Mercator (play)

Characters

• Charinus—a young merchant
• Acanthio—Charinus's slave
• Demipho—father of Charinus, also a merchant
• Lysimachus—friend of Demipho
• Eutychus—friend of Charinus, son of Lysimachus
• Pasicompsa—lover and slave of Charinus
• Dorippa—wife of Lysimachus
• Syra—slave of Lysimachus's family
• A cook
• Other slaves

Plot

The play takes place in a street in Athens. In the back wall of the stage there are two houses, that of Demipho and his son Charinus, and that of his friend Lysimachus and his son Eutychus. There is a shrine or altar of Apollo near Lysimachus's house.

Prologue

Charinus explains that he had taken after his father's example and decided to become a merchant. He had much success in Rhodes and there fell in love with a slave woman named Pasicompsa. He purchased Pasicompsa and brought her with him to his home in Athens where he now ponders how to prevent his father from discovering his love.

Act I

Acanthio runs to Charinus from the harbor to deliver news that Demipho has been to the ship and seen Pasicompsa. To cover for Charinus, Acanthio had convinced Demipho that Charinus had purchased Pasicompsa to serve as a maid for Charinus's mother. He further tells Charinus that Demipho was flirting with Pasicompsa. Charinus decides he must go to the harbor at once.

Act II

Returning from the harbor, Demipho enters and claims that he has had a dream in which he entrusted a prize goat to his monkey friend, but the monkey lost the goat to a younger goat. He admits to his neighbor Lysimachus that he has fallen in love and feels youthful. Lysimachus leaves and Charinus enters, lamenting his predicament. Demipho then tells Charinus that Pasicompsa is too fine to be a maid and instead insists Pasicompsa be sold. The two begin a bidding war, each claiming to represent imaginary clients. Demipho rejects his son's offers and turns Charinus away from the harbor. When Charinus exits, Demipho reveals his plan to have Lysimachus purchase Pasicompsa on Demipho's behalf. Separately, Charinus sends Eutychus to purchase Pasicompsa himself.

Act III

Lysimachus buys Pasicompsa and is bringing her to Lysimachus's home. He tells her he bought her on behalf of her own master, and Pasicompsa is pleased, believing Lysimachus to mean Charinus. After they exit into Lysimachus's house, Demipho enters and attempts to justify what he believes he has earned with age. Lysimachus returns to Demipho and tells him he must find Pasicompsa elsewhere to stay before Dorippa returns from the countryside. For the time being, the two exit to find a cook for a feast to be held that night. Shortly after, Eutychus tells Charinus that he was too late and Pasicompsa was sold to an unknown buyer. Heartbroken, Charinus decides he will leave Athens, but Eutychus becomes determined to find Pasicompsa.

Act IV

Dorippa returns home from the countryside earlier than expected, and she and Syra (whose name is meant to imply her Syrian ethnicity) discover Pasicompsa in the house, believing her to be Lysimachus's mistress. Lysimachus returns home and tries to explain to his wife that he is only looking after Pasicompsa temporarily, but when the cook hired for that night's feast arrives, Dorippa becomes only more sure of her suspicions and exits into her house crying. Lysimachus dismisses the cook and follows after his wife. Eutychus returns home to find Syra outside, who urges him inside to see his father's mistress. Syra laments the inequalities between the unfaithfulness of men and women.

Act V

Eutychus finds Charinus just as Charinus is about to leave Athens and tells him that he has found Pasicompsa in Eutychus's own home. Charinus exits into the home, and Eutychus remains outside to confront Lysimachus and Demipho. He tells them Pasicompsa was really Charinus's lover and that Demipho should be ashamed for trying to take her for himself. He proposes a law that old men should not interfere in the passionate love of young men, and the three exit into Lysimachus's house.

Metrical structure

The scheme of Mercator is a simple one. If A = iambic senarii, B = other metres, and C = trochaic septenarii, the scheme is as follows: One way of dividing it would be as follows: :ABC, ABC, BAC, AC

Timothy Moore, however, argues that the scene with Pasicompsa (499–543), though only 46 lines, is a metrical unit by itself; he therefore divides the play as follows: :ABC, ABC, B, AC, AC

The Mercator is thought to follow Philemon's original five-act Greek play from which it is adapted fairly closely, although one scholar has suggested that the first act in the Greek play might have ended at 334 rather than 224. Greek plays had a "chorus" or dance interlude between acts to represent the passing of time. Latin plays had no chorus, and the action was continuous. At Pseudolus 573, the tibia-player who was on stage throughout the play played some music to cover the gap; though it is not certain whether this happened regularly.

The "A" passages, in iambic senarii, are believed to have been recited without music. This metre is used for the introduction to the play and also for most of the scenes where the old men are involved. The "B" passages appear to have been songs. In this play various metres are used for the songs: iambic octonarii, mixed with trochaic septenarii and other metres, for the "running slave" scene; mainly bacchiac, but mixed with anapaestic quaternarii and trochaic octonarii, for Charinus's lament; and iambic septenarii, a metre often used in scenes with prostitutes, for the scene with Pasicompsa. The "C" passages in trochaic septenarii may also have been sung; certainly they were accompanied by music. They tend to round off the episodes in the play.

