Truculentus

Plot

The play mostly revolves around the interactions between the courtesan Phronesium, her maid Astaphium, and three young men. Phronesium, the main prostitute, relentlessly persuades every male she encounters to give her all their money, by means of trickery or more often by simple flirtation. The three men are more than happy to comply with her wishes, although they complain frequently of their regrettable situation. They are essentially under her spell, and are completely unable or unwilling to do anything to break free from it. Her alluring outward façade masks her cold and greedy true nature.

Diniarchus, the young man most often at her house, has almost entirely lost his wealth to her by the play's beginning. By this point, he's all too familiar with who she really is and the games she plays. He even assists her with deceiving other men, but nonetheless continues to be her victim as well.

The main deception is played on the soldier Stratophanes. He had lived with Phronesium prior to the play's beginning, and before leaving the city had made many promises to her about what she'd have if they were to start a family together. Phronesium decides to borrow someone's baby and pretends she has just given birth to it, claiming when the soldier returns that it is his. He begins lavishing her with gifts; however, these are not enough for her insatiable appetite. She attempts to gain more by making him jealous, feigning excitement over the gifts of Diniarchus, and later pretending to be in love with a third man, Strabax, her rather dimwitted farming neighbor.

Throughout the play, Phronesium's maid Astaphium (who is more of a protégée to Phronesium than a maid) attempts to seduce the men as well. Almost as skilled in the art of seduction as her mentor, she works her feminine charms on several of them, and is even successful in charming the only one of them who resisted, Truculentus.

The slave from whom the play gets its name, Truculentus, attempts to protect his dimwitted master Strabax from wasting the family's fortune at the whorehouse. Although he puts up a good fight at first, some chinks in his armor are soon revealed as he can't help but stare at Astaphium during their encounter. Later he drops all opposition and joins the rest of the men in becoming completely helpless to their control.

The play is brought to a close when a gentleman called Callicles arrives, looking for the baby his daughter had as a result of being raped. Pointed out by Callicles' maid, Diniarchus confesses that he is the father. He agrees to a shotgun wedding with the mother, and goes to get the baby back from Phronesium. However, Phronesium gets her way as always and keeps the baby until she decides she no longer needs it. Diniarchus, as well as the other men, have learned nothing by the play's end.

Metrical scheme

The five acts into which Plautus's plays are traditionally divided are believed to date from Renaissance times and do not go back to Plautus himself. However, the metrical schemes of the plays often indicate how they can be divided into different sections. A common pattern is for a section to begin with iambic senarii, then a passage or passages in other metres, rounded off by a passage in trochaic septenarii. Timothy Moore calls this the "ABC succession". It appears that the "A" sections (iambic senarii) were unaccompanied, the others sung or recited to the music of a pair of pipes known as tībiae.

According to this scheme, the play Truculentus can be divided into five metrical sections, which correspond roughly but not exactly to the traditional acts. There is a symmetrical pattern, with the first and fifth sections about Diniarchus, the second and fourth about Strabax and his slave Truculentus, while the middle section is about the tricking of Stratophanes.

Although the music which accompanied the words is now lost, it is clear that the different metres had different qualities. For example, iambic septenarii are often associated with courtesans. In this play the majority of the 95 iambic septenarii lines are sung by Astaphium, and the remainder by Diniarchus in conversation with her.

The overall scheme, taking A = iambic senarii, B = other metres, C = trochaic septenarii, is as follows: :ABBBBB(A)C, BABC, ABBC, BAC, BC

As frequently occurs in Plautus's comedies, the third of the five sections is taken up with a trick carried out to obtain money. In this play the trickster is Phronesium, who dresses up in maternity clothes and uses a baby as a prop in order to deceive the soldier Stratophanes.

Diniarchus's troubles

• Prologue; Act 1.1 (lines 1–94): iambic senarii (21 lines + c.76 lines)

• Act 1.2 (95–129): polymetric song (35 lines)

• Act 1.2 (cont.) (130–208): iambic septenarii (80 lines)

• Act 2.1 (209–212): polymetric song (4 lines)

• Act 2.1 (cont.) (213–216): iambic octonarii (4 lines)

• Act 2.1 (cont.) (217–223): iambic septenarii (7 lines)

• Act 2.1 (cont.) (224–227): iambic senarii (?4 lines)

• Act 2.1 (cont.): (228–235): trochaic septenarii (8 lines)

Astaphium visits Strabax

• Act 2.1 (cont.): (237–240): iambic septenarii (4 lines)

• Act 2.1 (cont.) (241–247, 250): iambic senarii (8 lines)

• Act 2.1 (cont.) (251-255): iambic septenarii (4 lines)

• Act 2.2 (256-321): trochaic septenarii (66 lines)

Phronesium tricks Stratophanes

• Act 2.3–2.4 (322-447): iambic senarii (126 lines)

• Act 2.5: (448–464): anapaestic (7 lines), bacchiac (10 lines)

• Act 2.5 (cont.)–2.6 (465-550): trochaic septenarii (85 lines)

Strabax is victorious

• Act 2.7 (551-630): polymetric song (bacchiac, anapaestic, aeolics, iambic-trochaic, cretic) (80 lines)

• Act 2.8–Act 3.2 (631-698): iambic senarii (67 lines)

• Act 4.1 (699-710): trochaic septenarii (12 lines)

Diniarchus learns the truth

• Act 4.2 (711-729): polymetric song (anapaests, bacchiac, iambic-trochaic) (19 lines)

• Act 4.2 (cont.)–Act 5 (730-967): trochaic septenarii (239 lines)

Translations

• Henry Thomas Riley, 1912: full text
• Paul Nixon, 1916–38
• George E. Duckworth, 1942
• James Tatum, 1983
• David M. Christenson, 2010 https://web.archive.org/web/20110715132124/http://www.pullins.com/Books/03195RomanComedy.htm
• Wolfang de Melo, 2013

References

References

1. W. de Melo (2011), ''Plautus'' vol. 5 (Loeb edition), p. 261.
2. Merrill, F. R. (1972). ''Titi Macci Plauti Mostellaria'', p. xix.
3. Moore, Timothy J. (2012), ''Music in Roman Comedy''. Cambridge University Press, pp. 237-42, 253-8, 305-8, 367-71.
4. Moore, Timothy J. (2012), ''Music in Roman Comedy''. Cambridge University Press, pp. 185, 202.
5. For details of the metres used in each line, see the [http://romancomedy.wustl.edu/ Database by Timothy J. Moore of ''The Meters of Roman Comedy''], Washington University in St Louis.
6. But Leo and Questa delete 224–226.
7. Line 236 (an iambic octonarius) is omitted by Questa and other editors.
8. The names of characters in Plautus's plays are sometimes unclear, since the names were missing from the scene headings in both the A and P group of manuscripts: see Lindsay, W. M. (1900), ''Captivi'', p. 8. Here the slave is addressed as Geta in line 577, but as Cyamus in line 702.
9. Plautus. (2013). "Plautus, Vol V: Stichus; Three-Dollar Day; Truculentus; The Tale of a Traveling-Bag". Loeb Classical Library.