Plautus Asinaria A Grammatical Commentary for Students

Transcription

1 Plautus Asinaria A Grammatical Commentary for Students John Porter University of Saskatchewan 2018 A Work in Progress!

2 Dedicated to Ann, Jules, and Kate

3 Table of Contents Preliminary Note User s Note Introduction to The Asinaria 1 Text of Asinaria 5 Grammatical Commentary on Asinaria 33 Editions, Translations, and Commentaries 33 Frequently Cited Lexical/Grammatical Aids Available On-line or in pdf Format 34 Other Lexical/Grammatical Aids 34 General Introductions to/studies of Plautus 35 The Stage of Plautus 35 Interpretations of Asinaria 35 Authorship 35 Title 35 Greek Original 36 Date 37 Principal Manuscripts 38 Dramatis Personae 38 Mute Characters 39 Other Important Characters (mentioned but never appearing on stage) 39 The Assignment of Roles 40 Setting 41 GRAMMATICAL COMMENTARY 47 Appendix I: Principal Differences from the Text of de Melo 188 Appendix II: Mapping Asinaria: Entrances and Exits in the Play 189 Common Features of Plautus Language 191 A Brief Introduction to the Language of Plautus (by Bret Mulligan, Haverford College) 193 Overview of Select Grammatical Terms and Constructions; Figures of Speech 196 Metrical Matters 211 Meters Employed in Asinaria 211 Glossary of Metrical Terms 213 General Notes on Plautine Resolutions and Substitutions 215 Ictus and Accent: Some General Reflections 217 The Performance of Latin Verse: Further Resources 220 Some Particular Features of Plautus Prosody 221 Some Commonly Cited Metrical Features ( Laws ) 224 The Meters of Plautus Asinaria: Sample Passages 225 Sigla 225 Iambic Senarii (Acrostic Metrical Hypothesis and Asin. 1-59) 225 Iambic Septenarii (Asin ) 228 Iambic Octonarii (Asin ) 229 Trochaic Septenarii (Asin ) 230 Abbreviations 231 Bibliography 235 Illustrations 243 Latin-English Glossary 253 v viii Notice: This material is the copyrighted property of the authors and should not be reproduced in any format without their express written permission.

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5 Preliminary Note The Asinaria ( Comedy of the Asses ) deserves to be better known than it is. While it cannot claim to be Plautus greatest play, it displays a number of interesting features, particularly in its treatment of stock scenes and characters, and offers some truly hilarious moments. From the point of view of the beginning Latin student, it has the additional virtue of presenting a relatively straightforward text, with few lyrical passages (only one, in fact, of the most rudimentary form) and relatively few textual difficulties to sort through. It is, in effect, boiled-down Plautus. This edition is intended to assist senior students who are reading Plautus for the first time. It is very much a bare-bones commentary that focuses on the play itself. Thus I have omitted the standard general introduction to Plautus, his times, Roman comedy, the stage of Plautus, etc., useful accounts of which are available in a variety of sources (some of which I point to in my initial bibliographic notice). The emphasis is on getting students into the text itself by providing them with a detailed account of grammatical constructions, forms, and idioms in a manner that will help them to translate the play and, at the same time, develop their ability to read Latin accurately and analytically. It strives, in particular, to help its readers become familiar with Plautine diction, orthography, and word-order, and to encourage the use of a grammar (in this case, Allen and Greenough) in the study of a Latin text. 1 A general introduction to the meters of the play is provided as well, but with the knowledge that helping students to develop a firm command of that subject requires a great deal more than I present here. The same holds for the historical features of Plautus language: where I will quite happily refer to a particular form as the archaic equivalent of a form with which the student is familiar, or claim that suchand-such a form equals a form that he/she memorized in first-year Latin, the more advanced commentaries set out a much more complex, and interesting, picture; I have generally ignored such issues, or settled for a reference to a more detailed discussion in de Melo 2007a or elsewhere. And while I give due attention to the differences between Plautus syntax and that of the standard classical prose authors, I attempt, where possible, to make sense of Plautus language in terms that recall the basic rules and concepts that the student learned in first- and second-year Latin. Throughout, I have attempted to habituate students in a useful way, I hope to some of the technical language employed in scholarly discussions of, e.g., grammar, syntax, and metrics. My intention in this is not to display a love to parts, but to supply students with skills and resources that they will find useful as they proceed farther in their studies and begin to delve into scholarly treatments of such matters in more detail. 1 I have also included references to the relevant sections of Lindsay and (more sparingly) Bennett passim: dated as those works are, and difficult for the modern student to work through, the material they bring together and the analyses they offer remain quite useful. v

6 The notes privilege those sources that are available on line, in some fashion, and that are therefore accessible to anyone with an Internet connection and/or mobile device that can employ apps. They also, to a certain extent, attempt to privilege sources in English over those in other languages. Thus, e.g., I try to cite Lewis and Short much more commonly than the Oxford Latin Dictionary, and (on basic points of syntax) Gray more often than Hurka. In a similar vein, I attempt to highlight more recent scholarly studies of Plautus, in English, in the hope of encouraging students to explore recent work in the field, but have often been led to cite older works, many in other languages, 2 in order to direct more advanced students to useful resources and/or provide a sense of the history of a specific issue. The text employed here follows de Melo in most respects, with the occasional divergence (App. I). The general discussions of Plautus language and meters that follow the commentary draw extensively on the work of others and make no claim to originality. Particular thanks are owed to Professor Bret Mulligan of Haverford College for permission to include his quite useful overview of characteristic features of Plautus language. But I have also incorporated a good amount of material in these sections from Gray s commentary (now in the public domain) and relied heavily on the work of MacCary and Willcock, Halporn, Hammond, et al. The glossary relies heavily on the on-line edition of Lewis and Short cited in the commentary and on Whitaker s WORDS application. This is, in the end, a commentary that its readers should quickly outgrow: the majority of those students who are ready to approach Plautus are, in fact, unlikely to need assistance with all of the grammatical constructions that it documents. But, in the desire to reach the broadest possible audience, and not being able to predict what sections of the text a reader might choose to examine, I have attempted to be consistent in my approach throughout and to foster, even in the more advanced students, an appreciation of the need to be cognizant of the grammatical structures that inform even relatively straightforward passages. Where I have erred in this regard, it is in an attempt to avoid that age-old complaint that one hears in regard to every student commentary: that the commentator has remarked on everything in a particular passage except the question that the student needed answered. 3 Two points should be addressed in particular: 2 Citations of scholarly works in languages other than English are marked with a. (Not included in this category: standard commentaries and reference works cited by author s name alone or via an abbreviation.) 3 I cannot say just how old this complaint might be, but it certainly reaches back to Donne s day: he impaires / His writings, and (unwatch d) leaves out, ses heires / As slily as any Commenter goes by / Hard words, or sense (Satyre 2, lines ). vi

7 1) In the commentary, I frequently present Plautus words rearranged into a simplified prosaic word order, in the belief that this in itself will solve many of the questions that might have stumped my readers. This method has been criticized of late as distancing the student from the text, but I have never understood this criticism. Both as a student and now as a practicing academic, I have never studied a text by reading it only once: one gets to know a text, and an author, by rereading passages many times, each time with a slightly different and (one hopes) more sophisticated sense of the various nuances. A more prosaic word-order allows first-time readers who have mastered the essentials of Latin to puzzle out the meaning of a passage while still engaging directly with Plautus words and thinking in Latin. It also provides them with a direct means of contrasting Plautus word-order with that of standard or, in some cases, Anglicized prose, and to begin to develop a conscious awareness of the typical sorts of dislocations that he employs, and of their poetic/rhetorical effect. Not every reader will benefit from this type of assistance, or require it, but this points to one of the first truths that we learn as language instructors: each individual experiences language differently, with different degrees of sophistication, and learns in ways suited to their mental landscape. Those readers who simply wish to know whether, e.g., animo is dative or ablative, and why, can skip the initial rephrasing to find such information in the subsequent grammatical analysis. 2) For the sake of economy of reference, I have retained the traditional division into acts and scenes. I do this in full awareness that such divisions impose a structure on the play that is not necessarily related to Plautus dramatic conception ( Deufert 2002: ) or the original audience s experience of the work in performance. 4 It is much easier, however, to allude to II.iv than to the scene at lines 407ff., while a reference to 407ff. tout court is ambiguous and continuous references to ponderous. I have rejected the more recent trend to number all of the scenes sequentially (I-XIV) for a similar reason: unlike the older division into acts and scenes, this newer system provides no mental map of the action and thus is much less useful in a general discussion. Few of us lecture on line 5,879 of Homer s Iliad; I would argue for the same indulgence for Plautus. Finally, I wish to thank the many people who have provided help and advice over the years: Toph Marshall and Niall Slater, for their useful comments on matters in the introduction and, in particular, those having to do with staging; students in my LATN 400 classes, who test-drove a prototype; and, above all, my family, for putting up with the hours I was absent or (worse) home but struggling to make sense of Plautus Latin and my own prose. 4 See, however, p. 39xx and ad ; cf. Porter vii

8 User s Note This commentary has four principal purposes, the last two of which set it somewhat apart from other commentaries of this sort. In the first instance, it is intended to help students to translate Plautus play and appreciate its particular features, as well as some of the puzzles that it presents. It also focuses on assisting students who are new to Plautus to become familiar with the peculiar features of his Latin, and with the particular challenges involved in translating a comic dramatic text. In addition, it aims to encourage students to consciously articulate the grammatical structures of passages that they are translating. It takes many years to develop an intuitive feel for Latin, and even then the main recourse for any reader, when faced with a challenging passage, is to strip it down to its basic components. For newer readers, this ability to recognize and weigh the different syntactical possibilities presented by a passage is essential, and can only be acquired by constant and assiduous practice. One does not translate the Latin subjunctive, for example by having a feel for how it works, but by developing a rigorously mastered understanding of the various ways and the particular contexts in which it is employed, and the appropriate prompts for which to look. The same holds for the deployment of the acc. + inf. construction, the various uses of the ablative case, and so forth. The commentary urges students to slow down and consciously note when and how different grammatical constructions are employed, even in instances where they are not likely to cause confusion. Finally, the commentary encourages students to become familiar with the use of a standard Latin grammar (Allen and Greenough). The ability to employ a Latin grammar is an acquired skill. One first has to be able to find the information that one is seeking, then decipher just what the grammar is saying. My hope is that my readers will regularly turn to the discussion of particular points in A&G and thereby develop a detailed familiarity both with the general layout of that text (which adopts a format that is standard for many Greek and Latin grammars) and the peculiar argot of Latin grammars and that they will do this for grammatical points that seem familiar as well as those that are more challenging. (The best way to learn to read a grammar is to consult it on points that you understand. This is often a good way, as well, of expanding your comprehension of points that you thought familiar.) The goal is to produce a reader who knows what information such a grammar has to offer, and how to find and decipher it and one whose overall Latinity has benefitted as a result. There is, however, more than one method by which to think your way into various constructions, and the discussion in A&G will not always map cleanly onto the conceptual framework employed in today s typical first-year Latin text. To provide some basic assistance, I have included a brief overview of select viii

9 grammatical terms and constructions, as well as figures of speech, to help readers review some basic elements of Latin syntax and expression that are of particular importance. 5 Quis leget haec? Vel duo vel nemo. I am well aware that the above approach will not be to everyone s taste, and of how often I treat of matters that will be of use only to the beginning student. Many of my readers will find much here to skip over, while many instructors are likely to find my labeling of constructions hide-bound, superfluous, or insufficiently precise. As students, we encounter various ways of approaching the study of Latin, in the different instructors with whom we study and the different texts we employ. My hope is that this commentary will add to that repertoire in providing my readers with a particular perspective and assisting them to develop a specific set of skills and habits on which they can build in their future studies. 5 The relevant constructions and figures are flagged in the commentary via an asterisk (*). ix

10 Introduction to The Asinaria The plot of Asinaria follows a familiar arc, but introduces a number of surprising twists along the way. A young Athenian of respectable family but limited financial resources (Argyrippus) has fallen in love with a youthful prostitute next door named Philaenium who loves him in return but lives under the control of a ruthless lena (procuress) named Cleareta. The latter leases out her daughter s company according to a first-to-pay, first-served principle a practice that threatens the happiness of the young couple, particularly when a rival lover (Diabolus) appears on the scene. As often in these plays, Argyrippus enjoys the support of a loyal but devious household slave (Libanus) who has promised to assist him in bilking his father Demaenetus of the twenty minae necessary to purchase exclusive access to Philaenium s company for one year. As the play opens, Libanus is confronted by Demaenetus, who has been told of his son s love-affair and Libanus promise. Rather than opposing the scheme, Demaenetus voices his enthusiastic support, noting that he would rather be loved by his son than feared, and recalling that his own father had assisted him in such affairs when he was young. Unfortunately, Demaenetus himself lacks the required resources. As it turns out, his wife Artemona (whom he married for her imposing dowry) keeps strict control over the household finances through her personal slave Saurea, leaving Demaenetus who is clearly intimidated by his wife s authority in much the same position as his son. Demaenetus encourages Libanus to find some way to supply Argyrippus with the necessary funds and the two part company. There follows an angry confrontation between a young man and Cleareta. The young man opens with a comic aria (the play s only lyrical passage) in which he complains bitterly of having raised Cleareta and her daughter out of poverty through his earlier patronage, only to find himself scorned now that he is out of pocket. Cleareta responds by setting out the heartlessly mercantile principles according to which the procuress first attracts her clients and then bleeds them dry (Rosivach 1998). Where the young man invokes aristocratic notions of mutual obligation and reciprocity, Cleareta makes it clear that gratitude and friendly feelings can spell only ruin for a lena: the daily bills that she has to pay compel her to operate according to a stringent rule of cash-for-services. Having obtained a general promise that he can count on Philaenium s company if he is the first to present the required sum, the young man departs for the forum, hoping to dun his friends for the money. The manuscript tradition identifies this young man as Argyrippus, but most editors now assign these scenes to Argyrippus rival, Diabolus. (A similar confusion in the characters identities can be found in the scene heading for IV.ii.) This staging results in a certain awkwardness, in that there has been no mention of a rival for Philaenium s favors prior to this character s entrance, but it is possible that the actor s attire helped to identify him from the start as the dissolute impoverished lover rather than the lovelorn son (note lines ). The scene presents challenges on either reading (Lowe 1992): that no firm consensus has been achieved speaks to the curiously undigested nature of the play (below). Libanus returns and confesses that he has made no progress in devising a scheme to aid his young master. His fellow slave Leonida enters to report that, while in town, he has met a young foreigner (designated simply as Merchant in the cast-list) who has just now come to Athens in order to pay Demaenetus steward Saurea for a set of donkeys that the young man s master purchased some time earlier. As luck would have it, the amount owed is precisely that being demanded by Cleareta. The quick-thinking Leonida has told the young man that he himself is Saurea and arranged to meet him at Demaenetus house, where his identity can be confirmed. The two slaves quickly work up a scheme to deceive the young man while keeping him away from the actual Saurea.

11 General Introduction There follows an interesting example of Plautine metatheater, as Leonida plays the high-handed steward (atriensis) to Libanus servile lackey, the goal being to convince the young foreigner that he can safely entrust to this Saurea the funds that he has been charged to deliver (Slater 2000). Leonida s haughty display of aristocratic arrogance and contemptuous disregard for wealth results in one of the funniest scenes in the play and anticipates the comic luxury of Trimalchio s household (Petronius, Satyrica 30). Unfortunately, the performance goes for naught, as the stolid young countryman refuses to surrender the funds to anyone but Demaenetus himself. The three depart for the forum, where Demaenetus awaits, having already been informed of the young man s arrival. Philaenium and Cleareta enter. Cleareta rebukes her daughter for bestowing her attentions upon a young man of no means, and warns her of the fate that awaits the courtesan who fails to enrich herself while youth and beauty are her allies. Philaenium displays a clear understanding of the nature of her trade, but argues that, since it is through her efforts that their household remains solvent, she should be allowed to bestow her affections as she pleases. The two return inside, having reached no resolution. Libanus and Leonida enter in a joyous mood and celebrate their success in extracting the twenty minae from the young messenger. They praise Demaenetus for his own role in the deception and engage in a lengthy and typically Plautine exchange of comic insults. At this point a mournful Argyrippus and Philaenium enter and undertake a lugubrious farewell, with Argyrippus declaring his intention of killing himself if he is to lose his beloved. The two slaves reveal that they are in possession of the required funds, which, they suggest, they might be willing to share if approached in the proper spirit. Philaenium is compelled to employ her professional charms to cajole each slave in turn, while Argyrippus must humble himself before each, most notably in allowing Libanus to ride him about like a horse. At length Libanus hands over the bag of money and announces the terms on which Demaenetus is willing to aid his son: Argyrippus is to allow his father to enjoy the first night with Philaenium. In his delight at having won his beloved, Argyrippus readily agrees, and the couple enter Cleareta s establishment, where Demaenetus awaits them. Diabolus arrives, attended by a professional hanger-on (parasite). He has been successful in acquiring the necessary funds and has had his companion draw up a detailed contract dictating the terms of Philaenium s service. The parasite reads the latter out at length (Scafuro ). The scene offers a brilliant portrayal of the dim-witted and obsessive lover, anticipating several of the tropes of later Roman love elegy but also figures such as Shakespeare s Andrew Aguecheek (Twelfth Night). The terms of the contract having been finalized, the two enter Cleareta s establishment. After a brief interlude, the pair return onto the stage. Diabolus has found Philaenium partying with Demaenetus and Argyrippus, and has been mocked at length by Demaenetus for having lost out in the race for Philaenium s attentions. Enraged, he sends his parasite to inform Demaenetus wife of her husband s doings and departs angrily for home. Demaenetus, Argyrippus, and Philaenium come on stage and, assisted by mute attendants, assume their places at an elaborate drinking party (convivium). As Demaenetus begins to address his erotic attentions to Philaenium, he rebukes Argyrippus for putting on a sour face, reminding him that it is the responsibility of a dutiful son to display a proper reverence and modesty (verecundia) toward his father. Demaenetus wife Artemona comes out of her house, led by the parasite. She expresses shock at the news of her husband s shameful behavior, and outrage at the thought that, rather than attending to business in the forum, he has been spending his time with harlots and as a result has been too fatigued to attend to his husbandly duties at home. The fact that he is also involving their son in such shenanigans is an equal source of outrage. Asinaria A Student Commentary ( J.R. Porter, 2015) 2

12 General Introduction Artemona and the parasite eavesdrop as Demaenetus plays dice and drinks while flirting with Philaenium and casting a series of mocking insults against his wife. After a number of angry asides, Artemona finally bursts in among the revelers. The parasite takes this opportunity to depart, expressing a hope that he can arrange for Diabolus to share Philaenium s services with Argyrippus and thereby ensure the continuation of his own meal-ticket. The timorous Demaenetus attempts to placate his wife, undercut all the while by Argyrippus protestations of his own disapproval of his father s behavior, and by Philaenium s coy allusions to the amorous advances with which Demaenetus has been courting her. Artemona sends her husband packing, while Argyrippus and Philaenium retire into Cleareta s house to enjoy their triumph. The play was condemned by early modern critics for the immorality of Demaenetus scheme, as well as for the various dislocations in the plot in particular, the alleged inconsistency in the portrayal of Philaenium and her relationship with Argyrippus (below). There are other curious features as well, most notably: the entrance of Diabolus of whose existence the audience has had no prior notice at 127, or (should that character be identified as Argyrippus) inconsistencies in the portrayal of the youthful male lover the elaborate scheme to deceive the messenger, which lacks a proper rationale. The clever schemes of Plautus slaves are frequently much less ingenious than advertised, but they generally have a point. In this instance, the slaves needed only to have taken the young man to meet Demaenetus (as they do, in the end); as Konstan notes, there is no need for Demaenetus to have joined in the ruse involving the false Saurea (580-84). the sudden modification, at , in Demaenetus motives for aiding his son, which is announced with no previous preparation 6 the failure to account for the characters off-stage movements (especially Argyrippus entrance with Philaenium from Cleareta s establishment at line 591) and the inadequate treatment of off-stage spaces (see, however, Rosivach 1970) Such features have traditionally been taken as evidence of an early date (below p. 37xx), but it is tempting to see here the product of an author who is working in the later stages of the Roman comic tradition and presenting a series of riffs on well-established conventions (cf. Vogt-Spira 1991, Webster 1970, Woytek 1982, Hurka 59-61). 7 Thus Demaenetus is suddenly transformed, without warning, from the sympathetic father who is still spritely enough to recall what it is to be young (a combination of such figures as the Callipho of Plautus Pseudolus and the Periplectomenus of his Miles Gloriosus) to the randy elderly lover (senex amator) familiar from Casina and Mercator. Philaenium is cast as the loving ingénue (found in the Silenium of Plautus Cistellaria and the Glycerium of Terence s Andria), but, when dealing with her mother and, still more, in the final scene, assumes the role of the experienced courtesan (recalling, e.g., the Gymnasium of Cistellaria) who the parasite can assume will service both Argyrippus and Diabolus concurrently (Lowe 1992). Argyrippus is both the naively devoted lover and the young rake, who mocks his father in 6 Attempts to find parallels for such a shift in Grk. New Comedy are far from convincing: e.g., Hurka ad Traina 1954: makes a similar case for Demophilus, whom he presents as adapting various themes and conventions associated with Menandrian comedy. 3 Asinaria A Student Commentary ( J.R. Porter, 2015)

13 General Introduction the final scene before retiring to enjoy the delights of his courtesan paramour. 8 Added to these are the superb takes on other wellestablished types: the ruthlessly mercantile procuress, the dissolute rich lover, the studiously mocking hanger-on. Most interesting of all, perhaps, is Artemona, who is not merely the battle-ax of a wife, to be derided and avoided (as, e.g., in Plautus Menaechmi or Mostellaria ), 9 but a vibrant and powerful figure who (virtually without parallel in New Comedy) is allowed to express her own sexual frustrations as a wife (870-74: cf ): the resulting gender inversions that inform the portrayal of Demaenetus household passim along with the attendant distortions of traditional Roman moral values, are a highlight of the play (Konstan 1978, Woytek 1982). 10 The features cited above suggest an author less interested in offering a sustained dramatic experience than a set of virtuoso turns. Despite its strengths, the play is more to be admired for its parts than for its overall construction. When compared to a work such as Casina (with which it shares many elements), Asinaria has something of the feel of sketch comedy. 11 Given our ignorance regarding the Greek original (below pp xx), certainty is impossible, but, as constructed, Asinaria seems much more at home in the context of the Roman ludi than the Athenian Dionysia (Little 1938, Vogt-Spira 1991). This is not to deny, however, that the play lacks sophistication in its overall plan, the treatment of specific characters, and its elaboration of select themes (Porter 2016). 8 Cf. the report of Leonida at Cf. the overview of wives roles in Moore 2012a: 243 n. 3 and Fantham In evaluating the treatment of Artemona it is useful to consider a character such as Shakespeare s Adriana in The Comedy of Errors. There too we find a stock figure who in many ways accords with the standard image of the shrewish wife, but who nonetheless is permitted in some degree to transcend the limitations imposed by that role. (For a more nuanced reading, see Traill 2015: ) 11 Cf., e.g., Gratwick 2001: 47 (who calls the play a reductive spoof on various Menandrian themes ) and Traina 1954: 177 n. 4 (re condemnations of the play s structure by early 20 -C. critics) and 185 (re perceived inconsistencies of characterization). See, th further, R.L. Hunter 1985: 62 and Reichel 2000; contrast Traina (op. cit., who presents phps. the best case for coherence, albeit in a Menandrian guise) and Lowe 1992: Particularly useful studies of the play s themes and dramatic strategies can be found in Konstan 1983: 47-56, Slater 2013: 45-56, and Porter Asinaria A Student Commentary ( J.R. Porter, 2015) 4

14 T. MACCI PLAVTI ASINARIA 12 SIGLA < > text inserted by modern editors [ ] interpolated text corrupted text / locus desperatus * * * gap in text hiatus exit PERSONAE LIBANVS SERVVS DEMAENETVS SENEX DIABOLVS ADVLESCENS CLEARETA LENA LEONIDA SERVVS MERCATOR PHILAENIVM MERETRIX ARGYRIPPVS ADVLESCENS PARASITVS ARTEMONA MATRONA ARGVMENTVM Amanti argento filio auxiliarier Sub imperio vivens volt senex uxorio. Itaque ob asinos relatum pretium Saureae Numerari iussit servolo Leonidae. Ad amicam id fertur. cedit noctem filius. 5 Rivalis 13 amens ob praereptam mulierem Is rem omnem uxori per parasitum nuntiat. Accurrit uxor ac virum e lustris rapit. 12 The following text follows de Melo closely, but with the occasional deviation (App. I). It makes no claim to providing a definitive scholarly edition of the play but does opt for one side or the other in a particular controversy from time to time. No attempt has been made to produce a critical apparatus, but I do occasionally provide some sense of alternate readings in a footnote. 13 Riumus/Rivinus codd. 5 Asinaria A Student Commentary ( J.R. Porter, 2015)

15 Prologue PROLOGVS hoc agite sultis, spectatores, nunciam, quae quidem mihi atque vobis res vortat bene gregique huic et dominis 14 atque conductoribus. face nunciam tu, praeco, omnem auritum poplum. age nunc reside, cave modo ne gratiis. 5 nunc quid processerim huc et quid mi voluerim dicam: ut sciretis nomen huius fabulae; nam quod ad argumentum attinet, sane breve est. nunc quod me dixi velle vobis dicere dicam: huic nomen Graece Onago 15 est fabulae; 10 Demophilus scripsit, Maccus 16 vortit barbare; Asinariam volt esse, si per vos licet. inest lepos ludusque in hac comoedia, ridicula res est. date benigne operam mihi, ut vos, [item] <ut> alias, 17 pariter nunc Mars adiuvet domino Camerarius 15 Onagro BD 16 Maccius Ritschl, Deufert 17 ut vos, item ut alias Guiet ut vos, ut alias Leo/Lindsay ita vos, ut alias Palmer at vos, ut item alias Havet Asinaria A Student Commentary ( J.R. Porter, 2015) 6

16 I.i I.i LIBANVS DEMAENETVS LIBANVS sicut tuom vis unicum gnatum tuae superesse vitae sospitem et superstitem, ita ted optestor per senectutem tuam perque illam quam tu metuis uxorem tuam: si quid med erga hodie falsum dixeris, 20 ut tibi superstes uxor aetatem siet atque illa viva vivos ut pestem oppetas. DEMAENETVS per Dium Fidium quaeris: iurato mihi video necesse esse eloqui quicquid roges. ita me opstinate aggressu s ut non audeam 25 profecto percontanti quin promam omnia. 18 proinde actutum istuc quid sit quod scire expetis eloquere: ut ipse scibo, te faciam ut scias. LIB. dic opsecro hercle serio quod te rogem, cave mi mendaci quicquam. DEM. quin tu ergo rogas? 30 LIB. num me illuc ducis ubi lapis lapidem terit? DEM. quid istuc est? aut ubi istuc est terrarum loci? LIB. [ubi flent nequam homines qui polentam pinsitant,] 19 apud fustitudinas, ferricrepinas insulas, ubi vivos homines mortui incursant boves. 35 DEM. modo pol percepi, Libane, quid istuc sit loci: ubi fit polenta, te fortasse dicere. LIB. ah, neque hercle ego istuc dico nec dictum volo, teque opsecro hercle ut quae locutu s despuas. DEM. fiat, geratur mos tibi. LIB. age, age usque exscrea. 40 DEM. etiamne? LIB. age quaeso hercle usque ex penitis faucibus. etiam amplius. DEM. nam quo usque? LIB. usque ad mortem volo. DEM. cave sis malam rem. LIB. uxoris dico, non tuam. DEM. dono te ob istuc dictum ut expers sis metu LIB. di tibi dent quaequomque optes. DEM. redde operam mihi. quor hoc ego ex te quaeram? aut quor miniter tibi propterea quod me non scientem feceris? aut quor postremo filio suscenseam, patres ut faciunt ceteri? LIB. quid istuc novi est? 50 demiror quid sit et quo evadat sum in metu. DEM. equidem scio iam filius quod amet meus istanc meretricem e proxumo Philaenium. estne hoc ut dico, Libane? LIB. rectam instas viam. ea res est. sed eum morbus invasit gravis. 55 DEM. quid morbi est? LIB. quia non suppetunt dictis data. DEM. tune es adiutor nunc amanti filio? LIB. sum vero, et alter noster est Leonida. DEM. bene hercle facitis, [et] a me initis gratiam. verum meam uxorem, Libane, nescis qualis sit? 60 LIB. tu primus sentis, nos tamen in pretio sumus. DEM. fateor eam esse importunam atque incommodam. LIB. posterius istuc dicis quam credo tibi. DEM. omnes parentes, Libane, liberis 20 suis, secl. Leo 19 secl. Ritschl 20 liberius Gratwick 7 Asinaria A Student Commentary ( J.R. Porter, 2015)

17 I.i qui mi auscultabunt, facient obsequentiam quipp qui mage amico utantur gnato et benevolo. atque ego me id facere studeo, volo amari a meis; volo me patris mei similem, qui causa mea nauclerico ipse ornatu per fallaciam quam amabam abduxit ab lenone mulierem; 70 nec puduit eum id aetatis sycophantias struere et beneficiis me emere gnatum suom sibi. eos me decretum est persequi mores patris. nam me hodie oravit Argyrippus filius uti sibi amanti facerem argenti copiam; 75 et id ego percupio opsequi gnato meo: volo amori obsecutum illius, volo amet me patrem. 22 quamquam illum mater arte contenteque habet, patres ut consueverunt: ego mitto omnia haec. praesertim quom is me dignum quoi concrederet 80 habuit, me habere honorem eius ingenio decet; quom me adiit, ut pudentem gnatum aequom est patrem, cupio esse amicae quod det argentum suae. LIB. cupis id quod cupere te nequiquam intellego. dotalem servom Sauream uxor tua 85 adduxit, quoi plus in manu sit quam tibi. DEM. argentum accepi, dote imperium vendidi. nunc verba in pauca conferam quid te velim. viginti iam usust filio argenti minis: face id ut paratum iam sit. LIB. unde gentium? 90 DEM. me defrudato. LIB. maxumas nugas agis: nudo detrahere vestimenta me iubes. defrudem te ego? age sis tu, sine pennis vola. 23 ten ego defrudem, quoi ipsi nihil est in manu nisi quid tu porro uxorem defrudaveris? 95 DEM. qua me, qua uxorem, qua tu servom Sauream potes, circumduce. aufer; promitto tibi non offuturum, si id hodie effeceris. LIB. iubeas una opera me piscari in aere, venari autem rete iaculo in medio mari DEM. tibi optionem sumito Leonidam, fabricare quidvis, quidvis comminiscere: perficito argentum hodie ut habeat filius amicae quod det. LIB. quid ais tu, Demaenete? <DEM.> quid <vis?> LIB. si forte in insidias devenero, 105 tun redimes me, si me hostes interceperint? DEM. redimam. LIB. tum tu igitur aliud cura quidlubet. eo ego ad forum, nisi quid vis. DEM. i, bene ambula. atque audin etiam? LIB. ecce. DEM. si quid te volam, ubi eris? LIB. ubiquomque lubitum erit animo meo. 110 profecto nemo est quem iam dehinc metuam mihi ne quid nocere possit, quom tu mi tua oratione omnem animum ostendisti tuom. quin te quoque ipsum facio hau magni, si hoc patro. pergam quo occepi atque ibi consilia exordiar. 115 <DEM.> audin tu? apud Archibulum ego ero argentarium. LIB. nempe in foro? DEM. ibi, si quid opus fuerit. LIB. meminero. 21 obsequellam codd. obsequeliam Gratwick 22 secl. Fleckeisen amari obseculum Gratwick 23 secl. Fleckeisen 24 rete et iaculo Hurka reti autem iaculo venari de Melo Asinaria A Student Commentary ( J.R. Porter, 2015) 8

18 I.i <DEM.> non esse servos peior hoc quisquam potest nec magis vorsutus nec quo ab caveas aegrius. eidem homini, si quid recte curatum velis, 120 mandes: moriri sese misere mavolet quam non perfectum reddat quod promiserit. nam ego illuc argentum tam paratum filio scio esse quam me hunc scipionem contui. sed quid ego cesso ire ad forum quo inceperam? 125 <ibo> atque ibi manebo apud argentarium secl. Goetz & Loewe 9 Asinaria A Student Commentary ( J.R. Porter, 2015)

19 I.i I.ii DIABOLUS 26 DIABOLUS sicine hoc fit? foras aedibus me eici? promerenti optume hoccin preti redditur? bene merenti mala es, male merenti bona es; at malo cum tuo, nam iam ex hoc loco 130 ibo ego ad trisviros vostraque ibi nomina faxo erunt, capitis te perdam ego et filiam, perlecebrae, permities, 133 adulescentum exitium. 133a nam mare haud est mare, vos mare acerrumum; nam in mari repperi, hic elavi bonis. 135 ingrata atque irrita esse omnia intellego quae dedi et quod bene feci, at posthac tibi male quod potero facere faciam, meritoque id faciam tuo. ego pol te redigam eodem unde orta es, ad egestatis terminos, ego edepol te faciam ut quae sis nunc et quae fueris scias. 140 quae prius quam istam adii atque amans ego animum meum isti dedi, sordido vitam oblectabas pane in pannis inopia, atque ea si erant, magnas habebas omnibus dis gratias; eadem nunc, quom est melius, me quoius opera est ignoras mala. reddam ego te ex fera fame mansuetem, 27 me specta modo. 145 nam isti quid suscenseam ipsi? nihil est, nil quicquam meret; tuo facit iussu, tuo imperio paret: mater tu, eadem era es. te ego ulciscar, te ego ut digna es perdam atque ut de me meres. at scelesta viden ut ne id quidem me dignum esse existumat quem adeat, quem colloquatur, quoique irato supplicet? 150 atque eccam illecebra exit tandem; opinor hic ante ostium meo modo loquar quae volam, quoniam intus non licitum est mihi. 26 DIABOLUS Havet ARGYRIPPUS codd. 27 mansuetam codd. Asinaria A Student Commentary ( J.R. Porter, 2015) 10

20 I.iii I.iii CLEARETA DIABOLUS 28 CLEARETA unum quodque istorum verbum nummis Philippis aureis non potest auferre hinc a me si quis emptor venerit; nec recte quae tu in nos dicis, aurum atque argentum merum est: 155 fixus hic apud nos est animus tuos clavo Cupidinis. remigio veloque quantum poteris festina et fuge: quam magis te in altum capessis, tam aestus te in portum refert. DIAB. ego pol istum portitorem privabo portorio; ego te dehinc ut merita es de me et mea re tractare exsequar, 160 quom tu med ut meritus sum non tractas <quom>que eicis domo. CLEAR. magis istuc percipimus lingua dici quam factis fore. DIAB. solus solitudine ego ted atque ab egestate apstuli; solus si ductem, referre gratiam numquam potes. CLEAR. solus ductato, si semper solus quae poscam dabis; 165 semper tibi promissum habeto hac lege, dum superes datis. DIAB. qui modus dandi? nam numquam tu quidem expleri potes; modo quom accepisti, haud multo post aliquid quod poscas paras. CLEAR. quid modi est ductando, amando? numquamne expleri potes? modo remisisti, continuo iam ut remittam ad te rogas. 170 DIAB. dedi equidem quod mecum egisti. CLEAR. et tibi ego misi mulierem: par pari datum hostimentum est, opera pro pecunia. DIAB. male agis mecum. CLEAR. quid me accusas, si facio officium meum? nam nec fictum usquam est nec pictum nec scriptum in poematis ubi lena bene agat cum quiquam amante quae frugi esse volt. 175 <DIAB.> mihi quidem te parcere aequom est tandem, ut tibi durem diu. <CLEAR.> non tu scis? quae amanti parcet, eadem sibi parcet parum. quasi piscis itidem est amator lenae: nequam est nisi recens; is habet sucum, is suavitatem, eum quovis pacto condias vel patinarium vel assum, vorses quo pacto lubet: 180 is dare volt, is se aliquid posci, nam ibi de pleno promitur; neque ille scit quid det, quid damni faciat: illi rei studet. volt placere sese amicae, volt mihi, volt pedisequae, volt famulis, volt etiam ancillis; et quoque catulo meo subblanditur novos amator, se ut quom videat gaudeat. 185 vera dico: ad suom quemque hominem quaestum esse aequom est callidum. DIAB. perdidici istaec esse vera damno cum magno meo. CLEAR. si ecastor nunc habeas quod des, alia verba praehibeas; nunc quia nil habes, maledictis te eam ductare postulas. DIAB. non meum est. CLEAR. nec meum quidem edepol ad te ut mittam gratiis. 190 verum aetatis atque honoris gratia hoc fiet tui, quia nobis lucro fuisti potius quam decori tibi: si mihi dantur duo talenta argenti numerata in manum, hanc tibi noctem honoris causa gratiis dono dabo. DIAB. quid si non est? CLEAR. tibi non esse credam, illa alio ibit tamen. 195 DIAB. ubi illaec quae dedi ante? CLEAR. abusa. nam si ea durarent mihi, mulier mitteretur ad te, numquam quicquam poscerem. diem, aquam, solem, lunam, noctem, haec argento non emo: cetera quae volumus uti Graeca mercamur fide. quom a pistore panem petimus, vinum ex oenopolio, 200 si aes habent, dant mercem: eadem nos discipulina utimur. semper oculatae manus sunt nostrae, credunt quod vident. vetus est: nihili coactiost 29 scis quoius. non dico amplius. 28 DIAB Havet ARGYR codd. 29 coctiost Camerarius 11 Asinaria A Student Commentary ( J.R. Porter, 2015)

21 I.iii DIAB. aliam nunc mi orationem despoliato praedicas, longe aliam, inquam, <iniqua,> praebes nunc atque olim quom dabam, aliam atque olim quom illiciebas me ad te blande ac benedice. tum mi aedes quoque arridebant quom ad te veniebam tuae; me unice unum ex omnibus te atque illam amare aibas mihi; ubi quid dederam, quasi columbae pulli in ore ambae meo usque eratis, meo de studio studia erant vostra omnia, 210 usque adhaerebatis: quod ego iusseram, quod volueram faciebatis, quod nolebam ac votueram, de industria fugiebatis, nec conari id facere audebatis prius. nunc nec quid velim nec nolim facitis magni, pessumae. CLEAR. non tu scis? hic noster quaestus aucupi simillimust. 215 auceps quando concinnavit aream, offundit cibum; [aves] assuescunt: necesse est facere sumptum qui quaerit lucrum; saepe edunt: semel si captae sunt, rem solvont aucupi. itidem hic apud nos: aedes nobis area est, auceps sum ego, esca est meretrix, lectus illex est, amatores aves; bene salutando consuescunt, compellando blanditer, osculando, oratione vinnula, venustula. si papillam pertractavit, haud <id> est ab re aucupis; savium si sumpsit, sumere eum licet sine retibus. 225 haecin te esse oblitum in ludo qui fuisti tam diu. DIAB. tua ista culpa est, quae discipulum semidoctum aps te amoves. CLEAR. remeato audacter, mercedem si eris nactus: nunc abi. DIAB. mane, mane, audi. dic, quid me aequom censes pro illa tibi dare, annum hunc ne cum quiquam alio sit? CLEAR. tene? viginti minas; 230 atque ea lege: si alius ad me prius attulerit, tu vale. DIAB. at ego est etiam prius quam abis quod volo loqui. CLEAR. dic quod lubet. DIAB. non omnino iam perii, est relicuom quo peream magis. habeo unde istuc tibi quod poscis dem; sed in leges meas dabo, uti scire possis, perpetuom annum hunc mihi uti serviat 235 nec quemquam interea alium ammittat prorsus quam me ad se virum. CLEAR. quin, si tu voles, domi servi qui sunt castrabo viros. postremo ut voles nos esse, syngraphum facito afferas; ut voles, ut tibi lubebit, nobis legem imponito: modo tecum una argentum afferto, facile patiar cetera. 240 portitorum simillumae sunt ianuae lenoniae: si affers, tum patent, si non est quod des, aedes non patent. <DIAB.> interii si non invenio ego illas viginti minas, et profecto, nisi illud perdo argentum, pereundum est mihi. nunc pergam ad forum atque experiar opibus, omni copia, 245 supplicabo, exopsecrabo ut quemque amicum videro, dignos, indignos adire atque experiri 31 certum est mihi, nam si mutuas non potero, certum est sumam faenore. 30 secl. Fleckeisen 31 experi[ri] Skutsch Asinaria A Student Commentary ( J.R. Porter, 2015) 12

22 I.iii II.i LIBANVS LIBANVS hercle vero, Libane, nunc te meliust expergiscier atque argento comparando fingere fallaciam. 250 iam diu est factum quom discesti ab ero atque abiisti ad forum. [igitur inveniundo argento ut fingeres fallaciam.] 32 ibi tu ad hoc diei tempus dormitasti in otio. quin tu aps te socordiam omnem reice et segnitiem amove atque ad ingenium vetus vorsutum recipe te tuom. 255 serva erum, cave tu idem faxis alii quod servi solent, qui ad eri fraudationem callidum ingenium gerunt. unde sumam? quem intervortam? quo hanc celocem conferam? impetritum, inauguratum est: quovis ammittunt aves, picus et cornix [est] ab laeva, corvos, parra ab dextera 260 consuadent; certum hercle est vostram consequi sententiam. sed quid hoc quod picus ulmum tundit? hau temerarium est. certe hercle ego quantum ex augurio eius pici intellego, aut mihi in mundo sunt virgae aut atriensi Saureae. sed quid illuc quod exanimatus currit huc Leonida? 265 metuo quod 33 illic opscaevavit meae falsae fallaciae. 32 secl. Leo/Havet 33 quom Ussing 13 Asinaria A Student Commentary ( J.R. Porter, 2015)

23 II.ii II.ii LEONIDA LIBANVS LEONIDA ubi ego nunc Libanum requiram aut familiarem filium, ut ego illos lubentiores faciam quam Lubentia est? maxumam praedam et triumphum is affero adventu meo. quando mecum pariter potant, pariter scortari solent, 270 hanc quidem quam nactus praedam pariter cum illis partiam. LIB. illic homo aedis compilavit, more si fecit suo. vae illi qui tam indiligenter opservavit ianuam. LEON. aetatem velim servire, Libanum ut conveniam modo. LIB. mea quidem hercle liber opera numquam fies ocius. 275 LEON. etiam de tergo ducentas plagas praegnatis dabo. LIB. largitur peculium, omnem in tergo thesaurum gerit. LEON. nam si occasioni huic tempus sese supterduxerit, numquam edepol quadrigis albis indipiscet postea; erum in opsidione linquet, inimicum animos auxerit. 280 sed si mecum occasionem opprimere hanc quae obvenit studet, maxumas opimitates, gaudio effertissumas suis eris ille una mecum pariet, gnatoque et patri, adeo ut aetatem ambo ambobus nobis sint obnoxii, nostro devincti beneficio. LIB. vinctos nescioquos ait; 285 non placet: metuo in commune ne quam fraudem frausus sit. LEON. perii ego oppido nisi Libanum invenio iam, ubiubi est gentium. LIB. illic homo socium ad malam rem quaerit quem adiungat sibi. non placet: pro monstro extemplo est quando qui sudat tremit. LEON. sed quid ego hic properans concesso pedibus, lingua largior? 290 quin ego hanc iubeo tacere, quae loquens lacerat diem? LIB. edepol hominem infelicem, qui patronam comprimat. nam si quid sceleste fecit, lingua pro illo peiierat. LEON. approperabo, ne post tempus praedae praesidium parem. LIB. quae illaec praeda est? ibo advorsum atque electabo, quicquid est. 295 iubeo te salvere voce summa, quoad vires valent. LEON. gymnasium flagri, salveto. LIB. quid agis, custos carceris? LEON. o catenarum colone. LIB. o virgarum lascivia. LEON. quot pondo ted esse censes nudum? LIB. non edepol scio. LEON. scibam ego te nescire, at pol ego qui ted expendi scio: 300 nudus vinctus centum pondo es, quando pendes per pedes. LIB. quo argumento istuc? LEON. ego dicam, quo argumento et quo modo. ad pedes quando adligatum est aequom centumpondium, ubi manus manicae complexae sunt atque adductae ad trabem, nec dependes nec propendes quin malus nequamque sis. 305 LIB. vae tibi. LEON. hoc testamento Servitus legat tibi. LIB. verbivelitationem fieri compendi volo. quid istuc est negoti? LEON. certum est credere. LIB. audacter licet. <LEON.> sis amanti subvenire familiari filio, tantum adest boni improviso, verum commixtum malo, 310 omnes de nobis carnuficum concelebrabuntur dies. Libane, nunc audacia usust nobis inventa et dolis. tantum facinus modo ego inveni, ut nos dicamur duo omnium dignissumi esse quo cruciatus confluant. LIB. ergo mirabar quod dudum scapulae gestibant mihi, 315 hariolari quae occeperunt sibi esse in mundo malum. quicquid est, eloquere. LEON. magna est praeda cum magno malo. LIB. si quidem omnes coniurati cruciamenta conferant, Asinaria A Student Commentary ( J.R. Porter, 2015) 14