Demipho sees his son's girlfriend

• Act 1.1 (1–110): iambic senarii (109 lines)

• Act 1.2 (111–116): mixed (mostly iambic octonarii but with some tr7, ia4, ia6) (30 lines)

• Act 1.2 (141–224): trochaic septenarii (82 lines)

Demipho plots to have the girl for himself

• Act 2.1–2.2 (225–334): iambic senarii (108 lines)

• Act 2.3 (335–363): polymetric song (ba, an, tr8) (29 lines)

• Act 2.3–2.4 (364–498): trochaic septenarii (130 lines)

Lysimachus brings Pasicompsa

• Act 3.1–3.2 (499–543): (ia7) (46 lines)

• Act 3.2–3.3 (544–587): iambic senarii (44 lines)

• Act 3.4 (588–666): trochaic septenarii (73 lines)

Dorippa discovers the girl

• Act 4.1–4.6 (667–829): iambic senarii (161 lines)

• Act 5.1–5.4 (830–1026): trochaic septenarii (198 lines)

Analysis and Criticism

The play makes use of many stock characters, with which theatergoers would have been familiar. Charinus plays the role of the adulescens amator, Demipho is the senex, and Pasicompsa is the meretrix. Other familiar characters are the "running slave" (Acanthio), the old nurse (Syra), the hired cook, the indignant wife (Dorippa), and the helpful friend (sodalis opitulator) (Lysimachus and Eutychus).

The plot is relatively straightforward and is most easily compared to that of the Casina, which also revolves around a conflict between the adulescens and senex.

The title of the play may refer to either Charinus or Demipho, as both turn out to be successful merchants. It is possible that this ambiguity was intentional. Their mercantile backgrounds seem to carry over into the rest of their lives; in many lines, Charinus and Demipho speak about Pasicompsa in language characterizing her as a commodity to be traded, rather than as a person.

Pasicompsa, whose name translates to "pretty in every respect," is the central point of contention in the play, though she is only onstage for fewer than 5% of the play's lines. She has little control over her own fate, which is dictated by men. Even though Charinus appears to be in love with her, Pasicompsa's non-citizen status means she and Charinus would never be allowed to marry, thus destining Pasicompsa to a life of being passed between owners.

Translations

• Henry Thomas Riley, 1912: Mercator full text
• Paul Nixon, 1916–38
• Charles T. Murphy, 1942
• George Garrett, 1995
• Wolfang de Melo, 2011

References

References

1. Buck, Charles Henry Jr.. (1938). "A chronology of the plays of Plautus".
2. (February 2010). "''servitus, sudor, sitis'': Syra in ''Mercator'' and Syrian Slave Stereotyping in Plautus". New England Classical Journal.
3. Timothy Moore calls this the "ABC succession", where A = iambic senarii, B = other metres, C = trochaic septenarii: Moore, Timothy J. (2012), ''Music in Roman Comedy''. Cambridge University Press, pp. 237–42, 253–8, 305–8, 367–71.
4. Moore, T. J. (2010). "A Music Merchant: The ''Cantica'' of ''Mercator''. ''New England Classical Journal'', 37.1, p. 17.
5. De Melo (2011), ''The Merchant'' (Loeb Classical Library vol. 163), pp. 7–8.
6. Moore, T. J. (2012) ''Music in Roman Comedy'', pp. 17–19.
7. Moore points out that the repeated juxtaposition of the slow bacchiac metre and the rapid trochaic is striking and very unusual in Roman comedy: Moore, T. J. (2010). "A Music Merchant: The ''Cantica'' of ''Mercator''. ''New England Classical Journal'', 37.1; p. 26.
8. Moore, T. J. (2012), ''Music in Roman Comedy'', pp. 102–103.
9. For details of the metres see [https://romancomedy.wustl.edu/ Database by Timothy J. Moore of ''The Meters of Roman Comedy''] Washington University in St Louis.
10. Dunsch, Boris. (2000). "Plautus' ''Mercator'' A Commentary".
11. Hired cooks are also found in ''Pseudolus'', ''Casina'', and ''Aulularia''.
12. On the "helpful friend", see: Maurice, Lisa (2003). [http://www.jstor.org/stable/4433428 "''Amici et sodales'': An Examination of a Double Motif in Plautus"]. ''Mnemosyne'', Fourth Series, Vol. 56, Fasc. 2 (2003), pp. 164–193.
13. Wieand, Helen E.. (1920). "Deception in Plautus". The Gorham Press.
14. (February 2010). "Opening Negotiations: The Work of the Prologue to Plautus's ''Mercator''". New England Classical Journal.
15. (February 2010). "What the Cook Knew: The ''Cocus'' in Plautus' ''Mercator''". New England Classical Journal.
16. Plautus, Titus Maccius. (2011). "Mercator". Harvard University Press.
17. (February 2010). "Trafficking Pasicompsa: A Courtesan's Travels and Travails in Plautus' ''Mercator''". New England Classical Journal.
18. Plautus. (2011). "Plautus, Vol III: The Merchant; The Braggart Soldier; The Ghost; The Persian". Loeb Classical Library.