Aulularia is a Latin play by the early Roman playwright Titus Maccius Plautus. The title literally means The Little Pot, but some translators provide The Pot of Gold, and the plot revolves around a literal pot of goldwhich the miserlyprotagonist, Euclio, guards zealously. The play’s ending does not survive, though there are indications of how the plot is resolved in later summaries and a few fragments of dialogue.

Plot summary[edit]

Lar Familiaris, the household deity of Euclio, an old man with a marriageable daughter named Phaedria, begins the play with a prologue about how he allowed Euclio to discover a pot of gold buried in his house. Euclio is then shown almost maniacally guarding his gold from real and imagined threats. Unknown to Euclio, Phaedria is pregnant by a young man named Lyconides. Phaedria is never seen on stage, though at a key point in the play the audience hears her painful cries in labor.

Euclio is persuaded to marry his daughter to his rich neighbor, an elderly bachelor named Megadorus, who happens to be the uncle of Lyconides. This leads to much by-play involving preparations for the nuptials. Eventually Lyconides and his slave appear, and Lyconides confesses to Euclio his ravishing of Phaedria. Lyconides’ slave manages to steal the now notorious pot of gold. Lyconides confronts his slave about the theft.

At this point the manuscript breaks off. From surviving summaries of the play, we know that Euclio eventually recovers his pot of gold and gives it to Lyconides and Phaedria, who marry in a happy ending. In the Penguin Classics edition of the play, translator E.F. Watling devised an ending as it might have been originally, based on the summaries and a few surviving scraps of dialogue.^[1] Other writers over the centuries have also written endings for the play, with somewhat varying results (one version was produced by Antonio Urceo in the late 15th century, another by Martinus Dorpius in the early 16th century).

Key themes[edit]

The figure of the miser has been a stock character of comedy for centuries. Plautus does not spare his protagonist various embarrassments caused by the vice, but he is relatively gentle in his satire. Euclio is eventually shown as basically a good-hearted man who has been only temporarily affected by greed for gold.

The play also ridicules the ancient bachelor Megadorus for his dream of marrying the nubile and far younger Phaedria. The silly business of preparing for the marriage provides much opportunity for satire on the laughable lust of an old man for a young woman, in a clever parallel to Euclio’s lust for his gold. Again, Megadorus is eventually shown as sensible and kind-hearted enough to abandon his foolish dream.

Plautus’ frequent theme of clever servants outwitting their supposed superiors finds its place in this play too. Not only does Lyconides’ slave manage to filch Euclio’s beloved gold, but also Euclio’s housemaid Staphyla is shown as intelligent and kind in her attitude toward the unfortunately pregnant Phaedria.

Adaptations[edit]

Another play, Querolus seu Aulularia, was at one time ascribed to Plautus but is now believed to be a late 4th-century Latin imitation. It provides a kind of sequel in which Euclio dies abroad and informs a parasite of the hiding place of his treasurer, which the latter is to share with Euclio's son Querolus.

During the Renaissance there were a number of adaptations of the Aulularia. One of the earliest was Giovanni Battista Gelli's La Sporta (The Basket), which was published in Florence in 1543. A Croatian version by Marin Držić was titled Skup (The Miser, 1555) and set in Dubrovnik. In 1597 Ben Jonson adapted elements of the plot for his early comedy The Case is Altered. At about the same time it was also used by the Danish Hieronymus Justesen Ranch (1539–1607) as the basis for his play Karrig Nidding (The Stingy Miser).

The very successful Dutch play, Warenar, based on Aulularia, was written by Pieter Corneliszoon Hooft and Samuel Coster in 1617. In 1629, the German poet laureate Joannes Burmeister published a Neo-Latin adaptation, also called Aulularia, that reworked Plautus' comedy to a play featuring Achan and Rahab from the biblical Book of Joshua.^[2]Molière's French adaptation, L'Avare of 1668, was even more successful and thereafter served as the basis for dramatic imitations, rather than Plautus' work.^[3]

Translations[edit]

• Edward Holdsworth Sugden, 1893: Aulularia full text
• Henry Thomas Riley, 1912: Aulularia full text
• Paul Nixon, 1916–38: Aulularia full text
• Sir Robert Allison, 1942
• Lionel Casson, 1963
• The Pot of Gold and Other Plays by Plautus, translated and introduced by E.F. Watling, Penguin Classics 1965 ISBN0-14-044149-2
• Palmer Bovie, 1995
• Erich Segal, 1996
• Wolfang de Melo, 2011 ^[4]