24 II.ii habeo opinor familiarem 34 tergum, ne quaeram foris. LEON. si istam firmitudinem animi optines, salvi sumus. 320 LIB. quin si tergo res solvenda est, rapere cupio publicum: pernegabo atque obdurabo, peiierabo denique. LEON. em istaec virtus est, quando usust qui malum fert fortiter; fortiter malum qui patitur, idem post patitur bonum. LIB. quin rem actutum edisseris? cupio malum nanciscier. 325 LEON. placide ergo unumquicquid rogita, ut acquiescam. non vides me ex cursura anhelitum etiam ducere? LIB. age age, mansero tuo arbitratu, vel adeo usque dum peris. LEON. ubinam est erus? LIB. maior apud forum est, minor hic est intus. LEON. iam satis est mihi. LIB. tum igitur tu dives es factus? LEON. mitte ridicularia. 330 LIB. mitto. istuc < > quod affers aures exspectant meae. 35 LEON. animum advorte, ut aeque mecum haec scias. LIB. taceo. LEON. beas. meministine asinos Arcadicos mercatori Pelleo nostrum vendere atriensem? LIB. memini. quid tum postea? LEON. em ergo is argentum huc remisit quod daretur Saureae pro asinis. adulescens venit modo, qui id argentum attulit. LIB. ubi is homo est? LEON. iam devorandum censes, si conspexeris? LIB. ita enim vero. sed tamen tu nempe eos asinos praedicas vetulos, claudos, quibus subtritae ad femina iam erant ungulae? 340 LEON. ipsos, qui tibi subvectabant rure huc virgas ulmeas. LIB. teneo, atque idem te hinc vexerunt vinctum rus. LEON. memor es probe. verum in tonstrina ut sedebam, me infit percontarier ecquem filium Stratonis noverim Demaenetum. dico me novisse extemplo et me eius servom praedico 345 esse, et aedis demonstravi nostras. LIB. quid tum postea? LEON. ait se ob asinos ferre argentum atriensi Saureae, viginti minas, sed eum se non nosse hominem qui siet, ipsum vero se novisse callide Demaenetum. quoniam ille elocutus haec sic LIB. quid tum? LEON. ausculta ergo, scies. 350 extemplo facio facetum me atque magnuficum virum, dico med esse atriensem. sic hoc respondit mihi: ego pol Sauream non novi nec qua facie sit scio. te non aequom est suscensere. si erum vis Demaenetum, quem ego novi, adduce: argentum non morabor quin feras. 355 ego me dixi erum adducturum et me domi praesto fore; ille in balineas iturust, inde huc veniet postea. quid nunc consili captandum censes? dice. LIB. em istuc ago quo modo argento intervortam et adventorem et Sauream. iam hoc opus est exasceatum ; 36 nam si ille argentum prius 360 hospes huc affert, continuo nos ambo exclusi sumus. nam me hodie senex seduxit solum seorsum ab aedibus, mihi tibique interminatust nos futuros ulmeos, ni hodie Argyrippo argenti essent viginti minae; iussit vel nos atriensem vel nos uxorem suam 365 defrudare, dixit sese operam promiscam 37 dare. nunc tu abi ad forum ad erum et narra haec ut nos acturi sumus: te ex Leonida futurum esse atriensem Sauream, dum argentum afferat mercator pro asinis. LEON. faciam ut iubes. LIB. ego illum interea hic oblectabo, prius si forte advenerit. 370 LEON. quid ais? LIB. quid vis? LEON. pugno malam si tibi percussero, 34 familiare codd. 35 <Libane>. LIB. mitto. de Melo istuc < > Danese 36 exasceato Acidalius 37 promissam codd. 15 Asinaria A Student Commentary ( J.R. Porter, 2015)

25 II.ii mox quom imitabor Sauream, caveto ne suscenseas. LIB. hercle vero tu cavebis ne me attingas, si sapis, ne hodie malo cum auspicio nomen commutaveris. LEON. quaeso, aequo animo patitor. LIB. patitor tu item quom ego te referiam. 375 LEON. dico ut usust fieri. LIB. dico hercle ego quoque ut facturus sum. LEON. ne nega. LIB. quin promitto, inquam, hostire contra ut merueris. LEON. ego abeo, tu iam, scio, patiere. sed quis hic est? is est, ille est ipsus. iam ego recurro huc. tu hunc interea hic tene. volo seni narrare. LIB. quin tuom officium facis ergo ac fugis? 380 II.iii MERCATOR LIBANVS MERCATOR ut demonstratae sunt mihi, hasce aedis esse oportet Demaenetus ubi dicitur habitare. i, puere, pulta atque atriensem Sauream, si est intus, evocato huc. LIB. quis nostras sic frangit fores? ohe, inquam, si quid audis. MERC. nemo etiam tetigit. sanun es? LIB. at censebam attigisse 385 propterea huc quia habebas iter. nolo ego fores conservas meas a te verberarier. sane ego sum amicus nostris [aedibus]. MERC. pol hau periclum est cardines ne foribus effringantur, si istoc exemplo omnibus qui quaerunt respondebis. LIB. ita haec morata est ianua: extemplo ianitorem 390 clamat, procul si quem videt ire ad se calcitronem. sed quid venis? quid quaeritas? MERC. Demaenetum volebam. LIB. si sit domi, dicam tibi. MERC. quid eius atriensis? LIB. nihilo mage intus est. MERC. ubi est? LIB. ad tonsorem ire dixit. MERC. quom venisset, post non redit? 38 LIB. non edepol. quid volebas? 395 MERC. argenti viginti minas, si adesset, accepisset. LIB. qui pro istuc? MERC. asinos vendidit Pellaeo mercatori mercatu. LIB. scio. tu id nunc refers? iam hic credo eum affuturum. MERC. qua facie voster Saurea est? si is est, iam scire potero. LIB. macilentis malis, rufulus aliquantum, ventriosus, 400 truculentis oculis, commoda statura, tristi fronte. MERC. non potuit pictor rectius describere eius formam. LIB. atque hercle ipsum adeo contuor, quassanti capite incedit. quisque obviam huic occesserit irato, vapulabit. MERC. siquidem hercle Aeacidinis minis animisque expletus cedit, 405 si med iratus tetigerit, iratus vapulabit. 38 conveni. sed post non redit? Ussing Asinaria A Student Commentary ( J.R. Porter, 2015) 16

26 II.iv II.iv LEONIDA MERCATOR LIBANVS LEONIDA quid hoc sit negoti neminem meum dictum magni facere? Libanum in tonstrinam ut iusseram venire, is nullus venit. ne ille edepol tergo et cruribus consuluit hau decore. MERC. nimis imperiosust. LIB. vae mihi. LEON. hodie salvere iussi 410 Libanum libertum? iam manu emissu s? <LIB.> opsecro te. <LEON.> ne tu hercle cum magno malo mihi obviam occessisti. quor non venisti, ut iusseram, in tonstrinam? LIB. hic me moratust. LEON. siquidem hercle nunc summum Iovem te dicas detinuisse atque is precator assiet, malam rem effugies numquam. 415 tu, verbero, imperium meum contempsisti? LIB. perii, hospes. MERC. quaeso hercle noli, Saurea, mea causa hunc verberare. LEON. utinam nunc stimulus in manu mihi sit MERC. quiesce quaeso. LEON. qui latera conteram tua, quae occalluere plagis. apscede ac sine me hunc perdere, qui semper me ira incendit, 420 quoi numquam unam rem me licet semel praecipere furi, quin centiens eadem imperem atque ogganniam, itaque iam hercle clamore ac stomacho non queo labori suppeditare. iussin, sceleste, ab ianua hoc stercus hinc auferri? iussin columnis deici operas araneorum? 425 iussin in splendorem dari bullas has foribus nostris? nihil est: tamquam si claudus sim, cum fusti est ambulandum. quia triduom hoc unum modo foro operam assiduam dedo, dum reperiam qui quaeritet argentum in faenus, hic vos dormitis interea domi atque erus in hara, haud aedibus, habitat. 430 em ergo hoc tibi. LIB. hospes, te opsecro, defende. MERC. Saurea, oro mea causa ut mittas. LEON. eho, ecquis pro vectura olivi rem solvit? LIB. solvit. LEON. quoi datum est? LIB. Sticho vicario ipsi tuo. LEON. vah, delenire apparas, scio mi vicarium esse, neque eo esse servom in aedibus eri qui sit pluris quam ille est. 435 sed vina quae heri vendidi vinario Exaerambo iam pro is satis fecit Sticho? LIB. fecisse satis opinor, nam vidi huc ipsum adducere trapezitam Exaerambum. LEON. sic dedero. prius quae credidi, vix anno post exegi; nunc sat agit: adducit domum etiam ultro et scribit nummos. 440 Dromo mercedem rettulit? LIB. dimidio minus opinor. LEON. quid relicuom? LIB. aibat reddere quom extemplo redditum esset; nam retineri, ut quod sit sibi operis locatum efficeret. LEON. scyphos quos utendos dedi Philodamo, rettulitne? LIB. non etiam. LEON. hem non? si velis, da, commoda homini amico. 445 MERC. perii hercle, iam hic me abegerit suo odio. LIB. heus iam satis tu. audin quae loquitur? LEON. audio et quiesco. MERC. tandem, opinor, conticuit. nunc adeam optumum est, prius quam incipit tinnire. quam mox mi operam das? LEON. ehem, optume. quam dudum tu advenisti? non hercle te provideram (quaeso, ne vitio vortas), 450 ita iracundia opstitit oculis. MERC. non mirum factum est. sed si domi est, Demaenetum volebam. LEON. negat esse intus. verum istuc argentum tamen mihi si vis denumerare, repromittam istoc nomine solutam rem futuram. MERC. sic potius ut Demaeneto tibi ero praesente reddam. 455 LIB. erus istunc novit atque erum hic. MERC. ero huic praesente reddam. LIB. da modo meo periculo, rem salvam ego exhibebo; nam si sciat noster senex fidem non esse huic habitam, suscenseat, quoi omnium rerum ipsus semper credit. 17 Asinaria A Student Commentary ( J.R. Porter, 2015)

27 II.iv LEON. non magni pendo. ne duit, si non volt. sic sine astet. 460 LIB. da, inquam. vah, formido miser ne hic me tibi arbitretur suasisse sibi ne crederes. da, quaeso, ac ne formida: salvom hercle erit. MERC. credam fore, dum quidem in manu ipse habebo. peregrinus ego sum, Sauream non novi. LIB. at nosce sane. MERC. sit, non sit, non edepol scio. si is est, eum esse oportet. 465 ego certe me incerto scio hoc daturum nemini homini. LEON. hercle istum di omnes perduint. verbo cave supplicassis. ferox est viginti minas meas tractare sese. nemo accipit, te aufer domum, apscede hinc, molestus ne sis. MERC. nimis iracunde. non decet superbum esse hominem servom. 470 LEON. malo hercle iam magno tuo, ni isti nec recte dicis. LIB. impure, nihili. non vides irasci? LEON. perge porro. LIB. flagitium hominis. da, opsecro, argentum huic, ne male loquatur. MERC. malum hercle vobis quaeritis. LEON. crura hercle diffringentur, ni istum impudicum percies. LIB. perii hercle. age, impudice, 475 sceleste, non audes mihi scelesto subvenire? LEON. pergin precari pessumo? MERC. quae res? tun libero homini male servos loquere? LEON. vapula. MERC. id quidem tibi hercle fiet ut vapules, Demaenetum simul ac conspexero hodie. [in ius voco te. LEON. non eo. MERC. non is? memento. LEON. memini. 480 MERC. dabitur pol supplicium mihi de tergo vostro. LEON. vae te. tibi quidem de nobis, carnufex, detur supplicium? MERC. atque etiam pro dictis vostris maledicis poenae pendentur mi hodie.] 39 LEON. quid, verbero? ain tu, furcifer? erum nos[met] fugitare censes? i nunciam ad erum, quo vocas, iam dudum quo volebas. MERC. nunc demum? tamen numquam hinc feres argenti nummum, nisi me dare iusserit Demaenetus. LEON. ita facito, age ambula ergo. tu contumeliam alteri facias, tibi non dicatur? tam ego homo sum quam tu. MERC. scilicet. ita res est. <LEON.> sequere hac ergo. 490 praefiscini hoc nunc dixerim: nemo etiam me accusavit merito meo, nec me alter est Athenis hodie quisquam quoi credi recte aeque putent. MERC. fortassis. sed tamen me numquam hodie induces ut tibi credam hoc argentum ignoto. lupus est homo homini, non homo, quom qualis sit non novit. 495 LEON. iam nunc secunda mihi facis. scibam huic te capitulo hodie facturum satis pro iniuria; quamquam ego sum sordidatus, frugi tamen sum, nec potest peculium enumerari. MERC. fortasse. LEON. etiam [nunc dico] Periphanes Rhodo mercator dives apsente ero solus mihi talentum argenti soli 500 adnumeravit et credidit mihi, neque deceptust in eo. MERC. fortasse. LEON. atque etiam tu quoque ipse, si esses percontatus me ex aliis, scio pol crederes nunc quod fers. MERC. haud negassim secl. Ussing Asinaria A Student Commentary ( J.R. Porter, 2015) 18

28 III.i III.i CLEARETA PHILAENIVM CLEARETA nequeone ego ted interdictis facere mansuetem 40 meis? an ita tu es animata ut qui expers matris imperio sies? 505 PHILAENIVM ubi piem Pietatem, si istoc more moratam tibi postulem placere, mater, mihi quo pacto praecipis? CLEAR. an decorum est advorsari meis te praeceptis? <PHIL.> quid est? CLEAR. hoccine est pietatem colere, imperium matris minuere? PHIL. nec quae recte faciunt culpo nec quae delinquont amo. 510 CLEAR. satis dicacula es amatrix. PHIL. mater, is quaestus mihi est: lingua poscit, corpus quaerit, animus orat, res monet. CLEAR. ego te volui castigare, tu mi accusatrix ades. PHIL. neque edepol te accuso neque id me facere fas existumo. verum ego meas queror fortunas, quom illo quem amo prohibeor. 515 CLEAR. ecqua pars orationis de die dabitur mihi? PHIL. et meam partem loquendi et tuam trado tibi; ad loquendum atque ad tacendum tute habeas portisculum. quin pol si reposivi remum, sola ego in casteria ubi quiesco, omnis familiae causa consistit tibi. 520 CLEAR. quid ais tu, quam ego unam vidi mulierem audacissumam? quotiens te votui Argyrippum filium Demaeneti compellare aut contrectare, colloquive aut contui? quid dedit? quid iussit ad nos deportari? an tu tibi verba blanda esse aurum rere, dicta docta pro datis? 525 ultro amas, ultro expetessis, ultro ad te accersi iubes. illos qui dant eos derides; qui deludunt deperis. an te id exspectare oportet, si quis promittat tibi te facturum divitem, si mater moriatur sua? ecastor [nobis] periclum magnum [et] familiae portenditur, 530 dum eius exspectamus mortem, ne nos moriamur fame. nunc adeo nisi mi huc argenti affert viginti minas, ne ille ecastor hinc trudetur largus lacrumarum foras. hic dies summust <quo est> apud me inopiae excusatio. PHIL. patiar, si cibo carere me iubes, mater mea. 535 CLEAR. non voto ted amare qui dant quoia amentur gratia. PHIL. quid si hic animus occupatust, mater, quid faciam? mone. CLEAR. em, meum caput contemples, si quidem ex re consultas tua. PHIL. etiam opilio qui pascit, mater, alienas ovis, aliquam habet peculiarem qui spem soletur suam. sine me amare unum Argyrippum animi causa, quem volo. CLEAR. intro abi, nam te quidem edepol nihil est impudentius. PHIL. audientem dicto, mater, produxisti filiam. 40 mansuetam codd. 19 Asinaria A Student Commentary ( J.R. Porter, 2015)

29 III.ii III.ii LIBANVS LEONIDA LIBANVS Perfidiae laudes gratiasque habemus merito magnas, 545 quom nostris sycophantiis, dolis astutiisque, scapularum confidentia, virtute ulmorum 41 freti * * * qui advorsum stimulos, lamminas, crucesque compedesque, nervos, catenas, carceres, numellas, pedicas, boias, 550 inductoresque acerrumos gnarosque nostri tergi, [qui saepe ante in nostras scapulas cicatrices indiderunt,] * * * eae nunc legiones, copiae exercitusque eorum vi pugnando periuriis nostris fugae potiti. 555 id virtute huius collegai 42 meaque comitate factum est. qui me est vir fortior ad sufferundas plagas? LEONIDA edepol virtutes qui tuas non possis collaudare sicut ego possim, quae domi duellique male fecisti. ne illa edepol pro merito [nunc] tuo memorari multa possunt: 560 ubi fidentem fraudaveris, ubi ero infidelis fueris, ubi verbis conceptis sciens lubenter peiieraris, ubi parietes perfoderis, in furto ubi sis prehensus, ubi saepe causam dixeris pendens advorsus octo artutos, 43 audacis viros, valentis virgatores. 565 LIB. fateor profecto ut praedicas, Leonida, esse vera: verum edepol ne etiam tua quoque malefacta iterari multa et vero possunt: ubi sciens fideli infidus fueris, ubi prensus in furto sies manufesto et verberatus, ubi peiieraris, ubi sacro manus sis ammolitus, 570 ubi eris damno, molestiae et dedecori saepe fueris, ubi creditum quod sit tibi datum esse pernegaris, ubi amicae quam amico tuo fueris magis fidelis, 44 ubi saepe ad languorem tua duritia dederis octo validos lictores, ulmeis affectos lentis virgis. 575 num male relata est gratia? ut collegam collaudavi? LEON. ut meque teque maxume atque ingenio nostro decuit. LIB. iam omitte istaec, hoc quod rogo responde. LEON. rogita quid vis. 45 LIB. argenti vinginti minas habesne? LEON. hariolare. edepol senem Demaenetum lepidum fuisse nobis: 580 ut assimulabat Sauream med esse quam facete. nimis aegre risum contini, ubi hospitem inclamavit, quod se<se> apsente mihi fidem habere noluisset. ut memoriter me Sauream vocabat atriensem. LIB. manedum. LEON. quid est? LIB. Philaenium estne haec quae intus exit atque 585 una Argyrippus? LEON. opprime os, is est. subauscultemus. LIB. lacrumantem lacinia tenet lacrumans. quidnam esse dicam? taciti auscultemus. LEON. attatae, modo hercle in mentem venit, 41 ulnorum Nonius 42 collegae codd. 43 astutos Danese secl. Hurka 45 quod vis BJE, followed by Hurka Asinaria A Student Commentary ( J.R. Porter, 2015) 20

30 III.ii nimis vellem habere perticam. LIB. quoi rei? LEON. qui verberarem asinos, si forte occeperint clamare hinc ex crumina. 590 III.iii ARGYRIPPVS PHILAENIVM LIBANVS LEONIDA ARGYRIPPVS quor me retentas? PHILAENIVM quia tui amans abeuntis egeo. ARGYR. vale <vale>. PHIL. aliquanto amplius valerem, si hic maneres. ARGYR. salve. PHIL. salvere me iubes, quoi tu abiens offers morbum? ARGYR. mater supremum 46 mihi tua dixit, domum ire iussit. PHIL. acerbum funus filiae faciet, si te carendum est. 595 LIB. homo hercle hinc exclusust foras. LEON. ita res est. ARGYR. mitte quaeso. PHIL. quo nunc abis? quin tu hic manes? ARGYR. nox, si voles, manebo. LIB. audin hunc opera ut largus est nocturna? nunc enim esse negotiosum interdius videlicet Solonem, leges ut conscribat quibus se populus teneat. gerrae. 600 qui sese parere apparent huius legibus, profecto numquam bonae frugi sient, dies noctesque potent. LEON. ne iste hercle ab ista non pedem discedat, si licessit, qui nunc festinat atque ab hac minatur sese abire. LIB. sermoni iam finem face tuo, huius sermonem accipiam. 605 ARGYR. vale. PHIL. quo properas? ARGYR. bene vale: apud Orcum te videbo. nam equidem me iam quantum potest a vita abiudicabo. PHIL. quor tu, opsecro, immerito meo me morti dedere optas? ARGYR. ego te? quam si intellegam deficere vita, iam ipse vitam meam tibi largiar et de mea ad tuam addam. 610 PHIL. quor ergo minitaris mihi te vitam esse amissurum? nam quid me facturam putas, si istuc quod dicis faxis? [mihi] certum est efficere in me omnia eadem quae tu in te faxis. ARGYR. oh melle dulci dulcior [mihi] tu es. PHIL. certe enim tu vita es mi. complectere. ARGYR. facio lubens. PHIL. utinam sic efferamur. 615 LEON. o Libane, uti miser est homo qui amat. LIB. immo hercle vero qui pendet multo est miserior. LEON. scio qui periclum feci. circumsistamus, alter hinc, hinc alter appellemus. ere, salve. sed num fumus est haec mulier quam amplexare? ARGYR. quidum? LEON. quia oculi sunt tibi lacrumantes, eo rogavi. 620 ARGYR. patronus qui vobis fuit futurus, perdidistis. LEON. equidem hercle nullum perdidi, ideo quia numquam ullum habui. LIB. Philaenium, salve. PHIL. dabunt di quae velitis vobis. LIB. noctem tuam et vini cadum velim, si optata fiant. ARGYR. verbum cave faxis, verbero. LIB. tibi equidem, non mihi opto. 625 ARGYR. tum tu igitur loquere quod lubet. LIB. hunc hercle verberare. LEON. quisnam istuc accredat tibi, cinaede calamistrate? tun verberes, qui pro cibo habeas te verberari? ARGYR. ut vostrae fortunae meis praecedunt, Libane, longe, qui hodie numquam ad vesperum vivam. LIB. quapropter, quaeso? 630 ARGYR. quia ego hanc amo et haec med amat, huic quod dem nusquam quicquam est, hinc med amantem ex aedibus deiecit huius mater. argenti viginti minae med ad mortem appulerunt, quas hodie adulescens Diabolus ipsi daturus dixit, ut hanc ne quoquam mitteret nisi ad se hunc annum totum. 635 videtin viginti minae quid pollent quidve possunt? ill qui illas perdit salvos est, ego qui non perdo pereo. LIB. iam dedit argentum? ARGYR. non dedit. LIB. bono animo es, ne formida. LEON. secede huc, Libane, te volo. LIB. si quid vis. ARGYR. opsecro vos, eadem istac opera suaviust complexos fabulari supremum codd. supremam Turnebus 21 Asinaria A Student Commentary ( J.R. Porter, 2015)

31 III.iii LIB. non omnia eadem aeque omnibus, ere, suavia esse scito: vobis est suave amantibus complexos fabulari, ego complexum huius nil moror, meum autem hic aspernatur. proinde istud facias ipse quod faciamus nobis suades. ARGYR. ego vero, et quidem edepol lubens. interea, si videtur, 645 concedite istuc. LEON. vin erum deludi? LIB. dignust sane. LEON. vin faciam ut te 47 Philaenium praesente hoc amplexetur? LIB. cupio hercle. LEON. sequere hac. ARGYR. ecquid est salutis? satis locuti. LEON. auscultate atque operam date et mea dicta devorate. primum omnium servos tuos nos esse non negamus; 650 sed tibi si viginti minae argenti proferentur, quo nos vocabis nomine? ARGYR. libertos. LEON. non patronos? ARGYR. id potius. LEON. viginti minae hic insunt in crumina, has ego, si vis, <nunc> tibi dabo. ARGYR. di te servassint semper, custos erilis, decus popli, thesaurus copiarum, 655 salus interioris corporis 48 amorisque imperator. hic pone, hic istam colloca cruminam in collo plane. LEON. nolo ego te, qui erus sis, mihi onus istuc sustinere. ARGYR. quin tu labore liberas te atque istam imponis in me? LEON. ego baiulabo, tu, ut decet dominum, ante me ito inanis. 660 ARGYR. quid nunc? <LEON.> quid est? <ARGYR.> quin tradis huc cruminam pressatum umerum? <LEON.> hanc, quoi daturu s hanc, iube petere atque orare mecum. nam istuc proclive est quo iubes me plane collocare. PHIL. da, meus ocellus, mea rosa, mi anime, mea voluptas, Leonida, argentum mihi, ne nos diiunge amantis. 665 LEON. dic me igitur tuom passerculum, gallinam, coturnicem, agnellum, haedillum me tuom dic esse vel vitellum, prehende auriculis, compara labella cum labellis. ARGYR. ten osculetur, verbero? LEON. quam vero indignum visum est? atqui pol hodie non feres, ni genua confricantur. 670 ARGYR. quidvis egestas imperat: fricentur. dan quod oro? PHIL. age, mi Leonida, opsecro, fer amanti ero salutem, redime istoc beneficio te ab hoc, et tibi eme hunc isto argento. LEON. nimis bella es atque amabilis, et si hoc meum esset, hodie numquam me orares quin darem: illum te orare meliust, 675 illic hanc mi servandam dedit. i sane bella belle. cape hoc sis, Libane. ARGYR. furcifer, etiam me delusisti? LEON. numquam hercle facerem, genua ni tam nequiter fricares. age sis tu in partem nunciam hunc delude atque amplexare hanc. LIB. taceas, me spectes. ARGYR. quin ad hunc, Philaenium, aggredimur, 680 virum quidem pol optumum et non similem furis huius? LIB. inambulandum est: nunc mihi vicissim supplicabunt. ARGYR. quaeso hercle, Libane, sis erum tuis factis sospitari, da mi istas viginti minas. vides me amantem egere. LIB. videbitur. factum volo. redito huc conticinno. 685 nunc istanc tantisper iube petere atque orare mecum. PHIL. amandone exorarier vis ted an osculando? LIB. enim vero utrumque. PHIL. ergo, opsecro, et tu utrumque nostrum serva. ARGYR. o Libane, mi patrone, mi trade istuc. magis decorum est libertum potius quam patronum onus in via portare. 690 PHIL. mi Libane, ocellus aureus, donum decusque amoris, amabo, faciam quod voles, da istuc argentum nobis. LIB. dic igitur med aneticulam, columbam vel catellum, hirundinem, monerulam, passerculum putillum, fac proserpentem bestiam me, duplicem ut habeam linguam, 695 circumda torquem brachiis, meum collum circumplecte. ARGYR. ten complectatur, carnufex? LIB. quam vero indignus videor? 47 me codd. te Loman 48 interior corporis Bothe Asinaria A Student Commentary ( J.R. Porter, 2015) 22

32 III.iii ne istuc nequiquam dixeris in me tam indignum dictum, vehes pol hodie me, si quidem hoc argentum ferre speres. ARGYR. ten ego veham? LIB. tun hoc feras <hinc> argentum aliter a me? 700 ARGYR. perii hercle. si verum quidem et decorum erum vehere servom, inscende. LIB. sic isti solent superbi subdomari. asta igitur, ut consuetus es puer olim. scin ut dicam? em sic. abi, laudo, nec te equo magis est equos ullus sapiens. ARGYR. inscende actutum. LIB. ego fecero. hem quid istuc est? ut tu incedis? 705 demam hercle iam de hordeo, tolutim ni badizas. ARGYR. amabo, Libane, iam sat est. LIB. numquam hercle hodie exorabis. nam iam calcari quadrupedo agitabo advorsum clivom, postidea ad pistores dabo, ut ibi cruciere currens. asta ut descendam nunciam in proclivi, quamquam nequam es. 710 ARGYR. quid nunc, amabo? quoniam, ut est lubitum, nos delusistis, datisne argentum? LIB. si quidem mi statuam et aram statuis atque ut deo mi hic immolas bovem: nam ego tibi Salus sum. LEON. etiam tu, ere, istunc amoves aps te atque me ipse aggredere atque illa sibi quae hic iusserat mi statuis supplicasque? 715 ARGYR. quem te autem divom nominem? LEON. Fortunam, atque Opsequentem. ARGYR. iam istoc es melior. LIB. an quid est [olim] homini Salute melius? ARGYR. licet laudem Fortunam, tamen ut ne Salutem culpem. PHIL. ecastor ambae sunt bonae. ARGYR. sciam ubi boni quid dederint. LEON. opta id quod ut contingat tibi vis. ARGYR. quid si optaro? LEON. eveniet. 720 ARGYR. opto annum hunc perpetuom mihi huius operas. LEON. impetrasti. ARGYR. ain vero? LEON. certe inquam. LIB. ad me adi vicissim atque experire. exopta id quod vis maxume tibi evenire: fiet. ARGYR. quid ego aliud exoptem amplius nisi illud quoius inopia est, viginti argenti commodas minas, huius quas dem matri? 725 LIB. dabuntur, animo sis bono face, exoptata optingent. ARGYR. ut consuevere, homines Salus frustratur et Fortuna. LEON. ego caput huic argento fui <tibi> hodie reperiundo. LIB. ego pes fui. ARGYR. quin nec caput nec pes sermoni apparet. nec quid dicatis scire nec me quor ludatis possum. 730 LIB. satis iam delusum censeo. nunc rem ut est eloquamur. animum, Argyrippe, advorte sis. pater nos ferre hoc iussit argentum ad te. ARGYR. ut temperi opportuneque attulistis. LIB. hic inerunt viginti minae bonae, mala opera partae; has tibi nos pactis legibus dare iussit. ARGYR. quid id est, quaeso? 735 LIB. noctem huius et cenam sibi ut dares. ARGYR. iube advenire, quaeso: meritissumo eius quae volet faciemus, qui hosce amores nostros dispulsos compulit. <LEON. patierin, Argyrippe,> patrem hanc amplexari tuom? ARGYR. haec faciet facile ut patiar. Leonida, curre opsecro, patrem huc orato ut veniat. 740 LEON. iam dudum est intus. ARGYR. hac quidem non venit. LEON. angiporto illac per hortum circum iit clam, ne quis se videret huc ire familiarium: ne uxor resciscat metuit. de argento si mater tua sciat ut sit factum ARGYR. heia, bene dicite. <LIB.> ite intro cito. <ARGYR.> valete. LEON. et vos amate. 745 IV.i DIABOLVS PARASITVS DIABOLVS agedum istum ostende quem conscripsti syngraphum inter me et amicam et lenam. leges pellege. nam tu poeta es prorsus ad eam rem unicus. PARASITVS horrescet faxo lena, leges quom audiet. DIAB. age, quaeso, mi hercle translege. PAR. audin? DIAB. audio. 750 PAR. Diabolus Glauci filius Clearetae 23 Asinaria A Student Commentary ( J.R. Porter, 2015)

33 IV.i lenae dedit dono argenti viginti minas, Philaenium ut secum esset noctes et dies hunc annum totum. DIAB. nec cum quiquam alio quidem. PAR. addone? DIAB. adde, et scribas vide plane et probe. 755 PAR. alienum hominem intro mittat neminem. quod illa aut amicum aut patronum nominet, aut quod illa amica<e suae> amatorem praedicet, fores occlusae omnibus sint nisi tibi. in foribus scribat occupatam esse se. 760 aut quod illa dicat peregre allatam epistulam, ne epistula quidem ulla sit in aedibus nec cerata adeo tabula; et si qua inutilis pictura sit, eam vendat: ni in quadriduo abalienarit, quo aps te argentum acceperit, 765 tuos arbitratus sit, comburas, si velis, ne illi sit cera ubi facere possit litteras. vocet convivam neminem illa, tu voces; ad eorum ne quem oculos adiciat suos. si quem alium aspexit, caeca continuo siet. 770 tecum una postea aeque pocla potitet: aps ted accipiat, tibi propinet, tu bibas, ne illa minus aut plus quam tu sapiat. DIAB. satis placet. PAR. suspiciones omnis ab se segreget. neque illaec ulli pede pedem homini premat, 775 quom surgat: nec <quom> in lectum inscendat proxumum, nec quom descendat inde, det quoiquam manum: spectandum ne quoi anulum det nec roget. talos ne quoiquam homini ammoveat nisi tibi. quom iaciat, te ne dicat: nomen nominet. 780 deam invocet sibi quam lubebit propitiam, deum nullum; si magis religiosa fuerit, tibi dicat: tu pro illa ores ut sit propitius. neque illa ulli homini nutet, nictet, annuat. post si lucerna exstincta sit, ne quid sui 785 membri commoveat quicquam in tenebris. DIAB. optume est. ita scilicet facturam. verum in cubiculo deme istuc equidem illam moveri gestio. nolo illam habere causam et votitam dicere. PAR. scio, captiones metuis. DIAB. verum. PAR. ergo ut iubes 790 tollam. DIAB. quidni? PAR. audi relicua. DIAB. loquere, audio. PAR. neque ullum verbum faciat perplexabile, neque ulla lingua sciat loqui nisi Attica. fort si tussire occepsit, ne sic tussiat ut quoiquam linguam in tussiendo proserat. 795 quod illa autem simulet quasi gravedo profluat, hoc ne sic faciat: tu labellum apstergeas potius quam quoiquam savium faciat palam. nec mater lena ad vinum accedat interim, neque ulli verbo male dicat. si dixerit, 800 haec multa ei esto, vino viginti dies ut careat. DIAB. pulchre scripsti. scitum syngraphum. PAR. tum si coronas, serta, unguenta iusserit ancillam ferre Veneri aut Cupidini, tuos servos servet Venerine eas det an viro. 805 si forte pure velle habere dixerit, tot noctes reddat spurcas quot pure habuerit. haec sunt non nugae, non enim mortualia. DIAB. placent profecto leges. sequere intro. PAR. sequor. Asinaria A Student Commentary ( J.R. Porter, 2015) 24

34 IV.i IV.ii DIABOLVS PARASITVS DIAB. sequere hac. egone haec patiar aut taceam? emori 810 me malim quam haec non eius uxori indicem. ain tu? apud amicam munus adulescentuli fungare, uxori excuses te et dicas senem? praeripias scortum amanti atque argentum obicias lenae? suppiles clam domi uxorem tuam? 815 suspendam potius me quam tacita haec tu auferas. iam quidem hercle ad illam hinc ibo, quam tu propediem, nisi quidem illa ante occupassit te, effliges scio, luxuriae sumptus suppeditare ut possies. PAR. ego sic faciundum censeo: me honestiust 820 quam te palam hanc rem facere, ne illa existumet amoris causa percitum id fecisse te magis quam sua causa. DIAB. at pol qui dixti rectius. tu ergo fac ut illi turbas, litis concias, cum suo sibi gnato unam ad amicam de die 825 potare, illam expilare. <PAR.> iam <iam>. ne mone. 49 ego istuc curabo. DIAB. at ego te opperiar domi. 49 iam emone codd. expilare <narra>. <PAR.> ne mone. Leo 25 Asinaria A Student Commentary ( J.R. Porter, 2015)

35 V.i V.i ARGYRIPPVS DEMAENETVS [PHILAENIUM] ARGYRIPPVS age decumbamus sis, pater. DEMAENETVS ut iusseris, mi gnate, ita fiet. ARGYR. pueri, mensam apponite. 50 DEM. numquidnam tibi molestum est, gnate mi, si haec nunc mecum accubat? 830 ARGYR. pietas, pater, oculis dolorem prohibet. quamquam ego istanc amo, possum equidem inducere animum ne aegre patiar quia tecum accubat. DEM. decet verecundum esse adulescentem, Argyrippe. ARGYR. edepol, pater, merito tuo facere possum. DEM. age ergo, hoc agitemus convivium vino ut sermone suavi. nolo ego metui, amari mavolo, 835 mi gnate, me aps te. ARGYR. pol ego utrumque facio, ut aequom est filium. DEM. credam istuc, si esse te hilarum videro. ARGYR. an tu [ess ] me tristem putas? DEM. putem ego, quem videam aeque esse maestum ut quasi dies si dicta sit? ARGYR. ne dixis istuc. DEM. ne sic fueris: ilico ego non dixero ARGYR. em aspecta: rideo. DEM. utinam male qui mihi volunt sic rideant. ARGYR. scio equidem quam ob rem me, pater, tu tristem credas nunc tibi: quia istaec est tecum. atque ego quidem hercle ut verum tibi dicam, pater, ea res me male habet; at non eo quia tibi non cupiam quae velis; verum istam amo. aliam tecum esse equidem facile possum perpeti. 845 DEM. at ego hanc volo. ARGYR. ergo sunt quae exoptas: mihi quae ego exoptem volo. DEM. unum hunc diem perpetere, quoniam tibi potestatem dedi cum hac annum ut esses, atque amanti argenti feci copiam. ARGYR. em istoc me facto tibi devinxti. DEM. quin te ergo hilarum das mihi? secl. Weise Asinaria A Student Commentary ( J.R. Porter, 2015) 26

36 V.ii V.ii ARTEMONA PARASITVS ARGYRIPPVS DEMAENETVS PHILAENIVM ARTEMONA ain tu meum virum hic potare, opsecro, cum filio et ad amicam detulisse argenti viginti minas meoque filio sciente id facere flagitium patrem? PARASITVS nec divini nec mi humani posthac quicquam accreduas, Artemona, si huius rei me ess mendacem inveneris. 855 ART. at scelesta ego praeter alios meum virum frugi 51 rata, siccum, frugi, continentem, amantem uxoris maxume. PAR. at nunc dehinc scito illum ante omnis minimi mortalem preti, madidum, nihili, incontinentem atque osorem uxoris suae. ART. pol ni istaec vera essent, numquam faceret ea quae nunc facit PAR. ego quoque hercle illum antehac hominem semper sum frugi ratus, verum hoc facto sese ostendit, qui quidem cum filio potet una atque una amicam ductet, decrepitus senex. ART. hoc ecastor est quod ille it ad cenam cottidie. ait sese ire ad Archidemum, Chaeream, Chaerestratum, 865 Cliniam, Chremem, Cratinum, Diniam, Demosthenem: is apud scortum corruptelae est liberis, lustris studet. PAR. quin tu illum iubes ancillas rapere sublimem domum? ART. tace modo. ne illum mecastor miserum habebo. PAR. ego istuc scio, ita fore illi dum quidem cum illo nupta eris. ART. ego censeo 870 eum etiam hominem <aut> in senatu dare operam aut cluentibus, ibi labore delassatum noctem totam stertere; ille opere 53 foris faciendo lassus noctu <ad me> advenit; fundum alienum arat, incultum familiarem deserit. is etiam corruptus porro suom corrumpit filium. 875 PAR. sequere hac me modo, iam faxo ipsum hominem manufesto opprimas. ART. nihil ecastor est quod facere mavelim. PAR. manedum. ART. quid est? PAR. possis, si forte accubantem tuom virum conspexeris cum corona amplexum amicam, si videas, cognoscere? ART. possum ecastor. PAR. em tibi hominem. ART. perii. PAR. paullisper mane. 880 aucupemus ex insidiis clanculum quam rem gerant. ARGYR. quid modi, pater, amplexando facies? DEM. fateor, gnate mi ARGYR. quid fatere? DEM. me ex amore huius corruptum oppido. PAR. audin quid ait? ART. audio. DEM. egon ut non domo uxori meae surrupiam in deliciis pallam quam habet atque ad te deferam? 885 non edepol conduci possum vita uxoris annua. PAR. censen tu illum hodie primum ire assuetum esse in ganeum? ART. ille ecastor suppilabat me, quod ancillas meas suspicabar atque insontis miseras cruciabam. ARGYR. pater, iube dari vinum; iam dudum factum est quom primum bibi. 890 DEM. da, puere, ab summo. age tu interibi ab infumo da savium. ART. perii misera, ut osculatur carnufex, capuli decus. DEM. edepol animam suaviorem aliquanto quam uxoris meae. PHILAENIUM dic amabo, an foetet anima uxoris tuae? DEM. nauteam bibere malim, si necessum sit, quam illam oscularier. 895 ART. ain tandem? edepol ne tu istuc cum malo magno tuo dixisti in me. sine, revenias modo domum, faxo ut scias quid pericli sit dotatae uxori vitium dicere. PHIL. miser ecastor es. ART. ecastor dignus est. ARGYR. quid ais, pater? 51 fueram dub. Leo frui Bertini secl. Della Corte 53 operi Lindsay 27 Asinaria A Student Commentary ( J.R. Porter, 2015)

37 V.ii ecquid matrem amas? DEM. egone illam? nunc amo, quia non adest. 900 ARGYR. quid quom adest? DEM. periisse cupio. PAR. amat homo hic te, ut praedicat. ART. ne illa ecastor faenerato funditat: nam si domum redierit hodie, osculando ego ulciscar potissumum. ARGYR. iace, pater, talos, ut porro nos iaciamus. DEM. maxume. te, Philaenium, mihi atque uxoris mortem. hoc Venerium est. 905 pueri, plaudite et mi ob iactum cantharo mulsum date. ART. non queo durare. PAR. si non didicisti fulloniam, non mirandum est, <Artemona>; in oculos invadi optumum est. ART. ego pol vivam et tu istaec hodie cum tuo magno malo invocasti. PAR. ecquis currit pollinctorem accersere? 910 ARGYR. mater, salve. ART. sat salutis. PAR. mortuost Demaenetus. tempus est subducere hinc me; pulchre hoc gliscit proelium. ibo ad Diabolum, mandata dicam facta ut voluerit, atque interea ut decumbamus suadebo, hi dum litigant. poste demum huc cras adducam ad lenam, ut viginti minas 915 ei det, in partem hac amanti ut liceat ei potirier. Argyrippus exorari spero poterit ut sinat sese alternas cum illo noctes hac frui. nam ni impetro, regem perdidi: ex amore tantum est homini incendium. ART. quid tibi hunc receptio ad te est meum virum? PHIL. pol me quidem 920 miseram odio enicavit. ART. surge, amator, i domum. DEM. nullus sum. ART. immo es, ne nega, omnium <hominum> pol nequissumus. at etiam cubat cuculus. surge, amator, i domum. DEM. vae mihi. ART. vera hariolare. surge, amator, i domum. DEM. apscede ergo paullulum istuc. ART. surge, amator, i domum. 925 DEM. iam opsecro, uxor ART. nunc uxorem me esse meministi tuam? modo, quom dicta in me ingerebas, odium, non uxor, eram. DEM. totus perii. ART. quid tandem? anima foetetne uxoris tuae? DEM. murram olet. ART. iam surrupuisti pallam quam scorto dares? PHIL. ecastor qui surrupturum pallam promisit tibi. 930 DEM. non taces? ARGYR. ego dissuadebam, mater. ART. bellum filium. istoscin patrem aequom est mores liberis largirier? nilne te pudet? DEM. pol, si aliud nil sit, tui me, uxor, pudet. ART. cano capite te cuculum uxor ex lustris rapit. DEM. non licet manere (cena coquitur) dum cenem modo? 935 ART. ecastor cenabis hodie, ut dignus es, magnum malum. DEM. male cubandum est: iudicatum me uxor abducit domum. ARGYR. dicebam, pater, tibi ne matri consuleres male. PHIL. de palla memento, amabo. DEM. iuben hanc hinc apscedere? ART. i domum. PHIL. da savium etiam prius quam abitis. DEM. i in crucem PHIL. immo intus potius. sequere hac me, mi anime. ARGYR. ego vero sequor post 941 codd. Asinaria A Student Commentary ( J.R. Porter, 2015) 28

