Asinaria

Metrical scheme

Plautus's plays were divided up probably in Renaissance times into 5 acts. However, it is not thought that these divisions go back to Plautus's time, since no manuscript contains them before the 15th century. Also, the acts themselves do not always match the structure of the plays, which is more clearly shown by the changes from one metre to another.

In Plautus's plays a common 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.

The Asinaria has a very simple metrical scheme consisting of just nine metrical units. These could be divided as follows: :ABC, BCB, ABC

C. W. Marshall (2006), however, who sees the metrical sections as usually starting with iambic senarii, divides the play into just two sections as follows: :ABCBCB, ABC

In this play there is one short song of 11 lines in various cretic metres. Otherwise Asinaria resembles Miles Gloriosus in that only four metres are used: in the Asinaria, besides the usual iambic senarii and trochaic septenarii, there are two long passages of iambic septenarii and one short passage of iambic octonarii; in Miles, however, the fourth metre is anapaestic septenarii. The two passages of iambic septenarii both consist of the two cunning slaves' exuberant performance of their trick to obtain money.

Another feature of this play is the fact that the unaccompanied lines in iambic senarii form only a small portion of the play, compared with other plays. The whole of lines 127–745 is accompanied by or sung to music.

Like the Bacchides and Miles Gloriosus, the plot of Asinaria has a symmetrical structure:

• Demaenetus presents the problem :*Diabolus is thwarted ::*Libanus and Leonida have fun :::*Philaenium remains constant ::*Libanus and Leonida have fun :*Diabolus is thwarted
• Demaenetus is humiliated

The metrical scheme of the play is as follows:

Looking for money

• Prologue; Act 1.1 (1–126): iambic senarii (124 lines)

• Act 1.2 (127–137): mainly cretic (11 lines)

• Act 1.2 (cont.)–2.2 (138–380): trochaic septenarii (240 lines)

The trick works

• Act 2.3 (381–503): iambic septenarii (122 lines)

• Act 3.1 (504–544): trochaic septenarii (40 lines)

• Act 3.2–3.3 (545–745): iambic septenarii (200 lines)

Demaenetus is caught out

• Act 4.1–4.2 (746–827): iambic senarii (82 lines)

• Act 5.1 (830–850): iambic octonarii (type b) (19 lines)

• Act 5.2 (851–947): trochaic septenarii (97 lines)

Analysis

Asinaria belongs to the genre called fabula palliata, of Greek plays adapted for a Roman audience. This has caused a debate over Plautus' originality and creativity arguing contamination, while others point out that neither is redundant, or conflictual with Plautus' dramatic intentions.

Characters

The initial reversal of roles comes from Demenetus and his wife Artemona, as he is the dependent on her dowry and she implicitly plays the strict paterfamilias. Classically, the paterfamilias is the obstacle in his dependent son's relationship, while Plautus makes Artemona the obstacle in front of Demenetus' desire for Philaenium. Moreover, by introducing Demenetus in the role of a rival, Plautus disturbs the classical paradigm of the love triangle present in Miles Gloriosus (play) and Pseudolus.

Plautus takes great care to enrich his characters beyond their obvious roles. In this play, Demenetus is ostensibly cast as a senex, but he denies both the audience and his slave Libanus in their expectations to get angry over his son's affair with a prostitute. The play takes an unexpected turn with his stipulation to spend one night with Philaenium. Thus Demenetus goes beyond both the strict father and the avuncular role of senex and becomes involved in a love triangle.

Themes

The role of parents in their children's lives is represented through various perspectives in the play. With Artemona as the obstacle, Demaenetus as the dependent is cast in a traditionally adolescent role. His relation with Argyrippus is then set against Cleareta's with her daughter, both having lost the respect traditionally due to this position, one by a lack of funds and the second by her occupation. They are comparable in their appeal of filial piety to indulge their vices of lust and greed, respectively. The result is a materialistic abuse of conventional rules.

The power of money is apparent in the now familiar theme of moral corruption as Demaenetus is further infantilized by his lack of moral strength. Moreover, Argyrippus and Philaenium are humiliated and made to beg and offer favours to Leonida and Libanus for the twenty minae. The theme of materialism pervades the play, turning Asinaria into a defense of the ethical structure of the ancient patriarchal family than against money and passion.

Translations

• Translation by Henry Thomas Riley, published in 1852
• Translation by Paul Nixon, published in 1916
• Translation by John Henderson, published in 2006
• Translation by Wolfang de Melo, published in 2011

References

References

1. W. de Melo (2010), ''The Comedy of Asses'' (Loeb edition), p. 137.
2. See also J. Porter (2019), ''Plautus' Asinaria: A Grammatical Commentary for Students'', p. 4, for other theories. (Available online.)
3. Merrill, F. R. (1972). ''Titi Macci Plauti Mostellaria'', p. xix.
4. Moore, Timothy J. (2012), ''Music in Roman Comedy''. Cambridge University Press, pp. 237-42, 253-8, 305-8, 367-71.
5. Marshall, C. W. (2006). ''The Stagecraft of Roman Comedy'' (Cambridge University Press), p. 217.
6. T. J. Moore (2012), ''Music in Roman Comedy'', p. 16.
7. Clark, John R. (1976). [https://www.jstor.org/stable/284091 "Structure and Symmetry in the ''Bacchides'' of Plautus"]. ''Transactions of the American Philological Association'' (1974-2014), Vol. 106, pp. 85–96.
8. Maurice, Lisa (2007). [https://www.jstor.org/stable/27736151 "Structure and Stagecraft in Plautus' ''Miles Gloriosus''"]. ''Mnemosyne'', Fourth Series, Vol. 60, Fasc. 3, pp. 407–426.
9. Demophilus is unknown, unless it is a manuscript error for [[Diphilus]].
10. The manuscripts have the name Argyrippus, but their testimony on names cannot be relied on, and most modern editors ascribe the lines to Diabolus: J. Porter, ''Plautus' Asinaria'', commentary, p. 65.
11. Type a, in [[Cesare Questa]]'s classification, is the type with a central dieresis or break; type b has a break after the ninth element: Questa, Cesare (2007). ''La Metrica di Plauto e Terenzio''. Urbino: Quattro Venti, p. 349.
12. Konstan, D. (1978). Plot and Theme in Plautus' Asinaria. ''The Classical Journal'', 73(3), pp.215-221.
13. (1852). "The Comedies of Plautus, Vol. I". Henry G. Bohn.
14. (1916). "Plautus, Vol. I: Amphitryon; The Comedy of Asses; The Pot of Gold; The Two Bacchises; The Captives". William Heinemann.
15. (2006). "Asinaria: The One about the Asses". University of Wisconsin Press.
16. (2011). "Plautus, Vol. I: Amphitryon; The Comedy of Asses; The Pot of Gold; The Two Bacchises; The Captives". Harvard University Press.