References[edit]

1. ^Plautus: The Pot of Gold and other plays, London 1965, Google Books
2. ^Fontaine, Michael. 2015. Joannes Burmeister: Aulularia and Other Inversions of Plautus. Leuven: Leuven University Press.
3. ^There is a discussion of Plautus' play and of the various imitations in: John Colin Dunlop, History of Roman literature Volume 1 , London 1823, pp.160 ff
4. ^Plautus; Translated by Wolfgang de Melo (2011). Plautus, Vol. I: Amphitryon; The Comedy of Asses; The Pot of Gold; The Two Bacchises; The Captives. Loeb Classical Library. ISBN0674996534.

External links[edit]

• Latin Wikisource has original text related to this article: Aulularia

Querolus (The Complainer) or Aulularia (The Pot) is an anonymous Latin comedy from late antiquity, the only Latin drama to survive from this period and the only ancient Latin comedy outside the works of Plautus and Terence.^[1]

• 3Subject Matter

Title and Origins[edit]

Unearth the oncoming storm zip. In his prologue to the spectators the author first says Aululariam hodie sumus acturi (‘We are going to perform the Aulularia today’),^[2] then offers a choice of title: Querolus an Aulularia haec dicatur fabula, vestrum hinc iudicium, vestra erit sententia (‘Whether this play is called Querolus or Aulularia will be your judgement, your decision’).^[3] The archetype of the surviving manuscripts seem to have had the title Aulularia, along with a false attribution to Plautus, who had also written an Aulularia. Modern scholars generally use the title Querolus to avoid confusion with Plautus’ Aulularia.

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Date and place of composition are uncertain.^[4] Mention of lawlessness ad Ligerem (‘by the Loire’)^[5] suggests a Gallic origin and perhaps an early fifth-century date, if it refers to a Bagaudae uprising. The work is addressed and dedicated to a certain Rutilius (perhaps Rutilius Namatianus), a vir illustris of the highest senatorial rank and holder of imperial appointments as governor of Tuscany, vicar of Britain, Imperial Treasurer (comes sacrarum largitionum), Senior Legal Counsel (quaestor) to the emperor, and urban prefect of Rome in the years up to 414. He was of higher social standing than the author.^[6]

Metre and Language[edit]

Although the text is printed as prose, the author was clearly trying to give the effect of the metres of Plautus.^[7] Sentences and phrases regularly end with the line endings of a trochaic septenarius or iambic senarius; and there is a tendency to trochaic sequences at the start of the next unit. In the middle however the metrical form of a Plautine verse is only occasionally preserved. The language used also has many reminiscences of early Latin comedy, both occasional archaisms and imitations or borrowings of whole phrases.^[8]

Subject Matter[edit]

Plot[edit]

The plot concerns the attempt by a pretended magician, Mandrogerus, to cheat the poor and grumpy Querolus of a treasure hidden in his house. Querolus’ father Euclio, dying abroad, had confided the location of the treasure to Mandrogerus. After Euclio’s death Mandrogerus was supposed to show Querolus the treasure and receive a half share as reward. Instead he tricks Querolus into allowing him to remove his ‘bad fortune’ from his house – the pot with the gold within it. On inspection, the pot seems to be a funerary urn, with only ashes inside it. Mandrogerus throws the pot back into Querolus’ house. It breaks and reveals the gold hidden within. When Mandrogerus learns of the gold, he returns and attempts to claim his share by his agreement with Euclio; but his own account leaves him with a choice of a charge of theft or sacrilege. Finally Querolus takes pity on him and allows him to remain as his dependent.

Dramatic technique[edit]

It seems unlikely that the author of the work was expecting it to be performed on stage in its original context. More probably it may have been read out as an entertainment at a banquet.^[9] But it is clear that the play is written to be performable within the conventions of ancient drama; and many aspects of dramatic technique, such as the preparation and motivation of entrances and exits, are carefully observed.^[10]

Many scenes are extended far beyond the demands of the plot for their own interest. The play opens with an extended discussion between Querolus and the household Lar, who, in the style of popular philosophy, compels Querolus to admit that his dissatisfaction with life is unjustified and that there is nothing that he can reasonably desire. Querolus’ slave, Pantomalus, has a long monologue complaining of his unreasonable master, which rather reveals his own idleness and dishonesty. Mandrogerus advises Querolus about the various occult powers from which one can seek aid, a scene mocking superstitious beliefs, but also, perhaps, covertly alluding to corrupt civil servants, whose favour must be sought with bribes.