38 EPILOGUS GREX hic senex si quid clam uxorem suo animo fecit volup, nec novom nec mirum fecit nec secus quam alii solent; nec quisquam est tam ingenio duro nec tam firmo pectore quin ubi quicque occasionis sit sibi faciat bene. 945 nunc si voltis deprecari huic seni ne vapulet, remur impetrari posse, plausum si clarum datis. 29 Asinaria A Student Commentary ( J.R. Porter, 2015)

39 Commentary: Introduction Grammatical Commentary [Note: many of the explications of particular words or constructions that are presented in the following notes derive from the on-line Lewis & Short, A Latin Dicitonary, or from William Whitaker s WORDS app.] 55 [Asterisks (*) flag constructions, terms, and figures of speech discussed in the grammatical or metrical appendices. A related symbol ( ) marks citations of scholarly works in languages other than English. 56 ] Editions, Translations, and Commentaries 57 [Note: for the latest and most thorough scholarly discussion of the play, consult Hurka. Those with Italian will find that Bertini s student edition is still quite helpful.] de Melo, W., ed. and tr. Plautus I: Amphitryon, The Comedy of Asses, The Pot of Gold, The Two Bacchises, The Captives. Cambridge, Mass. and London, [de Melo] Hurka, F. Die Asinaria des Plautus: Einleitung und Kommentar. Munich, [Hurka] Henderson, J., tr. and comm. Plautus: Asinaria. The One about the Asses. Madison, Danese, R.M., ed. Titus Maccius Plautus: Asinaria. Sarsina and Urbino, [Danese] [Text: ] Bertini, F., ed. Plauti Asinaria cum commentario exegetico. Genoa, 1968a. [Bertini] Bertini, F., ed. Plauto: Asinaria. Padua, 1968b. [student edition] Ernout, A., ed. and tr. Plaute, I. 2 nd ed. Paris, Havet, L., and A. Freté, eds. and trs. Pseudo-Plaute: Le prix des ânes (Asinaria). Paris, [Havet/Freté] Nixon, P., ed. and tr. Plautus I: Amphitruo, Asinaria, Aulularia, Bacchides, Captivi. London and New York, Lindsay, W.M., ed. T. Macci Plauti comoediae, I. Oxford, Lewis and Short: WORDS by William Whitaker: 56 Not included in this category: standard commentaries and reference works cited by author s name alone or via an abbreviation. 57 For a more complete listing of editions and commentaries, see Hurka Asinaria A Student Commentary ( J.R. Porter, 2015) 33

40 Gray, J.H., ed. and comm. T. Macci Plauti Asinaria. Cambridge, [Gray] Commentary: Introduction Frequently Cited Lexical/Grammatical Aids Available On-line or in pdf Format de Melo, W.D.C. The Early Latin Verb System: Archaic Forms in Plautus, Terence, and Beyond. Oxford and New York, 2007a miscMatter-1 Gildersleeve, B.L., and G. Lodge. Gildersleeve s Latin Grammar. London and New York, [G&L, cited by section] Greenough, J.B., J.H. Allen, et al. Allen and Greenough s New Latin Grammar. Mineola, [A&G, cited by section] Lewis, C.T., and C. Short. A Latin Dictionary. Oxford, [L&S] Lindsay, W.M. Syntax of Plautus. Oxford, [Lindsay, cited by page] Whitaker, W. WORDS. [app] Woodcock, E.C. A New Latin Syntax. London, [Woodcock, cited by section] Other Lexical/Grammatical Aids Bennett, C.E. Syntax of Early Latin: I: The Verb (Boston, 1910); II: The Cases (Boston, 1914). Glare, P.G.W., ed. Oxford Latin Dictionary. Oxford and New York, [OLD] Leumann, M., J.B. Hofmann, and A. Szantyr. Lateinische Grammatik. Munich, [LHS] Lodge, G. Lexicon Plautinum. Stuttgart, Maniet, A. Plautus, Asinaria: index verborum, lexiques inverses, relevés lexicaux et grammaticaux. Hildesheim and New York, Rotheimer, J. De enuntiatis conditionalibus Plautinis. Göttingen, Smith R.U. A Glossary of Terms in Grammar, Rhetoric, and Prosody for Readers of Greek and Latin: A Vade Mecum. Mundelein, Asinaria A Student Commentary ( J.R. Porter, 2015) 34

41 Commentary: Introduction General Introductions to/studies of Plautus Fraenkel 2007 (first published in 1922), Duckworth 1994 (first published in 1952), Segal 1987 (first published in 1968), Konstan 1983, Slater 2000 (first published in 1985), Anderson 1993, Moore 1998b, McCarthy 2000, Marshall 2006, Sharrock 2009, Manuwald 2011, Gunderson The Stage of Plautus In addition to the works cited above, recent general introductions to the Roman stage can be found in Boyle 2006: 3-23, McDonald/Walton 2007, Moore 2012a and 2012b, Fontaine/Scafuro 2014, Moodie 2015: On the broader cultural background, see Feeney Interpretations of Asinaria Havet 1905, Hough 1937, Webster 1970: , Konstan 1978 (revised in Konstan 1983: 47-56), Woytek 1982: 65-75, Slater 2000: (first published in 1985), Vogt-Spira 1991, Lowe 1992 and 1999, Rosivach 1998: 63-66, Danese 1999, Antonsen-Resch 2004: 20-30, Barber 2011: 72-81, , , Lefèvre 2014b, Porter Authorship The current scholarly consensus assigns this play to P., but that has not always been the case. See Havet/Freté v-xxxvi and liii-lxii, who point to a number of allegedly distinctive features in the author s language and use of meters, and present a not very convincing case for an unknown late-2 nd C. author writing under the pseudonym Maccus, who is to be distinguished from Maccius (i.e., P.): cf. ad 11. Reichel 2000 has revived this theory based on inconcinnites of plot and characterization, arguing that our play represents a late 2 nd -C. pastiche. Title There is little in P. s play to explain the title of the Greek original (Onagos [Ὀνᾱγός] The Ass-driver). 58 The only potential candidate in P. s play for such a character is the unnamed Mercator who appears in 58 The original title as cited would seem to be in a non-attic dialect (Ὀνᾱγός, as opposed to the Attic Ὀνηγός), but this point is disputed ( Björck 1950: 292 n. 1, Vogt-Spira 1991: 29: it is difficult to decide the issue given that there is no other attestation of the term prior to the Byzantine period); no other citation of such a play exists. (The older view that the Greek title was Ὄναγρος [The Wild Ass attested by BD] is now generally rejected see, however, Fraenkel 2007: 324 n. 37, Traina 1954: and 188, Della Corte 1961: 38-41, Fontaine 2005, Hurka ad The animals mentioned in our play [333-42, 347, 369, ] are plural in number and, while valuable due to their breeding (see ad 333 and 340), nowhere said to be wild: despite the generally superior quality of the readings in BD, the more obscure title would seem the more likely.) Asinaria A Student Commentary ( J.R. Porter, 2015) 35

42 Commentary: Introduction II.iii-iv, whose precise identity is never defined but whose role offers little justification for considering him the title character. 59 Nor is it easy to derive the Greek title from the scene (III.iii) where the young master is compelled to be driven about like a beast of burden. 60 One would like to think that the title Asinaria (Fabula) ( Play having to do with asses ) might allude to the various dolts and blockheads featured in our work (L&S s.v. asinus II), 61 but this is difficult to establish and is at odds with the practice employed in naming other plays. 62 Most likely the title simply alludes to a central feature of the plot: the diverting of funds that derive from the selling of a set of asses. In that sense, the title reflects the prominent role of the moneybag in II.iii-iv and III.ii-iii. 63 Greek Original Lines inform us that the Greek original on which this play is based was entitled, The Ass-driver (above); they then go on to note that, Demophilus scripsit, Maccus vortit barbare ( Demophilus wrote it; Maccus has translated it for us barbarians ). We have no other reference to a Greek playwright by the name Demophilus: the relevance of the fragmentary inscription IG II to this question is now discounted (Millis/Olson 2012), while attempts to emend Demophilus in line 11 to Diphilus or Deinolochus have proven unconvincing. As a result, we can say very little about the authorship the Greek original or its nature. 64 Vogt-Spira (1991) highlights the anomaly of Art. s financial independence in 59 For more on the identity of Merc., see below ( Dramatis Personae ). 60 E.g., Schwarz 1936: , Marshall 2006: 164 n. 9 and ; cf. below ad 709. The fact that the only comparison presented in our text alludes to a horse (704) offers a particular difficulty: cf. under Dramatis Personae below, on the name Argyrippus. 61 Cf. Fontaine 2014: 517 (The Jackass Affair) and Henderson 2006: , who suggests that the true donkey-driver might well be Artemona. 62 Lilja 1965: 33 notes that the only slang use of the term in P. suggests stubbornness as much as stupidity (Pseud. 136); cf. Stewart 2012: 169 and n. 46, who emphasizes the donkey s slave-like subordination and exposure to being beaten. Traina 1954: 188, by contrast, emphasizes the donkey s association with Priapus and finds therein not only a rationale for the two titles (Ὄναγρος/Asinaria: cf. n. 3) but confirmation of what he regards as the play s central theme (the amorous folly of Argyr. and Dem.). 63 Cf and ad 590. Note the titles Aulularia, Cistellaria, Mostellaria, and see A&G 254.2, G&L Henderson 2006: 219 n. 5 follows earlier comm. in noting that Asina and Asinius are recorded as the titles of Atellan farces. As Henderson also remarks, the title Asinaria could be taken to mean, play about an asinarius (donkey-driver) : it is possible that the reference to a Greek original entitled Ὀνᾱγός represents a misguided later attempt to manufacture a Grk. source, employing Trin. 19 as a model. (Such a view must regard the extant prologue as post-plautine.) 64 See, however, Woytek 1982: 65-79, who suggests grounds for maintaining that Asin. and Pers. derive from works composed by the same Grk. author. Asinaria A Student Commentary ( J.R. Porter, 2015) 36

43 Commentary: Introduction arguing that Asin. is an original composition of P. for which no specific Greek model existed: 65 the reference to Demophilus play (on this view, likely an obscure Greek South Italian farce that provides P. with nothing more than its title) is included solely as a nod to convention, in order to endow P. s work with an appropriate pedigree. 66 Date There is little evidence on which to argue for the date of either the Greek original or P. s adaptation. The best guess would seem to be that Demophilus play dates to somewhere in the first half of the 3 rd century BC. 67 Many argue that weaknesses in the treatment of plot and character, as well as limitations in the handling of meter (e.g., the limited use of lyric) 68 and the scant use of Greek loan-words, 69 locate Asin. early in P. s œuvre: the period ca is often cited, but on no very compelling evidence Many have felt that Vogt-Spira exaggerates this anomaly, particularly in the realm of comedy: see, e.g., Brown 1995: and below ad 85. A detailed critique is presented by Antonsen-Resch 2004: On the citation of Grk. originals in P. s prologues, see McElduff 2013: Reichel 2000, followed by Auhagen 2009: , also challenges the notion of a Greek original for our play: see above re Authorship. Hough 1937 attempts to distinguish those sections of P. s play that derive from Demophilus original, on the one hand, from those modeled after an unnamed Diabolus play on the other (cf. Hurka 46 n. 284). Complicating matters still further is the possibility that the text bears traces of modifications that derive from later productions of the play (retractatio), although such theories are less in vogue these days: see Della Corte 1961 and 1967: , and, e.g., below ad /116-26, 252, 856, Much recent criticism has shifted the emphasis away from the question of sources onto the undeniable Romanness of P. s actual productions: see the useful remarks of Dutsch/James/Konstan 2015: 9 n Edmonds 1961: III.A 244 n. e discusses the historical and social circumstances assumed in the Plautine adaptation, arguing for 287 BC; cf. Traina 1954: , Webster 1970: , Woytek 1982: 68-69, R.L. Hunter 1985: 62, and Reichel 2000 on the derivative features in the play s treatment of plot and character. See further Hurka Few would now accept Leo s suggestion (1908: 62) of a late third/early second-century date; see, however, Webster 1970: 99 and 253, Woytek 1982: (esp. 74), K.-A. s.v. Demophilus. Cf. Lefèvre 2014c. 68 Duckworth 1994: , Anderson 1993: Moore 2012a: 188 notes the prominence of accompanied verse in the play, particularly the unparalleled fondness for iambic septenarii, which define two of the grandly comic sequences (II.iii-iv and III.ii-iii) and constitute more than one third of the lines in the play. Havet/Freté x detect oddities in the treatment of this meter (below: Metrical Matters ), which, along with the author s fondness for this form, they regard as evidence for a post-plautine date. 69 Maltby 1995: 36 and 41; Hurka Enk 1932: argues for particularly close ties to Merc.: cf. Schutter 1952: 87 n. 2 (comparing Merc. 137/Asin. 326; Merc. 907/Asin. 720; Merc. 744/Asin. 628 Merc. 407/Asin. 784; note as well the similar treatment of iambic octonarii in those two works below: Metrical Matters ). Hurka 28 finds connections to Miles (206/5 BC) and (36-37) Pers. (with Woytek 1982: 65-79). A telling historical allusion has been detected in line 307 (cf. Livy and Men. 778, Rud. 525): see, however, my remarks ad loc. The assertion that must allude to the presence of a member of the Scipio family in the theater is not to be taken seriously, nor can a specific Scipio be identified with certainty: cf. below ad loc. See also ad 101 (optionem), 200 (a Asinaria A Student Commentary ( J.R. Porter, 2015) 37

44 Commentary: Introduction Principal Manuscripts 71 B = cod. Palatinus Vaticanus 1615 (10 th /11 th century) D = cod. Vaticanus 3870 (10 th century) E = cod. Ambrosianus I 257 inf. (12 th century) J = cod. Londiniensis (12 th century) F = cod. Lipsiensis (15 th century) Itali = Renaissance humanist tradition [esp. the editio princeps by Merula (Venice, 1472)] Dramatis Personae 72 Argyrippus (Ἀργύριππος) the youthful son of Demaenetus, who has fallen in love with Philaenium, the young prostitute next door: a comic name 73 ( Silver-horse cf. the common Chrysippus ); alludes to the scene where, for the sake of cash (argentum), the young man is compelled to give his slave a piggy-back ride (699ff.). Also phps. a nod to his extravagance? (Cf. the comic Pheidippus [ Thriftyhorse ] of Aristophanes Clouds.) Gray cites the Stratippocles of Epidicus as a similarly comic coinage. 74 Artemōna (Ἀρτεµώνη) wife of Demaenetus: derived from the common masc. name Ἀρτέµων. Likely 75 selected for the association with the austere (and chaste) Artemis. 76 pistore panem petimus), and 333 (mercatori Pelleo). Further: Hurka and ad ; for earlier discussions, Buck 1940: 8, 21, 30-36, and 76-77, Schutter 1952: 14-20, Della Corte 1961: See de Melo 2011: civ-cxii, Stockert 2014: For a useful general discussion of the transmission of P. s plays, see Fortson 2008: On the derivation of the Grk. names of P. s characters, see Schmidt 1902, Lefèvre 2014b: There was a city in Apulia (southern Italy) named Argyrippa. Otherwise the name seems to be unattested. 74 Cf. Duckworth 1994: 348, Hurka ad Schmidt 1902: 178. Ἀρτεµώ and Ἀρτεµωνίς are attested names; there is no attestation of the form Ἀρτεµώνη. Cf. Hurka ad Cf. Benoist 1872: 4: Artemona exemplar est viraginis coram qua cetera (sic) trepidant, vir, liberi, ancillae. Similarly Henderson 2006: 210: No doubt Ἀρτεµώνη is a vengeful Artemis who always gets her man. Asinaria A Student Commentary ( J.R. Porter, 2015) 38

45 Commentary: Introduction Cleāreta (Κλεηράτη) lena (bawd) and mother 77 of Philaenium: comic name, given the nature of the character: She who is desirous of renown (κλέος + ἐρατο-). 78 Dēmaenetus (Δηµαίνετος) father of Argyrippus and husband of Artemona: a fairly common proper name ( Praised by the people ), used here to comic effect (see , ) 79 Diabolus (Διάβολος) youthful rival for the services of Philaenium. A comic/descriptive name: Slanderer, Informer. 80 Like Argyrippus name, it points both to the character s nature and to a key scene in which he plays a role (IV.ii). 81 Leōnida (Λεωνίδης/Λεωνίδας) 82 slave of Demaenetus: an aristocratic name ( Son of Leon / Lionson ), shared by the famous Spartan king who led the Greek forces at Thermopylae. Unique, and comically overblown, as a servile name in New Comedy: cf. Gray ad 401, Hurka ad Libanus (Λίβανος) slave of Demaenetus: a slave name, denoting Syrian origin ( Frankincense-tree ) 84 Mercātor: young man sent by the Merchant to pay for the asses that were sold to him by Saurea; never named in the play. (The use of the appellation Mercator in the mss. to designate lines spoken by this individual is confusing: that designation belongs more properly to the Macedonian merchant whose interests he represents [333, 397]. In the play the Merchant s agent is for the most part alluded to in more general terms, as adulescens [337] or hospes [361, 416, 431, 582] but cf. 369.) 85 As Hurka 77 It was common for female brothel-keepers, at least as they are presented in our forensic and literary sources, to pose as the mother of their girls : Cohen 2015: Cf., however, Fantham 2004: , Strong 2012, Cohen 2015: I follow Schmidt 1902: , who compares the inverse forms Ἐρατοκλῆς, Ἐρατοκλέα, Ἐρατόκλεια. (Note the masculine Κλεήρατος, attested twice.) For the humorous inaptness of the name, cf. the bawd Nicarete of [Demosth.] The name Κλεαρέτη/Κλεαρέτα ( She who is renowned for virtue ) is attested in the inscriptional record, as is a masc. form, Κλεάρετος/Κλεαρέτας. This derivation does not account for the long second syllable of the Plautine form, however. Danese and Hurka (ad ) follow Camerarius in arguing for the form Cleaereta (with some support from the mss.; cf. Grk. Κλεαίρετος, attested only once, in the masc.). Cleāreta would then represent a Latinized version of this latter form, with ā- replacing ae-: cf. Lorenz 1876: 53. If the latter derivation is correct, the name means, She who would acquire renown (κλέος + αἱρεῖν). 79 Cf. Duckworth 1994: 348, Hurka The name does appear once in the epigraphic record: CIL 6091 ( Solin 2003: 757). 81 As Schmidt 1902: 186 notes, this character-type provides the titles for plays by Nicostratus and Apollodorus of Carystus. See further Hurka ad and my introduction to I.ii. 82 For Λεωνίδης/Λεωνίδας > Leonides/Leonidas (G&L 65) > Leonida, cf. the relationship betw. Grk. ποιητής and Latin poeta, Grk. ναύτης and Latin nauta. Cf. ad 740 and see Hurka ad A work entitled Leonides is attributed to Antiphanes. A relation of Alexander the Great by this name, charged with tutoring him in his youth, was later noted for having had a baleful effect upon his character: Quint. Inst. Or Ussing 1875: 349 suggests a connection with the aristocratic belligerence displayed by Leon. in II.iv (citing truculentis oculis at 401). 84 Cf. Hurka ad 36-37a. Barber 2011: 75 and n. 9 detects an association with libet, citing line 110. See, further, ad In the heading for II.iv, this character is listed simply as Chlamydatus i.e., character dressed in a chlamys (the Greek travelling cloak, commonly worn with a broad-brimmed sun-hat [petasos]: ill. 1): Lindsay 1904: 96 n. For depictions of such characters in a theatrical context, see Green 1996 re (older) messengers on the Grk. tragic stage. Asinaria A Student Commentary ( J.R. Porter, 2015) 39

46 Commentary: Introduction indicates (ad ), he is freeborn (477) and might well be imagined to be the unnamed Merchant s son. (Sons are frequently sent on such missions in Greek and Roman comedy: e.g., Men. Dis. Ex.; P. Bacch., Merc.; Ter. Hec.) Parasītus: the hanger-on (parasite) of Diabolus; never named in the play Philaenium (Φιλαίνιον) young prostitute with whom Argyrippus has fallen in love: a professional name ( Sweetiekins ); a fairly common prostitute name in Greek epigram, but rare otherwise. 86 Dimin. of Philaenis, itself most likely a dimin. of φίλαινα ( sweety ). 87 Mute Characters II.iii slave-attendant of Merc. (382) V.i and ii slaves attending at the convivium of Dem., Argyr., and Phil. (829, 891, 906) Other Important Characters (mentioned but never appearing on stage) Saurea (Σαυρέας): head slave (atriensis) of Demaenetus household, but property of Artemona and brought into the house as part of her dowry. Derivation: variant of Σαυρίας, from σαῦρος/σαύρα ( lizard or, in an obscene sense, prick ). For a possible humorous play upon the former, see Oliphant Merchant: unnamed purchaser of a number of asses, which were sold to him by Saurea. From Pella (in Macedonia). Cf. above re the character Mercator. 86 Cf., however, the freedwoman Philaenio of CIL ( Solin 2003: 1.162). See further Hurka ad Tsantsanoglou 1973: 192: It is very likely that Φιλαινίς is not a compound of φίλος [ dear, beloved or (in compounds) -lover ] and αἶνος [ story, tale, praise ], but the diminutive of φίλαινα, a feminine of φίλος, attested only from medieval Greek and interpreted by Ducange (s.v. φίλενα) as amasia, amica, ἑταίρα, παλλακίς. It is from this word that the modern Greek φιλαινάδα, girl-friend, sweet-heart derives. One suspects, however, that the typical audience-member assumed a (humorous) association with αἶνος, yielding the sense Lover of praise or (Bertini and earlier scholars, citing 511) Chatty, Garrulous. (Cf. the masc. name Φιλαίνιος.) The more common name Philaenis comes to be associated with transgressive sexuality through the (fictional) female author of a 4 /3 -century pornographic treatise on the various sexual positions ( Vessey th rd 1976, Parker 1992, McClure 2003: 84, Boehringer 2015). 88 Cf. Hurka ad 84-86, The relevance of Leningrad inv. B-1661 (Apulian bell-krater, ca BC: ill. 2) to the portrayal of Saur. s role in Dem. s household is questionable (Webster 1948: 26 and 1970: 254, Vogt-Spira 1991: 30-31; cf. Storey 2011: 3.426). Asinaria A Student Commentary ( J.R. Porter, 2015) 40

47 Commentary: Introduction The Assignment of Roles One of the interesting features of this work is its lack of an obvious starring role. 89 The clever slave Libanus can scarcely be said to dominate the play, and he must share the function of the servus callidus along with a good deal of the comic bits with his fellow slave Leonida, who assumes the role of the comic rogue. 90 Leonida is given one of the three high comic scenes in the play (his impersonation of Saurea in II.iv), and shares in a second (the tormenting of Argyrippus and Philaenium in III.iii), but, on the whole, the principal roles in this play, and their comic potential, are all fairly evenly weighted phps. a reminiscence of a general practice in the production of Atellan farce? A related issue concerns the number of actors required to put the play on stage. It is not altogether certain whether the tradition in which P. is composing required actors to assume multiple roles through the use of masks, but that is the working assumption, for a variety of reasons. 91 P. generally flouts the practice of the Greek comic stage, however, which employed only three or (occasionally) four actors with speaking roles: Asin. requires a minimum of five speaking actors (V.ii). 92 With the insertion of musical interludes at key points, two economical role divisions would be: Scheme 1 Actor 1 Dem, Leon Actor 2 Lib, Par Actor 3 Art, Clear, Merc Actor 4 Argyr, Diab 93 Actor 5 Phil Scheme 2 Actor 1 Art, Diab, Leon Actor 2 Dem, Merc Actor 3 Lib, Par Actor 4 Argyr, Clear 89 On this issue more generally, see Marshall 2006: Contrast, e.g., the relative weight of the roles of Pseudolus and Simia in Pseud. 91 Cf. Duckworth 1994: 94-98, Marshall 2006 (esp. chaps. 2 and 3); see most recently Csapo 2014: (on the Greek tradition) and Petrides 2014b: On the question of masks, cf. ad 796 and If one assumes a continuous production, without the introduction of musical interludes betw. acts (cf. below and ad ), that number increases to six (transition from III.iii to IV.i). As noted above, additional mute performers are required to represent Merc. s attendant in II.iii and the slaves who set out and attend at the convivium in V.i. 93 Bader 1970: 114 raises the distant possibility that the confusion betw. Argyr. and Dem. in the scene headings at 127 and 810 might stem from the use of a Greek letter to indicate that both of those characters were to be played by the same actor. Asinaria A Student Commentary ( J.R. Porter, 2015) 41

48 Commentary: Introduction Actor 5 Phil 94 Given the kinetic nature of P. s works, the circumstances under which his plays were produced, 95 and the fact that the Roman comic stage (unlike the Greek) did not incorporate a tradition of choral performance, there are reasonable grounds for arguing that P. presented a continuous performance where possible, with no formal act divisions (which would have allowed his audience to stray) but with musical interludes as necessary. 96 Asin. does not readily support this position, however. If we assume a relatively small troupe of masked performers, such an interlude is required at line 745 of our play (conclusion of Act III) in order to furnish the actors with the opportunity for a costume change; depending on the rationale employed in assigning roles, similar interludes could well have been required at 503 and 827 (conclusion of Acts II and IV). A further interlude was likely necessary at 809 (conclusion of IV.i) in order to accommodate the rather curious staging: see the introduction to IV.ii. Thus it is quite possible that the original production of Asin. required musical interludes at three of the four act-breaks indicated in our mss., with an additional interlude in the course of Act IV; it is, in any case, worth noting how often the junctures indicated in our text by act-breaks are also the sites that pose the greatest challenges for the deployment of roles. 97 Setting 98 The stage presents two houses: that of Demaenetus (to the audience s left, on the side of Wing A), and that of Clearata, Philaenium s mother (to the audience s right, on the side of Wing B). 94 See, further, Kurrelmeyer 1932: The first scheme focuses principally on as broad as possible a distribution of parts among the top four actors, with a certain attention to continuity of type ; the second obviates the need for breaks at the conclusion of Acts II and IV (see esp. ad ) and allows for a much quicker transition betw. Acts III and IV (Appendix II: Mapping Asinaria: entrances and exits in the play ). The prologue and epilogue would presumably have been performed by the lead actor, appearing before the audience without his mask: see my introductory remarks ad locc. 95 Beacham 1991: 38-40, Moore 1998b: 9-10, Marshall 2006: 31-48, 73-82; note, however, the caveats in Parker 1996: The ancient testimonia are provided by Lowe 1983: 442 n. 68 (cf ); see, further, Lowe 1983: and 2004, Hunter 1985: 37-38, Moore 2012a: (The act divisions that appear in our mss. were inserted in the early 16 C.) The one th sure use of a musical interlude to cover an act division presented in the ms. tradition is Pseud. 573a, but consider, e.g., the transition betw. Amph. III.iv and IV.i (lines , with Christenson 2000: 12 and 14-15). 97 The alternative, of course, is to assume a larger troupe or the splitting of individual roles betw. two or more actors, either of which would obviate the need for any interludes except (possibly) at the conclusion of IV.i. This would entail a reevaluation of our understanding of both the actors craft and the general atmosphere of the performance. 98 For a detailed discussion, see Rambo 1915: 416, Rosivach 1970: , Hurka 29 and ad 378 b -79, 380. Cf. App. II below: Mapping Asinaria: entrances and exits in the play. Asinaria A Student Commentary ( J.R. Porter, 2015) 42

49 Commentary: Introduction The tradition of associating the right wing with access to the forum and the left with the countryside or harbor has assumed a more nuanced form in recent criticism, which pays closer attention to dramatic continuity, the language of staging, and the significance of off-stage spaces. In this play, in particular, attempts to abide by the ancient convention of forum vs. countryside/harbor generate a number of infelicities or outright confusions: the sequential departure of both Lib. and (nine lines later) Dem. for the forum at the conclusion of I.i is awkward if both employ the same wing; it is also undermotivated ( Langen 1886: 99). Dem. s presence in the forum will be required at the conclusion of II.iv (486ff.), while his specific destination (the establishment of the banker Archibulus: 116) serves to present the forum as a mercantile center, a theme that informs both II.iv and Diab. s exit at Lib. s exit at 117, by contrast, lacks particular motivation, beyond the (generic) need for peace and quiet in which to lay his schemes, 100 and does not define its off-stage space in any specific fashion. 101 In terms of stage dynamics, it would be more satisfactory, and more typical, were the two to depart by separate wings. 102 at line 381, Merc. must enter via Wing A, the wing nearer Dem. s house (Rosivach 1970: ): his three-line entrance speech scarcely covers the time required to pass by Clear. s house and cross the stage; 103 moreover, Lib. requires a certain amount of separation in which to finish ushering Leon. off stage unobserved, and then to surprise Merc. before the latter s slave can knock at Dem. s door: the staging is awkward and cramped if all three actors, and the mute servant, are located on one side of the performance space. Given that Merc. s entrance is preceded by the departure of Leon. for the forum via the opposite wing (379-80), Wing B (the side of the stage on which Clear. s establishment is situated) must be associated with the forum. This can be accommodated, at first glance, by assuming that Merc. has landed in Piraeus (the port-city of Athens), where one could 99 Note the second reference to Dem. s goal at 126, where argentarium is his final word before departing. The desire to lay the ground for his later, off-stage role accounts in part for the apparent inconsistency of having Dem., who has no control over his own household finances, freqent a banking-establishment: cf. Hurka ad Cf. Pseud a; also, e.g., Men. Sam. 94-5, Ter. Andr The undefined goal of Lib. s departure is made the object of a joke at Note the further potential awkwardness in the transition betw. I.iii and II.i ( ) where, unless one posits an interlude (not required for a costume change), Diab. and Lib. must pass one another (see, however, Lowe 2004: 94). Once again, a more effective staging is obtained if Lib. employs the opposite wing. (It is phps. worth noting the older theory of a double recension of the conclusion of Act I, with two alternate endings: and 116-[26]: see ad , with Shipp 1955: , Bertini ad , Hurka ad ) 103 Note as well the force of hasce at 381, and cf. ad 379. Asinaria A Student Commentary ( J.R. Porter, 2015) 43

50 Commentary: Introduction accept that there would be both barbershops (343ff.) and baths (357). Such a conclusion, however, does not accord altogether with the evidence of II.iv (407ff.: see next bullet). Leon. s initial entrance at 267 is from the barbershop i.e., apparently via the same wing as that to be employed by Merc. at 381. Yet when Leon. returns from his mission to the forum (line 407), his Saurea speaks indignantly of not having met Lib. at the barbershop as he expected i.e., his concocted entrance speech presents him as arriving from the establishment where he earlier had met Merc. (343ff.). One must either assume that the fictitious Saurea has gone to the forum initially in search of Lib. (i.e., before entering at 407 a detour to which no allusion is made in our text), or (following Rambo 1915: 416 and Rosivach 1970: ) somehow separate the barbershop (which now must be viewed as being in the forum) from the baths (which are still separated from the civic center). Neither of these represents a happy solution, although the latter does find potential support in Leon. s use of recurro at 379 (of his departure for the forum implying that this mission to the forum involves retracing the path of his initial entrance). if Leon. s initial entrance at 267 is in fact via Wing B, then we are presented with another one-sided scenic transition, with Lib. opening II.i with his entrance from the forum, only to be followed eighteen lines later by Leon. s entrance via the same wing. on either of the two solutions suggested above, the use of the two wings is decidedly one-sided: of the defined uses of the two wings, there are only three or possibly four uses of Wing A, as opposed to ten, possibly nine, in the case of Wing B. 104 If we discount the movements of Diab. and Par. in Acts IV and V, the statistics for the remaining acts (Acts I-III) are: one, or possibly two, uses of Wing A as oppossed to nine, possibly eight, of Wing B. It is possible to salvage the forum vs. countryside/harbor convention in this play, but only via a certain amount of special pleading, and at the cost of a lopsided and awkward use of the two wings. This suggests that the original production adopted a less defined sense of space, with each wing imagined as leading to the forum: hence the apparent indifference regarding sequential entrances or exits involving the same offstage location. 105 The approach adopted in the following stage directions applies this looser conception of 104 The exit of Lib. and Leon. at the conclusion of III.iii is indeterminate: see my note ad 745. The final exits of Diab. (827) and Par. (919), both for Diab. s home, are not expressly determined in the text, but Rosivach 1970: 448 makes a convincing case for the use of Wing A (since at 919 Par. must retreat in the opposite direction from Art. as the latter makes her way from Dem. s home toward Clear. s establishment). 105 It is in any case unlikely that the text can sustain the type of detailed rationalizations in which comm. occasionally engage: e.g., Rosivach 1970: 448 n. 8. Hurka [ad 380], by contrast, would seem to confuse the traditional use of the angiportus in P. (cf. ad ) with a mechanism whereby characters could exit the stage heading in a direction other than their stated goal. (Equally Asinaria A Student Commentary ( J.R. Porter, 2015) 44

51 Commentary: Introduction off-stage space, with an emphasis on achieving a satisfactory dynamic in the entrances and exits of Acts I and II in particular: see, further, App. II. problematic is his attempt to assign an ill omen to the direction from which Leon. enters at 267, as seen from the perspective of Lib.: Hurka and ad 265, 266, , ) Asinaria A Student Commentary ( J.R. Porter, 2015) 45

52 Commentary: Argument Asinaria A Student Commentary ( J.R. Porter, 2015) 46

53 Commentary: Argument Acrostic Metrical Argument [Iambic Senarii] [The acrostic plot-summaries (argumenta, hypotheseis) that appear in the texts of all of our plays except Bacch. and Vid. are not by P. No certain date for their composition has been established. Earlier scholars argue for a connection with the studies of Aurelius Opillus (early 1 st C. BC) or Priscian (5 th -6 th C. AD); more recent views suggest a date in the second century AD or phps. as late as the fifth. (See ad Arg. 3-4.) They are written in a consciously archaizing style and often, of necessity, truncate elements of the plot.] [BIBLIOGRAPHY: Opitz 1883, Seyffert 1886: 21-24, Lindsay 1904: 86-87, Deufert 2002: , , Hurka ] Arg. 1-2: senex, vivens sub imperio uxorio, filio amanti vult auxiliari argento; AMANTI FILIO dat. (with auxiliarier); AMANTI *pred.: (his son) who is in love ; ARGENTO instr. abl. [A&G 409]; AUXILIARIER = auxiliari; VIVENS *pred.: who is living, although he lives ; IMPERIO UXORIO his wife s power/authority (a humorously overblown expression that anticipates the comic inversions that characterize Dem. s marriage: cf. 87); VOLT = vult Arg. 3-4: iussit pretium, relatum Saureae ob asinos, numerari servulo Leonidae; RELATUM *pred.: that has been brought (technically relatum suggests money that has been paid to someone one of many instances in the acrostic arguments where the need for brevity results in obscurity or confusion); PRETIUM NUMERARI acc. + inf. following iussit; SAUREAE dat. of advantage ( for Saurea ) rather than indir. obj. (although how the unformed reader could know this is uncertain). Saurea is the atriensis (head slave) of Dem. s household, devoted to Dem. s wife Art. (Like the play itself, the Argument generates the expectation that Saurea will have a significant role in the plot; in the end, however, he never actually appears on stage); IUSSIT again, this description entails a severe truncation of the plot (note the switch from the pres. to the pfct.); [Donatus ad Ter. Andr. 610 would appear to cite Arg. 3: sic Plautus locutus est pretium ob asinos pro asinorum pretium. Earlier scholars take this to suggest a terminus ante quem of ca. the mid-fourth century AD at the latest for the composition of the acrostic hypothesis (Lindsay 1904: 87). See, however, Deufert 2002: 286, who follows Rainer Jakobi in regarding this passage in Donatus as a later interpolation]; SERVOLO = servulo (the dimin. is metri gratia, but is freq. employed by the comic playwrights themselves) Arg. 5: AMICAM i.e., Phil. As generally in comedy, amicus in the fem. means not friend but mistress/prostitute ; ID i.e., pretium; CEDIT (for concedit) yields, grants [sc. patri]: another instance where one really needs to know the plot of the play to make sense of the Argument s condensed summary; NOCTEM i.e., a night spent with Phil. Asinaria A Student Commentary ( J.R. Porter, 2015) 47

54 Commentary: Argument Arg. 6: RIVALIS rival in love (i.e., Diab.); [The ms. tradition here is defective some attempt to make paleographic sense of the transmitted text by reading rivinus, which is attested as a synonym for rivalis by Du Cange et al., Glossarium mediæ et infimæ latinitatis (Niort, ): Danese ; see Hurka ad loc]; AMENS *pred.; PRAEREPTAM *pred. (*circumstantial ptcle.); PRAEREPTAM MULIEREM concrete for abstract (Engl. would prefer the snatching away of his beloved ) [Bennett 1910: 441] Arg. 7: IS masc. nom. sg.: picks up rivalis (resumptive use of the demonstr. pron.: here redundant): cf. ad 144; UXORI i.e., Art.; PER (+ acc.) through the agency of x Asinaria A Student Commentary ( J.R. Porter, 2015) 48

55 Commentary: Prologue Prologue [Iambic Senarii] [Earlier comm., in particular, argue that this prologue was composed for a later reproduction of the play and not by P. (cf. Gunderson 2015: 79 n. 86). They point to its relative brevity and rather pedestrian nature, and to the manner in which the author is cited. Today, the case against authenticity is generally felt to be rather weak: Bertini Perhaps the most important thing to note is the frequency with which P. s formal prologues in contrast to those of Menander forgo a detailed introduction to the background of the play s plot. 106 In Sophocles and Terence (e.g., Andr., Adelph.) the lack of such introductory material can be employed to great effect, as the audience is drawn into the world of the drama and its characters; Asin., by contrast, presents surprises (e.g., the revelation, at the conclusion of III.iii, of Dem. s true motives for aiding his son), but invests relatively little in its characters or the deeper implications of their actions: cf. the introduction to I.ii.] [BIBLIOGRAPHY: Gonçalves 2015: 32-36; Gunderson 2015: On comic prologues more generally, Raffaelli 1984, Duckworth 1994: , Parker 1996: , Moore 1998b: 12-17, Slater 2000: , Marshall 2006: , Sharrock 2009: 22-95, McElduff 2013: 66-72, Dunsch 2014, Gunderson 2015: Commentary: Leonetti ] [STAGING: likely spoken by the troop s actor (lead actor/producer). 107 ] 1-8: on the function and tone of the opening lines, see Goldberg 1998: 18-19, Sharrock 2009: : HOC AGITE i.e., hoc animadvertite ( Pay attention to this! ), a phrase that derives from archaic religious ritual: L&S s.v. ago II.D.6; Rolfe 1914: 38-39; SULTIS si vultis ( if you please, please ): parenthetical 2: rem quae bene vertat mihi atque vobis : a matter that I hope will bring good for me and you ; QUAE fem. nom. sg. (anticipating the gender of its antecedent res, which, through compression, is 106 Cf. Pseud., Trin., and phps. Truc. A number of plays (Cist., Curc., Epid., Most., Pers., Stich.) lack formal prologues altogether. See further Sharrock 2009: Cf. below ad 14 and ad ( Epilogue, where a case is made for assigning both sets of lines to the actor who plays Lib./Par.). See, esp., the prologue of Poen. (esp. 126) and, further, Jory 1966, Marshall 2006: 195. Ter. Hec. 9 (ornatu prologi) is sometimes taken to indicate that the speaker of the prologue at least in Ter. s day appeared in special attire (Beare 1964: ); the full context, however (orator ad vos venio ornatu prologi) suggests that the expression is metaphoric ( in the guise of a prologue : cf. Ter. Heaut. 11): see, further, Guastella 2015 and cf. below ( Epilogue ) re the equally problematic figure of the cantor. The argument (Beare, Marshall) that P. s anonymous prologues (i.e., prologues delivered by an actor who was not in character) were performed without a mask is compelling: in the case of Asin., such a mode of delivery would enhance the extradramatic, ironical features of the introduction, providing the audience with a suitable reminder that what they are about to witness is an elaborate farce presented by a troupe of skilled actors. Asinaria A Student Commentary ( J.R. Porter, 2015) 49

56 Commentary: Prologue incorporated into the relative clause [A&G 307b]); QUAE RES = (a matter) which (res stands in apposition to hoc [line 1], but the reference is clearly to the coming performance); VORTAT = vertat; VORTAT BENE turn out well, be to the good (intrans. use of verto optative subj. [A&G 441]); MIHI VOBIS dat. of ref./advantage [A&G 376] 3: GREGI DOMINIS CONDUCTORIBUS dat., continuing the wish begun in 2; GREGI: the troupe of actors hired to put on the play under a lead actor/producer: Brown 2002: ; DOMINIS some comm. regard this as a poetic pl., a reference to the lead actor/producer (who, in that case, cannot be the speaker of these lines); Hurka ad loc. accepts Camerarius domino and detects an apt symmetry in the *chiastic pairing: mihi vobis gregi domino/conductoribus. There is, however, no parallel for the use of the term dominus to indicate the lead actor/producer: Jory Other scholars detect a reference to the actual owners of the individual members of the troupe: Jory 1966, Brown 2002: , Franko 2014: (The troupe itself, on the latter reading, is a group of skilled slaves in which the individual domini have invested, who perform under the direction of the lead actor.) Gruen 1992: 194, by contrast, argues rather unconvincingly that the reference is to the stars of the company its most celebrated members ; CONDUCTORIBUS term for magistrates (generally the aediles) or others who sponsored a specific production (Moore 1998b: , Marshall 2006: 83-86). Gruen 1992: notes the lack of specificity in this term, its late position in the list, and the lack of testimonia that would establish a specific link betw. the sponsoring of such performances and political advancement; he argues that the reference is to a much less prestigious group of contractors or subcontractors, such as the choragi, who had responsibility for the particulars of the production. See, however, Moore 1998b: 216 n. 34, Moodie 2015: 16-17, and note the peculiar case of Stich. (De Melo 2013: 3). (In any case, Gruen offers a valuable discussion of the broader political context for such sponsorship.) 4: FACE = fac; PRAECO on the role of praeco in calling the audience to order and announcing the commencement of the play, cf. Poen and see Gilula 1993, Marshall 2006: Whether these invocations of the crier are in earnest or merely an excuse for some comic play at the crier s expense (by a member of the troop parodying the duties of the crier?) is impossible to say; AURITUM attentive (*pred. acc. with face [A&G 393]); Hurka ad loc. detects an ironic resonance with the play s title: the audience is to extend their ears so as to become long-eared (as are asses); POPLUM = populum [cf. ad 771] 5: AGE used as an exhortation to give greater force to a following imperative or jussive subj. colloquial [G&L 269]; CAVE NE [HOC FACIAS] GRATIIS take care that you don t do it for free/without remuneration (A&G 450 and n. 2: cave [with or without ne] introducing a prohibition with a jussive subj.; see further de Melo 2007a: and, on prohitions in Roman New Comedy more generally, Barrios-Lech 2016: 71-79); GRATIIS orig. likely a causal abl. ( out of kindness ); [Gray sees a mocking reference to the self-importance of heralds: the praeco must be paid not only to make a public announcement, but to then sit down and be silent (cf. Poen ). As Gilula 1993: 287 notes, praecones unlike actors enjoyed a publically recognized and privileged status as part of an ordo: it Asinaria A Student Commentary ( J.R. Porter, 2015) 50

