hanno at a time when only a few years previously the Romans had suffered huge losses in the 2nd Punic War fought against the Carthaginian general Hannibal.
Adelphoe is a play by Roman playwright Terence, adapted mostly from a play of the same name by Menander, with the addition of a scene from Diphilus. It was first performed in 160 BC at the funeral games of Aemilius Paulus. Exploring the best form of child-rearing, the play inspired Molière's The School for Husbands.
Eunuchus is a comedy written by the 2nd century BC Roman playwright Terence featuring a complex plot of rape and reconciliation. It was Terence's most successful play during his lifetime. Suetonius notes how the play was staged twice in a single day and won Terence 8,000 sesterces. The play is a loose translation of one written by Menander in Greek.
Mostellaria is a play by the Roman author Plautus. Its name translates from Latin as "The Ghost (play)". The play is believed to be an adaptation of a lost comedy of the Athenian poet Philemon called Phasma. It is set in a street in the city of Athens.
Casina is a Latin comedy or farce by the early Roman playwright Titus Maccius Plautus. Set in ancient Athens, the play describes how an Athenian gentleman and his son are both in love with the same slave-girl, Casina. The old man tries to conduct a secret affair with Casina by having her marry his farm-manager; but his plan is foiled by his wife, who dresses her son's armour-bearer up as the bride and sends him into the bridal chamber in place of Casina.
Bacchides is a Latin comedy by the early Roman playwright Titus Maccius Plautus. The title has been translated as The Bacchises, and the plot revolves around the misunderstandings surrounding two sisters, each called Bacchis, who work in a brothel. It includes Plautus' frequent theme of a clever servant outwitting his supposed superior to get money.
Amphitryon or Amphitruo is a Latin play for the early Roman theatre by playwright Titus Maccius Plautus. It is Plautus’s only play on a mythological subject. The play is mostly extant, but has a large missing section in its latter portion. The plot of the play involves Amphitryon’s jealous and confused reaction to Alcmena’s seduction by Jupiter, and ends with the birth of Hercules. There is a subplot in which Jupiter's son Mercury, keeping watch outside the house while his father is inside, has fun teasing first Amphitryon's servant Sosia, and then Amphitryon himself.
Miles Gloriosus is a comedic play written by Titus Maccius Plautus. The title can be translated as "The Swaggering Soldier" or "Vainglorious Soldier". His source for Miles Gloriosus was a Greek play, now lost, called Alazon or The Braggart. Although the characters in Miles Gloriosus speak Latin, they are Greeks and largely have Greek names, clothing, and customs. The action takes place in Ephesus, a Greek city on the coast of Asia Minor, famous for its Temple of Artemis, one of the Seven Wonders of the Ancient World.
Curculio, also called The Weevil, is a Latin comedic play for the early Roman theatre by Titus Maccius Plautus. It is the shortest of Plautus's surviving plays.
Mercator, or The Merchant, is a Latin comedic play for the early Roman theatre by Titus Maccius Plautus. It is based on the Greek play Emporos by the Greek comedy playwright Philemon. It is believed to be among Plautus's first plays, possibly written around 206 BC. The central conflict involves a father who falls in love with a slave girl who is, unbeknownst to the father, his son's lover.
Epidicus is an ancient Roman comedy written by T. Maccius Plautus. It is said to have been one of Plautus's favorite works. Epidicus is the name of the main character, who is a slave. The plot takes many turns as Epidicus tries to please his master's son, Stratippocles.
Asinaria is a comic play written in Latin by the Roman playwright Titus Maccius Plautus. In the play an Athenian gentleman, Demaenetus, tells his slave Libanus that he knows his son Argyrippus is having an affair with the prostitute Philaenium next door, and he asks him to try to find some money to pay for the affair. When by chance a stranger comes bringing money owed for some donkeys sold by Saurea, the steward of Demaenetus's wife, Libanus's fellow-slave Leonida pretends to be Saurea, and the two slaves trick the stranger into giving them the money. Argyrippus is given the money on condition that his father is to be allowed to enjoy the first night with the prostitute. But a jealous rival, Diabolus, snitches on Demaenetus to his wife Artemona, who storms to the brothel and prevents her husband from enjoying the girl as well.
Cistellaria is a comedic Latin play by the early Roman playwright Titus Maccius Plautus. The story, set in the Greek town of Sicyon, concerns a girl called Selenium who was exposed as a baby and brought up by a courtesan called Melaenis. By a happy chance it is discovered that her birth mother, married to a senator Demipho, lives next door, enabling her to marry the young man Alcesimarchus who loves her.
Stichus is a comedic Latin play by the early Roman playwright Titus Maccius Plautus. According to a notice transmitted with the play, Stichus was first performed in 200 BC. The same notice informs us that it was adapted from the play Adelphoe by Menander.
Persa is a comedic Latin play by the early Roman playwright Titus Maccius Plautus. Unusually in this play, the lover is not a wealthy young man helped by a cunning slave, but the cunning slave himself. In order to repay the money he has borrowed to buy his girlfriend from the pimp Dordalus who owns her, Toxilus persuades his friend Sagaristio to dress up as a Persian, in order to trick the pimp Dordalus into paying a large sum to buy a girl who is dressed as an Arabian captive, but who is in fact free. The girl's father Saturio then appears and reclaims his daughter.
Hecyra is a comedic Latin play by the early Roman playwright Terence. The story concerns a young man, Pamphilus, who has a girlfriend, the courtesan Bacchis, but is forced by his father to marry a neighbour's daughter Philumena. Before the wedding took place Philumena was raped by an unknown man. When a baby is born, Pamphilus at first disowns Philumena, but in the end it turns out that he himself is the father of the baby and husband and wife are reconciled. Much of the play deals with the distress which Pamphilus's behaviour causes himself and his own and Philumena's parents. A comedic element is provided by a lazy gossip-hungry slave, Parmeno, who is made to run around on errands and is kept in the dark about what is happening. The mother-in-law in the title is Pamphilus's mother Sostrata, who is falsely accused of unkindness towards Philumena; but Pamphilus's own mother-in-law Myrrina also has an important role.
Phormio is a Latin comic play by the early Roman playwright Terence, based on a now lost play by Apollodorus of Carystus entitled Epidikazomenos. It is generally believed to be Terence's fifth play. It was first performed at the Ludi Romani of 161 BC. Structurally, Phormio is considered to be one of the best Roman comedies.
Roman comedy is mainly represented by two playwrights, Plautus and Terence. The works of other Latin playwrights such as Livius Andronicus, Naevius, Ennius, and Caecilius Statius are now lost except for a few lines quoted in other authors. 20 plays of Plautus survive complete, and 6 of Terence.
Brevis brevians, also known as iambic shortening or correptio iambica, is a metrical feature of early Latin verse, especially Plautus and Terence, in which a pair of syllables which are theoretically short + long can be scanned as a pair of short syllables. The plural is breves breviantes.