Models[edit]

There are several similarities to Plautus’ Aulularia in the play: the grumpy character of Querolus; a pot of gold; the appearance of the Lar of his house and his role in leading Querolus to discover the gold; a theft. In addition the grumpy house owner in Plautus is called Euclio, the name of Querolus’ father; some see the work as a kind of sequel to Plautus’ play.^[11]

Reception and Modern Editions[edit]

The play had some success in the Middle Ages and provided Vitalis of Blois in the twelfth century with the model for his own Aulularia.^[12] Since the renaissance, however, it has been largely neglected. One exception is the satirical novelist Thomas Love Peacock, who devoted an essay to it in his Horae Dramaticae of 1852.^[13]

The first printed edition is that of P. Daniel (Paris 1564).^[14] There is no fully satisfactory modern critical edition: Ranstrand (1951) is generally cited, but fails to make use of an important witness, the seventeenth century copy of a lost manuscript from Reims.^[15] The ending of the work is missing (although evidently the plot is complete and very little text has been lost). In the manuscripts, it is followed without a break by the (also fragmentary) Lex convivalis, which some regard as a part of the play.

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References[edit]

• Editions
  • Ranstrand, G. Querolus sive Aulularia, Incerti Auctoris Comoedia una cum Indice Verborum (Göteborg) 1951.
  • Jacquemard-Le Saos, C. Querolus (Aulularia) (Paris: CUF) 1994.
• Translations
  • Duckworth, G.E. The Complete Roman Drama (New York: Random House) 1952, vol. II p. 891-952.
• Bibliography
  • Lassandro, D. and Romano, E. ‘Rassegna bibliografica degli Studi sul Querolus’, Bolletino di Studi Latini 21, 1991, 26-51.
• Studies
  • Cavallin, S. ‘Bemerkungen zu Querolus’ Eranos 49, 1951, 137-58.
  • Küppers, J. ‘Zum “Querolus” (p. 17.7-22 R) und seiner Datierung’ Philologus 123, 1979, 303-323.
  • Küppers, J., ‘Die spätantike Prosakomödie “Querolus sive Aulularia” und das Problem ihrer Vorlagen’, Philologus 133, 1989, 82-103.

Notes[edit]

1. ^Küppers (1989), 82 n. 1.
2. ^Ranstrand p. 5, 1.
3. ^Ranstrand p. 5, 12-13.
4. ^For discussion, see Cavallin (1951), 137-143; Küppers (1979).
5. ^Ranstrand p. 17, 13.
6. ^Ranstrand p. 3, 1 Rutili venerande, p. 4, 18 vir illustris (vir is a conjectural supplement here, but the identification of Rutilius as a vir illustris does not depend on it).
7. ^Cavallin (1951), 143-6.
8. ^Jacquemard-Le Saos (1994) conveniently annotates larger reminiscences where they occur.
9. ^Ranstrand p. 3, 13-4 'nos fabellis atque mensis hunc librum (or more probably libellum) scripsimus' ('We wrote this book for talk and feasts'); p. 5, 7 'materia vosmet reficiet, si fatigat lectio' ('the material will revive you, if the reading tires you').
10. ^Küppers (1989), 88, with n. 25; Le Saos (1994), xxviii.
11. ^Küppers (1989), 100-1.
12. ^Jacquemard-Le Saos (1994), xxxviii-xxxix.
13. ^Fraser’s Magazine 45, 1852, 291-302, reprinted in The Works of Thomas Love Peacock vol. X (London: Constable, 1926), 4-38.
14. ^Jacquemard-Le Saos (1994), lxvii.
15. ^M.D. Reeve, ‘Tricipitinus’s Son’, Zeitschrift für Papyrologie und Epigraphik 22, 1976, 21-31.

External links[edit]

• Le Querolus, comédie latine anonyme, L. Havet (ed.) in Bibliothèque de l'école des hautes études, 41° fascicule, Paris, P. Vieweg, Libraire-éditeur, 1880.
• Aulularia sive Querolus. Theodosiani aevi comoedia Rutilio dedicata, Rudolfus Peiper (ed.), Lipsiae in aedibus B. G. Teubneri, 1885.