57 Commentary: Prologue is possible that jokes such as these reflect professional tensions and jealousies]; RESIDE from resido (3); MODO adv. (but here to be scanned with long final ō) 6: QUID PROCESSERIM QUID VOLUERIM *indir. questions [A&G 573] dependent upon dicam in line 7 (in the first of these, quid = why [orig. a *limiting/cognate acc.: A&G 390c and n. 2; G&L r. 2]) on the *sequence here, see Bennett 1910: 340; MI = mihi ethical dat. [G&L 380, G&L 351 n. 2], used to give added force to voluerim ( just what I wanted ) 7: UT SCIRETIS *final clause in secondary *sequence (introduced by quid processerim quid uoluerim) [A&G 531] 8: QUOD *limiting acc./acc. of resp., providing the impers. subject of attinet ad argumentum: with respect to that which concerns the play s plot, so far as the plot of the play is concerned (a near equivalent of quantum A&G 572a; G&L 627.2)]; BREUE EST impersonal neut. picking up the subject of attinet; [In the end, P. tells us nothing at all about the plot of the play, which in fact requires little or no preliminary introduction] 9-10: nunc dicam (id) quod dixi me velle dicere vobis; [This type of jingling, overly complex, and redundant statement is common in passages where P. is adopting a breezy, comically colloquial air: on this feature of P. s style: Sherrock 2009: ; for the use of ut dixi-type expressions in Plautine prologues, see Blänsdorf 1967: 67]; (ID) QUOD suppressed antecedent [A&G 307c]; ME VELLE acc. + inf. following dixi; HUIC FABULAE *dat. of possession (A&G 373); ONAGO EST = in accordance with Latin idiom (A&G 373a), Onago (the complement after est) is dat., in agreement with fabulae; Onagos = The Ass-driver (Grk. A&G 52); [For the alternate title, Onagros, see Introduction xx.] 11: DEMOPHILUS an Athenian comic playwright; this is the only extant reference to him. (The possibility that he might have been cited in the fragmentary IG II col. IV.153 is now discounted.) 108 K.-A. s.v. note that many have attempted to read Diphilus here, which will not scan; similarly Della Corte was led to withdraw his suggestion of Deinolochus (1967: 141 n. 32); MACCUS Clown i.e., T. Maccius P.; [Asin. 11 and Merc (graece haec vocatur Emporos Philemonis, / eadem Latine Mercator Macci Titi) constitute the only instances in contemporary comedy where our author s name is cited as other than Plautus (note as well Accius apud Gell. NA and the possible pun on Maccius at Poen. 54), 109 with Asin. providing the only definitive evidence for the use of the name Maccus. 110 On the discrepancy betw. Maccus and Maccius, see Gray ad loc., who concludes: Buecheler conjectures that the name Maccus (one of the regular personae Atellanae [stock characters in Atellan farce], like Bucco, Pappus, Dossennus) meaning buffoon is a nickname given to Plautus as a writer of comedies, from which on becoming a Roman citizen he deduced the family name of Maccius. This is ingenious and not improbable. Hurka (26 and ad 11) notes that the names Maccus and Maccius are both attested in inscriptions (with Maccus attested specifically for the Oscan-Umbrian sphere, from which P. hailed) 108 Cited in Millis/Olson 2012 as 2325E.53, where the reading Dionysius is confirmed. 109 Gratwick 1973: 78 n At Merc. 10 the mss. actually read: mactici or mattici, which has been restored as Macci Titi. Asinaria A Student Commentary ( J.R. Porter, 2015) 51

58 Commentary: Prologue and suggests that the shift from Maccus to the later Maccius points to an early date for our play. A more likely hypothesis is put forward by Gratwick 1973, who argues that the entire name (T. Maccius Plautus) is a comic confection a mocking echo of aristocratic naming conventions designed to associate its owner with the performance of both Atellana (Maccus) and mime (Plautus/Plotus) and that it was unstable: Titus Maccius Plautus/Titus Plautius Maccus (Boner Clownson Flatfoot/Boner Flatfootson Clown). 111 See, most recently, Deufert 2012, who challenges the grounds on which scholars have rejected Ritschl s restoration of Maccius at Asin. 11 ( Ritschl 1845: 22-23) while at the same time (98 n. 80) stressing the need to be wary regarding the authenticity of the didascalic notices in the prologues to P. s plays]; VORTIT = vertit ( translated [pfct. ind.]); BARBARE one of numerous ironic references in P. to the Romans as uncultured non-greeks (Grk. βάρβαρος = non-greek, foreign; brutal, rude, barbaric): as Grey notes, this is the comic equivalent of Maccus vertit Latine; cf. Trin. 19, Cas , Merc. 9-10, Miles 86-87, Poen , and, for the various turns that have been given to the expression in modern scholarship, see Connors 2004: , , Leigh 2004: 5-6, McElduff 2013: (with Fraenkel 2007: 27-28), Gunderson 2015: : ASINARIAM (FABULAM) a play dealing with asses [asinarius = of or connected with asses: but cf. above, p.xx and n.xx]: the complement after esse; VOLT = vult; ESSE the subject of the acc. + inf. is left unexpressed: his/this comedy ; PER VOS by your leave, so far as you are concerned [A&G c] 13: LEPOS = lepor (the mot juste when speaking of literary sophistication and charm : cf. Catullus passim); LUDUS sport, festivity (implying, in part, a festive overturning of the usual norms of behavior; another fitting term, given the occasion on which these plays were generally performed [ludi]: Sharrock 2009: 10) 14: RIDICULA = risus plena (Gray); RIDICULA RES res is common in periphrases of this sort ( something/a matter filled with laughter (cf. Hor. Ep : res ludicra); MIHI the repeated use of mihi in the prologue (2, 6, and esp. here) supports the attribution of these lines to the lead actor/producer] 15: UT VOS MARS ADIUVET [a reflection of the times in which these plays were produced during, or in the aftermath of, the Second Punic War: cf. Capt , Cas , Cist , Rud. 82, and see Sharrock 58-60]; UT ADIUVET best taken as an optative use of the subj. with ut (A&G 442), conditioning the exhortation of 14b via *parataxis (cf. Poen. 128): so may Mars, as you hope Mars might. (cf ). The text has been corrupted, however: the reading of Leo and Lindsay, 111 Cf. Moodie 2015: 18. Gratwick s thesis is supported by Leo 1912: 81-84, who notes that the tria nomina were, in P. s time, reserved for the aristocracy (with the exception of freedmen, whose name signaled their dependent status). Leo maintains that the earliest poet, other than P., for whom the tria nomina are attested is T. Quinctius Atta (2 /1 C. BC); he argues that the name T. nd st Maccius Plautus is a confection of the later grammarians, who assumed the naming conventions of their day and misunderstood the gen. Macci as deriving from Maccius. On this view, the poet Titus occasionally went by the stage-name Plautus/Plotus and, on coming to Rome, assumed the comic name Maccus Titus. For a general review of the arguments put forward by 19 - and th early 20 -century scholars, see Schutter 1952: I-V. th Asinaria A Student Commentary ( J.R. Porter, 2015) 52

59 Commentary: Prologue printed here, offers the simplest solution but is a bit awkward. (See Gray ad loc., who adopts Palmer s more straightforward ita vos, ut alias, pariter ); UT ALIAS in the same way as on other occasions (ut = sicut correl. adv. [A&G 323g]) SCENE I.i [Iambic Senarii] A humorous scene between Libanus, a typically misbehaving Plautine slave, and his master Demaenetus. After some initial comic business involving Libanus fears as to just where Demaenetus might be leading him, Demaenetus reveals that he is aware of his son Argyrippus involvement with Philaenium, a young meretrix who lives next door. Rather than chastising Libanus for allowing such a liaison to be initiated, Demaenetus actively encourages the slave to find some way to bilk him (Demaenetus) and his all too intimidating wife Artemona of the money required to carry on the affair. (Demaenetus fear of Artemona, emphasized right at the beginning of the scene, and his desire to keep all of this secret was clearly what motivated Demaenetus to lead Libanus away from the house in the first place: this was likely made much clearer in the Greek original, if that is P. s model here. The ultimate reason for Demaenetus secrecy is not revealed, however, until ) Given the confusion occasioned by the unexpected introduction of Diabolus in I.ii (see introduction ad loc.), Hunter 1980: posits that P. s original offered a more informative narrative prologue that set out the dramatic situation in greater detail. This is one of only three scenes in the play that are composed in iambic senarii, the meter employed for spoken verse. (The other two are at V.i and V.ii, featuring Diabolus and the parasite.) The use of iambic senarii is a common feature of expository scenes. [Bibliography: Borghini 1999, Gratwick Commentary: Leonetti ] [STAGING: Dem. and Lib. enter the stage from Dem. s house.] 16-18: sicut vis tuum unicum natum superesse tuae vitae sospitem et superstitem, ita ; SICUT ITA correl. advs. (A&G 323g); TUOM = tuum; GNATUM SUPERESSE acc. + inf. following vis; GNATUM = natum; TUAE VITAE i.e., you (abstract for concrete): dat. with superesse; SOSPITEM ET SUPERSTITEM *pred. (A&G 285.2) with gnatum: a pleonastic expression (cf. Engl. alive and well ); typical Plautine superfluity, with effective use of alliteration: cf. ad 9-10; [The wish Asinaria A Student Commentary ( J.R. Porter, 2015) 53

60 Commentary: I.i to be survived by one s offspring is a commonplace in Grk. and Roman thought and features prominently in the commemoration of deceased children]; TED = te; OPTESTOR = obtestor 19: read either per illam uxorem tuam quam tu metuis ( by that wife of yours whom you fear ) or per illam quam tu metuis, uxorem tuam ( by her whom you fear, your wife ) 20: QUID = aliquid (after si, num, nisi, or ne [A&G 310a]); MED ERGA i.e., erga me (*anastrophe [A&G 640]): to me (cf. Lindsay 87); FALSUM adj., vs. the expected partitive gen. after (ali)quid [A&G 346a3, Bennett 1914: 34]; DIXERIS pfct. subj. ( if you should say ) [Earlier scholars (Woodcock 197 and A&G 516.c) argue that the pfct. subj. presents the action as having already been completed at some hypothetical fut. time but more recent discussions regard the pfct. subj. as *aoristic in nature and often find the *fut. pfct. ind. in such constructions, arguing that this is more vivid: cf. ad It is often difficult to decide such matters with any certainty, esp. given the still evolving nature of the subj. and of the *fut. pfct. ind. in P. s day (e.g., Lindsay 60-61, 63-66): contrast (where the ambiguous conspexeris answers possis in the apodosis and is parallel to the pres. subj. videas) and (where interceperint answers redimes in the apodosis and is parallel to the *fut. pfct. devenero). For detailed discussion, see de Melo 2007a and 2007b: 66-67] 21-22: UT SIET ATQUE UT OPPETAS optative subj. with ut (A&G 442a) [Gray, citing Ussing, notes the oddity of this construction, as traditionally punctuated (with a comma at the end of 19): then have the feel of *jussive noun clauses (A&G 563), as if they had been introduced by an expression such as deos precor, vel sim., instead of ted obtestor (*anacoluthon). Hurka, whom I follow, mitigates this ambiguity by printing a colon at the end of 19]; TIBI dat. of ref./disadvantage [A&G 377]; AETATEM acc. of extent of time [A&G 423]; SUPERSTES AETATEM comm. take this to mean survive you for a lifetime (i.e., live a lifetime longer than you: cf. Serv. ad Verg. Aen ), directly answering 16-17, to which it in effect adds a further proviso. Similar passages at, e.g., Cas and Trin , however, suggest the rendering, be with you/lord it over you your whole life. (Superstes in the sense of both: a) standing by/present/surviving and b) superior to : on this usage, and the attendant parody of Roman wedding ritual, cf. Fraenkel 2007: 244 and MacCary/Willcock 1976 ad Cas. 817ff.) On this reading, tibi is to be taken closely with aetatem as well as superstes and uxor. This translation not only suits the typical force of aetatem [Lindsay 25], but accords well with the sentiment expressed in 22; SIET = sit; ILLA VIVA abl. abs. [A&G 419]; VIVOS = vivus (*pred.); ILLA VIVA VIVOS UT PESTEM OPPETAS may you, with her still living, meet a living death (lit. come to ruin while still alive ) i.e., have to endure her company your entire life long. One of the fondest wishes of the comic husband is to survive his wife: e.g., 42-43, 886, 901, 905, Cas. 227, Cist. 175, Epid , Trin. 42; Caecil. 163 (further examples in Hurka ad 44/45)] 23-24: DIUM FIDIUM a god by whom oaths were sworn; taken as a form of Jupiter: both Dius Fidius and Fides were likely to be hypostases of Iuppiter, and felt to be so by the Romans. Their official status is evidenced by the participation of flamines in their (or at least the latter s) cult and by their public temples. But this hardly means that they were on a par with Iuppiter: for instance, neither was called Asinaria A Student Commentary ( J.R. Porter, 2015) 54

61 Commentary: I.i upon in official contexts as guarantor or protector of oaths. This domain apparently remained reserved to Iuppiter (Lipka 2009: 137); video necesse esse mihi iurato eloqui quicquid roges; IURATO *pred. ( while under oath, as if under oath ) [humorous, since masters were not usually placed in such a position by their slaves]; MIHI dat. with necesse esse; NECESSE ESSE acc. + inf. (impersonal), of a perceived fact, following vb. of perception (video) [Contrast this construction with that employing the ptcple. e.g., Sherlock Holmes I saw that he had been in India vs. I saw her leaving the bank : G&L 527 and n. 1, 536; Woodcock 94]; QUICQUID = quidquid; ROGES potential subj. with generalizing force, with the indef. quicquid ( whatever you might ask ) [= si quid roges: cf. A&G 519] [Contrast this dependent rel. clause with an *indir. question (A&G 573), which operates according to a different logic] 25-26: these lines are deleted by some earlier editors: cf. ad 33 25: OPSTINATE = obstinate; AGGRESSU S = aggressus es [aggressu(s) s prodelision]; UT NON AUDEAM *consecutive clause, signaled by ita [A&G 537]; NON AUDEAM sc. aliter facere 26: PROFECTO freq. employed in response to a question or command, or (as here) to emphasize the pertinence of a preceding clause: to be taken with non audeam (also enhances the alliterative nature of the line); quin promam omnia (tibi) percontanti quin + subj. following non audeam: I would not dare (act otherwise) than to (i.e., I must ) [A&G 558]; PERCONTANTI *circumstantial ptcple. in agreement with tibi (understood): tell all to you when you ask/in response to your request 27-28: eloquere quid istud sit quod expetis scire; PROINDE used to introduce a command (Lindsay 105); ACTUTUM immediately; ISTUC = istud (on P. s use of iste, cf. ad 845); QUID SIT *indir. question [A&G 573]; ELOQUERE 2 nd sg. pres. imperative dep.; ut ipse sciam, faciam te ut (ita) scias; UT IPSE SCIBO ut is a correl. adv. [A&G 323g], answering to ita (understood); SCIBO = sciam (*fut. ind.: Lindsay 59 and 64) just as I (will) know/understand : note the use of the *fut., as regularly in Latin [A&G 472b]; UT SCIAS *consecutive clause following facio [A&G 568]; TE as direct obj. of faciam, te is *proleptic [A&G 640: common in P.]: I will make you that you know i.e., I will see to it that you know 29-46: on the comic treatment of threats of torture or other forms of punishment, see Stewart 2012, chap. 2 (esp. pp , ). Blänsdorf 1995: 9-10 argues that P. here has imported techniques typical of an Italian tradition of impromptu theater. 29: OPSECRO HERCLE parenthetical; OPSECRO = obsecro. On the use of obsecro in Roman Comedy, see Barrios-Lech 2016: and ; HERCLE (voc. of Hercules, employed as an interj.): for the form, cf. ad 771; SERIO (adv.) in earnest; (ID) QUOD suppressed antecedent [A&G 307c]; ROGEM here with double acc. [A&G 396]; QUOD ROGEM potential subj. in relative clause (used here where one might have expected a *fut. ind.) whatever I might ask [on this prospective use of the subj., see Hurka ad loc. (citing LHS 2.558) and cf. roges in 24; Lindsay 67 regards the subj. as by attraction (A&G 593) with the imperative, by which it is introduced: cf. Bennett 1910: 311] Asinaria A Student Commentary ( J.R. Porter, 2015) 55

62 Commentary: I.i 30: CAVE sc. (ne) dicas: see to it that you don t say (cf. ad 5); contrast the construction at 43; MI = mihi ethical dat. ( so far as I am concerned, I tell you A&G 380) or with the implied vb. of speaking; MENDACI partitive gen. (mendacium) with quicquam (quidquam) [A&G 346a3; Bennett 1914: 31]; QUIN why not? why don t you? (+ ind.: only in exhortation or remonstrance; not in inquiring for a fact; cf. quidni, cur non) [A&G 449.2b and, on question requests more broadly, Barrios-Lech 2016: 80-90] 31-46: see Fontaine 2010: : NUM on this neutral use, where the question is for information only, cf. Bennett 1910: 474; ILLUC (adv.) thither, to that place; UBI answering illuc (correl.); UBI LAPIS LAPIDEM TERIT here and below Libanus echoes the obscure language of prophecy. The audience would recognize a reference to the threat of being sent to the mill to be worked to death (along with crucifixion, a stock slave joke in Roman comedy): on the plight of such slaves, cf. Apul. Metam. 9.12; for parallels in earlier comedy, Wright 1974: (Lilja 1965: discusses terms of abuse related to the punishment of slaves more generally.) 32: ISTUC = istud (bis); ubi terrarum est istud loci; UBI TERRARUM = where on earth? (a common phrase) [terrarum partitive gen. with adv. ubi: A&G 346a4; Bennett 1914: 36]; LOCI partitive gen. with istuc [A&G 346a3; Bennett 1914: 32]; [note the consciously interlaced word-order] [33]: If this line is retained, it is difficult to see how Dem. can express even a momentary confusion (36-37) about just what place Lib. is describing. Despite the comic alliteration, the line is best taken as an intrusive gloss designed to clarify the sense of Given that are repeated following line 47, some edd. delete both lines as later intrusions: the passage reads quite smoothly without them. (Lindsay 1904: follows earlier comm. in arguing here and elsewhere for evidence of a curtailed revival text of the play produced in the 1 st century BC; cf. Thierfelder 1929: , Hurka ad loc.); NEQUAM indecl. (worthless, good for nothing, vile); POLENTA barley groats; PINSITO frequentatitve of pinso: to stamp, pound, crush, grind 34: fustidudinus, -a, -um cudgel-walloping; ferricrepinus, -a, -um with clanking fetters; INSULAS islands frequently play a role in mythical/fantastic geographies (cf. next n.); Thierfelder 1929: 109 n. 6 finds a comic inversion of the mythical Islands of the Blessed (cf. Trin. 549). 35: MORTUI BOVES i.e., whips made of leather (phps. an oblique recollection of Odysseus sojourn on the Island of the Sun [Od ff.], where dead oxen also play a sinister role); [Lib. continues to echo the obscure language of prophecy] 36: MODO (adv.); MODO PERCEPI = iam intellego; quid loci istud sit *indir. question [A&G 573] in primary *sequence following the true perfect percepi [Bennett 1910: 339]; ISTUC = istud; LOCI partitive gen. with quid (A&G 346a3) 37: fortasse te dicere (istud loci) ubi fit polenta; TE DICERE acc. + inf. introduced by fortasse, which here stands in place of a finite vb. ( it might be, perchance, that ) [A&G 447.3b n.; Lindsay 81 Asinaria A Student Commentary ( J.R. Porter, 2015) 56

63 Commentary: I.i although in this instance the acc. + inf. could also be felt to follow percepi (vb. of perception: cf. ad 23-24)] 38: ISTUC = istud; DICTUM sc. esse (with istud as subject of the inf.) 39: obsecro te ut despuas (illa) quae locutus es; OPSECRO = obsecro; TE *prolepsis; UT DESPUAS *jussive noun clause [A&G 563]; despuo = spit out, reject here, used in a literal sense, of the practice employed in warding off a bad omen; (ILLA) QUAE suppressed antecedent [A&G 307c]; LOCUTU S = locutus es [locutu(s) s prodelision] 40: FIAT jussive subj. [A&G 439] ( let it be [= Engl. O.K. ]); GERATUR MOS TIBI i.e., I ll humor you; GERATUR jussive subj. [A&G 439]; [On the permissive force of these subjs., see Bennett 1910: 176]; [STAGING: Dem. turns his head and spits]; AGE, AGE USQUE EXCREA i.e., keep on going; AGE cf. ad 5; [exscreo (1) to hawk or cough up, to spit out by coughing (= despuo)] 41: ETIAMNE = still more/further? ; AGE sc. exscrea; QUAESO HERCLE cf. ad 29. On the use of quaeso in Roman Comedy, see Barrios-Lech 2016: and ; USQUE EX all the way from ; [STAGING: Dem. spits a second time] 42: AMPLIUS comparative adv.; NAM used to introduced a direct question emphatically, expressing wonder or emotion in the questioner (nam quo usque thus presents a more emphatic equivalent of the expected quonam usque); QUO USQUE all the way up to what point? (quo whither, to where [adv.]); volo (te exscreare) usque ad mortem. On the use of volo commands in Roman Comedy, see Barrios-Lech 2016: : CAVE MALAM REM look out for trouble (Lindsay 37 n ); MALAM REM = malum (trouble, which in the case of a slave implies a beating); SIS = si vis ( if you please ironic and parenthetical); UXORIS NON TUAM i.e., usque ad mortem uxoris, dico, non ad mortem tuam (Lib. cleverly deflects the seemingly insulting meaning of his earlier statement: cf. 625 and see Barrios-Lech 2016: ) 44-45: ob istud dictum dono te ut expers sis metu; DONO TE I grant you [dono + acc. of person benefitted: A&G 364]; ISTUC = istud; UT SIS *consecutive clause after dono [A&G 537]; [STAGING: Dem. spits a third time] 46: DENT optative subj. [A&G 441]; QUAEQUOMQUE = quaecumque; OPTES the subj. is most readily explained as by attraction to the subj. dent, by which it is introduced [cf. Lindsay 66, Bennett 1910: 308, A&G 593], but cf. 24: Hurka ad loc. notes that this use of the subj. is regular following the wish di dent; REDDE OPERAM MIHI Gray explains the use of reddo here (vs. the usual do) as implying, now listen to me in turn ; [As often, P. here expressly marks the conclusion of the preceding comic shtick as his characters turn to the more immediate concerns of the plot: cf. ad 578] 47: QUOR = cur; HOC: Dem. opens with a deliberately vague series of questions, that leave both the audience and, more particularly, Lib. in suspense: why should I ask this of you? why should I ask you about this? Just what Dem. means by hoc does not become evident until line 52; QUAERAM MINITER delib. subj. [A&G 444] ( why should I ask? why should I threaten? ); [There is a certain Asinaria A Student Commentary ( J.R. Porter, 2015) 57

64 Commentary: I.i awkwardness here, however, since miniter and suscenseam (49) as opposed to quaeram both refer to actions in which Dem. has no intention of engaging] 48: PROPTEREA QUOD because; PROPTEREA QUOD NON FECERIS pfct. subj.: subord. clause in indir. discourse [A&G 580; Bennett 1910: 318]; ME NON SCIENTEM FECERIS comic variation on the common aliquem certiorem facere: to inform someone of something (Lindsay 38, 78; for parallels see Bennett 1910: 433); ME *pred. acc. after facio [A&G 393] 49: QUOR = cur; SUSCENSEAM delib. subj. [A&G 444] 50: ut ceteri patres faciunt a metatheatrical joke: a reference to the stock role of the irascible authoritarian father in Roman comedy; (SIC)UT correl. adv. [A&G 323g]; QUID NOVI what strange new thing (indicates Lib. s doubt and his continued apprehensiveness re the turn taken by Dem. s conversation phps. spoken as an aside, but not necessarily); ISTUC = istud; NOVI partitive gen. with neut. pron. (A&G 346a3); [Again, comm. detect a metatheatrical joke here as the clever slave Lib. marvels at Dem. s failure to play his expected role: P. overtly highlights the innovative nature of his plot, without giving away the truly surprising turn that the later will take at ] 51: demiror quid (hoc) sit et metuo quo (hoc) evadat; QUID SIT QUO EVADAT *indir. questions [A&G 573] after demiror and sum in metu, respectively (on the latter, in reference to an anticipated fut. event, cf. Bennett 1910: 334); QUO whither, to where (adv.); [evado to turn out, lead to]; METU = metuo introducing an indir. question rather than the usual fear clause SUM IN 52: EQUIDEM employed principally in first-person statements: Lindsay 97-98; quod filius meus amet that my son loves [a much disputed passage, since this use of quod + subj. to introduce indir. disc. is extremely rare; the construction is found in early Latin, however, and is common in later antiquity: G&L n. 7; Lindsay 112, Bennett 1910: 318] 53: ISTANC = istam (on P. s use of iste, cf. ad 845); PROXUMO = proximo; E PROXUMO i.e., next door (Lindsay 37) 54: UT = sicut (correl. adv.); insto rectam viam = to pursue a direct line, i.e. to be right, hit the mark (cf. Engl. you re spot on ) 55: EA RES EST that is the matter, that is the case ; EA anticipates the gender of the complement res; INVASIT + acc. (without in: Lindsay 11); GRAVIS dire 56: QUID MORBI partitive gen. (the virtual equivalent of qualis morbus) [A&G 346a3]; QUIA that (in such clauses, quia has little causal force; here, it supplies the nature of Argyr. s disease : [his sickness lies in the fact] that ) [Bennett 1910: ]; NON SUPPETUNT DICTIS DATA Argyrippus gifts to Phil. do not match/live up to his words/promises: cf. Gavoille 1998: and n. 25. (Both dictis and data are neut. pl.); [It is possible to understand dictis as an allusion to Phil. s demands (as, e.g., at Ter. Heaut. 223), but cf. 525] 57: ADIUTOR + dat. cf. A&G 367, 370; AMANTI *pred. (*circumstantial ptcple.): (my son) who is in love, now that he is in love ; [This pred. use (vs. the *subst. amans = lover : 175, 177) is employed throughout the play to characterize the relationship betw. Argyr. and Phil.: 57, 75, 309, 591, 632, 642, Asinaria A Student Commentary ( J.R. Porter, 2015) 58

65 Commentary: I.i 665, 672, 684, 848; cf. 141, 814, 916 (of Diab.). The usage is so common throughout P. s works, however, as to be something of a stock cliché] 58: SUM VERO in this instance, the normal manner of indicating an affirmative answer in Lat. (A&G 336) matches Engl. idiom: I am indeed ; ALTER i.e., another helper, supporter (sc. adiutor); NOSTER *attributive adj. with Leonida: our Leonida i.e., Leonida, who is a slave in our house: cf , 387, 399, 458] 59: BENE FACITIS a formula of thanks rather than praise (Gray); ineo gratiam = win favor (i.e., enter one s good graces) (+ a/ab + abl. of the person from whom favor or thanks is won). Given Roman notions of reciprocity, this is a near equivalent of Engl. I owe you one ; [Edd. delete et as a nonmetrical later insertion by a scribe unfamiliar with P. s frequent use of *asyndeton (A&G 323b)] 60: VERUM adv. (introducing a new line of discussion); nescis meam uxorem, qualis sit? a regular way to introduce *indir. questions in Latin (*prolepsis: see A&G 576 and cf. ad 28); NESCIS = nonne scis? (Dem. backs into this problematic topic with a certain hesitancy: cf ) 61: PRIMUS *pred. adj. ( as the first = first, foremost, above others); IN PRETIO to be in a certain position on a ranked scale of prices, but not of the highest value; thus to be in the ranks/on the payroll (see Gray ad loc., citing Hor. Ars 372; Gratwick 2001: 45 n. 1): i.e., we too have our share in it. (Hurka suggests, we are also on Art. s hit-list. ) 63: i.e., hoc tibi credo ante quam dicis (Gray) i.e., you re not telling me anything I didn t already know; POSTERIUS QUAM the inverse, in effect, of priusquam (Lindsay 104); ISTUC = istud 64-83: see Gratwick 2001: 45-47; [On the parody here of the stock figure of the liberal father, see Legrand 1917: , Sherberg 1995: ] 64: LIBERIS dat. with facient obsequentiam in 65 (as after obsequor) [Gratwick 2001: argues for the reading liberius] 65: QUI with parentes as the antecedent; AUSCULTABUNT as regularly in Latin, the subord. clause here employs a *fut., where Engl. employs a generalizing pres.; facio obsequentiam be compliant or indulgent to; OBSEQUENTIAM substituted for the unmetrical obsequellam of the mss. Gratwick 2001: makes a case for the reading obsequelia 66: QUIPP = quippe (apocope [G&L 8.2] freq. with specific dissyllabi words: e.g., ess, nemp ); MAGE = magis; [A difficult line, deleted by earlier edd. as an inept interpolation intended to convey purpose ( in order that they might ). At first glance, quippe qui magis utantur would appear to be intended as a rel. clause, a near equivalent of qui uti malint a *rel. clause of characteristic (A&G ): i.e., any parents, that is, who prefer to enjoy. It is difficult, however, to find a parallel for this use of quippe qui in a limiting sense. Moreover, in P. the qui of this expression is regularly to be taken, not as a standard rel. pron., but the archaic particle (Lindsay 108 and 110; OLD s.v. quippe 2c: cf., e.g., Amph. 745 and see below ad 505). This suggests something along the lines of, given that they would prefer to enjoy their son s friendship and goodwill, but the logic, and the force of the subj., remain uncertain. Gratwick 2001: 48 regards the subj. as consecutive ( with the direct result of having a son more friendly Asinaria A Student Commentary ( J.R. Porter, 2015) 59

66 Commentary: I.i and affectionate in attitude : cf. de Melo s rendering); Gratwick s parallels for such a use of quippe qui are not compelling, however]; AMICO ET BENEVOLO *pred. with gnato ( a son who is loving and devoted ): in conjunction with utantur, this yields the equivalent of, enjoy their son s friendship and goodwill ; GNATO = nato 67: ME FACERE acc. + inf. after studeo (as often in P., an acc. + inf. is found where a *prolative inf. alone would suffice [Lindsay 73]; CL tends to favor the acc. + inf., vs. the simple prolative, principally after vbs. of promising, hoping, threatening, and the like: A&G 580c). Contrast AMARI in the latter half of this line, where one can, but need not, understand me as subject; ID that very thing (i.e., the advice he has just given); MEIS masc. abl. pl. ( my family/relations with reference here only to Argyr.: cf. 867, 932) 68: volo me (esse) similem patris mei cf. ad. 67; CAUSA MEA for my sake, to help me ; causa is abl., employed as a postpositive prep. (+ gen.), or, as here, with a possessive adj. [A&G 404c (with 348a): cf. ad 536: quoia gratia]; [ Borghini 1999 notes the further sly inversions implied in this passage: Dem., the altogether untraditional Roman father, in one sense adheres to Roman tradition quite rigorously in emulating the customs of his own father. In this way, aiding one s son in the latter s forays into the demimonde finds a sanction in this family s own peculiar mos maiorum (73)] 69: NAUCLERICO ORNATU the abl. is regular in describing one s attire (abl. of accompaniment [Woodcock 43.5i, 47]: e.g., Miles 899, 1177, 1282); in this instance, in conjunction with per fallaciam, it has something of the feel of an instr. abl. [A&G 409]: disguised by. As Gray notes, a similar disguise is described at Miles 1176ff.; PER FALLACIAM adv. 70: abduxit muliererm quam amabam 71-72: NEC PUDUIT EUM STRUERE ET EMERE note the use of coordinating et to tie both infs. to the impersonal puduit (cf. below); ID AETATIS at that age [ID *limiting/cognate acc. with adv. force: A&G 397a]; AETATIS partitive gen. [A&G 346a3; Bennett 1914: 33]; SYCOPHANTIAS tricks, deceptions (Zagagi 2012: 32-35); ET EMERE provides the purpose/consequences of the first clause ( and thereby win although one should not altogether discount the notion of buying : cf. 673); BENEFICIIS instr. abl. [A&G 409]; GNATUM SUOM [natum suum] *pred. after me emere sibi (to win me as his [true] son); SIBI dat. of ref./advantage with emere (A&G 376) but also, more loosely, providing added force to suom; [Note the distortion of traditional family roles that is implied here, with a father who attempts to win his son s love by playing the part of the loyal subordinate. This distortion is reinforced by the repeated evocations of the father-son relationship in Dem. s speech: gnatus (66, 72, 76, 82), filius (74), pater (68, 73, 77, 79, 82). Cf. below ad 853.] 73: (mihi) decretum est me persequi eos mores patris; DECRETUM EST (impers.) it has been decided/determined (sc. mihi: A&G 375) [i.e., I have decided]; ME PERSEQUI acc. + inf. introduced by decretum est. Note once again the acc. + inf. vs. the simple inf.: cf. ad 67 75: ut facerem copiam argenti sibi; UTI = ut; UTI FACEREM *jussive noun clause [A&G 563]; SIBI referring back to the subject of the main clause (Argyr.), as is usual [A&G 300.2]; FACEREM Asinaria A Student Commentary ( J.R. Porter, 2015) 60

67 Commentary: I.i supply ; AMANTI (*pred.: *circumstantial ptcple., with sibi) since he was in love, who was in love; ARGENTI gen. of material with copiam [A&G 344] 76: ID *limiting/cognate acc. with opsequi [A&G 390c] ( I strongly desire to comply with my son in that/do my son that favor ); PERCUPIO intensive form of cupio; OPSEQUI = obsequi 77: see Gratwick 2001: 59-60, who reads amari obseculum ( I wish to be loved as his devotee ); AMET jussive subj. introduced by volo, without ut (A&G 565, 268 ad fin.: *parataxis): I want him to love ; PATREM *pred. ( as his father : cf. ad 72) or simple apposition ( me, his father ); [Re the repeated stress on the father-son relationship, cf. ad 71-72] 78: QUAMQUAM and yet [not employed here as a subordinating conj. (L&S s.v. II, Lindsay 122, Bennett 1910: 141)]; habet arte contenteque i.e., holds in check, keeps a tight rein on; [The presentation of Art. continues to emphasize the comic gender inversions that define Dem. s household: Argyr. must deal, not with the dreaded strictness of his father, but of his mother] 79: UT = sicut; CONSUEVERUNT idiomatic use of the pfct. to indicate present state, attitude, etc. (cf. novi, odi, memini: A&G 476): as fathers are wont ; EGO MITTO OMNIA HAEC i.e., I forgo that altogether, I m nothing like that 80-81: cum is me dignum (esse) habuit cui concrederet; *QUOM = cum (+ ind.); habeo to consider, deem; QUOI = cui; QUOI CONCREDERET *rel. clause of characteristic, employed in a *consecutive sense after dignus (A&G 535f); CONCREDERET sc. his (secret) love as obj.; decet me habere honorem ingenio eius; HABERE HONOREM to pay honor to, to honor (+ dat.) [with the jingling repetition of habeo suggesting a correspondence betw. the two acts]; INGENIO (noble) character 82: *QUOM = cum (+ ind.); UT = sicut; sicut aequum est pudentem natum (adire) patrem; GNATUM (ADIRE) acc. + inf. following the impers. aequum est (on the omission of the inf., cf. Bennett 1910: ); [The comically distorted use of pudens in such a context at this point likely strikes the audience merely as an indication of the farcical nature of the plot; to a viewer familiar with the later course of events, it provides a hint of the flaws that mar Dem. s own character] 83: cupio argentum esse (ei) quod det amicae suae; ESSE ARGENTUM acc. + inf. after cupio (understanding ei *dat. of possession: A&G 373); AMICAE see ad Arg. 5; QUOD DET *rel. clause of characteristic/purpose [A&G 531.2] 84: cupis id quod intellego te nequiquam cupere; CUPERE TE acc. + inf. following intellego 85: DOTALEM i.e., included as part of Art. s trousseau; [To the degree that this line implies that Saurea somehow belongs to Art. alone, the situation assumed in the play might be said to run contrary to Athenian law ( Vogt-Spira 1991: 21-34; see, however, Harrison 1968: 52-54, who presents a more nuanced view, and cf. above p. xx [ Greek Original ]). Regarding the Rome of P. s day, Watson 1967: and 1971: employs P. to argue that, even in cases where the Roman woman was married cum manu (i.e., as the ward of her husband), a wife might retain considerable control over her dowry if she belonged to a wealthy and influential family. (Comm. cite Gell. NA 17.6 on the servus recepticius: cf., e.g., Aul ) The fragments of Greek New Comedy suggest that a similar view could be Asinaria A Student Commentary ( J.R. Porter, 2015) 61

68 Commentary: I.i applied to 4 th /3 rd -C. Athens (Men. F 236, 296, and 297 K.-A.): cf. Maclennan/Stockert 2016 ad Aul. 475ff.]; SERVOM = servum; SAUREĀM (in apposition to dotalem servom) the atriensis (head slave) of Dem. s household, devoted to Art. [The final syllable of SAUREAM, although short by nature and position, must be treated as if long (brevis in longo): this occurs regularly in the fourth foot of iambic senarii (*locus Jacobsohnianus), often accompanied, as here, by hiatus] 86: ADDUXIT i.e., to Dem. s home as part of her dowry, upon their marriage; QUOI = cui (*dat. of possession: A&G 373); IN MANU as Gray indicates, the phrase in manu esse alicui is routinely used of one person s subordination to another (esp. in regard to a husband s authority over his wife, or a father s over a child) but it is also used of authority in a broader sense, to indicate those things over which one is master or enjoys control (e.g., Amph , Merc. 628, Ter. Hec. 666). Lib. points out that Saurea wields greater authority in Dem. s house than Dem. himself: cf. Dem s response at 87 and see Watson 1967: (There is a further suggestion here, given the context [83-84], that Saurea s authority is largely financial in nature: cf and Leon. s mock portrayal of Saurea at 427ff.) This seems more satisfactory than taking Saurea as the subject of sit, with Art. as the antecedent of quoi (i.e., [your wife,] to whose authority Saurea is more subject than to yours : Fitzgerald 2000: 80): the point at issue is not where Saurea s loyalties lie, but (as we see in Leon. s performance of Saurea in II.iv) the power that Saurea enjoys as Art. s proxy; SIT the use of the subj. here is difficult to reconcile with standard classical usage (Lindsay 68-71; further examples at Bennett 1910: 291): Bertini ad loc. cites Ussing 1875 in associating it with purpose/intention on the part of Art. [A&G 531.2]: ne maritus pecuniam administret, suum sibi servum adduxit dispensatorem; de Melo takes it as a potential subj. [A&G ]; TIBI *dat. of possession [A&G 373]; [Lib. s response assumes a familiarity with the comic trope of the uxor dotata. The audience has to understand that Art., by virtue of her large dowry, controls the household finances and has entrusted the day-to-day oversight of them to Saurea. She would be supported in this by the terms of the wedding contract, which would have required the husband to deal with her dowry responsibly and to maintain his wife in a manner consonant with the resources that she brought to the union. For the role of Saurea, and his relationship to the rest of Dem. s household, cf. Malvolio in Twelfth Night] 87: ARGENTUM i.e., Art. s dowry; DOTE abl. of price [A&G 416]; IMPERIUM i.e., control over my household and my life (cf. ad 505 and see Barrios-Lech 2016: 45) 88: conferre in pauca verba to put briefly; QUID TE VELIM *indir. question [A&G 573]; QUID a *limiting/cognate acc. ( in what regard I want you, why I want you : A&G 390c) 89: usus est filio viginti minis argenti; USUST = usus est [usu(s) st prodelision]; FILIO dat. of ref. [A&G 376]; VIGINTI MINIS abl. with the verbal noun usus (A&G 411); [20 minae = 2,000 drachmae. (The standard working wage for a laborer in late 4 th -century Athens was likely somewhere in the range of 1½-2½ dr. per day but see the caveats presented by Loomis 1998: A skilled slave likely cost approx. 2-6 minae on average: Pritchett/Pippin 1956: , Scheidel 2005: 11.) Roman New Comedy (which deals with courtesans rather than common slave-prostitutes) seems to Asinaria A Student Commentary ( J.R. Porter, 2015) 62

69 Commentary: I.i present an inflated picture of the purchase price for such women (just as it cites highly inflated dowries), although it is in line with the prices cited in the 4 th -century Greek orators in this regard: prices paid generally range from minae, with two sellers demanding 60 minae (in Epid. and Pers., both as part of humorous scams). (For the Greek sources, see Kapparis 1999 ad [Demosth.] ) But these are all purchase prices: a fee of 20 minae for one year s access is altogether outrageous (although it is surpassed by the sister in Bacch., a portion of whose annual fee is bought out for approx. 48 minae). 112 On prices cited in our sources, cf. Loomis 1998: (esp. 178), Barsby 1986 ad Bacch. 590, Rosivach 1998: 196 n. 77; on cash transactions in P.: Cole 1920: 87-89]; [These 20 minae become a dominant theme in the play: 230, 243, 348, 364, 396, 468, 532, 579, 633, 636, 651, 653, 684, 725, 734, 752, 852, 915. They also serve as an important comic prop in III.ii and III.iii]; ARGENTI gen. of material [A&G 344]; [See below ad on the problems posed by this line regarding the identity of the adulescens in I.ii and I.iii] 90: fac ut id paratum (ei) iam sit; FACE = fac; ID i.e., argentum; UT PARATUM SIT: *jussive noun clause [A&G 563] following fac (a virtual vb. of command: A&G 449.2c); UNDE GENTIUM from where on earth (am I to get it)? ; GENTIUM partitive gen. [A&G 346a4; Bennett 1914: 36] 91: DEFRUDATO = defraudato 2 nd sg. *fut. imperative act. (of definite fut. time: A&G 449; Bennett 1910: 356); MAXUMAS = maximas; nugas agere to talk nonsense, play the fool ( you are talking utter [maximas] nonsense ) 92: me iubes detrahere vestimenta nudo (homini); NUDO dat. of disadvantage/sep. ( from a naked man ) [A&G 381]; DETRAHERE VESTIMENTA an allusion to a common form of mugging in Greco-Roman antiquity (since the clothes on one s back were often the most valuable property one carried): e.g., Arist. 112 The fact that the price in Bacch. (590) is expressed in terms of gold Philippics (cf. ad ) phps. disguises this anomaly somewhat. At twelve dr. per day, Habrotonon in Men. Epitr. also charges more than Phil. (whose fee comes to approx. six dr. per day); in a similar vein, at Men. Sam we hear of women who hire themselves out for dinner-parties at 10 dr. a time; cf. Gell. NA 1.8. (On µόνας at Sam. 393, see Traill 2012: ) Cf. Hurka ad 88-89, who argues that such fees reflect the fact that these women are all free rather than slaves. Loomis 1998: 178 and , who assumes that the amount in Asin. derives from its 4th/3rd-C. Greek exemplar, argues that these exaggerated amounts are typical of both Greek and Roman New Comedy, but this assumption is problematic. However extravagant, the fees in Epitr. and Sam. can be understood on a common human scale: tento-twelve dr. is a substantial sum for a daily fee, but a typical Greek knew what these amounts would look like and could imagine possessing them; by contrast, twenty minae transports us into the Never-Never-Land of, e.g., Fred Astaire movies, the pseudobiographies of high-class prostitutes in 4 -C. comedy, and the excesses of aristocratic patrons cited in Athenaeus, Diogenes th Laertius, and Plutarch. Like a million dollars during the Depression, minae seems to be a standard extravagant amount to cite when, e.g., purchasing or ransoming someone to use it of a lease is still more outrageous. (The exception, in Grk. comedy, is Men. Colax , where a pimp, outrageously, claims to be obtaining three minae per day for one of his girl s services. The passage involves a monologue and so must be intended to highlight either the extravagant wealth of the play s rival lover or the folly of the pimp, who seems to be terrible at numbers: note how grievously he underestimates the number of troops that Odysseus is said to have taken to Troy [lines ], while his calculations in the passage cited above point to an average daily income of over 30 dr. per girl.) Asinaria A Student Commentary ( J.R. Porter, 2015) 63

