Erich Segal

Roman Laughter:The Comedy of Plautus

Oxford:OxfordUniversity Press, 1987

Published Reviews (in English):

·Houyn Classical World62(1968)140

·CollingePhoenix24(1970)182-184

·Halphen Classical Journal65(1970)234-236 

·O’NeilClassical Philology 66(1971) 62-64

·RichardsonAmerican Journal of Philology 91 (1970) 370-372

·Gratwick Classical Review20(1970) 333-335

Summary

Chapter I	“O Tempora, O Mos Maiorum”(15-41) The Roman code of pietas is best characterized by Virgil’s Aeneas.He is dedicated to the gods, his family, and to his country.Plautus often defies this code of virtue with his characters.For example, Plautus creates much animosity within the family. There is much disrespect shown toward fathers and tension is ever increasing between husband and his wife.Plautus also uses blasphemy to invoke laughter from his audience.He is also sure to mention that his comedies take place in Athens.Doing so allows him to mock Roman culture.
Chapter II	“From Forum to Festival” (42-69) Horace’s idea of a typical Roman day is contrasted with Plautus’.Horace’s ideal includes rising early, handling money wisely, respecting elders, while instilling these values into the next generation.Plautus’ days stand in direct opposition to this.In his plays there is a constant struggle between business and pleasure.Pleasure inevitably prevails.This struggle is embodied in the desire for a mistress rather than a wife.Another example is Plautus’ mention of forbidden food.Food such as abdomina are eaten despite laws against such meat.When one considers the young lovers of Plautus’ plays, one can see that the focus is on the pleasure of love rather than monitorial matters such as a dowry.Plautus creates comedy by having one character indulge himself at another’s expense.
Chapter III	“Puritans, Principles, Pleasures”(70-98)In Plautine comedy, there always seems to be a spoilsport so consumed with the burden of business that he completely disregards the notion of play.These characters are referred to as agelasts, meaning “non-laughers.”The agelast is unnatural .He gives in not once to pleasure.They are portrayed as greedy and stingy individuals.The most common example of agelasts are the “lenos,” or pimps.Another character commonly portrayed with agelastic qualities is the soldiers characterized by their vanity.All of these misers tend to stand in the way of the love story at hand.
Chapter IV	“From Slavery to Freedom”(99-136) One basic element of comedy is inversion of roles.Plautus in one instance reduces the gods themselves to mere actors, the lowest form of life.Plautine slaves tend to be cleverer than their masters and eventually form this inverted relationship.There are two types of reversal in Plautus’ plays.The first is the master who desperately needs help from his slaves and voluntarily places himself at the will of the slave to receive such help.The second type of inversion is one in which a young man renders all power unto the slave yet those from an older generation, such as fathers, refuse to acknowledge the slave’s position of authority.Another type of this relationship is between commoners and senators or military leaders.Another reversal slaves often invoke is the comparison of themselvesto Homeric heros.Plautus succeeds in creating comic events in which the lowly, humble servants are placed on a pedestal.
Chapter V	“From Freedom to Slavery”(137-169)Plautus mentions several different methods of torture in his plays.Slaves often continue their mischief stating that it is their own back they are risking.Plautus’ slaves are great because of their disregard for punishments.Although punishments are discussed in the comedies, they are not carried through.Perhaps this is because Roman audiences preferred it this way.However, pimps and swaggers are punished quite harshly.Slaves are offered freedom frequently, yet they rarely take advantage of this offer.Finally, at the end of Plautus’ plays, all inverted relationships must return to normal and Roman life as it truly is continues.