70 Commentary: I.i Birds and (on the infamous λωποδύτης Orestes); Alexis F 112 K.-A.; Plat. Rep. 575B; Demosth and 24; Naev. Com. 17 (praemiator: cf. Massaro 1986); Tib : DEFRUDEM = defraudem delib. subj. in reference to an impossible act [A&G 444]/repudiating exclamation [A&G 462a; Bennett 1910: ]; AGE see ad 5; SIS = si vis (cf. ad 43); [The similarity betw. this and the following verse, along with some uncertainties in the scansion, suggest a strong case for athetizing this line. It is awkward and breaks the focus on the central issue: the futility of plotting to fleece Dem. (captured perfectly in the metaphor offered in 92). Rather than building to the essential point of Lib. s objection (94-95), 93 presents a familiar and (in light of 92) rather insipid image. Nor do the emotive and rhetorically heightened parallels cited by its defenders make a convincing case for its being retained ( Thierfelder 1929: 45-47, Blänsdorf 1967: 63 [ pathetischen Wiederholungen ]). The repetition of the vb. defraudo four times in five lines is potentially funny (particularly with the added jingle of detrahere in 92), but, as it stands, 93 reads like an intrusive and somewhat awkward doublet] 94: TEN = te + ne ( me cheat you? ) [on this use of te to introduce an indignant/incredulous question: Bennett 1910: 467]; DEFRUDEM cf. ad 93; QUOI = cui (*dat. of possession: A&G 373); IPSI dat.; IN MANU here in reference to Dem. s lack of cash rather than his lack of authority (cf. ad 86): you, who don t have a dime in your pocket? (cf. 463) 95: QUID = aliquid (after si, num, nisi, ne [A&G 310a]) along with uxorem: double acc. after defraudo [A&G 394]; PORRO in turn, for your own part; DEFRUDAVERIS = defraudaveris pfct. subj. act. ( unless you, in turn/for your part, should cheat your wife out of something ) (cf. ad 20 and contrast Bennett 1910: 73); [At this point, the possibility of Dem. robbing his wife seems like a joke, along the lines of the other adynata listed by Libanus; at it turns out to be a fact. In the context of I.i, however, Dem. s lack of resources is a given, pace Ahrens 1907: 17] 96-97: qua potes (cirumducere), circumduce me, uxorem, servum Sauream; QUA QUA QUA *anaphora [A&G 641] (Pace Gray ad loc., this touch of grandiloquence enhances the sense that Dem. is presenting Lib. with a blank check: he is to feel free to bilk anyone he possibly can); QUA POTES (CIRCUMDUCERE) in any way you can, as best you can (qua adv.); SERVOM = servum; CIRUMDUCE, AUFER [the former suggests trickery/deception, the latter theft] 98: OFFUTURUM [ESSE] (fut. act. inf. of obsum) to injure, harm one [impersonal fut. inf., introduced by promitto in 97 (indir. disc.): the subject in this case is the abstract notion me defraudare (A&G 452)]; less likely (Bertini): (me) non offuturm (esse) that I will not impede you ]; EFFECERIS 2 nd sg. *fut. pfct. ind. act. (the *fut. pfct. where Engl. prefers a generalizing pres.) 99: IUBEAS jussive subj. [A&G 439] (phps. echoing the use of the delib. subj. in 93 and 94: you might as well ). On the use of the 2 nd pers. sg. jussive subj. in Roman Comedy, see Barrios-Lech 2016: 64-67; one of its most common functions, as here, is to convey advice; UNA OPERA at the same time, in the same manner (abl. of instr. cf. A&G 405b) Asinaria A Student Commentary ( J.R. Porter, 2015) 64

71 Commentary: I.i 100: [There are clear signs of confusion in this line as transmitted. Lib. is employing a well-worn comic expression: You might as well ask me to fish in the air and go hunting in the sea. But the second half of his comic adynaton has somehow become obscured. Gray suggests: rete, iaculo autem uenari in medio mari (taking the instr. abl. [A&G 409] rete with piscari in aere in 99). Hurka much more economically suggests venari autem rete <et> iaculo in medio mari (alluding to the use of javelins and nets in hunting). Given the use of rete iaculum (of a casting net) in regard to fishing at Truc. 35, however, the possibility of deeper corruption should be considered. (This objection holds still more strongly for de Melo s reti iaculo [reti archaic i-stem abl., employed for the long final -ī]: it might well be futile to employ a sweep-net on the high-seas (Bertini ad loc.; Nobili 2007), but the vb. venari points to a comic confusion of fishing with hunting (Hurka ad loc.) rather than a mistake in the specific type of fishing equipment that is being employed; moreover, one expects the second limb of the adynaton to match the first in its ludicrousness)] 101: TIBI dat. of advantage [A&G 376]: refl.; OPTIONEM helper, assistant (a military term: adjutant [Gray]) [Against the argument that this usage dates to the mid-2 nd century at the earliest, see Hurka ad loc., who points out the weakness of Havet/Freté xix-xx on this point (re Festus p. 198 M)]; SUMITO 2 nd sg. *fut. imperative act. (of definite fut. time: A&G 449, Bennett 1910: 356) 102: FABRICARE COMMINISCERE dep. 2 nd sg. imperatives; [As in 96, Dem. employs a heightened form of rhetorical expression (here, * chiasmus) in urging Lib. to take any and all measures possible] 103: perficito ut filius argentum hodie habeat; PERFICITO 2 nd sg. *fut. imperative act. [A&G 449]; UT HABEAT *jussive noun clause [A&G 563], introduced by perficito [A&G 449.2c] 104: AMICAE see ad Arg. 5; QUOD DET *rel. clause of characteristic, indicating purpose [A&G 531.2]; QUID AIS what do you say (to the following) a way of introducing a new proposition or a new consideration (Gray cfs. the British, I say ); in other contexts, the expression conveys surprise or indignation ( What s that you say?! ) :[These lines build upon the military imagery introduced in 101]; SI DEVENERO the *fut. pfct. in a fut. vivid *condition, where Engl. prefers a generalizing pres. [A&G 516.a]; TUN = tu + ne; SI INTERCEPERINT fut. pfct. ind.: the second si clause merely clarifies the implications of the first. [Despite the parallelism betw. the two *conditional clauses, Rotheimer (1876: 46) could be correct in regarding interceperint as a pfct. subj. rather than *fut. pfct. ind. (cf. ad 20)] 107: REDIMAM as usual in Latin, assent is indicated by repeating a key element of the previous speaker s command, question, etc. [A&G 336]; TUM employed here in a logical or inferential sense: that being the case, if that is so (Gray); CURA 2 nd sg. pres. imperative act.; QUIDLUBET = quidlibet; ALIUD CURA QUIDLUBET look after anything else you d like (i.e., leave this job to me) 108: QUID = (ali)quid (after si, num, nisi, ne [A&G 310a]); [Lib. employs a variation on the regular formula for taking one s leave: numquid vis? ( You don t require anyting else, do you? )]; I 2 nd sg. pres. imperative act. of eo; BENE AMBULA a common formula for leave-taking Asinaria A Student Commentary ( J.R. Porter, 2015) 65

72 Commentary: I.i /116-26: Older comm. posited a double recension of the conclusion Act I, with two alternate endings (retractatio: see above, n. xx): and 116-[26]. This view is now rejected (Bertini ad , Hurka ad ), but the repetitions and parallels betw. 109 and are striking: audin (109 and 116); si quid te volam (109) and si quid opus fuerit (117). 109: ATQUE AUDIN ETIAM? are you still listening? (a common formula in P. for catching someone s attention and appending an additional thought: Dem. suddenly keeps Lib. from departing despite the formula for dismissal in the previous line); AUDIN = audisne; ECCE this use of ecce in isolation is unparalleled (vs., e.g., ecce me); Hurka argues that it is supported by the actor s use of a mimetic gesture, such as touching his ear; SI QUID TE VOLAM quid (= aliquid after si, num, nisi, ne [A&G 310a]) here is a *limiting/cognate acc. [A&G 390c]: if I (will) want you in respect to anything/in any regard/at all cf. 88; VOLAM *fut. ind. in a fut. vivid *condition, where Engl. prefers a generalizing pres. [A&G 516.a] 110: UBIQUOMQUE = ubicumque; LUBITUM ERIT it will (have proven to) be pleasing (impersonal): the *fut. pfct. answers the futures in Dem. s query [LUBITUM = libitum; the form libitum erit is employed more commonly than libuerit cf. licitum in 152]; ANIMO MEO = mihi, but the more colorful expression enhances the sense of Lib. s supreme confidence (which rounds the scene out by playing against the anxiety that he displayed when he first entered) : nemo est quem metuam ne quid possit mihi nocere i.e., non metuo ne quis mihi noceat; QUEM METUAM *rel. clause of characteristic [A&G 535a]; quem then provides the subject of the fear clause of 112 (*prolepsis); IAM DEHINC from this point on; MIHI dat. of reference (A&G 377): so far as I m concerned (although mihi is also picked up by nocere in 112); ne possit quid nocere (mihi) fear clause [A&G 564]; QUID = aliquid (after si, non, nisi, ne) a *limiting/cognate acc. [A&G 390c] following nocere: in any regard, at all ; NOCERE picking up mihi in 111; *QUOM = cum (+ ind.); ORATIONE instr. abl. [A&G 409]; TUOM = tuum 114: QUIN nay rather, what is more; facio te ipsum haud magni I don t think much of/feel much awe before you yourself ; MAGNI is gen. of value [A&G 417] employed in place of a *pred. acc. after facio [A&G 393]; FACIO PATRO: vivid pres. tenses are used here in place of the more regular fut. (Bennett 1910: 20-21) 115: QUO to where (adv.); OCCEPI (PERGERE/IRE); exordior to lay the warp (on a loom), begin to weave, begin, commence, contrive; [CONSILIA EXORDIAR: Lib. s language here casts him as the typical scheming Plautine slave a role that, in the end, is taken over by Leon. (II.ii). On Plautine consilia, see Sharrock 2009: 11-15] 116: AUDIN = audis + ne (cf. ad 109) 117: SI QUID OPUS FUERIT (protasis with *fut. pfct. ind., answering the apodosis in 116) if any need shall have arisen (sc. both tibi and me [abl.]: i.e., if you find that you have any need of me); [This parting exchange lays the ground for the conclusion of Act II, where Lib., Leon., and Merc. depart to have the outstanding funds paid to Dem., who, suitably enough, is already at a banking establishment. Cf. above, Asinaria A Student Commentary ( J.R. Porter, 2015) 66

73 Commentary: I.i p. xx: Setting ]; QUID = aliquid (after si, num, nisi, ne [A&G 310a]); MEMINERO since memini employs the pfct. in a pres. sense ( I have recalled and therefore now remember A&G 205b), the fut. pfct. is employed as a fut.; [STAGING Lib. exits via Wing A] 118: nullus servus peior hoc esse potest; NON SERVOS QUISQUAM = nullus servus; SERVOS = servus; HOC abl. of comparison [A&G 406]; PEIOR shrewder or more cunning : servos malus in Comedy is the crafty slave (Gray) 119: VORSUTUS = versutus; nec ab quo caveas aegrius [caveo ab aliquo = be on guard against someone (Lindsay 37 n )]; QUO AB = ab quo (*anastrophe [A&G 640]); CAVEAS *rel. clause of characteristic [A&G 535a, Bennett 1910: 288]; AEGRIUS comp. adv : si (ali)quid velis recte curatum (esse), (id) eidem homini mandes; SI VELIS the subj. here is phps. due to the influence of the jussive subj. mandes (Lindsay 67, Bennett 1910: 276, Hurka ad loc.); it has a generalizing force, as in the protasis of a fut. less vivid *condition (cf. 445, 766); QUID = aliquid (after si, num, nisi, ne) [A&G 310a]; CURATUM [ESSE] to have been looked after (stronger than the mere pres. inf.]; MANDES jussive subj. [A&G 439] (with the referent of aliquid as the assumed object); malet se misere mori quam non reddat perfectum (id) quod promiserit; MORIRI = mori (a 4 th conjugation inf. form substituted for the regular 3 rd /4 th ); MAVOLET = malet; MORIRI SESE acc. + inf. introduced by malo; (ID) PERFECTUM REDDAT render it complete (i.e., duly perform Gray): perfectum is a *pred. acc. following reddo (A&G ); QUAM NON REDDAT than he would not render it, rather than fail to render it (*final clause with quam, introduced by the comparative force of mavolet: Woodcock 253 n. ii; contrast A&G 571a, Bennett 1910: , and see below, lines 798, 811, and 816); (ID) QUOD suppressed antecedent [A&G 307c]; QUOD PROMISERIT pfct. subj. [*rel. clause of characteristic (A&G 535), or by attraction to reddat (A&G 593)]; [Lines capture the essence of the Plautine servus callidus, who is a clever scoundrel and yet, in the final analysis, utterly loyal to his master(s) s interests] : ego scio illud argentum tam filio paratum esse quam me hunc scipionem contui; ILLUC = illud; ARGENTUM PARATUM ESSE and ME CONTUI acc. + inf. following scio, joined by the correl. adv. tam quam [A&G 323g]; SCIPIONEM such walking sticks are frequently to be seen in the hands of old men on 4 th -century South Italian comic vases and are cited regularly as an expected attribute of the Plautine senex (Amph. 520, Cas. 975, 1009, Men. 856, Pers. 816). 113 Attempts to detect a topical allusion to a member of the Scipio family ( Radermacher 1903, who takes contui to indicate the singling out of a member of the audience; cf. Buck 1940: 32-33, Schutter 1952: 14-20, Hurka ad loc.), are likely misguided and in any case lead to no definite conclusions; contuor (3) to behold, see [CONTUI = pres. dep. inf.] 113 Cf. Green 1996: 19, who refers to the staff as that fundamental signifier of an old man of the [Grk.] theatre, whether tragic, comic or satyric. Asinaria A Student Commentary ( J.R. Porter, 2015) 67

74 Commentary: I.i 125: QUID why [cf. ad 6]; QUO (adv.) whither, to where: i.e., ad forum; QUO INCEPERAM (IRE) for the plupfct., which implies a past set of circumstances, see Bennett 1910: 49: where I had begun to go (before I was interrupted) 126: ARGENTARIUM cf. ad 117; [This line is bracketed by many early edd., phps. correctly: see Hurka ad loc. (who defends the verse)]; [STAGING: Dem. exits via Wing B] SCENE I.ii [127-37: Cretic Tetrameters (133-33a: Choriambic Dimeters); : Trochaic Septenarii] The youthful Diabolus, Argyrippus rival in love, denounces the procuress Cleareta, who, as Philaenium s mother, is blocking his access to her. (Clearata does not actually enter until I.iii.) He reproaches her initially in a song sung while he is alone on stage, and then (in I.iii) face-to-face with ingratitude on the grounds that she no longer favors him as she did when he was constantly providing them with presents and, as he claims, raised them out of squalor. In I.iii Clearata gives him a hard lesson in the basic rules governing the relationship between a young man and a meretrix. This is the only scene in the play that employs lyric meters. [BIBLIOGRAPHY: Havet 1905, Lowe 1992: and 1999: 14-17, Fedeli 1999, Hartkamp 2004: , Henderson 2006: with 224 n. 5, Hurka 21-22, 44-49, and introductions to I.ii and I.iii, Danese 2014: , Petrides 2014a: , Marshall 2016, Porter Commentary: Leonetti ] [STAGING: Diab. enters the stage from Clear. s house.] [There is disagreement about whether the male character in this and the following scene is Diabolus, Argyrippus rival for Philaenium s services, or Argyrippus himself. For the latter view, see Lowe 1992: , 1999: 14-17, Marshall 2016; for the former, Havet 1905: (followed by the majority of modern edd. and comm., with the notable exception of Hurka), Porter The ms. tradition assigns our scenes to Argyrippus, but such headings bear little authority Further references at Lowe 1992: 159 n. 36, Marshall 2016: 253 n E.g., Ahrens 1907: 14 notes that in B and E, Argyrippus is mistakenly listed in place of Diabolus in the scene heading for IV.ii. See, further, Porter 2016: Asinaria A Student Commentary ( J.R. Porter, 2015) 68

75 Commentary: I.ii One naturally expects to meet the young male lover early in the play, and no rival for Philaenium s attentions has been mentioned to this point: 116 given no other indication as to the new character s identity, the audience would naturally assume that this impoverished, lovelorn young man is Demaenetus son. 117 If these scenes are assigned to Diabolus, then Argyrippus does not appear until III.iii, the scene that presents the mock-tragic crisis-point in the lovers relationship and its comic resolution. One expects a more direct exposition of the male lover s situation and feelings prior to this crisis, although some indication of the two lovers affection for one another will be offered by Philaenium in III.i. On the other hand, lines suggest strongly that Diabolus, and his proposed contract with Clearata, have been introduced prior to III.iii, while a number of the sentiments assigned to the speaker in I.ii and I.iii seem to accord better with the coarse and obtuse Diabolus esp. his references to having raised Clearata and her daughter out of the depths of poverty through his earlier gifts (which ill accord with Agyrippus situation): 118 it would not be unlike P. to substitute a comic but essentially irrelevant scenes of this sort (esp. one involving a comic song) for what, in the Greek original, was a sentimental expository scene dealing with the play s love-interests (Legrand 1917: 48). Moreover, the elaborate treatment of the lena s exploitation of her young male clients [I.iii] can readily be assigned to a Roman context: cf. Porter Most to the point, I.iii concludes with the young lover stating that he does in fact have one last source to which he can turn for the needed cash, but insisting that he be given exclusive access to Philaenium for an entire year if he can produce the required 20 minae (233-36); Clearata agrees to this and directs the young man to draw up a contract (syngraphum) to this effect (237-42). All of this accords so well with , and with the action of IV.i and ii, as to seem conclusive, while the threat of a rival, and of the exclusive rights guaranteed by a contract, provides an appropriate sense of urgency to Argyr. s plight (e.g., 280, ; Danese 1999: 62). (The emphasis on our speaker s desire for exclusive access also adds a nicely ironic touch to Diab. s final humiliation: in the end, he will still pay twenty minae, but will have to share Phil. s attentions with Argyr.: ) Our young speaker departs for the forum at in order to find friends whom he might dun, yet at 329 Libanus informs Leonida that his young master is here inside (indicating Demaenetus house: see my comments ad loc.): this would seem to indicate that Argyr. is not the speaker of I.ii and I.iii (see, however, Lowe 2007: ). 116 Duckworth 1994: and Hurka ad xx provide useful parallels for a late introduction of a secondary character such as Diab. 117 The introduction of accompanied verse at this point of the play is also relevant: Moore 2012a: notes the frequency with which the first use of the tibia in a play (to accompany either sung or chanted verse) attends the introduction of introduction of the young male lover, or a surrogate or ally of the lover. (Note, however, the introduction of Lysiteles at Trin. 223: Porter 2016: ) 118 Cf., e.g., 55-56, 78, ; on 270, see my n. ad loc. Asinaria A Student Commentary ( J.R. Porter, 2015) 69

76 Commentary: I.ii Finally, nowhere does the speaker allude to possible assistance from Lib., a fact that accords so ill with the conventions of Roman comedy and the expectations engendered by I.i as to occasion further doubt (cf. ad ). It is much easier to associate the speaker in I.ii and iii with louche young independent lovers such as the Diniarchus of Truc. 119 This also preserves one of the play s few relatively consistent points of characterization: the insistence on the lack of a mercantile element in Argyr. and Phil. s relationship and the naive purity of their love (at least prior to the sudden shift introduced at : see, e.g., , , ). The young man of I.ii and I.iii, by contrast, sees things very much in terms of what people are owed: 128, 129, 138, 146, 148, 161, 162. Petrides 2014a: argues, on the basis of the relationship betw. Diab. and Par. in Act IV, that the former is cast as the headstrong young mercenary soldier, a view that is supported by the ludicrous alazoneia on display in IV.i. If this is correct, Diab. s mask and attire likely precluded any assumption on the audience s part that the character who entered at 127 was Dem. s son. Petrides reading does not altogether square, however, with what we learn of the rival lover in either I.ii/iii (where he speaks of earning his fortune in trade: see ad 135) or IV: note, e.g., how readily, in both sets of scenes, this character turns to third parties to fight his fights (131-32, ) in the manner of the helpless adulescens. 120 Even in the case of P. s atypical miles (the Stratophanes of Truc.) the individual s status and profession are made quite clear; the young man presented in Acts I and IV, by contrast, maps much more readily, mutatis mutandis, onto a figure such as the Menaechmus of Men. I.i-iii, who is also attended by a comic parasite. As so often, our play here melds features derived from more than one stock type: the louche young independent rake, after the model of Diniarchus, and the foolishly obsessive lover who, in the ease with which he can be manipulated by Par., recalls something of the stock Roman miles, but in a civilian guise. 121 Further on the potential confusion occasioned by the entrance of an as-yet unmentioned young lover who is not in fact Argyr., see Legrand 1917: , R.L. Hunter 1980: , Lowe 1992: and 1999: 14 17, Fraenkel 2007: 425 (Addendum ad 273), Danese 2014: , Marshall 2016, Porter Further arguments are considered in the comments below, passim Cf. below ad 226 and see Porter 2016: 318. Hurka s hypothesis viz. that P. has altered Demophilus original so as to reassign I.ii and iii to Argyr. instead of Diab. brings little clarity to the issue (Hurka 44-49xx). In the same vein, Lowe 1992 and 1999 must assume that, in adapting the Greek original of I.ii and iii, P. has opted to import humorous elements more appropriate to the typical louche young lover in effect, to cast Argyr. as another Diab., employing motifs similar to those employed in the presentation of Diab. in IV.i and IV.ii (scenes where P. s hand is also evident). It is much more economical to assign the lines to Diab. 120 Note as well the characterization at 634: adulescens Diabolus; cf. 133a. 121 Cf., e.g., the Moschion of Men. Perik See ad , a, 135, , 170, 187, , , 235, 238, , 541, , 637, 746, , Asinaria A Student Commentary ( J.R. Porter, 2015) 70

77 Commentary: I.ii The challenge posed by this issue gives a good indication of the generally unworked nature of the play, which often displays a lack of concern with details of plot and characterization, and focuses instead on developing a series of comic shticks on themes suggested by the plot of the Greek original. P. injects some much needed comic energy into the play s early scenes by offering a humorous monody and (I.iii) confrontation involving stock comic types (cf. Pseud. 133ff.). We must assume that the young man s mask and costume, in conjunction with the description of his circumstances, informed the audience that this was the louche rival lover rather than Dem. s son. 123 ] : see Moore 2012a: on the use of cretics in this and related passages. As he notes, Cretics tend to call attention to themselves more than any other of the more common meters of Roman comedy, through their bouncy, jingling nature. 127: SICINE = sic + ne (employed in an indignant question: Is this the way it goes?, Is this to be the case? ); FORAS adv.; AEDIBUS abl. of sep. w/o ab [A&G 401]; ME EICI acc. + inf. (acc. of exclamation [A&G 462, Lindsay 75]) in an indignant question ( That I should be thrown? Me thrown? ) : On the notion of reciprocity invoked here and at , cf. ad 59 and above p. xx (introduction to the play). Clear. s echoing of this sentiment at 527 provides further impetus for assigning I.ii and I.iii to Diab. rather than Argyr. 128: PROMERENTI (MIHI) *circumstantial ptcple. ( although I deserve altogether well [optime] of you/ have treated you so well ); OPTUME = optime; HOCCIN = hoc + ne; PRETII partitive gen. with neut. pron. [A&G 346a3]; REDDITUR picking up promerenti (mihi) 129: MERENTI [bis] cf. ad 128 (with the first, sc. mihi; with the second, alii [dat.]): to me, who have treated you well, you are cruel; to another, who has treated you badly, kind a: these lines provide further grounds for assigning I.ii and I.iii to Diab.; the sentiments here expressed are difficult to square with Argyr. s devotion to Phil. elsewhere in the play (e.g., 591ff.). It is true that the speaker corrects himself at , but the viciousness of the sentiments expressed in the intervening lines ill suit the typical lovelorn adulescens: cf. ad 235. The comically deluded Alcesimarchus of Cist provides no true parallel; closer in spirit is Truc , spoken by the louche Diniarchus: cf. above (introduction to I.ii) and see Porter 2016: : cum malo tuo (sc. id facis) abl. of attendant circumstances [Woodcock 43.5(ii)] [malum = misfortune]; IAM EX HOC LOCO IBO cf. 817; tresviri a board of three magistrates; i.e., the authorities [The reference here is to the tresviri capitales: minor officials who acted as police magistrates and were particularly associated with the supervision of the prisons and with nightly fire patrols: Nippel 1995: 22-26; Gaughan 2010: 96 describes them as catch-all officials for whom a general look-out for the well-being of the city was their primary role. Further: Scafuro 1997: ]; 123 Cf. below, comm. ad opening of IV.i, re the introduction of Par. Further on the question of mask-types, cf. Wiles 1991: (and, for the Greek tradition, ); Marshall 2006: 126ff. More generally, see Porter 2016: Asinaria A Student Commentary ( J.R. Porter, 2015) 71

78 Commentary: I.ii VOSTRA = vestra; FAXO [In the older grammars, this form is presented as the fut. pfct. ind. act. of facio (A&G 183.3). As De Melo 2007a: 171ff. demonstrates, it is actually an archaic sigmatic fut. that, in subord. clauses, can be replaced with the fut. pfct. ind. (In such clauses, it is associated with an elevated tone.) In main clauses, however, it has the force of a simple fut. Contrast the sigmatic subj. my n. ad 256]; faxo vestra nomina ibi erunt = I will see that your names are entered there (in an indictment) instead of a *consecutive clause following facio [A&G 568], we find the vivid juxtaposition of two fut. inds. (*parataxis) (de Melo 2007a: 186); CAPITIS gen. of charge/penalty [A&G 352a] [capitis damnare = to get someone condemned on a charge involving the loss of citizen rights or death (i.e., a capital offense) (caput = the person considered as an individual with the rights and privileges of a citizen; the loss of such rights left one open to execution). Here PERDAM is a more colorful equivalent of damnabo]; [On such threats in New Comedy, see Scafuro 1997: ; on the specific grounds for Diab. s complaints, ead ] a: the brief shift in meter (to choriambic dimeters) highlights the list of comic epithets and closes off the introductory section of Diab. s song (Moore 2012a: 207). 133a: ADULESCENTUM gen. pl. [A&G 71 and 121b]: obj. gen. [A&G 348]; EXITIUM ruin (Lilja 1965: 40) 134: MARE HAUD EST MARE i.e., the sea, which has a reputation for being unpredictable, destructive, and utterly indifferent to human suffering, is nothing compared to Clear. and her daughter, who, like the sea, are insatiable, swallowing up everything that comes their way (cf and Truc. 563ff.); ACERRUMUM [ESTIS]; VOS MARE ACERRUMUM = acerrimum; [As Moore 2012a: 194 notes, this sort of singsongy word play is often found cretics] 135: MARI abl.; REPPERI sc. bona [i.e., sea trade gave me a livelihood]: in mari is a somewhat strained expression in this context, employed for the sake of the paradox that follows (see re elavo below), but cf. Petr. Satyr. 39.8; HIC adv.; elavo (1) elavi, elautum to be cleaned out of one s possessions (intrans.): used in combination with in mari at Rud , 1307; BONIS abl. of sep. [A&G 401] (as with vbs. such as careo, egeo: Lindsay 37): bona in the sense of goods, property; [On the issue of the attribution of these lines (intro. to I.ii): the portrayal of the speaker as someone who has made a fortune in trade, and now squandered it, does not square easily with the image we are given of Argyr. elsewhere. The line recalls rather the wastrel Diniarchus (Truc. 22ff.), who (unlike Argyr. but much like Diab.) is an independent agent whose irresponsible behavior finds its due reward in the finale (Truc. 770ff.). Hurka ad xx notes that Clear. emphasizes the youth of her interlocutor in these scenes, which ill accords with the amassing of a fortune through trade (cf. Havet 1905: 102, Danese 1999: 60 n. 27 and 2014: ), but it is difficult to reduce 135 to a metaphor of the young lover tossed about and eventually shipwrecked on Love s tide. (Note in particular the emphatic contrast betw. in mari and hic i.e., between the actual sea and the treacherous deeps of Clear. s establishment [134].) Moreover, such a reading risks imposing an anachronistic conception of youth: the adulescentes of these plays can, Asinaria A Student Commentary ( J.R. Porter, 2015) 72

79 Commentary: I.ii like Diniarchus, be old enough to own property (Truc. 174), engage in contracts (Truc. 31), 124 and undertake public business (Truc ), yet still be regarded as headstrong and irresponsible young men in need of supervision by their elders (Truc ). 125 Most to the point, Clear. s remark at 191 is part of an elaborate joke at her interlocutor s expense (191-94) where she feigns sympathy for her loyal client s youth (all of her clients are youths!) before offering to gouge him at an even higher rate. Whether spoken by Argyr. or Diab., line 135 has something of a throwaway feel to it (cf., e.g., 270, ) and provides another instance of P. s casual engagement with his characters. But it suits a figure in the mold of Diniarchus much better than the Argyr. presented in I.i and, subsequently, in III.i and III.iii. (If, with Petrides 2014a, we regard Diab. as a youthful mercenary [see my intro. to I.ii], in mari here must be taken more generally: in my adventures abroad, in my travels. )] 136: omnia ingrata atque irrita esse acc. + inf. following intellego; INGRATA i.e., winning no due return (cf. ad 59 and ) : QUAE picking up omnia in 136; QUAE QUOD the switch to the singular in this pair of parallel rel. pronouns is due to the more general nature of the idiom bene facio: together, the two rel. clauses parse the particular sense of omnia (concrete gifts given to establish a reciprocal relationship of good will); at posthac [id] male faciam tibi quod potero facere; male facere aliquid alicui to do harm to someone; (ID) QUOD suppressed antedecent [A&G 307c]; MERITO TUO as you deserve (abl. of cause [A&G 404: cf. the construction with pro at line 560], manner [G&L 399 n. 1], or specification [A&G 418a]; essentially an adv. [ deservedly ], merito is regularly modified by a possessive adj. or gen.) : these lines suit the dissolute Diab. much better than the Argyr. of whom we have heard in I.i: cf. 163, : EODEM UNDE to the same place from where (correl. adv. [A&G 323g]); EGESTATIS TERMINOS the extreme bounds/limits of poverty 140: TE FACIAM UT SCIAS *consecutive clause ( I will see to it that you ) [A&G 568] on the idiom te faciam ut ( I ll make you that you ), cf. ad (*prolepsis); QUAE SIS QUAE FUERIS *indir. questions after scias [A&G 573] : QUAE OBLECTABAS you who used to (with Clear. as the subject); PRIUS QUAM ADII ATQUE DEDI priusquam + ind. [A&G 551a]; ISTAM ADII i.e., came to Phil. s house/establishment, came to visit Phil.; [ISTI, in the same line, also refers to Phil.; here and at 146, the demonstr. adj. does not necessarily convey a pejorative sense: cf. ad 845]; AMANS *pred. ( loving her, in my passion ); VITAM OBLECTABAS you passed your life pleasantly/maintained your pleasant lifestyle [sarcastic]; SORDIDO PANE instr. abl. (giving the means by which they sustained their lives) [A&G 409]; PANNIS rags; INOPIA either abl. with in (*asyndeton [A&G 124 See, e.g., Cohen 2015: A parallel is offered by Men., Sam Asinaria A Student Commentary ( J.R. Porter, 2015) 73

80 Commentary: I.ii 323b]) or instr./adv. abl. [A&G 409]: vitam inopia oblectare = vitam inopem degere (Lindsay 34) [Palmer reads impia (voc.)] 143: EA (n. pl.) i.e., even the modest things listed in 142 (sc. tibi [dat. of possession: A&G 373]); SI as often, si here implies indefinite time ( if ever ); DIS abl. pl. of deus 144: nunc, cum melius est (tibi), eadem mala me ignoras cuius opera est (tibi melius); EADEM MALA fem. nom. sg. (referring to Clear.); EADEM resumptive [Lindsay 47-48] (emphatic here, underlining Clear. s arrogant lack of gratitude): cf. 147, 177, 198, 324, 408, 527; *QUOM = cum (+ ind.); QUOM EST MELIUS when it (i.e., life) is better for you (Lindsay 79-80); QUOIUS = cuius; QUOIUS OPERA EST (TIBI MELIUS) by whose work/deed it is better for you (i.e., thanks to whom you are doing better); OPERA causal abl., with cuius in place of the usual possessive adj. (G&L 404c, L&S s.v. opera IIA2: cf. ad 68 and 536)]; MALA *pred. (in your villainy, wickedly), although one might take it as voc. 145: reddo to render, make; EX FERA from (being) fierce (i.e., instead of : cf. 368) taking fera in reference to Clear. instead of with fame (in which case ex fame would have a causal sense); FAME instr. abl. [A&G 409]; MANSUETEM *pred. acc. [A&G 393]: tame, subdued, conquered; [mansuetem here and at 504 is an alt. 3 rd -decl. form of mansuetam attested by the ancient grammarians and inserted by modern edd.]; SPECTA 2 nd sg. pres. imperative act.; MODO adv. (i.e., just watch me! ). On the use of modo to strengthen imperatives, see Barrios-Lech 2016: : ISTI IPSI the girl (Phil.) herself, as opposed to her mother (on isti, cf. ad ); QUID why? (cf. ad 6); SUSCENSEAM delib. subj. [A&G 444]; NIHIL EST (quod suscenseam) there is nothing with respect to which (*limiting/cognate acc. [A&G 390c]) I might be angry i.e., there is no reason why I should be angry (*rel. clause of characteristic); NIL QUICQUAM nothing at all (i.e., nothing bad) (Lindsay 42) 147: TUO IUSSU at your command (causal abl. [A&G 404]): see A&G 94c; FACIT used here in an absolute sense ( she acts/behaves ); TUO IMPERIO dat. with pareo (on imperium, see ad 505); tu mater (eius es), eadem era es; EADEM (nom. fem. sg.) i.e., and you are also, and at the same time you are (for this use of idem, cf. ad 144); ES takes both mater and era as complement 148: ego te perdam (sic)ut digna es atque (sic)ut de me meres; UT = sicut (bis) : videsne ut scelesta ne id quidem existimat me dignum esse ; SCELESTA fem. nom. sg. (sc. Clear.); [scelestus is the most common term of abuse employed in P.: Lilja 1965: 22]; VIDEN = vides + ne (addressed to the audience), introducing an indignant question; UT NE EXISTUMAT *indir. question [A&G 573] introduced by ut ( how ) after vides. (Notice that in P., however, the vb. of the indir. question appears in the indicative: existumat [Lindsay 66; L&S s.v. ut IA3(a)]); ID = *limiting/cognate acc. [A&G 390c] with dignum ( consider me worthy in that regard ), picked up by quem adeat ; ME ESSE acc. + inf. introduced by existumat; QUEM ADEAT (as one) whom she might approach (*rel. clause of characteristic with *consecutive force, picking up id dignum: A&G 535f): i.e., she doesn t even do me the courtesy of coming up to me; QUEM COLLOQUATUR Asinaria A Student Commentary ( J.R. Porter, 2015) 74

81 Commentary: I.ii QUOIQUE SUPPLICET parallel in construction to quem adeat; QUOIQUE = cui + que; IRATO *pred. ( angry as I am ) : ATQUE used to mark the entrance of a new character; ECCAM = ecce hanc [ecce + acc.: A&G 146a n. 2, 397d] (As usual, this demonstr. interjection stands outside of the syntax of the sentence); ILLECEBRA allurement, entrapment; enticer; HIC adv.; OPINOR LOQUAR *parataxis (loquar is a finite vb., vs. the expected acc. + inf. i.e., I think that I will [be able to] speak ); MEO MODO abl. of manner [A&G 412b] (i.e., freely ); (EA) QUAE VOLAM *fut. ind. in rel. clause where Engl. employs a pres. (suppressed antecedent); LICITUM EST alt. form of licuit (cf. ad 110); MIHI sc. loqui ea quae volui; [The implication would seem to be that Diab. can speak his mind here outside the house without being harrassed by Clear. s servants, but this is a guess: the lines have been devised to provide a rationale for the following scene occurring on the street] SCENE I.iii [Trochaic Septenarii] [See ad I.ii.] [BIBLIOGRAPHY: Lowe 1992: and 1999: 14-17, Rosivach 1998: 63-66, Fedeli 1999, Hartkamp 2004: , Porter 2004 and Commentary: Leonetti ] [STAGING: Clear. enters the stage from her house to join Diab.] : si (ali)qui emptor venerit, non potest auferre a me unum istorum verborum nummis Philippeis aureis; UNUM QUODQUE each and every one (here = not a single one); VERBUM gen. pl. [A&G 49d]; a partitive gen.: A&G 346a2, Bennett 1914: 21; NUMMIS abl. of price [A&G 416]; PHILIPPIS = Philippeis (gold coins [staters] minted by Philip of Macedon in the 4 th century BC, likely worth approx. 24 drachmae each) as Milne 1940: 12 notes, evaluating the specific monetary significance of such references in P. is exceedingly problematic: Milne cfs. the use of ducat in Shakespeare; contrast Shipp 1954: , who argues that P. had practical knowledge of such coins. On the likely misguided attempt to employ references to such coins to date the plays, see Schutter 1952: XXVIII]; POTEST AUFERRE, SI QUIS EMPTOR VENERIT a mixed *condition, rendered less striking by the NON 126 While there is little practical reason for this scene to be played out in the street (cf. ad ), Clear. is being true to type in keeping the formerly wealthy Diab. on the hook (153-58) and assuring him of her loyal service should he find still more funds to squander (228ff.). Asinaria A Student Commentary ( J.R. Porter, 2015) 75

82 Commentary: I.iii modal element inherent in possum: if any potential buyer were to come at any time (VENERIT 3 rd sg. pfct. subj. act. [cf. ad 20]), he couldn t (A&G 516d; cf. line 164); HINC rhetorical reinforcement of a me; QUIS = aliquis (after si, num, nisi, ne [A&G 310a]) [aliquis here for aliqui] 155: (et ea) quae tu in nos non recte dicis aurum atque argentum merum est; NEC = non [L&S s.v. neque I] (*asyndeton); NEC RECTE = male (cf. 471 and see Lindsay 130); (EA) QUAE (neut. pl.) suppressed antecedent [A&G 307c] (This antecedent provides the subject of est, with aurum atque argentum merum as complement: the sg. est is by attraction to the singular nouns that form the predicate); against us IN NOS 156: animus tuus hic apud nos fixus est clavo Cupidinis; HIC adv.; ANIMUS i.e., Diab. s heart ; TUOS = tuus; CLAVO instr. abl. [A&G 409] (a more vivid and imposing image than the usual arrow); [Note the distinction here betw. Diab. s (ineffectual) words and his passion, which will be vividly portrayed in the next lines and which renders him helpless in the following negotiation: cf From her first appearance, Clear. is portrayed as enjoying complete control over the situation.] 157: REMIGIO VELOQUE instr. abl. [A&G 409] ( i.e., using all possible means of propelling the ship [Gray]); QUANTUM POTERIS as quickly as you can (at any future time) (idiomatic use of the *fut.: Engl. prefers a generalizing pres.); QUANTUM rel. adv. [A&G 397a]: as Gray notes, the expression quantum possum/potest in P. regularly refers to time rather than degree (cf. 607); FESTINA ET FUGE *hendiadys [A&G 640], with comic alliteration 158: QUAM MAGIS however more, by how much more ; answered by the following TAM (MAGIS) (correl. construction [A&G 323g]); IN ALTUM = out to sea; TE CAPESSIS betake yourself, attempt to go (capesso desiderative of capio); AESTUS appropriate for both the rising tide or churning sea, and the lover s tormented feelings; CAPESSIS REFERT in this instance P. employs a vivid generalizing pres. ind. as opposed to the more usual *fut.; PORTUM as Hurka notes, Clear. transforms the standard image of the young man who is shipwrecked by love: here the harbor (the lover s point of departure) is presented not as a place of refuge but as both the young man s inevitable resting place and his source of ruin 159: portitor collector of harbor dues (humorously picking up on Clear. s metaphor in 158); PORTORIO harbor tax (abl. with vb. of depriving: A&G 401); [Zagagi 1980: 125 notes how Clear. s highly poetic and traditional (Grk.) metaphor for love s passion is countered by Diab. with a much more prosaic mercantile image grounded in Roman life] 160: ego exsequar te tractare (sic)ut merita es (tractari) de me et mea re I will make a point of treating you as you have deserved to be treated, from the point of view of me and my interests/fortunes; DEHINC hereafter, from this time on; UT = sicut; DE employed to indicate the person or thing with reference to which any thing is done [L&S I.C.6]; exsequor to persist in, make a point of [+ inf.] 161: cum tu me non tractas (sic)ut meritus sum cumque (me) eicis domo; *QUOM = cum (+ ind.); MED = me; UT = sicut; QUOMQUE = cum + que Asinaria A Student Commentary ( J.R. Porter, 2015) 76

83 Commentary: I.iii 162: percipimus istud magis lingua dici quam factis fore; ISTUC = istud; ISTUC DICI MAGIS QUAM (ISTUC) FORE acc. + inf. following vb. of perception (cf. ad 23-24); LINGUA FACTIS instr. abl. [A&G 409]; FACTIS by means of your acts, in deed, in fact 163: ego solus te a solitudine atque egestate abstuli; SOLUS (here and in the following lines) *pred. ( I alone ); TED = te; SOLITUDINE (sc. a/ab: abl. of sep. [A&G 401]); an allusion to Clear. and Phil. s earlier lack of friends and support i.e., their lack of male family members or patrons, a situation often highlighted in the plays of Ter. to pathetic effect (e.g., Andr., Eun., Adelph.). This scene, by contrast, is played only to highlight Clear. s ruthless focus on the bottom line. (Solitudine and egestate in effect point to two sides of the same coin); APSTULI = abstuli; [On the sentiment, cf. ad ] 164: si solus ductem (Philaenium), numquam potes referre gratiam (even) if I alone were to (have the right to) lead (Phil.) home with me, you could never be able to show me (sufficient) gratitude protasis of a fut.-less-vivid *condition with pres. subj., followed by pres. ind. of possum with hypothetical force (A&G 516d; cf. ad and see Bennett 1910: 274); SOLUS *pred.; SI = etiamsi; DUCTEM New Comedy echoes the language of legitimate marriage when discussing the relationship betw. the comic adulescens and his beloved: in each case, a young man leads a young woman to his home in order to establish a sexual liaison, but in New Comedy this is a short-term contractual arrangement (since the lena leases the young women under her care rather than running a brothel in the modern sense: cf. Rosivach 1998: 51-75). (See Gray ad loc., however, who notes that the frequentative ducto/ductito is regularly employed of illicit liaisons [cf. 165, 169, 189, 863, Men. 694, Poen. 272, 868, Rud. 584, Ter. Phorm. 500] vs. duco in the case of legitimate marriage.) The echoing of the language of legitimate marriage is all the more telling in this instance, as Diab. proceeds to employ aristocratic notions of mutual obligation in an attempt to induce Clear. to allow him access to Phil., a tactic that is doomed to failure (cf. Zagagi 1980: ). 165: SOLUS *pred. (bis); DUCTATO *fut. imperative (as often, with a subord. clause involving a fut. A&G 449, Bennett 1910: 354); si semper solus dabis (ea) quae poscam; (EA) QUAE (neut. pl.) suppressed antecedent [A&G 307c]; POSCAM Latin employs a *fut. ind. in such contexts, where Engl. prefers a generalizing pres. [A&G 516.a]; [Throughout this scene, Clear. taunts Diab. by throwing his own words back at him] 166: HABETO 2 nd sg. *fut. imperative act. (with adv. referring to the fut. A&G and 2a, Bennett 1910: 356): consider ; TIBI PROMISSUM (ESSE) impersonal use of the pass. inf. in an acc. + inf. following habeo [habeto tibi promissum esse = consider it a sure thing, a firm commitment]; LEGE on the following terms [abl. of specification: A&G 418a]; DUM SUPERES dum + subj. = provided that (introducing a proviso) [A&G 528 and Bennett 1910: ]; SUPERES sc. ceteros (i.e., Clear. s other clients); DATIS instr. abl. [A&G 409] (data = the gifts that the adulescens must provide the lena in order to obtain access to his beloved: cf. 56, 525) 167: QUI MODUS = what limit?, what end?; DANDI gerund (obj. gen.: A&G 504) HAC Asinaria A Student Commentary ( J.R. Porter, 2015) 77

84 Commentary: I.iii 168: cum modo [aliquid] accepisti, haud multo post aliquid paras quod poscas; MODO adv.; *QUOM = cum (+ ind.) [note the use of the pfct.: A&G 548]; HAU = haud; MULTO abl. of degree of difference (with post) [A&G 414]; POST adv.; QUOD POSCAS *rel. clause of characteristic, with the force of a *final clause ( something else to ask for ) [A&G 531.2]; PARAS i.e., contrive 169: QUID MODI EST what (of a) limit is there?; MODI gen. with quid (A&G 346a3; Bennett 1914: 27); DUCTANDO, AMANDO gerunds (here in the dat.: A&G 505, Woodcock 207.4c cf. 882 and contrast 167) (*asyndeton: A&G 323b) 170: MODO REMISISTI vivid introduction of a frequently repeated scenario: when you have just sent Phil. back (after enjoying her services) the ind. remisisti with modo is used, without a conj., to present a particular set of circumstances, as in the cum-clause in 168; CONTINUO adv.; UT REMITTAM *jussive noun clause following rogas [A&G 563]; AD TE to your home, chez toi; [In addition to the speaker s (former) financial independence, the fact that he has more than once hired Phil. s services and taken her home is difficult to square with the assigning of these lines to Argyr.: contrast, e.g., Art. s shock (875) at the thought of her son having dealings with harlots and cf ] 171: (ID) QUOD suppressed antecedent [A&G 307c]; QUOD MECUM EGISTI what was demanded by the terms that you worked out with me (ago aliquid cum aliquo = agree on terms with someone OLD s.v. 41); TIBI dat. in a construction that merges the notion of interest with that of motion: to/for you (A&G 363.2) 172: par hostimentum datum est pari (hostimento), opera (data est) pro pecunia; PARI sc. hostimento: dat., on the model of par pari respondere/referre (to settle an account, make things even-steven: L&S s.v. par I.B.4); HOSTIMENTUM compensation, requital; OPERA PRO PECUNIA services in return for a fee 173: bene/male agere to deal with someone fairly/unfairly (here and in the following lines); QUID = why? (cf. ad 6); OFFICIUM job, duty, function (cf. 380; for officium in the metatheatrical sense of role, stock part in a play, cf. Slater 2000: 48) 174: fictum pictum scriptum est (impers.) nowhere has it been fashioned (in sculpture) or drawn/painted or written; POEMATIS (Grk. neut. noun: A&G 60a): abl. pl. 175: ubi lena quae frugi esse vult bene agat cum quoquam amante; UBI BENE AGAT (cf. ad 173) *rel. clause of characteristic [A&G 535a]; UBI picks up usquam in 174; QUIQUAM masc. abl. sg. of quisquam; AMANTE ptcple. employed as a *substantive (note the form of the abl.: A&G 121a2); FRUGI ESSE to be worth one s salt [a *pred. dat. (A&G n. 2, Lindsay 39) employed as an indecl. adj.: cf. ad 602]: usually employed to commend proper moral behavior (see esp. Stewart 2012: ). Clear. here distorts the language of traditional Roman morality in describing the behavior of the proper lena. Note the telling similarity to Dem. s commendation of Argyr. s behavior at 82); VOLT = vult (note the ind.: one who in fact wishes, if she truly wishes ); [LENĂ brevis in longo] 176: aequum est te parcere mihi ut tibi diu durem; AEQUOM = aequum (AEQUOM EST impers., introducing the acc. + inf. te parcere); TANDEM used to express a strong sense of protest ( really, after all ); Asinaria A Student Commentary ( J.R. Porter, 2015) 78

85 Commentary: I.iii UT DUREM *final clause [A&G 531]; TIBI dat. of ref./advantage [A&G 376]; [On this trope in Roman New Comedy, cf. Porter 2004] 177: QUAE sc. lena as the antecedent ( that procuress who ); PARCET *fut. ind., employed here to convey a general truth of the type, She who will do x, will soon discover y (cf. Hurka ad loc., G&L 242 n. 1); as often, Engl. employs a generalizing pres. ind. in the protasis ( She who does x ) where Latin, somewhat more precisely, employs the *fut.; EADEM fem. nom. sg.: that same woman (resumptive, employed for emphasis: cf. ad 144) 178: amator itidem est lenae quasi piscis; QUASI ITIDEM correl. adv. (Lindsay 107, A&G 323g); LENAE dat. ( so far as a lena is concerned, in the eyes of a lena [A&G 378]); NEQUAM worthless (indecl.); RECENS: fresh (cf. Pseud ) 179: Here begins a list that presents the qualities of the ideal amator in terms that also apply to fresh fish, each observation beginning with a reference to the lover (is, ille) [*anaphora (A&G 641)]; sucus juice, sap, flavor, taste; IS (HABET) SUAVITATEM; QUOVIS PACTO in any way/fashion you like (abl. of manner: A&G 412b); CONDIAS potential subj. (A&G 447.3, here in a virtual rel. clause of characteristic [A&G ]); [Sucus, in particular, is easily taken to refer to the juice or flavor (i.e., cash and gifts) that can be derived from the lover when he is fresh ; Diab., by contrast, has now been drained dry (188-89) and offers only bitter reproaches. And just as fresh fish is tasty no matter how you prepare it, you can treat (i.e., dun) the fresh lover in all sorts of ways: the fresh lover s suavitas (pleasantness, agreeableness) will be illustrated at 181ff.] 180: PATINARIUM ASSUM *pred.; VORSES [EUM] = verses (on the subj. cf. ad condias in 179) the vb. here is well chosen, since it can refer both to how one treats foodstuff in cooking, but also to the tormenting and manipulation of the young lover by the lena (cf. Bacch ); QUO PACTO cf. ad 179; LUBET = libet [impers.] (sc. tibi) 181: VOLT = vult; IS (VOLT) SE ALIQUID POSCI; SE POSCI acc. + inf. construction following volt (understood), as opposed to the simple *prolative inf. (cf. ad 67); ALIQUID secondary obj. of posco, retained in the passive construction [A&G 396: a *limiting/cognate acc.]: cf. Engl. you are taught Latin [from the active, I teach you Latin ]); IBI i.e., in his case; DE PLENO sc. aerario, dolio,or the like (the implication being that he can afford to be generous); PROMITUR impers. 182: QUID DET, QUID FACIAT *indir. questions [A&G 573]; QUID DAMNI FACIAT = what loss he suffers (DAMNI partitive gen. with quid [A&G 346a3; Lindsay 15 cf. Watson 1971: 151 n. 6]; REI (dat.) that other business : a euphemistic way of referring to the matter on which the lover s mind is focused, which keeps him from noticing his financial losses, or (Gray, who prints a colon at the end of the line) pointing ahead to the list that follows 183: VOLT = vult; SESE PLACERE acc. + inf. after volt (cf. ad 67) [followed by a series of dats., each indicating a member of Clear. s household whom the lover attempts to please: amicae, mihi, pedisequae, etc. The passage provides an interesting declension of the status of various members of Clear. s household staff]; VOLT VOLT VOLT *anaphora (A&G 641) ILLI Asinaria A Student Commentary ( J.R. Porter, 2015) 79

86 Commentary: I.iii 184: ET QUOQUE a suspect collocution (Lindsay 113); CATULO MEO in this instance the dat. depends upon subblanditur in the next line 185: NOVOS = novus; ut (catulus) gaudeat cum se videat; UT GAUDEAT *final clause [A&G 531]; *QUOM = cum (+ subj. by attraction to gaudeat [see ad ]); SE the refl. refers back to the subject of the main vb. (subblanditur) i.e., to the lover (A&G 300.2) 186: aequum est quemque hominem callidum esse ad quaestum suum cf. Truc. 416 and 932; AD with a view to, when it comes to; SUOM = suum; AEQUOM = aequum (AEQUOM EST impers., introducing the acc. + inf. quemque hominem esse); CALLIDUM complement following esse 187: ISTAEC = ista (neut. pl.), picking up Clear. s vera in 186; ISTAEC ESSE VERA acc. + inf. with perdidici; cum damno magno meo abl. of attendant circumstances [Woodcock 43.5(ii)]; [As with, e.g., and 163, this line can be assigned to Argyr. as opposed to Diab. only with difficulty] 188: SI HABEAS PRAEHIBEAS pres. subj. in a pres. contrary-to-fact *condition, where classical Latin employs the impf. [A&G 517e, Woodcock 197]; ECASTOR this oath (e [archaic interj.] + Castor) and the related mecastor (me Castor iuvet) is confined to women in Roman comedy: note its repeated us by Art. in V.ii; QUOD DES *rel. clause of characteristic, with *consecutive force ( something to give ) [A&G 537.2] (also by attraction to habeas [A&G 593]); ALIA VERBA PRAEHIBEAS there is phps. an echo here of the expression verba dare (to deceive, cheat) 189: NIL = nihil; postulas te eam ductare maledictis; MALEDICTIS abl. of price [A&G 416]; TE DUCTARE acc. and inf. after postulas in place of the simple *prolative inf. (cf. ad 67); DUCTARE cf. ad : NON MEUM EST normally, in such a context, this expression would mean, it is not my way (Gray), it is not my task, job (understanding officium cf. 173 and see Bennett 1910: 300), but in the mouth of Diab. it seems to imply it is not in my power (setting up Clear. s response); nec meum (est) ut mittam (eam) ad te gratiis; NEC MEUM QUIDEM tossing Diab. s words back at him; UT MITTAM *consecutive clause, following meum (est) [A&G 537c] 191: aetatis atque honoris tui gratia in view of your age and your claim to our respect (with honoris, tui implies an obj. gen. [A&G 348a, 404c]) the more likely option, given 194 or, in view of the respect you have shown us in the past (tui implying a subjective gen. [A&G 343 n. 1, 348 n.]): cf. line 192. Ironical mockery of the language of (aristocratic) mutual obligation, as becomes all the more clear by the nature of the deal offered in (Hurka takes both aetatis and honoris in an ironical sense, as terms that would normally be applied to a person of mature years who enjoyed public esteem); HOC FIET points ahead to the offer made at ( the following will be done, the following offer will be made ); [On the implications of this line for the identity of Clear. s interlocutor, see ad 135] 192: NOBIS LUCRO DECORI TIBI parallel *double dat. constructions (dat. of ref. [A&G 376] + pred. dat. [A&G 382.1]); the loftily ironic tone is heightened by *chiastic word-order 193: DANTUR vivid use of pres. ind. in protasis of a fut. vivid *condition [A&G 516a n., Bennett 1910: 65]; DUO TALENTA ARGENTI = 120 minae = 12,000 drachmae (but see Rose 1924, Shipp 1954: ; on Asinaria A Student Commentary ( J.R. Porter, 2015) 80

87 Commentary: I.iii the absurdly inflated nature of this amount, cf. ad 89); ARGENTI gen. of material [A&G 344; Bennett 1914: 16]; NUMERATA *pred. (counted out): emphasizes Clear. s insistence on cash on the barrelhead ; [As Gray notes, the impossibility of literally placing such a large sum in someone s hand adds to the cynical cruelty of Clear. s joke] 194: dabo tibi hanc noctem honoris causa gratiis dono; HANC NOCTEM this coming night (with Phil.: cf. 624 and 736); HONORIS CAUSA as a token of my respect (cf. ad 191); GRATIIS DONO for free as a gift (comically redundant); DONO *pred. dat. [A&G 382]; [on the parody here of the language of dedications, see Scafuro : 17 and cf. 752] 195: QUID SI NON EST (ARGENTUM MIHI) *dat. of possession (picked up in the TIBI of Clear. s rejoinder) [A&G 373]; SI NON vs. nisi, in a statement where the neg. adv. goes emphatically with the vb. (cf. ad 907); (ARGENTUM) TIBI NON ESSE acc + inf. introduced by credam; ILLA i.e., Phil.; ALIO elsewhere (adv.) : UBI ILLAEC (SUNT); ILLAEC = illa (neut. pl.) either indef. or (less likely) sc. talenta; ANTE adv.; ABUSA (SUNT) pass. (G&L 165 s.v. utor; Bennett 1910: 436; cf. my n. on utor in 199), with illaec providing the implied subject; SI DURARENT, MITTERETUR NUMQUAM POSCEREM pres. contr. to fact *condition, with dual apodosis; DURARENT MIHI dat. of advantage (for added emphasis: A&G 376), setting up a contrast with ad te in : HAEC resumptive use of the neut. pl. acc. demons. pron. (cf. ad 144) picking up the list of items that has preceded; given added emphasis by the preceding hiatus. Note as well the repeated coincidence of ictus and accent in this list of dissyllabic words: díem, aquam, sólem, lúnam, nóctem, haéc (cf. ad 512); ARGENTO abl. of price [A&G 416] 199: CETERA QUAE VOLUMUS UTI the other things that we wish to employ/have [utor here takes an acc.: L&S s.v. I.B; cf. Karakasis 2005: 155 ad Turpilius 166 (164) and see ad abusa in 196]; GRAECA FIDE abl. of price [A&G 416]: on Greek credit i.e., for hard cash, the implication being that no one would ever give anything to a Greek on credit; cf. the famous dictum of Vergil s Laocoön: timeo Danaos et dona ferentes [Aen. 2.49]. On the complex mix of perspectives involved in such jokes (in a comedy where Greek characters perform in Latin before a Roman audience), cf. Moore 1998b: 50-66, Leigh 2004: : cum panem a pistore petimus (aut) vinum ex oenopolio; *QUOM = cum (+ ind.); PISTORE Pliny the Elder s assertion (NH ) that commercial bakeries were first established in Rome at the time of the Third Macedonian War ( ) has been cited to question the authorship of Asin., or as evidence of a later reproduction (see Hurka ad loc. and pp ; Moore 1998b: 136 with nn. 44 and 45; similar objections to oenopolium are raised, on much more subjective grounds, by Havet/Freté xviii) 201: SI AES HABENT i.e., once they ve been paid (for the temporal element, cf. ad 143); EADEM DISCUPLINA the same practice, system (abl.): DISCUPLINA = disciplina Asinaria A Student Commentary ( J.R. Porter, 2015) 81

88 Commentary: I.iii 202: OCULATAE equipped with eyes; CREDUNT (EI) QUOD VIDENT i.e., they trust in the money that has been placed in them, not in lovers promises; (EI) QUOD indef. neut. ( that which ) [suppressed antecedent: A&G 307c] 203: VETUS EST: NIHILI COACTIOST SCIS QUOIUS there is a good deal of uncertainty about this sentence. Clear. obviously cites a well-known expression (VETUS EST [sc. verbum] It s an old saying [OLD s.v. vetus 3c]), but omits part of it (SCIS QUOIUS: you know of whom/of what/whose ). In the end, we must confess that we simply do not know what this saying was, or why Clear. should be coy about citing its conclusion; NIHILI most likely a gen. of value [A&G 417]: *pred. ( worthless ); COACTIO an attempt to compel payment (Rauh 1989: 52-54, Donadio 2007: ); NIHILI COACTIO EST = the attempt to collect an outstanding debt is worthless ; QUOIUS = cuius (see de Melo ad loc.: if this is taken with coactio as an obj. gen. [A&G 348], then it is either masc. [ you know from whom ] or neut. [ you know for what ]. If it is taken as a subjective gen. [A&G 343 n. 1, 348 n.], then it must be masc. [ on the part of you-know-who ].) [ Camerarius 1558: 170 suggests the reading coctio, a variant of cocio, which Festus Pompeius cites as an equivalent of the later ariolator ( broker, factor, haggler see Grant/Knott 2006 ad Erasmus Adages ). As chance would have it, coctio is also a (rare) term for the act of cooking or digesting: with the following obj. gen., this would yield, it is worthless to (attempt to) cook you-know-what, an expression that directly recalls the Grk. λίθον ἕψειν ( to boil a stone : cf. Engl., you can t get blood from a stone/turnip ) although Clear. s reticence would suggest that she has in mind a more earthy rendering of this expression. In the end, however, the reading coctio is motivated by earlier edd. s inability to scan coactio: see Hurka ad loc.]; AMPLIUS adv : for the characterization of the speaker in these lines, cf. ad ; for the sentiment, cf. Truc : ALIAM i.e., of a different sort; ORATIONEM here implying a style or manner of speech; DESPOLIATO *pred., with mi ( now that I have been stripped of all of my property ) 205: LONGE ALIAM (ORATIONEM) PRAEBES NUNC ATQUE OLIM (PRAEBEBAS) QUOM DABAM; LONGE (adv.) greatly, very much, far; INIQUA voc.; ATQUE OLIM than (you did) once upon a time/earlier (atque [adv.] is correl. with longe aliam [A&G 323g]); *QUOM = cum (+ ind.) the impf. ind. here and in the following lines emphasizes the habitual nature of Clear. s former behavior; [It is difficult to disagree with earlier edd., the majority of whom bracket this line as an unmetrical variant of 206. Hurka defends the received text by positing hiatus after longe and aliam] 206: ALIAM (ORATIONEM) ATQUE OLIM (PRAEBEBAS) cf. ad 205; *QUOM = cum (+ ind.) 207: tum aedes tuae mihi arridebant cum ad te veniebam; MI = mihi dat. of ref. with cmpd. vb. [A&G 370]; QUOQUE to be taken closely with aedes: even your house, your very house; *QUOM = cum (+ ind.) 208: aiebas mihi te atque illam me amare unice unum ex omnibus; ME UNICE UNUM me alone all by myself [rhetorical heightening + comic prolixity]; TE ATQUE ILLAM AMARE acc. + inf. with aibas; AIBAS = aiebas Asinaria A Student Commentary ( J.R. Porter, 2015) 82

89 Commentary: I.iii : QUID = aliquid (cf. ad 717) ambae usque eratis in ore meo quasi pulli columbae; COLUMBAE gen. sg.; IN ORE MEO doves were noted for their amorous kisses : here more particularly of young chicks eagerly scouring their mother s mouth for food that she has brought back to the nest, but also suggestive of the erotic kisses with which Phil. would thank and encourage the as yet still solvent Diab. (The inclusion of Clear. in this image is comic, but highlights the way the two women s assiduous attentions were focused on stripping the young man of all he had); AMBAE i.e., both Clear. and Phil.; omnia vestra studia erant de meo studio; MEO DE STUDIO in accordance with or modeled after my desire/will [L&S s.v. de I.C.7]: your every desire was modeled after mine ; VOSTRA = vestra : (ID) QUOD [suppressed antecedent (A&G 307c): employed three times in succession]; IUSSERAM VOLUERAM VOTUERAM the plpfct. gives the sense, once I had given a command, expressed a wish, indicated my disapproval ; VOTUERAM vetueram; DE INDUSTRIA assiduously (based on the more common construction with de and an adj.: L&S s.v. de I.C.8) 213: FUGIEBATIS you used to avoid ; nec prius audebatis conari id facere; ID picking up quod nolebam ac votueram in the previous line; PRIUS (adv.) in former times, earlier (i.e., before now, you wouldn t even think of trying to do anything contrary to my desires); presents a strong contrast to nunc in : QUID VELIM (QUID) NOLIM: *indir. questions [A&G 573]; facere magni to make or consider a matter of importance; MAGNI gen. of value [A&G 417]; PESSUMAE = pessimae (voc. pl.) 215: NON TU SCIS? cf. 177; HIC NOSTER QUAESTUS this livelihood/business of ours: cf. 511; AUCUPI i.e., to that of an auceps (dat.) or to aucupium (fowling) (gen.) [Gray notes that the latter is the regular construction in P.]; SIMILLIMUST = simillimus est [simillimu(s) st prodelision)] 217: There is uncertainty about the sense of assuescunt (trans. or intrans.?) and the scansion (i.e., is aves part of P. s text or an attempt to clarify an obscure passage on the part of a later scribe, phps. encouraged by dittography of the first letters of assuescunt?). Either they (the aucupes) make the birds grow accustomed (to eating) (with a sudden switch to a pl. subject), or they (the birds: cf. the beginning of 218) grow accustomed (to feeding) : cf. the similar ambiguity in 222. (One might also simply bracket aves assuescunt altogether as a later gloss based on 222); necesse est (eum) qui lucrum quaerit sumptum facere; (EUM) FACERE SUMPTUM that that man/individual incur expenses, make an investment (acc. + inf. following necesse est) (Lindsay 15); QUI QUAERIT LUCRUM qui provides the implied subject of facere (suppressed antecedent [A&G 307c]): that person who wants to make a profit must incur an initial investment (like the fowler who strews seed about) 218: si semel combines the sense once they and if ever they are (cf. ad 143); REM SOLVONT they repay the investment; SOLVONT = solvunt; AUCUPI dat. of advantage [A&G 376]; [Notice that the birds are grammatically fem. in gender: this adds to our sense of the humiliating emasculation of the lover at the hands of the lena/meretrix. Cf. the similar use of the metaphor of sheep at ] Asinaria A Student Commentary ( J.R. Porter, 2015) 83

90 Commentary: I.iii : ITIDEM sc. est ( it s the same way ); HIC adv.; NOBIS sympathetic dat. [A&G 377] ( for us, so far as we are concerned i.e., our house serves as our ); EST sg., in agreement with the complement (area), as often in Latin (A&G 316b) : SALUTANDO COMPELLANDO OSCULANDO ORATIONE gerund: instr. abl. (A&G 507); CONSUESCUNT as with assuescunt in 217, there is uncertainty about whether to take this in a trans. or intrans. sense: the lack of a clear subject for the trans. form (we expect the 1 st pers. pl.) makes the intrans. somewhat preferable (picking up amatores at the conclusion of 221 as the subject), but the general run of the sentence reads somewhat awkwardly in that case (i.e., the instr. ablatives lead us to expect the trans. form); note as well the sudden switch to the sg. pertractavit in 224; BLANDITER = blande (adv.); VINNULA likely a Plautine coinage; in combination with venustula, it heightens the ironically mocking tone of Clear. s lecture as provide the elderly bawd with an opportunity to enact the coyly seductive mannerisms of the practiced courtesan 224: PERTRACTIVIT sc. amator (on the use of the sg. here, cf. ad consuescunt in 222); esse ab re alicuius = to be contrary to the interests of someone (cf. 160) 225: licet (nobis/lenae) sumere eum sine retibus; SUMERE i.e., to catch (comically picking up on sumo in in the first half of the line) 226: HAECIN haec + ne; TE ESSE OBLITUM acc. + inf. employed as an acc. of exclamation [A&G 462, Lindsay 75], with interrogative -ne; qui fuisti tam diu in ludo; ludus training-school (for gladiators), school; [i.e., you ve had enough experience of our establishment to know how it operates: the relationship of the lena to her interlocutor here vividly recalls that betw. the meretrix Phronesium and the youthful Diniarchus in the opening scenes of Truc.]; QUI FUISTI rel. clause + ind. with implied concessive force 227: TUA ISTA CULPA EST that is your fault (with tua culpa as the complement of est the subject [the impersonal demonstr. ista] anticipates the gender of the complement [culpa]); QUAE with Clear. as the antecedent (implied by tua); SEMIDOCTUM *pred.; APS = ab; APS TE i.e., from your establishment; AMOVES for the ind. in a rel. clause with causal force, see Bennett 1910: : REMEATO 2 nd sg. *fut. imperative act. (as often, with a subord. clause involving a fut. A&G 449, Bennett 1910: 354); AUDACTER i.e., with confidence, freely; MERCEDEM (merces) technical for the fee of a schoolmaster, doctor, etc. (Gray); NUNC ABI the curtness with which Diab. is dismissed leaves no doubt about who holds the upper hand in this scene; [STAGING: Clear. turns as if to reenter her house] : these lines would seem to pose a further difficulty for those who assign I.ii and I.iii to Argyr.: the young man here learns for the first time what the price of Phil. s companionship is to be, yet Argyr. has already informed his father of his need for this sum (74-75, 89). Those who defend the attribution of I.ii and I.iii to Argyr. can argue that such contradictions are frequently an indication of Plautine innovation rather than a problem with the ms. tradition: consider, e.g., Pseud in light of (other examples in Hurka 48, Langen 1886: , Marti 1959). See, further, Porter 2016: , Asinaria A Student Commentary ( J.R. Porter, 2015) 84

91 Commentary: I.iii 229: MANE, MANE, AUDI the rush of imperatives and the repetition of mane indicate Diab. s frantic desparation as he attempts to convince Clear. to stay and listen to one last offer (on such repeated imperatives cf. Fontaine 2010: 177 and n. 48); censes aequum (esse) me quid tibi dare pro illa?; DIC, QUID CENSES *parataxis rather than *indir. question with ind.; AEQUOM (ESSE) impers. (acc. + inf. with censes) [Bennett 1910: 388 for parallels]; AEQUOM = aequum; ME DARE acc. + inf. with aequom esse 230: ANNUM HUNC acc. of extent of time [A&G 423] (HUNC = this year to come, the coming year): for similar contracts, cf. Truc and , Bacch. frg. 10, and see below ad 751ff.; NE SIT *final clause presenting a stipulation [A&G and n. 1, Bennett 1910: 265]; this construction is virtually identical to the more general use of a jussive subj. to present a proviso [A&G 528b]; QUIQUAM masc. abl. sg. of quisquam; TENE = te + ne (the response highlights the element of Diab. s question that Clear. regards as most pertinent: i.e., quid censeo aequum esse te dare?) [cf. Bennett 1910: 466]; VIGINTI MINAS on this fee, see above ad : EA LEGE on the following terms [A&G 418a]; ATTULERIT (sc. argentum) 3 rd sg. pfct. subj. or *fut. pfct. ind.: in this instance, the latter is to be preferred as more vivid (and therefore more appropriate to a threat: see further ad ); TU VALE i.e., good riddance to you (denoting a stipulation: Bennett 1910: 354 on the use of the pres. imperative with logical force) 232: at est (aliquid) quod volo loqui priusquam abis the *hyperbaton (A&G 641) highlights Diab. s continued desperation (Hurka s view that Diab. mistakes Clear. s tu vale as an actual valediction seems unwarranted); PRIUS QUAM ABIS on the use of the ind., see Lindsay 133, A&G 551c; DIC QUOD i.e., dic (id) quod (suppressed antecedent: A&G 307c); LUBET = libet (sc. tibi dicere) 233: PERII to be ruined (both morally and, as here, financially), bankrupt; RELICUOM = reliquum (impers. something more, a means remaining ); QUO instr. abl. [A&G 409] (with relicuom as antecedent); QUO PEREAM MAGIS by which I might be driven still deeper into ruin (*rel. clause of characteristic [A&G 535a]): the perverse nature of this sentiment shows that Diab. has indeed been hooked by Clear. s wiles; MAGIS all the more : the young speaker here displays the same obsessive sense of ownership, and the same anxiety regarding any loopholes in the agreement, as is displayed by Diab. in IV.i (cf. 635 and ad 238). 234: habeo unde dem tibi istud quod poscis; UNDE DEM *rel. clause of characteristic [A&G 535]; UNDE i.e., a source of funds from which I might (suppressed antecedent: A&G 307c); ISTUC = istud; IN MEAS LEGES with a view to my conditions, on my terms (L&S s.v. in II.C.1), answering : DABO sc. the required fee; UTI SCIRE POSSIS *final clause [A&G 531] (parenthetical: Bennett 1910: 258): so that you might know, just to be clear ; PERPETUOM ANNUM HUNC acc. of extent of time [A&G 423]; HUNC cf. ad 230; UTI SERVIAT jussive subj. introducing a proviso [A&G 528b: cf. ad 230 and Bennett 1910: 267] (providing the terms of the contract); [Note the use of serviat to characterize the nature of the speaker s relationship to Phil.: while it accurately reflects Phil. s Asinaria A Student Commentary ( J.R. Porter, 2015) 85

92 Commentary: I.iii status and the nature of Clear. s business, it ill suits the relationship betw. Phil. and Argyr. as portrayed elsewhere in the play]; UTI = ut 236: nec ammittat ad se quemquam alium virum quam me; NEC = neve; AMMITTAT jussive subj. [A&G 439] (continuing the construction in 235); INTEREA i.e., during the time of the contract; QUAM = nisi 237: QUIN to be sure, indeed (in corroboration); VOLES *fut. ind., as regularly in Latin in such temporal *conditions (A&G 516.a); castrabo viros qui (mihi) domi servi sunt i.e., all of the male slaves in her establishment; SUNT sc. mihi (dat. of possession: A&G 373); 238: POSTREMO finally, last of all; UT correl. adv. (A&G 323g: see below); VOLES *fut. ind., as regularly in Latin, where Engl. employs a generic pres. (A&G 516.a); SYNGRAPHUM see ad 746; FACITO *fut. imperative act. (as often, with a subord. clause involving a fut. A&G 449, Bennett 1910: 354); AFFERAS *jussive subj. introduced by facito [A&G 449.2c], without ut (A&G 565, 268 ad fin.; Woodcock 130: *parataxis); [i.e., see to it that you bring a contract (to that effect) picking up ut voles]; [Clear. s response at and, in particular, the notion of a contract is presented as a direct response to the obsessive anxiety evinced by the young lover at : another element of the scene that supports attribution to Diab.] 239: UT VOLES, UT LUBEBIT IMPONITO for the tenses (as well as the general construction of the thought), cf. ad 238; UT VOLES sc. nos esse; LUBEBIT = libebit; LEGEM terms, conditions; IMPONITO *fut. imperative act.; [Hurka notes that the phrase legem imponere is usually employed of the terms imposed by military conquerors upon the defeated: with more than a trace of mockery, Clear. vows to accept whatever terms Diab. might propose, so long as he produces the required cash] 240: MODO (adv.) just see to it that : introducing a proviso (as often with the subj.: A&G 528), but here with the imperative: the equivalent of the protasis of a *condition [Bennett 1910: 268]; UNĀ adv.; ADFERTO *fut. imperative act. [A&G 449]; PATIAR fut. ind. (provides the apodosis of the virtual *condition); [the themes of suffering and enduring pervade the scenes involving Lib. and Leon.: see Henderson 2006: 147] 241: ianuae lenoniae simillimae sunt (ianuarum) portitorum; portitor collector of harbor dues (cf. 159); SIMILLUMAE = simillimae; LENONIAE a comically inflated adj. 242: SI ([ALI]QUID) AFFERS on the use of the ind. here, vs. the expected subj. in a statement involving a generalizing 2 nd sg. vb., cf. Bennett 1910: ; SI NON (TIBI) EST (ID) QUOD DES *rel. clause of characteristic with *consecutive force [A&G 537.2] ( anything for you to give ) [suppressed antecedent: A&G 307c]; SI NON vs. nisi, in a statement where the neg. adv. goes emphatically with the vb. (cf. ad 907); [STAGING: Clear. enters her house, likely slamming the door in unison with her final words (non patent)] 243: INTERII I m done for, I m a dead man (vivid use of pfct. in a fut. *condition: Lindsay 61, Bennett 1910: 66); SI NON vs. nisi, in a statement where the neg. adv. goes emphatically with the vb. (cf. ad 907); INVENIO vivid pres. ind. (usual in this construction [Bennett 1910: 20]) Asinaria A Student Commentary ( J.R. Porter, 2015) 86

93 Commentary: I.iii 244: PERDO here, as often, = squander (Gray ad 611 cfs. Rhet. Her ); for the pres. ind., cf. ad 243; PEREUNDUM EST pass. periphrastic (impers.) [A&G 500.3, Woodcock 204]; [ Either my money goes, or I do! : cf. Caecil. 42. See ad 637 for the later echo of this sentiment by Argyr.] : if these lines are assigned to Argyr., the lack of allusion to Lib. s promised assistance is curious the dependence of the Plautine adulescens upon the servus callidus is a staple of the genre and provides the occasion for the all-important comic scheme. 245: EXPERIAR used in an absolute sense ( I ll try [my best] ); OPIBUS, OMNI COPIA instr. abl. [A&G 409] employed as a virtual abl. of manner [A&G 412], in *asyndeton [A&G 323b] (omni to be taken with both nouns [A&G 286.a]): with all my means and resources [often expressed by ex summis opibus, or the like] 246: EXOPSECRABO = exobsecrabo [hapax: a comically exaggerated formulation: ex + ob + secrare]; UT = ubi (temporal, + *fut. pfct. ind. as regularly: as soon as I shall have seen, caught sight of ) 247: certum est mihi adire atque experiri (et) dignos (et) indignos; DIGNOS, INDIGNOS *asyndeton [A&G 323b] (a heightened polar expression [cf. ad 854], here employed to comic effect: both worthy and unworthy alike i.e., absolutely everyone); EXPERIRI to try my luck with them, try them out [experiri is non-metrical: the suggested experi[ri] is based on parallels such as leiberi (for liberari) in inscriptions, but (as Hurka notes) the lack of parallels for such a form elsewhere in P. must raise doubts]; CERTUM EST MIHI i.e., I have decided, made up my mind (with the inf. adire and experiri as subject of est: A&G 208c, Bennett 1910: 407); MIHI dat. of agent [A&G 374] 248: si mutuas (pecunias sumere) non potero, (mihi) certum est sumam (eam) faenore; MUTUAS (PECUNIAS) i.e., a loan from a friend, provided without interest; POTERO sc. sumere; SUMAM fut. ind. with certum est [mihi]: I ve made up my mind I ll get it at interest (*parataxis: cf., e.g., Merc. 472, 546, and passages such as Amph [where, as in our passage, the numerous fut. inds. suggest a similar interpretation]); less likely, pres. subj. in jussive noun clause A&G 563d, Bennett 1910: 236; FAENORE at interest (abl. of price [A&G 353.1, 416]) [STAGING: Diab. departs via Wing B.] SCENE II.i [Trochaic Septenarii] Libanus returns and begins to worry about how he is to make good on his promise to Demaenetus. [As usual in 4 th /3 rd -century Greek comedy, a character who makes a significant exit in an earlier scene returns here only after a new act has begun. In the Greek tradition, a choral interlude would have served to mark the break in the action.] Asinaria A Student Commentary ( J.R. Porter, 2015) 87

94 Commentary: II.i [STAGING: Lib. enters via Wing A.] : on this comic self-exhortation, see Moore 1998b: : MELIUST = melius est (impers.) [meliu(s) st prodelision]; EXPERGISCIER = expergisci; TE EXPERGISCIER FINGERE acc. + inf. following melius est (vs. the simple inf.: cf. ad 67); ARGENTO COMPARANDO *dat. of purpose dependent on fallaciam [Lindsay 19, A&G 505, Woodcock 207.4c]; COMPARANDO gerundive employed in place of gerund [A&G 503] 251: IAM DIU EST FACTUM QUOM it is a long while since (see Bennett 1910: 85, G&L 580 r. 3, Woodcock 238, and cf. 890); EST FACTUM impers. pfct. of fio; *QUOM = cum (+ ind. an inverse cumclause) [A&G 546a]; DISCESTI = discessisti [252]: IGITUR UT FINGERES igitur introduces the following *final clause [A&G 531]: for the express purpose of contriving (an unusual usage that supports the case for deleting this line); INVENIUNDO ARGENTO *dat. of purpose (cf. ad ); INVENIUNDO = inveniendo; [See Marshall 2006: and Hurka ad loc. on the doublet 249/50-251/52: where Marshall suggests evidence of variants arising out of a tradition of live performance, Hurka notes, with some hesitation, the possibility that 252 was intended to repair the seemingly flawed meter of 250 (where the scansion fingerē entails a *locus Jacobsohnianus: cf. ad 85). I follow Deufert 2002: and Hurka in deleting 252; cf. Thierfelder 1929: 87] 253: IBI i.e., in foro (251); ad hoc tempus diei partitive gen. [A&G 346]; DORMITASTI = dormitavisti ( you ve slept i.e., been inactive, lounging about); Hurka suggests a literal rendering, citing Plat. Phaedr. 259a; IN OTIO adv. 254: quin tu reice socordiam omnem a te et amove segnitiem; QUIN exhortative ( why don t you? i.e., go ahead and ): normally + ind. (A&G 449.2b). For quin + imperative, see Barrios-Lech 2016: 138; APS = ab 255: recipe te ad ingenium tuum vetus versutum; RECIPE continuing the construction from 254 [The mss. here read te recipis: the vb. has been altered to the imperative, phps. unnecessarily, to harmonize with the construction in 254]; VORSUTUM = versutum; TUOM = tuum; AD INGENIUM VETUS VORSUTUM TUOM comic piling up of adjs. (prolixity), with alliteration (for ingenium versutum, cf. 257: ingenium callidum) [less likely: take VORSUTUM as a *pred. acc. with te: recall yourself to your old ways so as to be cunning/clever ]; [Hurka follows Webster 1970: 250 in suggesting that vetus here points to Lib. s role as the elderly paedagogus, but this seems unwarranted: vetus = of old, former, long-established ] 256: SERVA 2 nd sg. pres. imperative; cave (ne) tu faxis idem quod alii servi solent (facere); CAVE FAXIS take care that you don t do see ad 5; FAXIS = feceris [an archaic sigmatic subj. (G&L 131.4b2, A&G 183.3, Lindsay 63). As De Melo demonstrates (2007a: 191ff.), this form is virtually absent in commands and ut-clauses, but unusually frequent in prohibitions and subord. nē-clauses and Asinaria A Student Commentary ( J.R. Porter, 2015) 88

95 Commentary: II.i belongs to an elevated register. Contrast the sigmatic fut. my n. ad ]; IDEM QUOD neut. acc. sg. 257: qui gerunt ingenium callidum ad fraudationem eri; AD + acc. indicating purpose (metaphorical motion) [A&G 221.2d]; ERI obj. gen. [A&G 348] with verbal noun fraudationem; gero to conduct, direct, apply; [The irony here is patent: unlike other slaves on the comic stage, Lib. must faithfully deceive Dem. in order to avoid betraying his loyalty to both Dem. and Argyr. An excellent example of this play s humorous engagement with the conventions of Roman New Comedy] 258: SUMAM INTERVORTAM CONFERAM delib. subj. [A&G 444]; SUMAM sc. argentum, nummos; INTERVORTAM = intervertam; QUO whither, to where (adv.); HANC CELOCEM (i.e., me): nautical imagery of this sort is common in P.; the celox presents an apt metaphor for the comic slave due to its quickness and its association with cunning. (It was used to spy out situations); CONFERAM the vb. can be used both of guiding a vessel and directing a weapon or a scheme 259: IMPETRITUM (EST), INAUGURATUM EST impers.; aves admittunt (me) quovis (conferre celocem); AMMITTUNT = admittunt (in the language of soothsayers, admitto is a t. t., of birds which give a favorable omen: to be propitious, to favor that something be done [+ acc. + inf.]); QUOVIS to any place, whithersoever (i.e., wherever I wish) 260: PICUS CORNIX, CORVOS, PARRA cmpd. subject of consuadent (261); AB LAEVA AB DEXTERA on ( from ) the left and on the right (i.e. since the Roman augur stood facing to the south toward the east and toward the west); CORVOS = corvus [Different birds conveyed a different sort of omen, depending on which side they appeared: Lib. finds that they are all alligned in support of his actions. Just what those actions might be, however, we are never allowed to hear, since the approach of Leon. breaks off Lib. s reflections. As often in P., an agitated scene of cunning scheming leads nowhere, as it is overtaken by events on stage (Legrand 1917: ). Hurka 130 notes the association with the taking of omens prior to military compaigns an anticipation of the miltary imagery employed in the following encounter with Leon. (267ff.) and in III.ii]; [Comm. point out that our Latin authors frequently disagree about which bird was to appear on which side. The confusion arises principally due to the conflation with Greek practice, where the seer stood facing north: see Gulick 1896: and Bertini ad ] 261: CERTUM EST (MIHI) cf. ad 247; VOSTRAM = vestram (addressed to the birds of omen) 262: QUID (EST) HOC QUOD what is this, the fact that? : i.e., what am I to make of the fact that? ; QUOD A&G 572, Bennett 1910: 125; ULMUM TUNDIT the woodpecker has appeared on the propitious side (260), but is pecking at an elm tree (the source of the switches employed to beat slaves: cf. 341, 363, 575, and Lilja 1965: 55), which scarcely bodes well. (Ahl 2007 ad Verg. Aen notes a further possible connection in the fact that, some species of woodpecker have black-and-white stripes on the undersides of their wing plumage, suggesting the stripes inflicted by the lash); TEMERARIUM EST (impers.) sc. picum ulmum tundere HAU Asinaria A Student Commentary ( J.R. Porter, 2015) 89

96 Commentary: II.i 263: QUANTUM adv. (so far as) [*limiting/cognate acc.: A&G 390c]; EIUS PICI subjective gen. ( the portent/sign provided by that woodpecker ) [A&G 343 n. 1, 348 n.]; INTELLEGO (+ ex = deduce from ) 264: virgae in mundo sunt aut mihi aut atriensi Saureae; MIHI SAUREAE dat. of ref. [A&G 376]; in mundo esse to be in store, ready, waiting (cf. Gulick 1896: ); VIRGAE cf. ad ulmum in : QUID ILLUC QUOD cf. ad 262; ILLUC = illud; EXANIMATUS *pred. ( all out of breath ) 266: METUO QUOD (+ ind.) I fear that [A&G 572b]: the unusualness of this construction is not lessened by the emendation of quod to quom [cum] (Hurka, following Ussing and Nonius) or by taking quod as because (de Melo); ILLIC = ille + ce (strengthened form of ille); OPSCAEVAVIT = obscaevavit (with Leon. as the subject): any interruption of a religious proceeding was ill-omened, particularly one as agitated as Leon. s entrance (see, further, Gulick 1896: ); [STAGING: whether the term obscaevo is employed in a punning sense here, indicating Leon. s arrival from Lib. s left (scaevus), is far from certain: cf. below]; MEAE FALSAE FALLACIAE my deceitful deception (comic prolixity and alliteration, heightened by the figura etymologica [A&G 598m]; for parallels, see Bertini ad loc.); [Hurka s attempt to read negative implications into Leon. s arrival from Lib. s left (cf. above n. xx [ Setting ]) seems ill-founded] SCENE II.ii [Trochaic Septenarii] Leonida comes running on stage. After a series of comic asides by Libanus and a suitably grand build-up by Leonida, we learn that the latter has just encountered a young man who is bringing payment for some asses purchased from Demaenetus. (As chance would have it, the amount comes to exactly the amount required by Argyrippus.) When told that these funds were to be handed over to the atriensis Saurea, and that the young man in question had never met Saurea, Leonida claimed to be that very person and arranged to meet the young man at Demaenetus house later in the day to receive payment. The young man has agreed to this arrangement, but only on the condition that the transaction take place in the presence of Demaenetus, whom he knows. When the young man is seen approaching (378), Leonida runs off to inform Demaenetus of what Libanus and he are up to, while Libanus stays behind to delay the newcomer and make certain that he does not meet the real Saurea. [BIBLIOGRAPHY: Fraenkel 2007: Westaway 1924 offers a commentary on ] [STAGING: Leon. enters to join Lib., via Wing B.] Asinaria A Student Commentary ( J.R. Porter, 2015) 90

97 Commentary: II.ii : on the comic routine involved here, where one character is invisible to the other, see Marshall 1999: : REQUIRAM delib. subj. [A&G 444]; filius familiaris = filius familias [cf. paterfamilias] / filius familiae (a comically formal expression) 268: UT FACIAM *final clause [A&G 531]; LUBENTIORES = libentiores; LUBENTIA = Libentia delight, cheerfulness (personified abstract); LUBENTIORES QUAM LUBENTIA see Bertini ad loc. and Wright 1974: 68 for comparable jingles 269: MAXUMAM = maximam; IS = eis (i.e., Lib. and Argyr.) [dat. of ref./advantage: A&G 376]; ADVENTU instr. abl. [A&G 409]; [The terms praeda and triumphus introduce a military analogy that pervades the following scene and is common in Plautine scenes of plotting: cf. 271, 280, , and, earlier, 101, ] 270: MECUM PARITER POTANT, PARITER SCORTARI SOLENT this points to a quite different element of Argyr. s character than is suggested elsewhere in the play and has something of a throwaway feel to it (Porter 2016: ; cf. ad 135, ). From a contemporary viewpoint, the fact that the young man engaged in such activities in the company of slaves would be the truly shocking and disgraceful element, while the type of establishment suggested by scortari, in such a context, is not that of the typical New Comic leno or lena but rather that of Petr. Satyr See DeFelice 2001: 88-92, who emphasizes the gap separating the world of common brothels, eateries, inns, and cribs all much frequented by the poor, slaves, freedmen, and foreigners from that of such fictionalized demimondes as those reflected in Plautus and Ovid. [Hurka s assertion that line 270 represents a fantasy inspired by Leon. s excessive enthusiasm, which leads him to cast Argyr., Lib., and himself as carousing soldiers ( zu einer phantastischen Ausspinnung einer soldatischen Zech- und Hurgemeinschaft ) is unconvincing]. For slaves frequenting brothels, cf. Flemming 1999: 45, McGinn 2004: 72 with n. 415, Levin-Richardson 2011: 60-61, Åshede 2016: 938; and see Poen. 270 (servolorum sordidulorum scorta diobolaria), , Colum. Rust , Hor. Serm ; POTANT see Bertini ad loc. (citing Miniconi 1964) on the distinction betw. bibere (to consume wine) and potare, which (as here) frequently connotes la vie de plaisir. 271: partiam pariter cum illis hanc praedam quam nactus (sum) 272: ILLIC = ille + ce (strengthened form of ille); AEDIS acc. pl.; (EX) MORE SUO according to his usual custom [A&G 418a, G&L 397 n. 1] 273: VAE woe to (+ dat. of ref./disadvantage) [A&G 379a]; ILLI i.e., the neglectful ianitor, charged with guarding the door of the house; OPSERVAVIT = observavit 274: AETATEM acc. of extent of time (i.e., my whole life long : cf. 21, 284) [A&G 423; Lindsay 25]; VELIM potential subj. (A&G 445), the equivalent of the apodosis of a fut.-less-vivid *condition (cf. Bennett 1910: ); UT MODO provided only that I might (+ subj.) [A&G 528 and Bennett 1910: 269] (answering to velim, in place of the expected protasis); MODO adv. Asinaria A Student Commentary ( J.R. Porter, 2015) 91

98 Commentary: II.ii 275: numquam ocius fies liber mea opera; MEA OPERA i.e., thanks to me (causal abl. employed to express agency) [A&G 405b]; OCIUS comp. adv. 276: DE TERGO i.e., from off his back; PRAEGNATIS swollen (acc. pl.) 277: largior to bestow lavishly (i.e., share, squander); THESAURUM i.e., his life-savings; [On jokes re the beating of slaves, cf. Fitzgerald 2000: For the slave s peculium (a Greek as well as a Roman practice: Xen. Oec ), cf. 541] 278: si tempus se subduxerit huic occasioni if the (crucial) time will have snuck off/stolen away so far as this opportunity is concerned (i.e., if this opportune chance [Grk. καιρός] should slip away); OCCASIONI HUIC dat. of disadvantage/sep. [A&G 381] with se subduxerit (Gray); SUPTERDUXERIT = subduxerit (*fut. pfct.) 279: QUADRIGIS ALBIS instr. abl. [A&G 409]: i.e., with a chariot drawn by a team of four white horses. Comm. note that white horses are routinely associated with the chariot of Jupiter and therefore with speed (see references in Bertini ad loc.); it is likely, however, that the association of whiteness with speed is more fundamental: see Pulleyn 2000 ad Hom. Il re the Homeric ἀργός. There is also an association with good omens (and phps. as with the size of the team aristocratic refinement/luxury: Livy 24.5); cf., e.g., Henderson 1987 ad Aris. Lys. 191b-92; INDIPISCET = an active collateral form of indipiscetur (sc. Lib. as subject) (Lindsay 53-54) 280: ERUM i.e., Argyr.; IN OPSIDIONE = in obsidione (under seige i.e., in duress); LINQUET paratragic (Jocelyn 1967 ad Enn. trag. 128); INIMICUM gen. pl. [A&G 49d]; AUXERIT *fut. pfct. where Engl. would prefer the simple fut. [Bennett 1910: 57] : just how Leon. knows that the opportunity that he has found will be a source of the most profound joy for Dem. as well as Argyr. is left unclear: one can assume that Leon. is aware of Argyr. s predicament, but demonstrate (as the audience would assume) that he is as yet unaware of Dem. s surprising take on this. 281: si studet opprimere mecum hanc occasionem quae obvenit; OBVENIT pfct. ind : ille una mecum pariet maximas opimitates, gaudio effertissimas, suis eris, natoque et patri; MAXUMAS = maximas; OPIMITATES Plautine and post-classical; GAUDIO instr. abl. (with effertissumas) [A&G 409a]; EFFERTISSUMAS = effertissimas; SUIS ERIS dat. of ref./advantage [A&G 376]; UNA adv.; GNATOQUE ET PATRI i.e., Argyr. and Dem (in apposition to eris); - QUE ET = -que -que (an archaism: cf. Christenson 2000 ad Amph. 5] 284: adeo ut ambo aetatem obnoxii sint ambobus nobis; UT SINT *consecutive clause introduced by adeo [A&G 537]; AETATEM acc. of extent of time ( for life : cf. 21, 274) [A&G 423]; OBNOXII indebted, obliged (and therefore under our authority) 285: BENEFICIO instr. abl. [A&G 409]; NOSTRO poss. adj. in place of a subjective gen.: the favor/service that we have performed [A&G 343 n. 1]; nescioquos vinctos (esse) acc. + inf. after ait [Lib. has overheard only part of what Leon. has just said] Asinaria A Student Commentary ( J.R. Porter, 2015) 92

99 Commentary: II.ii 286: NON PLACET (MIHI); IN COMMUNE in regard to our shared fortunes (i.e., in a way that affects us both, to our shared detriment) [others take in commune in the sense of against the public treasury (τὸ κοινόν), of the theft of public property: cf. 321]; NE FRAUSUS SIT fear clause (A&G 564); (ALI)QUAM after si, num, nisi, ne [A&G 310a]; (ALI)QUAM FRAUDEM *cognate acc. [A&G 390] with frausus sit ( committed some crime/trickery, has been trumping up some trumpery [Nixon] figura etymologica [A&G 598m]); FRAUSUS SIT a deponent form of fraudo (1) [Lindsay 53-54] 287: OPPIDO adv.; INVENIO with iam (for this type of condition, cf. ad 243); UBIUBI wherever [such reduplication is often used to produce an indefinite form]; ubi gentium = where on earth (cf. ubi terrarum) [partitive gen.: A&G 346a4; Bennett 1914: 36]; EST the use of the ind. suggests that this is an appended rel. clause ( wherever he happens to be ) rather than an *indir. question after invenio (which would normally require the subj.: A&G 573); Hurka takes it as interrogative 288: ILLIC = ille + ce (strengthened form of ille); quaerit socium quem adiungat sibi ad malam rem; AD MALAM REM ad indicating purpose (metaphorical goal of motion): for some trouble/bad business/a thrashing [cf. ad 43]) [this phrase ties in equally well with socium ( a partner for ) and adiungat sibi ( he can get to join him for/in )]; QUEM ADIUNGAT *rel. clause of characteristic (purpose) [A&G 531.2]; QUEM takes socium as its antecedent 289: NON PLACET (MIHI) cf. 286; PRO MONSTRO EST it stands in place of/serves as an ill omen; PRO L&S s.v. II.B.2; EXTEMPLO straight off, right away (correl. with quando: L&S s.v. extemplo II.A, A&G 323g); (is) tremit qui sudat that person who sweats, trembles (suppressed antecedent: A&G 307c) [The precise import and relevance of this expression is uncertain. (The traditional explanations are labored and unconvincing: e.g., Ussing 1875: ) Thierfelder 1929: 41xx cfs. the equally obscure joke re sweating at Merc Cf. Gulick 1896: 245 and n. 6] 290: QUID = why? (cf. ad 6); HIC adv.; PROPERANS *circumstantial ptcple. with concessive force ( although I am in a hurry ); PEDIBUS abl. of respect [A&G 418]; LINGUA instr. abl. [A&G 409] LINGUA LARGIOR chatter on, engage in empty talk (cf. dictis largiri: to bestow in words, make empty promises ); [*chiastic word order/antithesis [A&G 598f] with asyndeton [A&G 323b]; earlier comm. take largior as the comparative adj. (*pred.), less convincingly] 291: QUIN why don t I instead? (+ ind.) [A&G 449.2b]; HANC i.e., linguam meam; LOQUENS *pred. (*circumstantial ptcple.) 292: HOMINEM INFELICEM acc. of exclamation [A&G 397d] (here, with mock tragic overtones); PATRONAM i.e., Leon. s tongue, which Lib. mockingly presents as his meal-ticket; comprimo to check, repress, silence (here with secondary obscene overtones: e.g., Rud , Truc ): cf. Amph and see Fraenkel 2007: : (ALI)QUID after si, num, nisi, ne [A&G 310a]; FECIT if (ever) he has (pfct. ind. to present a common situation: A&G 473a): cf. ad 143; PRO ILLO on his behalf; PEIIERAT = periurat 294: NE PAREM *final clause [A&G 531]; PRAEDAE obj. gen. with tempus ( time/opportunity for profit ) [A&G 348] Asinaria A Student Commentary ( J.R. Porter, 2015) 93

100 Commentary: II.ii 295: ILLAEC = illa (i.e., that booty/prey of which he speaks); ADVORSUM (prep.) = adversum (sc. eum); QUICQUID EST one might have expected the subj. here, in an *indir. question (A&G 573): cf. 317; QUICQUID indef. neut. (vs. a fem. pron. alluding specifically to the antecedent praeda): quidquid est = what s up : on the exchange of insults here, see Lilja 1965 passim and Barrios-Lech 2016: : VOCE SUMMA abl. of manner [A&G 412] (at the top of my voice); QUOAD VALENT Lindsay 111; [STAGING: here the evesdropping scene concludes, as Lib. at last comes forward and makes contact with Leon.] 297ff. on the exchange of insulting greetings, see Bennett 1914: , Lilja 1965: 83, Petrides 2014b: 430; cf. below, : GYMNASIUM FLAGRI whip s exercise yard/training-ground (voc.); GYMNASIUM a Grk. institution; FLAGRI here and below, see Lilja 1965: 55; SALVETO *fut. imperative [A&G 449]; QUID AGIS? how are you doing? ; CUSTOS guardian, keeper; CARCERIS obj. gen. [A&G 348] 298: CATENARUM obj. gen. [A&G 348]; VIRGARUM possessive or subjective gen. [A&G 343 n. 1, 348 n.] 299: QUOT PONDO how much by weight (i.e., what weight) (complement after esse); PONDO abl. of specification [A&G 418]; TED = te; TED ESSE acc. + inf. after censes; NUDUM *pred. (when naked: i.e., when stripped to be beaten); [It is striking just how quickly, here and in what follows, Leon. assumes the role of lead jester/trickster, contrary to the expectations engendered by the prologue (118-24)]; NON EDEPOL SCIO a typical set-up line provided by the routine s straightman, of a kind familiar from vaudeville 300: SCIBAM = sciebam [cf. Reeson 2001 on Ov. Her and cf. 208, 442, 496] on this use of the impf., see Bennett 1910: 29; TE NESCIRE acc. + inf. after scibam; ego scio, qui te expendi; TED = te; EXPENDI 1 st sg. pfct. ind. act. (for the ind. in a rel. clause with causal force, cf. ad 227); [The rather strained joke here is grounded in the practice of hanging slaves upright in order to beat them, with a weight tied to their feet to keep them from thrashing about] 301: NUDUS VINCTUS *pred. (when bound and naked *asyndeton [A&G 323b]); CENTUM PONDO 100 (pounds) by/in weight (cf. ad 299); PENDES from pendeo; PER PEDES by the feet; [Lib. employs this phrase in a curiously limited sense ( when someone hangs you by weighting down your feet vs. by your feet ): Leon. s feet are to be imagined in the position described in my n. ad 300 (cf ). This is better than assuming ( Ussing 1875 and Gray ad loc.) that Lib. suddenly switches here to a second form of punishment, where the slave is hung upside-down by his feet in order to be beaten. (It is far from certain that Cas. 390 alludes to such a practice: see MacCary/Willcock 1976 ad loc., who remark: not that there appears to have been any limit to the brutality of the Roman treatment of their slaves, but [the upright] position would be more practical for the purpose. ) Despite the comic (!) potential in the latter scenario (evident in the fabulous line in A Funny Thing Happened on the Way to the Forum: Hanging by the feet, upside down, while being lashed: they hate that! ), it seems that a Asinaria A Student Commentary ( J.R. Porter, 2015) 94

101 Commentary: II.ii single method of torture is being described. In either case, Lib. can determine how much Leon. weighs during such a beating by employing the evidence of the required counterweight] 302: QUO ARGUMENTO according to what line of reasoning/by what line of reasoning [A&G 418a, G&L 397]; ISTUC = istud (sc. affirmas, probas, vel sim.); dicam quo argumento et quo modo (istud affirmem/probem) *indir. question [A&G 573]; QUO MODO abl. of manner [A&G 412b, G&L 399] 303: AEQUOM = aequum; AEQUOM CENTUMPONDIUM a full/even 100 lbs. (i.e., neither more nor less) 304: MANUS acc. pl.; ADDUCTAE (SUNT) sc. manicae 305: NEC DEPENDES NEC PROPENDES (like a balance) you neither tilt up nor down: i.e., you are in a state of equipoise, perfectly balanced; QUIN MALUS NEQUAMQUE SIS so as to fail to be a villain and a rogue (*paraprosdokian); QUIN + subj. after implied notion of hindering [A&G 558, Bennett 1910: 301]; NEQUAM Lilja 1965: 22; [As Hurka notes, the foundation for the comparison with a set of scales is laid by aequom centumpondium (303) and trabem (304). The analogy is strained, to say the least, but no less funny for being ludicrous] 306: HOC neut. acc. sg. (i.e., the misfortune implied by Lib. s curse [vae tibi]); TESTAMENTO in/by her last will and testament (instr. abl.: A&G 409); SERVITUS (3f.) slavery, bondage, servitude 307: volo verbivelitationem compendi fieri; VERBIVELITATIONEM FIERI acc. + inf. following volo; compendi facere aliquid = to make something a matter of saving: i.e., to cut short, dispense with, avoid something (Lindsay 15, Woodcock 72.5 n. ii): here we have the pass. equivalent (fieri), with verbivelitionem as subject ( to be dispensed with ); COMPENDI for this pred. use of the gen., Gray cfs. the more common lucri facere [A&G 343b]; VERBIVELITATIONEM a comic term (verbal skirmishing: cf. Barrios-Lech 2016: 281 n. 8) such metaphors are often taken as a sign of Plautine expansion: see Wright 1974: 168; [This is commonly regarded as an allusion to a recent innovation in military tactics (Livy : 211 BC) cf. Men. 778, Rud But the historicity of this has been disputed: Daly 2002: 70-73; Hurka ad loc.]; [Once again P. overtly signals the conclusion of the comic shtick and transition back to matters at hand: cf. ad 578 and see Barrios-Lech 2016: 206] 308: quid negoti est istud? what is this all about? ; ISTUC = istud; NEGOTI partitive gen. with impersonal neut. pron. (quid) [A&G 346a3; Bennett 1914: 32]; (MIHI) CERTUM EST CREDERE (TIBI) I have decided to trust you [As comm. indicate, this is a rather odd expression (whether printed as a statement or a question), given Leon. s earlier eagerness to share his news (e.g., )]; CERTUM EST cf. ad 247; AUDACTER LICET (sc. mihi credere) you can do so with confidence (cf. Most. 852); [The reading, attribution, and punc. in this line are all disputed] : once again the announcement of Leon. s urgent news is delayed for the sake of a typically Plautine comic shtick. Earlier edd. bracket or transpose different sections of this passage due to various doublets and faults of expression ( Thierfelder 1929: ) Asinaria A Student Commentary ( J.R. Porter, 2015) 95

102 Commentary: II.ii 309: SIS si vis (here with its full force as the protasis of a *condition, vs. the polite formula often found elsewhere: cf. 683); AMANTI *pred. (in his love, who is so in love); FAMILIARI FILIO cf. ad 267 (dat. with cmpd. vb. subvenire) 310: TANTUM exclamatory (impers.); BONI partitive gen. with impers. neut. pron. (tantum) [A&G 346a3; Bennett 1914: 18]; IMPROVISO adv.; VERUM here employed as a strongly corroborative adversative particle: but in truth, but notwithstanding, but yet ; COMMIXTUM *pred.; agreeing with tantum; MALO abl. of association (A&G 413a n.) 311: omnes dies carnificum concelebrabuntur i.e., the public executioners will hold a daily holiday (*paraprosdokian); DE NOBIS at our expense, celebrating our punishment (OLD s.v. de 6b); CARNUFICUM = carnificum; CONCELEBRABUNTUR note the fut. ind. vs. the expected *consecutive clause following tantum in 310 (*parataxis) 312ff.: various earlier comm. regard (or ) as problematic and propose various deletions or transpositions 312: usus est nobis audacia inventa et dolis; USUST = usus est there is need for x (+ abl.) [usu(s) st prodelision]; NOBIS dat. of ref./possession [A&G 373]; AUDACIA INVENTA ET DOLIS abl. (with usust): need of boldness and deceptions that have been discovered = need to discover/come up with bold tricks (taking inventa with both audacia and dolis) [As often in Latin, concrete (audacia inventa) for abstract (inventio audaciae)]; AUDACIA ET DOLIS bold deceptions (*hendiadys) [A&G 640] 313: MODO adv.; UT DICAMUR *consecutive clause following tantum [A&G 537] 314: OMNIUM (HOMINUM) partitive gen. with superl. adj. [A&G 346a2]; DIGNISSUMI = dignissimi; DIGNISSUMI ESSE inf. + *pred. nom. following dicamur (313); QUO whither, to where (rel. adv., with nos as antecedent; = in quos on/against whom ); CRUCIATUS nom. pl.; QUO CONFLUANT *rel. clause of characteristic with *consecutive force, introduced by dignissumi [A&G 535f]; CONFLUANT i.e., be heaped (the vb. has been selected at least in part for the alliterative effect: quo cruciatus confluant) 315: ERGO so that s why ( ergo in position belongs to mirabar, in meaning to gestibant [Gray] i.e., it is felt with both); QUOD at the fact that (introduced by mirabar) [A&G 572b; Bennett 1910: 124]; GESTIBANT = gestiebant ( kept twitching with excitement, were itching for action : for the omen, cf. Gulick 1896: 245); MIHI *sympathetic dat. [A&G 377]: more vivid than the possessive adj. meae 316: quae hariolari occeperunt malum sibi esse in mundo; SIBI dat. of ref. [A&G 376]; malum esse acc. + inf. following hariolari; MALUM neut. acc. sg. (trouble, a beating): cf. ad 43; IN MUNDO in store, ready, waiting (cf. ad 264) 317: ELOQUERE 2 nd sg. imperative; QUICQUID EST, ELOQUERE = eloquere quid sit (*parataxis): cf. 295; CUM MAGNO MALO abl. of attendant circumstances [Woodcock 43.5(ii)]; MALO misfortune (i.e., should they fail in their scheme): cf. 310, 316 Asinaria A Student Commentary ( J.R. Porter, 2015) 96

103 Commentary: II.ii 318: SI QUIDEM for etiamsi, with subj. ( Rotheimer 1876: 6; cf. 414); OMNES sc. carnifices (311), although the antecedent is rather distant at this point: cf. ad 312ff.; CONIURATI having joined together in a conspiracy (*pred.): i.e., working in unison; CONFERANT protasis of a contrary-to-fact *condition [A&G 517e, Woodcock 197], followed by a pres. ind.: cf. 933, and see Rotheimer 1876: 44-45, Bennett 1910: 274, : OPINOR (parenthetic); FAMILIAREM in apposition to tergum ( a loyal friend, my back i.e., I can take it), or, if regarded as an *attributive adj. (with tergum masc. [Nonius]), my trusty back ; 127 NE QUAERAM FORIS a particular use of the *final clause [A&G 531]: to look no farther [Bennett 1910: 266]; FORIS (adv.) abroad, among strangers (in opposition to familiarem) 320: ISTAM on P. s use of iste, cf. ad 845; FIRMITUDINEM ANIMI = resolved spirit [G&L r. 2]; OPTINES = obtines; OPTINES SUMUS the pres. ind. is more vivid than the expected fut. [Bennett 1910: 65] 321: QUIN nay rather, what is more; TERGO instr. abl. [A&G 409]; RES SOLVENDA EST pass. periphrastic [A&G 500, Woodcock 203]; rem solvere here = poenam solvere: to suffer punishment, atone for something by undergoing punishment; PUBLICUM public property, public funds; the public treasury 322: PEIIERABO = periurabo : on these lines, see McDonnell 2006: 25-27, who stresses that the focus here is strictly on the ability to endure physical pain rather than a broader morally-centered notion of virtus. Cf. Stewart 2012: (re and ), who emphasizes how the slaves valor is defined in terms of a triumph over the coercive measures employed by the slave-holding society in which they live 323: EM there you are!, behold!; ISTAEC = ista (impers.: the fem. anticipates the gender of the complement, virtus) on the use of iste cf. ad 845; VIRTUS complement after sum: that s an example of courage/fortitude, that s courage/fortitude for you ; qui malum fert fortiter, quando usus est; USUST = usus est (malum ferre) there is need/the necessity (to endure misfortune) [usu(s) st prodelision]; QUI = si (ali)quis if/when someone [A&G 519] 324: (ille) qui malum fortiter patitur suppressed antecedent [A&G 307c]; IDEM masc. nom. sg. (picking up qui): resumptive use of the pron. (cf. ad 144); POST adv. (thereafter, later on, on a later occasion); BONUM (neut. acc.) good fortune; [many edd. accept the conjecture potitur bonum] 325: QUIN why don t you? [A&G 449.2b]; REM Leon. s news/scheme; NANCISCIER = nancisci; MALUM i.e., the bad news, what woe is in store for me 326: UT ACQUIESCAM *final clause [A&G 531] 327: ME DUCERE acc. + inf. following vb. of perception (vides in 326) [cf. ad 23-24]; EX CURSURA from/after my running; [For the second time (cf. 307ff.), P. signals the conclusion of the comic play betw. the slaves, only to have it start again]; MANSERO *fut. pfct., where Engl. employs the simple 127 As Hurka notes, the audience might have expected familiarem rem my household resources, family connections. Asinaria A Student Commentary ( J.R. Porter, 2015) 97

104 Commentary: II.ii fut. [Lindsay 60-61; A&G 478 n.; Bennett 1910: 54] (maneo abide by, adhere to, follow [+ in + abl. here with abl. alone: see next n.]) 328: TUO ARBITRATU in accordance with your judgment (abl. of standard: A&G 418a); VEL ADEO USQUE DUM even indeed right up until ; ADEO freq. employed after conjs. to add emphasis [L&S s.v. II B5]; PERIS ind. where we might expect a subj. [Lindsay 93, A&G 553 and n. 2]; [Lib. accedes to Leon. s request, only to then transform that acquiescence into an insult: cf. the similar twist at 42] 329: MAIOR i.e., Dem. ; MINOR Argyr.; HIC adv.; HIC INTUS in the absence of further elaboration, this casual reference is most readily taken to imply Dem. s house, particularly since the audience has had no occasion to imagine Argyr. entering Clear. s establishment since the departure of Diab. at 248, and there is no indication later in III.i that he is to be thought to be in Clear. s house at that point (cf., e.g., 515) despite the fact that he exits Clear. s establishment at the opening of III.iii (591): cf. intro. to I.ii and see Porter 2016: In performance, of course, Lib. would point to whichever house he meant; IAM SATIS EST MIHI i.e., that s good enough, I don t need to hear any more 330: TUM inferential (with igitur); ES FACTUS pfct. of fio; [Libanus deliberately misconstrues the meaning of Leonida s previous remark: satis est mihi as I have enough, I m well enough off, I need no more ]; MITTE RIDICULARIA i.e., leave off the jesting, enough with the drolleries (an ironic injunction in a play by P.: contrast 14) 331: MITTO as usual in Latin, assent is indicated by repeating a key element of the previous speaker s command, question, etc. [A&G 336]; aures meae exspectant istud quod affers; ISTUC = istud (i.e., the news or the plan that Leon. claims to be bringing) 332: ADVORTE = adverte; UT SCIAS *final clause [A&G 531]; beo (1) to bless, make happy [BEAS (ME): i.e., that pleases me, I m glad of it, you are too kind] /35: atriensem nostrum vendere asinos Arcadicos mercatori Pelleo acc. + inf. following meministi (with the pres. inf. of a general fact: other examples at Bennet 1910: ); ASINOS ARCADIOS Arcadian asses were valued for their breeding: cf. ad 340; MERCATORI i.e., the actual purchaser of the asses, not the purchaser s agent (Merc.): consult the list of dramatis personae at the beginning of this commentary; PELLĔO contrast Pellaeo at 397: Fontaine 2010: 132 [The connection with Macedonia remains obscure: in Roman comedy, the region is generally associated with military adventurers (Miles, Pseud.). Comm. have suggested that the identification is satirical in nature (the stolid Merc. associated with one of Rome s current enemies) or (much more problematic) a slip for what in the Greek original was a reference to the little-known Arcadian city of Pallana/Pallene: see Bertini ad 333. Legrand 1917: 55 suggests a more practical reason: Merc. must be a stranger to Athens, and the northern regions of Greece had a strong association with horse-trading. Attempts to associate this reference with a specific period in Athenian history (after, e.g., the conquest of Athens by Demetrius Poliorcetes in 294) are problematic: see Hurka ad ]; NOSTRUM cf. ad 58; MEMINI see ad 331; QUID TUM Asinaria A Student Commentary ( J.R. Porter, 2015) 98

105 Commentary: II.ii POSTEA what then therefore after that? : i.e., what of it? what am I to make of that? (used again at 346, in a literal rather than a logical sense) 336: IS nom. masc. sg. (i.e., the merchant from Macedonia alluded to in 333); QUOD DARETUR *rel. clause of characteristic/purpose [A&G 531.2] 337: ADULESCENS i.e., Merc.; VENIT pfct. ind.; MODO adv. 338: (EUM TIBI) DEVORANDUM (ESSE) pass. periphrastic [A&G 500, Woodcock 203], introduced in an acc. + inf. clause following censes; DEVORANDUM the joke here is somewhat obscure and rather poorly motivated: comm. have attempted to take devorare in an obscene sense or as a play on the literal meaning of Leon. s name (? odd, given that Leon. is the speaker); Hurka finds an allusion to the bilking of a young dupe (e.g., Pseud ); CONSPEXERIS likely a pfct. subj. (cf. ad 20) 339: ITA ENIM VERO just so, precisely (enim vero with asseverative force: L&S s.v. enim IB); SED TAMEN NEMPE introducing a related point that has just popped into the speaker s mind ( but, to be sure, do you mean/are you talking about? ) 340: VETULOS, CLAUDOS *pred.; VETULOS the dimin. is sarcastic/dismissive; QUIBUS *sympathetic dat. [A&G 377]; FEMINA [= femora] from femur (3n.): femur, thigh (Gray: hocks ); [The description of the animals is at odds with the manner in which they have been advertised: as Gray indicates ad 333, Arcadian asses were highly prized (Varro R.R , 2.8.3). See Fraenkel 2007: on the traits that mark this passage as a typical Plautine expansion] 341: TIBI dat. of ref./interest (to be taken closely with virgas ulmeas) [A&G 376]; HUC i.e., to Dem. s house; virgae ulmeae used for beating slaves (cf ); [ Traina 1954: 177 concludes, on the basis of this line, that the transaction betw. Saurea and the merchant involved a single team of asses] 342: TENEO i.e., I understand, I get it; IDEM (nom. masc. pl.) picking up asinos in 339 and ipsos in 341; VINCTUM *pred. (pfct. pass. ptcple. but possibly the supine [A&G 509]); RUS acc. with vb. of motion, with no prep. (idiomatic: cf. domum) 343: UT temporal [Lindsay ]; INFIT take adulescens in 337 as subject; PERCONTARIER = percontari 344: ECQUEM NOVERIM *indir. question with subj. in primary *sequence [A&G 573] ( whether I know a certain ); the pfct. novi is routinely used as a pres. tense I (have come to recognize and therefore now) know ; DEMAENETUM in apposition to filium Stratonis : ME NOVISSE acc. + inf. following dico; EXTEMPLO to be taken with dico; me servum eius esse acc. + inf. following praedico; SERVOM = servum; DEMONSTRAVI here, in the sense of indicate the way to ; QUID TUM POSTEA here (vs. 334/35) little more than what then? (cf. quid tum in 350 and contrast 334/35) 347: se ferre argentum ob asinos atriensi Saureae; SE FERRE acc. + inf. following ait; OB ASINOS see Lindsay 90 for this use of ob ( as payment for ); ATRIENSI SAUREAE dat. of indir. obj. in combination with vb. implying motion [A&G 363.2]; SAUREAE in apposition to atriensi Asinaria A Student Commentary ( J.R. Porter, 2015) 99

106 Commentary: II.ii 348: VIGINTI MINAS in apposition to argentum in 347; se non nosse acc. + inf. continuing the indir. disc. begun in 347; QUI SIET *indir. question [A&G 573] (with qui for quis); SIET = sit [in primary *sequence, since ait is pres.]; se non nosse hominem qui siet *prolepsis [cf. ad 27-28]; [As noted ad 89, 20 minae seems to be a standard price in Roman comedy: cf., e.g., the similar scenario at Truc , where the young lover has obtained the same amount in payment for a flock of sheep] 349: se callide novisse Demaenetum ipsum acc. + inf. continuing the indir. disc. begun in 347; VERO with adversative force ( but that, to be sure, ) [This use of vero was challenged by earlier comm., who bracketed the line: Thierfelder 1929: ]; [The sudden appearance of Merc., attended by the requisite twenty minae, is fortuitous even by P. s standards: for the sake of the comic shtick in II.iv, Merc. must know Dem. but not Saurea; yet this makes Dem. s failure to mention the transaction, in his consultation with Lib. in I.i, curious to say the least (cf., e.g., ). Cf. ad re inconsistencies in Leon. s knowledge] 350: QUONIAM = postquam; ELOCUTUS (EST); HAEC SIC sic reinforces haec (cf. 352): Leo 1895 ad 350 argues that the collocation flags Leon. s comic performance of the scene; AUSCULTA ERGO the imperative here implies a *condition ( just listen ), the apodosis of which is supplied by scies (i.e., the *asyndeton [A&G 323b] implies a logical/causal connection betw. the two utterances: if you listen, you will find out ): cf : FACIO DICO pres. ind. for pfct. (vivid); facio me facetum atque magnificum virum (esse) I present myself as ; FACETUM ATQUE MAGNUFICUM VIRUM *pred. acc. after facere [A&G 393]; FACETUM here in the sense of big-talking, playing off the commonplace of the overbearing atriensis (Hurka): suggests the Grk. εἴρων; MAGNUFICUM = magnificum; MED ESSE acc. + inf. after dico; MED = me; HOC neut. acc. sg. (dir. obj. of respondit): he made the following reply (reinforcing sic: cf. line 350) [Lindsay ] 353: NOVI SCIO note the distinction in the use of these two vbs., betw. knowing a person and knowing a fact; QUA FACIE abl. of description [A&G 415]: the interrog. adj. introduces an *indir. question [A&G 573] with subj. after scio ( nor do I know what he looks like ) : AEQUOM = aequum; AEQUOM EST impers. (it is fair, just, reasonable); TE SUSCENSERE acc. + inf. after aequom est; si vis, adduce erum Demaenetum, quem novi; SI VIS = sis if you please, please (Lindsay 82 and n.); non morabor (te) quin feras argentum I won t delay/hinder you from obtaining the money (i.e., bring me Dem. and you ll get the money right away: the *asyndeton [A&G 323b] implies a logical/causal connection betw. the two utterances); QUIN FERAS quin + subj. following negated vb. of hindering [A&G 558]; fero = obtain, acquire (cf. 487, 670, 699, 700) 356ff.: on the weak motivation for the scheme that Leon. and Lib. devise here and for scenes II.iii and II.iv as a whole see General Introduction, p.xx. The urgency with which Leon. initially undertakes to bilk Merc. seems to assume knowledge that he does not then possess (cf. ad ); once Leon. learns of Dem. s support for such a scheme (362-66), neither slave has grounds for further elaborating Leon. s initial ruse. (That the two slaves elect to carry out the deception before the house of Dem., where they Asinaria A Student Commentary ( J.R. Porter, 2015) 100

107 Commentary: II.ii risk being discovered by Art. or the actual Saurea [Hurka], is less of a concern, given the conventions of the Roman stage) 356: ME ADDUCTURUM (ESSE) ET ME FORE acc. + inf. following dixi 357: ITURUST = iturus est [ituru(s) st prodelision] 358: QUID CONSILI partitive gen. with impers. neut. pron. [A&G 346a3; Bennett 1914: 26]; CAPTANDUM (ESSE) to be undertaken (pass. periphrastic [A&G 500, Woodcock 203] in acc. + inf. after censes); DICE = dic (A&G 182 n.); ISTUC AGO I am dealing with/pondering that very thing (ago here = volvo [L&S s.v. II.D.3]); ISTUC = istud 359: QUO MODO INTERVORTAM *indir. question [A&G 573], in apposition to istuc in previous line; ARGENTO abl. of sep. with vb. of depriving [A&G 401]; INTERVORTAM = intervertam; ADVENTOREM rare and comic (for the more common advena) 360: HOC OPUS EST EXASCEATUM edd. have adopted Acidalius exasceato ( this [scheme] needs to be roughed out ) [de Melo]), in which case hōc should be abl. (as in Cic. ad Att : opus fuit Hirtio convento). (In the expression quid opus est facto, the interrogative pron. permits the conflation of the constructions quo opus est facto and quid opus est fieri [Madvig 1880: 266]. On the other hand, quod opus est = illud quo opus est.) Note that at Miles 884 the related deasciari is employed as a metaphor for fleecing someone rather than working out a plan: cf. Capt. 641, Miles 1142 (deruncino); Ter. Phorm. 333 (abrado); ILLE with hospes in 361 (i.e., Merc.) 361: AFFERT pres. ind. for the expected fut. (vivid); EXCLUSI SUMUS pfct. ind. for fut. pfct. (vivid): we have been shut out (i.e., our hopes of getting the money are gone) [Bennett 1910: 46, 66]. Gray suggests that the metaphor derives from the image of the excluded lover who is denied access to his mistress abode 362: SOLUM *pred. (with me) 363: INTERMINATUST = interminatus est [interminatu(s) st prodelision]; nos ulmeos futuros (esse) acc. + fut. inf. after vb. of threatening; [Lib. s misrepresentation of his conversation with Dem. in I.i seems to be motivated solely by a desire for comic hyperbole and yet another joking reference to the beating of slaves] 364: NI ESSENT subj. in subord. clause in indir. disc. [A&G 580], standing for an original fut. ind. [Woodcock 280.7]; ARGYRIPPO *dat. of possession [A&G 373]; ARGENTI gen. of material with minae [A&G 344] : iussit nos defraudare vel atriensem vel uxorem suam; VEL NOS VEL NOS *anaphora (repetition of nos) highlighting the introduction of the cmpd. (disjunctive) objects of the inf. defrudare: heightened style; DEFRUDARE = defraudare; SESE DARE acc. + inf. after dixit,with pres. inf. in place of the expected fut. [de Melo 2007a: and n. 22; Bennet 1910: 368 and 426]; PROMISCAM shared, common (i.e., Dem. promises to lend his efforts in their support: cf. Rud. 1182) : on the metatheatrical elements of this exchange, which is played out against a generally acknowledged domestic hierarchy of violence, see Stewart 2012: Asinaria A Student Commentary ( J.R. Porter, 2015) 101

108 Commentary: II.ii 367: ABI ET NARRA on such paired imperatives, cf. Bennett 1910: 351 and see below ad 383; NARRA HAEC UT *prolepsis (cf. ad 27-28), with haec understood once again as the obj. of acturi sumus; ut acturi sumus *indir. question with ind. for CL subj. ( how we intend [A&G 573]) 368: TE FUTURUM ESSE acc. + inf., dependent on narra in 367 (elaborating on ut acturi sumus); EX LEONIDA instead of Leonida (cf. 145) 369: DUM AFFERAT either while he brings (subj. in subord. clause in indir. disc. [A&G 580]) or, more likely, until he brings/hands over (dum + subj. implying contingency or intent [A&G 553]); MERCATOR Lib. here conflates the Merchant with his youthful agent (see Introduction: Dramatis Personae); (SIC)UT 370: ILLUM i.e., Merc.; HIC adv.; si forte prius advenerit; PRIUS (adv.) i.e., before Leon. s return; ADVENERIT most likely *fut. pfct. ind. (cf. ad 20) 371: QUID AIS what do you say (to the following) a way of introducing a new proposition (see ad 104); PUGNO instr. abl. [A&G 409]; māla jaw; TIBI *sympathetic dat. [A&G 377]; PERCUSSERO *fut. pfct. ind. where Engl. would employ a generalizing pres. [A&G 516.a]; [cf. Watson 1971: 155 and n. 6 on the echo here of the Praetor s Edict re cases of assault. Zwierlein 1992: 190 argues that this must be an anachronism and brackets as a later interpolation] 372: *QUOM = cum (+ ind.); QUOM IMITABOR *fut. ind. in a cum-clause referring to the fut. (where Engl. would employ a generalizing pres. ind.); CAVETO *fut. imperative (as often, with a subord. clause involving a fut. A&G 449, Bennett 1910: 354); NE SUSCENSEAS neg. jussive subj. following caveto [cf. ad 5] 373: CAVEBIS fut. with imperatival force [Bennett 1910: 39]; NE ATTINGAS neg. jussive subj. following cavebis [cf. ad 5]; SI SAPIS pres. ind. for the expected *fut. (vivid) 374: NE COMMUTAVERIS *final clause with pfct. subj. ( lest it turn out that/you find that you have ) [A&G 531, Bennett 1910: 257 (who takes the pfct. subj. as an *aorist)]; MALO CUM AUSPICIO abl. of attendant circumstances [Woodcock 43.5(ii)] (i.e., to ill effect, to your regret): the Latin suggests that the name Saurea ( Lizard, Salamander ) contains an ill omen; Oliphant 1910 detects yet another reference to stripes (i.e., whip-marks) here. 375: QUAESO please ; AEQUO ANIMO abl. of manner [A&G 412] (calmly, patiently); PATITOR 2 nd sg. *fut. dep. imperative (the fut. is used here in a precise sense: endure [my hitting you] when it happens [Bennett 1910: 356]); *QUOM = cum (+ ind.); QUOM REFERIAM *fut. ind. in a cumclause referring to the fut. (where Engl. would employ a generalizing pres. ind.) 376: USUST = usus est [usu(s) st prodelision]; UT USUST FIERI how it has to be done (i.e., if I m going to succeed in fooling Merc.) [Bennett 1910: 412]: pres. ind. for CL subj. in *indir. question [A&G 573]; FIERI impers. pass.; UT FACTURUS SUM a comic echo of Leon. s language (ut usus est fieri) 377: NE NEGA ne is regularly employed in prohibitions with the fut. imperative; with the pres. imperative it is poetic (classical period) or (in P.) colloquial: A&G 450a, Barrios-Lech 2016: (Cf. Lindsay 71 Asinaria A Student Commentary ( J.R. Porter, 2015) 102

109 Commentary: II.ii on the indifference, in P., betw. the imperative and the jussive subj.); NEGA refuse; QUIN nay, rather (presenting a correction, with promitto answering, and trumping, negare: Mendelsohn 1907: 124); HOSTIRE *prolative inf. (pres.) with promitto (for the expected acc. + fut. inf.) [A&G 580c n.]; CONTRA (adv.) in return ; (ITA) UT correl. adv. [A&G 323g]; MERUERIS *fut. pfct. ind. where Engl. employs a generalizing pres. 378: PATIERE 2 nd sg. fut. ind. dep.; IS EST it is he (i.e., Merc.) [Webster 1970: 256 notes the unrealistic speed with which Merc. arrives, despite the latter s detour to baths (357), and suggests the likelihood of an act division at this point in the Greek original. Cf. ad 407ff.] 379: IPSUS = ipse (to be taken with ille as the predicate); RECURRO pres. ind. for fut. (vivid: Bennett 1910: 19): the vb. suggests that Leon. exits via the same wing by which he initially entered. If Hurka (ad loc.) is correct in detecting a metatheatrical reference to the expected role of the servus currens, we might translate: go running off once again ; HUC adv.; HIC adv. [huc hunc hic note the comic play with the demonstrative] 380: (OMNIA) NARRARE; QUIN why don t you? (+ ind.) [employed to introduce an exhortation: A&G 449.2b]; TUOM = tuum; TUOM OFFICIUM your job/task [Gray detects a double sense: (1) run off and carry out your part in our scheme; (2) do what you always do i.e., run away] [STAGING: Leon. exits via Wing B; Lib. assumes a watchful position near Wing B.] SCENE II.iii [Iambic Septenarii] The initial encounter with the agent of the man who has bought the asses from Demaenetus. (The agent, who is never named, is simply designated as Mercator in our mss. see Introduction: Dramatis Personae.) [BIBLIOGRAPHY: Legrand 1917: Westaway 1924 offers a commentary on ] [STAGING: Merc. enters the stage via Wing A, 128 observed by Lib. He is accompanied by a mute attendant.] 381: UT rel. adv.: parenthetical, to denote that the facts accord with an assumption or supposition made in the principal clause ( as ); DEMONSTRATAE SUNT sc. aedes (anticipating aedis [acc. pl.] in the main clause); OPORTET used to indicate logical necessity ( this must be ); HASCE ESSE acc. + inf. following oportet; HASCE = has (fem. acc. pl., in anticipation of the complement aedis) 128 See Introduction, Setting. Asinaria A Student Commentary ( J.R. Porter, 2015) 103

110 Commentary: II.iii 382: I PULTA as Engl. go knock (although the ancients routinely employed their feet for this purpose rather than their fists: 391); PUERE = puer [voc. (A&G 50a), addressed to a mute attendant] 383: EVOCATO *fut. imperative [A&G 449]: on the switch in from pres. to fut. imperative, cf. Lindsay 72, de Melo 2007a: , Bennett 1910: 355; HUC adv.; [Merc. instructs his slave to ask for Saurea, which prepares for the subsequent entrance of Leon. at 407. The instruction is not altogether logical, however, since in the end it is Dem. whom Merc. will insist upon meeting (392, 452, 455, 479, 488)] 384: SIC in this way (i.e., so violently); FRANGIT Lib. plays the grumpy porter, offering the conventional comic complaint at the vigor with which someone has knocked (or, rather, kicked) at the door: cf. Shakespeare, Macbeth II.iii. In this instance (as the following line shows) he has missed his cue and responded before Merc. s slave has had a chance to touch the door; [STAGING: Lib. and Leon. had observed the entrance of Merc. from somewhere near Wing B. Thus Lib. approaches Merc. from somewhere on stage (note the implications of 384b and 385b-86a) and intercepts the young man s attempt to inquire at Dem. s house well before there is any chance of him encountering the real Saurea]; OHE, INQUAM you there: stop, I say! (As Gray notes, ohe is often employed in contexts where a person is being commanded to cease from a certain activity: enough! ); QUID = (ali)quid after si, num, nisi, ne (A&G 310a) [quid here with adv. force: if you hear (me) at all, if you re not deaf (Westaway) *limiting/cognate acc. (A&G 390c)] 385: ETIAM yet ; SANUN = sanus + ne; CENSEBAM on this use of the impf., see Bennett 1910: 29; (TE) ATTIGISSE acc. + inf. after censebam : PROPERTEA QUIA because, inasmuch as (cf. L&S s.v. propterea); HUC adv.; HABEBAS ITER = ibas; FORES VERBERARIER acc. + inf. with nolo; CONSERVAS *pred. [anticipates the personified doors of Roman love elegy]; VERBERARIER = verberari; SANE ironically picking up Merc. s sanun es in 385?; NOSTRIS as often, noster is used here in reference to members of one s household, as in our people, our household staff (cf. ad 58: the failure to recognize this idiom accounts in part for the insertion of aedibus [intrusive gloss]) 388: PERICLUM = periculum; HAU PERICLUM EST impers. ( there is no danger ); NE EFFRINGANTUR fear clause following periclum est [A&G 564]; FORIBUS dat. of disadvantage/sep. [A&G 381] rather than abl. of sep. [A&G 401] 389: ISTOC EXEMPLO according to this model, in this way [A&G 418a, G&L 397]; QUAERUNT absol. ( inquire i.e., knock): pres. ind. of a habitual event; RESPONDEBIS *fut. ind. where Engl. employs a generalizing pres. [A&G 516.a] 390: ita haec ianua morata est this door has been conditioned in such a way : i.e., that s this door s custom/nature, this door has been trained in this fashion 391: CLAMAT = vocat; (ALI)QUEM after si, num, nisi, ne [A&G 310a]; quem calcitronem ire acc. + inf. after vb. of perception [cf. ad 23-24] Asinaria A Student Commentary ( J.R. Porter, 2015) 104

111 Commentary: II.iii 392: QUID VENIS [quid = why (cf. ad 6)]; VOLEBAM I was looking for/was wanting : on the use of the impf. here to refer to an action that belongs to the present as well as the past, see Touratier 1998: 276 (cf. Engl. I was hoping to see ); Hurka follows earlier comm. in regarding the usage as deferential (imperfectum modestiae) both here and at : SI SIT DICAM pres. subj. in a pres. contrary-to-fact *condition [A&G 517e, Woodcock 197]; QUID = what about? (OLD s.v. quis 12): cf. the common expression quid quod [G&L n. 3] and see lines 262, : NIHILO abl. of degree of difference [A&G 414]; MAGE = magis; AD TONSOREM [backing up the lies told by Leon. at the barbershop earlier]; IRE DIXIT = se ire dixit omission of the acc. subject of the inf. (a feature of common speech [A&G 581 n. 1] rather than a Graecism: Lindsay 2 and 73) 395: *QUOM = cum; QUOM VENISSET sc. eo (adv.): once he had gotten there (i.e., had arrived at the barber s) [the use of the subj. here is anomalous: see ad ]; [Ussing s emendation is attractive: conveni (sc. eum). sed post non redit? (For one thing, the text as it stands never has Merc. mention that he has met Saurea earlier. While it is not beyond P. to ignore such mundane points, seem to require a better foundation than the ms. reading provides]; POST adv.; VOLEBAS cf. volebam in : ARGENTI gen. of material [A&G 344]; SI ADESSET, ACCEPISSET past. contrary-to-fact *condition ( if he had been present [when I arrived], ), employing impf. subj. in protasis [A&G 517e n. 2, Woodcock 197 and 199; Bennett 1910: 205] 397: QUI = abl. of the neut. interrog. pron. quid [A&G 150b]; QUI PRO = pro quo (*anastrophe [A&G 640]) [pro in exchange, in return for (+ abl.)]; ISTUC = istud (sc. argentum); PELLAEO MERCATORI cf. ad : MERCATU locative abl. [A&G 429] or, more likely, instr. abl. [A&G 409] with adv. force ( in a business transaction ); ID i.e., argentum; HIC adv.; EUM ADFUTURUM (ESSE) acc. + inf. following credo 399: QUA FACIE abl. of description [A&G 415] (here as the complement after est); VOSTER = vester; SI IS EST if he is that fellow (whom I met earlier) (cf. ad 395: comm. lessen the awkwardness somewhat by having 399b and 402 spoken aside, but the motivation for this staging is somewhat unclear. Voster in the earlier part of 399 would seem to imply that 399b and 402 are meant for Lib. s ears i.e., that Merc. is overtly asking Lib. to help him compare the two Saureas. [The contrast with is suggests that possessive adj. voster here has a more pointed force than at 58, 387, etc.]) : MACILENTIS MALIS TRUCULENTIS OCULIS, COMMODA STATURA, TRISTI FRONTE abl. of description [A&G 415]; MĀLIS cheeks; [On such comic descriptions, cf. Marshall 2006: ]; ALIQUANTUM adv. [A&G 214d] 402: NON POTUIT pfct. ind. of a modal vb. in a contrary-to-fact statement ( could not have ) [A&G 517c]; RECTIUS cf. adv.; DESCRIBERE to portray Asinaria A Student Commentary ( J.R. Porter, 2015) 105

112 Commentary: II.iii 403: ATQUE cf. ad 151; ADEO freq. employed after prons. to add emphasis [L&S s.v. II B1]; CONTUOR = contueor; QUASSANTI intrans.; QUASSANTI CAPITE abl. of manner/attendant circumstances [cf. Woodcock 48] a sign of intense anger; [On the description of Saurea s gait here, see O Sullivan 2011: 37] 404: QUISQUE = quisquis (Lindsay 50) here introducing the equivalent of the protasis of a *conditional clause (si quis); OCCESSERIT *fut. pfct. ind; IRATO *pred. (in his anger, when he is angry) : SIQUIDEM SI dual protasis [Bennett 1910: 77]; SIQUIDEM for etiamsi ( Rotheimer 1876: 6); AEACIDINIS MINIS ANIMISQUE angry threats worthy of a descendant of Aeacus (i.e., of the Homeric Achilles) [a rather learned allusion, as such Plautine allusions go: Havet/Freté 84 argue that the reference must be to Ajax, son of Telamon, who would have been a more familiar figure to the Roman theater-goer]; MINIS ANIMISQUE instr. abl. with expletus [A&G 409] best translated as angry threats (*hendiadys: A&G 640); CEDIT = incedit (cf. 403); MED = me; IRATUS (bis) *pred. ( in his anger for all his anger ); TETIGERIT *fut. pfct. SCENE II.iv [Iambic Septenarii] Arrival of Leonida in the guise of Saurea and bamboozling of the agent. Leonida plays the part of the irascible, high-handed atriensis to the hilt, employing a comically inflated diction. In the end (as often in P.), the scene serves no practical purpose in advancing the plot: the agent insists on transacting his business in the presence of Demaenetus and is at last led off to meet with him. [BIBLIOGRAPHY: Legrand 1917: ; Stewart 2012: Westaway 1924 offers a commentary on ] [STAGING: Leon. enters the stage via Wing B to join Lib. and Merc.] 407ff.: older comm. are vexed that Leon. s mission to the forum has consumed only some 25 lines (thus, e.g., Webster 1970: 256, who posits an act-break in the Greek original before our II.iii: cf. ad 378), but temporal verisimilitude of this sort was never a feature of the Greek or Roman stage. 129 Nor are we allowed to consider why Leon. has not simply summoned Dem., a step that would have rendered much of the following scene unnecessary. Legrand 1910 (French original): 401 n. 2 proposes that Leon. is attempting to provide Dem. with what we today would refer to as plausible deniability, but this is nowhere stated and is at odds with Dem. s guarantee to come to the slaves assistance should their plans go awry (96-98, ) 129 Cf., however, the introduction to II.i. Asinaria A Student Commentary ( J.R. Porter, 2015) 106

113 Commentary: II.iv 407: quid negoti hoc sit potential subj. (A&G 445, Bennett 1910: 200 and 326): what might this be? what is up? the virtual equivalent of quid dicam hoc esse [a delib. subj. (A&G 444), to which it is close in feeling]); NEGOTI partitive gen. with impers. neut. pron., quid [A&G 346a3]; neminem magni facere dictum meum acc. + inf. in apposition to hoc ( the fact that ) [Lindsay 75]; MAGNI gen. of value [A&G 417] employed as the equivalent of a *pred. acc. after facere [A&G 393] (magni facere aliquid to consider something of value or importance) 408: ut iusseram Libanum in tonstrinam venire; UT despite the similarity to 413, ut is to be taken as temporal here (the equivalent of ubi, but here followed by a plupfct. ind., with implied concessive force): the parallels that are cited are not altogether compelling, however, and some edd. omit ut altogether (*asyndeton: A&G 323b). It is possible that a more severe form of corruption is at work here (intrusive gloss citing 413), but cf. Henderson 2006: 149; IS resumptive use of the pers. pron. (cf. ad 144); NULLUS = emphatic negative adv. ( not at all : L&S s.v. I.C; Lindsay 51) 409: NE (ναί/νή) affirmative particle (truly, indeed, verily): often, as here, reinforced by hercle, edepol, or the like, with the two words bracketing a pron. (cf. 412); HAU = haud; HAU DECORE (adv.) not at all correctly, properly, suitably : IMPERIOSUST = imperiosus est [imperiosu(s) st prodelision]; SALVERE IUSSI LIBANUM did I greet Lib.? (i.e., did I congratulate him?); LIBERTUM *pred. (as a freedman, on the grounds that he had been freed); EMISSU S = emissus es [emissu(s) s prodelision]; MANU EMISSU S a somewhat more vivid pass. form of manu mittere to set free; MANU abl. of sep. [A&G 401]; OPSECRO = obsecro [addressed to Leon.]; [It is somewhat unclear just when Leon. s Saurea is to be thought to catch sight of Lib. Lines 410b-11a seem to continue the line of angry personal reflections begun in : is the 2 nd sg. emissus es to be taken as a vivid evocation of the fictional scenario that Saurea is contemplating? (In that case, Lib. first establishes contact at 411b: in support of this staging, Fleckeisen 1859 ad loc. proposes the reading manust emissus.) More likely, Saurea must be thought to catch sight of Lib. in the course of ] 412: NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; CUM MAGNO MALO abl. of attendant circumstances [Woodcock 43.5(ii)]; OBVIAM OCCESSISTI the direct recollection of 404 here would seem to represent a comically fortuitous echo rather than an indication that Saurea has heard the earlier exchange between Lib. and the merchant s agent (cf. Sharrock 2009: ) 413: QUOR = cur; (SIC)UT; HIC i.e., Merc.; MORATUST = moratus est (trans.) [moratu(s) st prodelision] 414: SIQUIDEM DICAS protasis of fut. less vivid *condition (cf. 318), but here (nunc) with the force of a pres. contrary-to-fact condition (with pres. subj.): see Woodcock 197 on the blending of these two modes in P. and cf. A&G 517e; SIQUIDEM for etiamsi ( Rotheimer 1876: 6); IOVEM DETINUISSE acc. + inf. following dicas 415: IS i.e., Jupiter; PRECATOR *pred. ( as intercessor, to plead for you [Westaway]) [Bennett 1914: 5]; ASSIET = adsit (extending the protasis of the *condition introduced in 414); MALAM REM i.e., Asinaria A Student Commentary ( J.R. Porter, 2015) 107

114 Commentary: II.iv trouble, punishment (cf. ad 43); EFFUGIES the fut. ind. in the apodosis is more vivid than the expected pres. subj. (Bennett 1910: 275, 282) 416: VERBERO voc. (see Lilja 1965: 54); IMPERIUM a grandiose and (dare I say) imperious word in the mouth of a steward; [STAGING: Leon. makes as if to beat Lib.]; HOSPES addressed to Merc. 417: QUAESO HERCLE quaeso is routinely employed parenthetically to soften the force of an imperative; NOLI HUNC VERBERARE: prohibition introduced by noli (A&G 450). Barrios-Lech 2016: 77 notes that this type of prohibition in P. has a tendency to be associated, as here, with polite requests; SAUREA Merc. accepts that the person to whom he is speaking is in fact Dem. s atriensis; CAUSA abl.: for my sake [A&G 404c]: cf. ad : UTINAM STIMULUS SIT opt. subj. pres. where we would expect an impf. (contrary to fact: A&G 441, Woodcock 114 n.); STIMULUS see Lilja 1965: 55; MIHI *sympathetic dat. [A&G 377]; QUAESO cf. ad : QUI adv. (= instr. abl. of the rel. pron. [A&G 150b]): the antecedent is stimulus (418); CONTERAM subj. in *rel. clause of characteristic/purpose [A&G 531.2]; TUA still addressing Lib.; QUAE with latera as antecedent; PLAGIS causal abl. [A&G 404]; [ Saurea presents the standard complaint of the comic slave-owner viz., that his slaves are so worthless, and have been punished so often, that they no longer feel it when you whip them] 420: APSCEDE = abscede (spoken to Merc.); SINE imperative; IRA instr. abl. [A&G 409] 421: i.e., numquam licet me semel praecipere unam rem illi i.e., Lib. needs to be constantly nagged about performing every single task; QUOI = cui (indir. obj. of praecipere); UNAM = solam ( a single ): cf. 847; licet me praecipere licet + acc. + inf. (vs. the expected dat., as often: A&G 565 n. 2, Bennett 1910: 392); SEMEL on a single occasion, just one time; FURI *pred. ( thief that he is, the knave ) 422: QUIN IMPEREM ATQUE OGGANNIAM quin + subj., introduced by the notion of hindering implied in 421: but that I, without [A&G 558, Bennett 1910: ]; CENTIENS opposed to unam semel in 422; EADEM neut. acc. pl. 423: CLAMORE AC STOMACHO causal abl. [A&G 404, Bennett 1914: 313] (cf. Engl. what with all the uproar and aggravation ) [or, via *hendiadys (A&G 640): angry shouting ]; LABORI i.e., the task of coercing Lib. to perform his duties; [ironically, it is the master who is said to toil here, in attempting to compel Lib. to perform his assigned tasks] : the duties described here maintain the ruse that Lib. is Dem. s porter (ianitor) 424: IUSSIN (here and below) = iussi + ne P. reg. employs -ne where CL would employ nonne (Gray ad loc., Bennett 1910: and 465; cf. below ad 579]; SCELESTE voc.; STERCUS AUFERRI acc. + inf. after iussi; HINC redundant after ab ianua but with deictic force (i.e., Leon. gestures): equivalent of ab hac ianua 425: COLUMNIS abl. of sep. [A&G 401]; DEICI OPERAS acc. + inf. after iussi; OPERAS ARANEORUM i.e., cobwebs MEA Asinaria A Student Commentary ( J.R. Porter, 2015) 108

115 Commentary: II.iv 426: IN SPLENDOREM DARI to be rendered brilliant/shining, to be polished [Dare is often used in such periphrastic constructions, esp. in poetry (cf. 574 and ad 439): i.e., dare in splendorem = polio (another instance of Leon./ Saurea s high-and-mighty style); bulla ornamental boss or knob made of bronze; FORIBUS locative abl. [A&G 429] or *sympathetic dat. [A&G 377] 427: NIHIL EST i.e., it does no good, my efforts are wasted; TAMQUAM SI CLAUDUS SIM pres. subj. in pres. unreal comparison (A&G 524, Woodcock 255 and 261, Lindsay 107, Bennett 1910: 287); FUSTI EST AMBULANDUM (sc. mihi) I have to walk with a stick/cudgel (i.e., I have to carry a stick with me always, in order to beat you, as if I were a lame man who relied upon a cane); CUM FUSTI abl. of accomp. [A&G 413]; EST AMBULANDUM (MIHI) passive periphrastic with impers. pass. [A&G 500.3, Woodcock 204] 428: TRIDUOM HOC UNUM for these (last) three days only/alone (for hoc, cf. 235, 635); TRIDUOM = triduum (acc. of extent of time: A&G 423); MODO (adv.) recently, just now; FORO indir. obj. or locative abl. [A&G 429]; DEDO to dedicate, devote (pres. where Engl. employs a vivid pfct. I have been dedicating/devoting ); [Hurka notes that the phrase operam foro dedere would usually suggest engagement with politics or the courts i.e., aristocratic occupations. Another indication of the high-handed nature of Leon. s Saurea ] 429: DUM REPERIAM dum-clause of intention/expectancy [A&G 553: cf. Bennett 1910: 270] (primary *sequence due to dedo); REPERIAM (ALIQUEM) QUI suppressed antecedent; QUI QUAERITET *rel. clause of characteristic implying purpose [A&G 531.2], or simply subj. in a subord. clause by attraction [A&G 593]; IN FAENUS at interest (i.e., to borrow): OLD s.v. in 18d; cf. 248; [Leon. s Saurea anticipates the dispensator (steward) of the rich freedman Trimalchio in Petronius Satyricon (30): both display an independent authority and arrogance that one associates with the most powerful aristocrats]; HIC adv. 430: DOMI somewhat redundant after hic in 429, but cf. Engl. here at home ; HARA a pen or coop for animals, pig-sty; HAUD (IN) AEDIBUS 431: EM ERGO HOC TIBI here s this for you, then, here you go, then [G&L n. 2; Lindsay 137]; HOC = i.e., this blow (spoken as he makes to strike Lib.); [STAGING: given the build-up at , there must be some form of comic business here: phps. Leon. makes as if to strike Lib. but then thinks better of it, or he actually strikes Lib. and then is surreptitiously hit in turn]; HOSPES addressed to Merc.; OPSECRO = obsecro 432: MEA CAUSA abl.: for my sake [A&G 404c]: cf. ad 68; UT MITTAS *jussive noun clause following oro [A&G 563]; EHO interj. used to introduce commands, questions, etc.; OLIVI obj. gen. [A&G 348] : rem solvere to discharge a debt, pay a fee (cf. 218); SOLVIT pfct. ind. (As commonly in Latin, Lib. answers in the affirmative by repeating a key word from the original question: A&G 336); QUOI = cui; DATUM EST indef. neut. or sc. argentum; VICARIO TUO in apposition to Sticho ipsi; [The fiction created by Libanus and Leonida continues to anticipate Trimalchio s household CUM Asinaria A Student Commentary ( J.R. Porter, 2015) 109

116 Commentary: II.iv establishment in Petronius Satyricon: Saurea has a personal staff who are charged with carrying out certain duties]; DELENIRE APPARAS i.e., you re trying to soften me up, appease me; vicarium esse acc. + inf. following scio; MI = mihi *dat. of possession [A&G 373]; [The humor lies in Saurea having to keep up with Lib. s contribution to the evolving fiction: Leon. here takes a moment to catch up to the idea of the make-believe character Stichus]; [As an alternative, one might take eum (understood) as the subject of the acc. + inf. and regard mi as a *sympathetic dat. (= meum: A&G 377) i.e., scio [eum] vicarium [meum] esse] 435: neque eo servum in aedibus eri esse qui sit pluris quam ille est; EO abl. of comparison [A&G 406] (redundant with quam ille [Lindsay 9]: comic prolixity but also phps. a further indication of Saurea struggling to keep up with the fiction); ESSE SERVOM acc. + inf. following scio (434); SERVOM = servum; SIT subj. in subord. clause in indir. disc. [A&G 580] but also *rel. clause of characteristic, presenting a hypothetical individual [A&G 535a] (contrast the ind. in quam ille est); PLURIS gen. of value [A&G 417] 436: VINA this provides the antecedent for quae, but otherwise stands outside the syntax of the sentence (*anacoluthon [A&G 640]: it is picked up by is in the following line): as for the wine that I ; EXAERAMBO either a comic (Greek) nonsense-name, or a corruption of Sarambus/Serambus, vel sim.; Schmidt 1902: argues for a derivation from κάραβος (horned beetle). 437: PRO IS = pro eis (abl. pl., with vina as antecedent); SATIS FECIT has he paid? (with Exaerambus as subject); STICHO indir. obj.; (eum) satis fecisse opinor the omission of the acc. subject in indir. disc. here reflects a type of ellpsis regularly found in the answer to a question: instead of saying, yes, Lib. replies by echoing a key element of Leon. s question [A&G 336 and 581 n. 1] 438: vidi Exaerambum huc adducere trapezitam ipsum; EXAERAMBUM ADDUCERE acc. + inf. following vb. of perception [cf. ad 23-24]; HUC adv.; IPSUM this might be taken with Exaerambum rather than trapezitam, but see ad 440; trapezita (1m.) money-changer, banker (a Greek term: cf. ad 706, badizas) 439: SIC DEDERO that s what I like, that s the style for me (Gray) i.e., on such terms would I always deal (cf. Ussing 1875 ad 436: i.e., sic agam, haec agendi ratio mihi placet ; Langen 1880: , who cfs. Capt. 495: sic egero). Maurach 1975 ad Poen confirms that the expression has an exultant tone ( triumphantis est ): cf. Ter. Phorm Dare is frequently employed as the equivalent of facio, sistere, ponere, etc. (Lodge : 1.418), while the use of the *fut. pfct. for the fut. is vivid and colloq. (cf. Capt. 495 [above] and see ad 327); (illa) quae prius credidi, vix anno post exegi; (ILLA) QUAE suppressed antecedent [A&G 307c]; ANNO abl. of degree of difference (with post) [A&G 414]; POST adv. 440: satago / sat ago to busy oneself with something, snap to it. Gray s rendering he feels his position invokes the more fundamental meaning of the expressiion: have one s hands full, be in trouble ; adducit (trapezitam) domum cf. 438; ULTRO i.e., without being compelled through threats of legal action; [Normally the two parties to a financial transaction would meet at the money- Asinaria A Student Commentary ( J.R. Porter, 2015) 110

117 Commentary: II.iv changer s establishment: it is a sign of Saurea s status that his debtor brings the trapezita to him]; SCRIBIT NUMMOS i.e., gives a note or bond for the funds, transfers the funds (L&S s.v. scribo II.B.3); [Again, it is more than a little high-handed for a slave to be expressing such satisfaction that a free man is meeting his terms and paying a debt to him without being coerced] 441: DROMO nom. masc. sg. (Greek slave name); MERCEDEM from merces (not merx); [The imagined scenario involves a slave who has been hired out by his master to work for someone else: cf. Vid. 25, Buckland 1963: , Watson 1971: , Scafuro : 10. (For this practice in classical Greece, see Kazakévich 2008.) Contrast, e.g., the cooks and caterers (τραπεζοποιοί) of comedy, who like the meretrices are, by their very profession, routinely hired out on set terms, whether they are slave or free, and regarding whose services a similar terminology is employed: e.g., Caecil , Pritchett 1956: 279. (The hairdresser Syra of Truc [cited by Gray] belongs to a similar category)]; DIMIDIO MINUS (RETTULIT); DIMIDIO abl. of degree of difference [A&G 414] (Gray) or comparison [A&G 406] ( less by half or less than half ); MINUS adv.; OPINOR parenthetical 442: QUID RELICUOM what about the rest? [OLD s.v. quis 12]: cf. 393; RELICUOM = reliquum (sc. mercedis) generic neut., in the nom.; aiebat (se) reliquum extemplo redditurum esse quom (id sibi) redditum esset; AIBAT = aiebat; REDDERE pres. inf. (in place of the expected fut.: Bennett 1910: 426) reporting indir. disc., with omission of the acc. subject: a feature of common speech [A&G 581 n. 1] i.e., we expect se redditurum esse [cf. ad 394]; *QUOM = cum; QUOM EXTEMPLO as soon as ; QUOM (ID) REDDITUM ESSET plpfct. subj. in a subord. clause in secondary *sequence in indir. disc. [A&G 580], reporting what would have been a *fut. pfct. ind. in the (imagined) original statement (Woodcock 272.3d; cf. A&G 484c, Lindsay 68, and G&L 656.3) 443: (DIXIT ID) RETINERI acc. + inf.; ut efficeret (id) operis quod sibi locatum esset; UT EFFICERET *final clause [A&G 531]; SIBI i.e., the fictional Dromo (whose report is being cited and who is the subject of efficeret); OPERIS gen. sg. of opus (work, job): partitive gen. with impers. neut. pron. [A&G 346a3; Bennett 1914: 33]; (ID) QUOD suppressed antecedent [A&G 307c]; QUOD LOCATUM SIT subord. clause in indir. disc. [A&G 580], with locatum sit in 2ndary *sequence where CL would expect locatum esset [Bennett 1910: 343]. (P. here mingles two perspectives: that which focuses on the time when Dromo supposedly made this statement, and that of the two speakers, who understand that Dromo has still to complete the work for which he is under contract. Cf. ad 590) 444: rettulitne [Philodamus] scyphos quos dedi Philodamo utendos; UTENDOS *pred. use of the gerundive to indicate purpose [A&G 500.4; Bennett 1910: ] (i.e., on loan); RETTULITNE sc. Philodamus; [Hurka notes the mild *anacoluthon (A&G 640) here due to the postponement of the vb., with ne] 445: NON ETIAM not yet ; NON (RETTULIT)?; si velis, da (aliquid): commoda (id) amico; SI VELIS if you should like/see fit (the potential subj. presents this as a hypothetical possibility: cf. 120, 766); DA (ALIQUID) give something away (for this type of condition, see Bennett 1910: 276); Asinaria A Student Commentary ( J.R. Porter, 2015) 111

118 Commentary: II.iv COMMODA (ID) HOMINI AMICO the *asyndeton [A&G 323b] betw. da and commoda here is explanatory/epexegetic: that is, lend it to a friend ; AMICO *pred. ( who is a friend ); [Once again, the image of a slave with fancy goblets that he can lend to his friends recalls Trimalchio s household staff, as does the high-handed manner in which Saurea responds to their loss] : PERII here not out of despair (as at 416 and freq.) but disgust ( damn me! ); HIC i.e., Leon.; ABEGERIT *fut. pfct. ind.; SUO ODIO instr. abl. ( with his annoying conduct, insolence : cf. ad 921); [STAGING: Merc. here speaks in an aside; Lib. then addresses an aside to Leon., telling him to cool his act]; IAM SATIS TU sc. locutus es ( That s enough, already! ); TU emphatic (regular, following heus); AUDIN = audis + ne; (EA) QUAE neut. pl. acc. (suppressed antecedent: A&G 307c); AUDIO ET QUIESCO as usual in Latin, Leon. expresses his acquiescence by repeating a significant element of Lib. s original question in his response (here, as often, the vb.) [A&G 336] 448: ADEAM: *jussive noun clause after optumum est, w/o ut (*parataxis) [A&G 563, Bennett 1910: 238]; OPTUMUM EST impers. (optumum = optimum); PRIUS QUAM INCIPIT on the use of the ind., see Lindsay 133, A&G 551c 449: QUAM interrogative (quam mox how soon? ); DAS pres. ind. where Engl. employs the fut. [Bennett 1910: 21]; OPTUME adv. ( excellent! well met! : cf. Rud , Ter. Andr. 686, Adelph. 81, 266); TU emphatic (underlines the parallelism betw. quam mox and quam dudum); QUAM DUDUM TU ADVENISTI how long ago did you arrive? (i.e., how long have you been here?) 450: PROVIDERAM the plupfct. points to Saurea s earlier behavior, before he noticed Merc. s presence upon the latter s intervention at 449 (coll.) [Bennett 1910: 49]; ne (id) vertas vitio (mihi); NE VORTAS jussive subj. [A&G 439a and 450 n. 3] (with the seemingling haughty behavior of Saurea as obj. don t construe my earlier behavior ); VORTAS = vertas; VITIO *pred. dat. in *double dat. construction [A&G 382]: as a fault/offense (sc. mihi dat. of reference in so far as I m concerned, to my discredit ) 451: ITA to such a degree (providing the justification for Saurea s earlier behavior); OPSTITIT = obstiti; OCULIS (MEIS/MIHI) dat. of ref. with cmpd. vb. [A&G 370]; NON MIRUM FACTUM EST i.e., I m not surprised (typically followed by a conditional clause or an acc. + inf.: cf. Men , Pseud , Rud ); FACTUM EST impers. pfct. of fio, referring to Leon. s excuse that he was distracted: lit., it did not occur/arise as a thing to be marveled at 452: VOLEBAM cf. ad 392 and see Barrios-Lech 2016: 109; NEGAT understand Lib. as the subject; [STAGING: the ellipsis here phps. implies a non-verbal exchange betw. Leon. and Lib.: Leon. gives his slave a significant look and the latter shakes his head in the negative. On the other hand, it is quite possible that Leon. s quick answer represents a comic slip in his performance of Saurea]; (DEMAENETUM) ESSE INTUS acc. + inf. following negat (the omission of the acc. subject here is a feature of common speech: A&G 581 n. 1 cf. ad 394) 453: verumtamen, si vis denumerare istud argentum mihi; VERUM TAMEN (separated, as often); ISTUC = istud Asinaria A Student Commentary ( J.R. Porter, 2015) 112

119 Commentary: II.iv 454: repromitto to promise, guarantee (often in legal contexts); rem solvere = to cancel a debt, mark as paid (res often of business affairs, money: cf. 218, 433); REM SOLUTAM FUTURAM (ESSE) acc. + inf. after repromittam: that the debt will be recorded as having been paid in full (*fut. pfct. pass. inf.); ISTOC = isto; ISTOC NOMINE under that account (as listed in a ledger) [OLD s.v. nomen 22]: locative abl. [A&G 429] 455: SIC POTIUS under the following terms, rather, (do I prefer that the account be settled) (i.e., No: instead I will do so on the condition that ); UT REDDAM (ARGENTUM) *jussive clause introducing a proviso [A&G 528b: cf. ad 230]; DEMAENETO ERO PRAESENTE abl. abs. [A&G 419]; TIBI indir. obj. with reddam 456: Lib. steps in helpfully to explain the situation to Merc. that s OK: they know and trust each other already! (cf. Aul ); ISTUNC = istum; ISTUNC HIC i.e., Leon./ Saurea ; ERO PRAESENTE abl. abs. [A&G 419]; HUIC i.e., Leon./ Saurea (indir. obj.); [The echo of 455 conveys a vivid sense of Merc. s stolid obstinancy] 457: Lib. continues his role as good cop in the on-going attempt to persuade Merc.; MODO adv. ( only, just ); MEO PERICULO at my risk (i.e., with me as surety: abl. of attendant circumstances [Woodcock 43.5(ii)], although elsewhere this expression is often more readily regarded as an abl. of price [A&G 416]); SALVAM *pred. acc. following factitive vb. (A&G 393); exhibeo to render (= reddo, praesto [Gray]); REM SALVAM EXHIBEBO = I will make the matter right, look after things properly 458: SI SCIAT pres. subj. in pres. contrary-to-fact *condition (A&G 517e, Woodcock 197); NOSTER cf. ad 58; fidem huic non habitam esse acc. + inf. after sciat: that no trust was placed in him (i.e., Saurea ), that he had not been trusted (picked up at 583); HUIC dat. of ref. (cf. credo + dat.) 459: SUSCENSEAT apodosis of the pres. contrary-to-fact *condition begun in 458; cui ipse semper credit omnium rerum; QUOI = cui (antecedent: Saurea ) dat. with credo: whom he trusts, in whom he has confidence ; QUOI CREDIT the relative clause provides the grounds for anticipating Dem. s anger: given that Dem. himself entrusts all of his affairs to Saurea, he will be angry if others do not respect this arrangement. (In CL we might have expected a subj. here *rel. clause of characteristic with causal/explanatory force [A&G 535e]); OMNIUM RERUM the gen. is phps. influenced by Greek ( over [i.e., in] all things ), but might represent a gen. of respect found in other Italic languages (Lindsay 12; Woodcock 73.6; A&G 357; Bennett 1914: ; Hurka ad loc.); IPSUS = ipse 460: NON (ID) MAGNI PENDO; MAGNI gen. of value [A&G 417]: *pred.; DUIT archaic 3 rd sg. pres. subj. act. of do [A&G 183.2] (jussive subj.: A&G 439; cf. Bennett 1910: 175 [permissive]); VOLT = vult; SIC i.e., just as he is; SINE pres. imperative; ASTET (= adstet) *jussive subj. introduced by sine, without ut (A&G 565, 268 ad fin.: *parataxis) : DA addressed to Merc.; INQUAM parenthetical (here expressing a sense of urgency: cf. quaeso in 462); MISER *pred. (poor me, wretch that I am); formido ne hic arbitretur me tibi suasisse ne sibi crederes; NE ARBITRETUR fear clause (A&G 564); ME SUASISSE acc. + inf. following Asinaria A Student Commentary ( J.R. Porter, 2015) 113

120 Commentary: II.iv arbitretur; NE CREDERES *jussive noun clause following suasisse (and so in secondary *sequence) [A&G 563]; SIBI refl. pron. referring back to the subject of arbitretur (i.e., Saurea ) [A&G 300]; NE FORMIDA ne + pres. imperative in a prohibition [cf. ad 377] 463: SALVOM = salvum; SALVOM ERIT sc. argentum; credam (id salvum) fore, dum quidem ipse (id) in manu habebo; CREDAM fut. ind.; (ID SALVOM) FORE acc. + inf. following credam; DUM (ID) HABEBO so long as I shall have it (A&G 555, Bennett 1910: 97); IN MANU cf. ad : NOSCE (EUM) come to know him!, make his acquaintance! 465: SIT, NON SIT, NON SCIO likely independent potential subjs. (A&G 445) followed by non scio (Bennett 1910: 206): he might be, he might not be: I have no idea (*parataxis); others detect a disjunctive *indir. questions [A&G 573]: I don t know whether he is or not ; IS complement after est; EUM complement after esse; OPORTET impers. (+ acc. + inf.): oportet (illum) eum esse (i.e., good for him, if he is ). Cf. the similar statement of indifference re someone s identity at Epid : ne fuat / si non vult 466: scio me hoc daturum (esse) nulli homini incerto; ME DATURUM (ESSE) acc. + inf. following scio; INCERTO *pred. ( whose identity is in doubt an unparalleled usage, generated via the comic jingle with certe [cf. 494] or, taking the adj. in its more usual sense, who cannot be trusted ); HOC neut. acc. sg. (sg. argentum): calls attention to the presence of the bag of coins, which no doubt is employed to good effect throughout this scene as the tantalizing goal of the two slaves machinations; NEMINI = nulli (A&G 314.2) 467: PERDUINT 3 rd pl. pres. subj. act. of perdo [optative subj.: A&G 441] [form: A&G 183.2]: cf. 460; [STAGING: Hurka suggests, quite plausibly, that this initial imprecation is spoken aside, as an indication of Leon. s frustration at the failure, to this point, of his and Lib. s scheme]; VERBO i.e., with even a single word (instr. abl. [A&G 409]); cave (ne isti) supplicassis [addressed to Lib.]; CAVE + supplicassis in prohibition (jussive subj.: cf. ad 5 and see esp. Barrios-Lech 2016: 74, who notes that cave in this construction has lost its verbal force to become the equivalent of ne); SUPPLICASSIS archaic form = pfct. subj. (cf. ad 256) 468: FEROX proud, arrogant, insolent; FEROX EST the equivalent of ferocit (vel sim.): introduces the following acc. + inf. (se viginti minas meas tractare), as often with vbs. of emotion: he is insolent (at the fact) that i.e., because (Lindsay 74; G&L 533 and R.1); MEAS in referring to the money as his, Leon. continues to play the grandly arrogant steward 469: ACCIPIT (ARGENTUM) where Engl. would employ a fut. ind.; TE AUFER DOMUM addressed imperiously to Merc. (and rather loosely, given that Merc. is a visitor: domum in the sense of where you belong ); APSCEDE = abscede; NE SIS jussive subj. [A&G 439 and 450 n. 3]; [ Saurea s peremptory commands are rendered all the more curt by the way they are deployed within the line: nemo áccipít, te aufér domúm, ăpscĕde hínc, moléstus né sis] Asinaria A Student Commentary ( J.R. Porter, 2015) 114

121 Commentary: II.iv 470: IRACUNDE adv. (sc. dicis: cf. Men. 696); hominem servum superbum esse acc. + inf. following decet; SUPERBUM complement with esse; SERVOM = servum (*pred.: when he is a slave, who is a slave ): as Gray notes, the collocation hominem servum is dismissive [Bennett 1914: 6] 471: MALO MAGNO TUO (ERIT) abl. of attendant circumstances [Woodcock 43.5(ii)] ( it will be to your misfortune, you ll be in for a lot of trouble ): addressed to Lib.; NI ISTI NEC RECTE DICIS if you do not address him improperly (i.e., if you fail to abuse him verbally) (on the use of pres., cf. Bennett 1910: 67); NEC = non L&S s.v. neque I, Lindsay 130 (nec recte dicere is a common expression in comedy: cf. 155); ISTI Merc. 472: IMPURE voc. (addressed to Merc. Lib. makes a show of carrying out Saurea s orders); NIHILI gen. of value [A&G 417] used as equivalent of an adj. in the voc. (Lindsay 39-40): cf. Lilja 1965: 22; VIDES (EUM [i.e., Sauream ]) IRASCI acc. + inf. following vb. of perception [cf. ad 23-24]; [Here and elsewhere in this scene, Lib. must play a dual role, uttering a series of abusive sentiments loudly, for the benefit of Saurea, while presenting his urgent pleas to Merc. as asides: Slater 2000: 50. Stewart 2012: notes the manner in which, throughout the scene, [t] slaves exploit a free person s anxiety about the whipping of a slave in order to convince the free male to hand over cash ] 473: FLAGITIUM HOMINIS appositional gen. (A&G 343d, Lindsay 16, G&L 361 n. 3, Bennett 1914: 68: cf. Engl. a monster of a man = the man is a monster/gigantic ; other examples in Lilja 1965: 37-38); OPSECRO = obsecro; HUIC i.e., Saureae ; NE LOQUATUR *final clause [A&G 531]; [The second half of this line is again addressed as an aside to Merc.] 474: MALUM trouble; VOBIS dat. of interest ( for yourselves ) [A&G 376]; DIFFRINGENTUR apodosis of a fut.-most-vivid *condition (freq. in threats): addressed to Lib.; [ Saurea here intensifies his threats, placing Lib. in a seemingly desperate situation] 475: PERCIES likely pres. ind. (percieo Rotheimer 1876: 23, Bennett 1910: 66; cf. above line 471) rather than (as in CL) fut. (percio): there is disagreement about the force of percieo here: abuse verbally? motivate (i.e., persuade him to hand over the money)? The first seems most likely: Lib. continues to verbally abuse Merc., urged on by Saurea, but punctuates this abuse with urgent pleas for Merc. to have pity on him and give Saurea the money; IMPUDICUM not a word to be employed by a slave of an adult freeborn male: note how it is immediately picked up by Lib. when he addresses Merc.; PERII, HERCLE again, spoken for Merc. s benefit; AGE cf. ad 5 476: SCELESTE SCELESTO the first (voc.) in the more usual sense of wicked (employed for the benefit of Saurea ); the second (of Lib. himself) in the sense of unfortunate (spoken more softly and more urgently): cf. 856; NON AUDES do you not intend? ; MIHI dat. with cmpd. vb. [A&G 370]; SCELESTO *pred. (unlucky, wretched as I am) : PERGIN = pergis + ne [ Saurea pretends to have overheard Lib. s pathetic plea]; (ILLI) PESSUMO i.e., Merc.; PESSUMO = pessimo (dat. with precor, in the sense address entreaties to ); QUAE RES (EST)? what is this? ; tune servus homini libero male loquere?; TUN = tu + ne; LIBERO *pred. ( who is freeborn); SERVOS = servus (*pred. who are a slave, although a slave ); Asinaria A Student Commentary ( J.R. Porter, 2015) 115

122 Commentary: II.iv LOQUERE 2 nd sg. pres. ind. dep.; VAPULA imperative (addressed to Merc.); similar in tone to Bart Simpson s infamous, Get bent! ; ID i.e., vapulare; TIBI dat. of ref. (so far as you are concerned, in your case) [A&G 376] 479: UT VAPULES *consecutive clause (filling in the sense of id fiet in 478) [A&G 537]; simul ac/atque as soon as (Lindsay 136); CONSPEXERO *fut. pfct. ind. where Engl. employs a generalizing pres. [480-83]: Gray follows Ussing and other earlier edd. in bracketing these lines as an interpolated pastiche based on similar exchanges at Curc. 620ff., Pers. 745ff., and Poen. 767, 1225ff. cf. Lindsay 1904: 48, Thierfelder 1929: Although recent edd. retain the passage, there are good grounds for deleting it. One can supply a rationale for the obscure and somewhat confusing play with legal procedures at 480, but, as we shall see, this requires a good deal of work for relatively little pay-off, while as a whole interrupt the dramatic flow of the scene (see ad ). [480]: in ius vocare aliquem to bring a legal suit against someone: the process involved formally challenging your opponent, before witnesses, to accompany you to appear before the appropriate magistrate (cf. Curc , Pers , Poen. 1225ff., 1342ff., Truc. 840). In Rome, this is not a process that one would initiate against a slave (Gell. NA cited by Hurka involves the case of a thief apprehended in the act and is not relevant), nor are parallels provided by Greek comedy (but see Lilja 1965: 71-77; there is also the question of when verbal abuse of a freeman by a slave became an actionable offense in either Athens or Rome, and under what circumstances). The expression in ius vocare can readily be taken in a metaphorical sense, of Merc. hauling Leon./ Saurea before Dem. for punishment (see ad 486: quo vocas), but this is never made clear in the text: the language of judicial procedure is introduced abruptly and in a rather confused fashion in 480 (below, ad MEMENTO MEMINI ), then just as abruptly dropped. Moreover, to this point Merc. has been given no indication of where Dem. might be; NON EO i.e., I refuse to go to see my name entered before the magistrate and so take part in the process of indictment (or, in this case, to go before my master to answer for my behavior) on the use of the pres. ind. for fut. here: A&G 468, Lindsay 58, Bennett 1910: 21; MEMENTO 2 nd sg. *fut. act. imperative from memini [A&G 449.2a]; MEMENTO MEMINI the play with legal procedures continues: here, the touching of the ear of a potential witness as a formal means of compelling him to remember what he has seen and attest to it in court. (Note the fut. imperative.) One would expect this exchange to occur betw. the accuser and his witnesses (cf. Poen. 767), rather than the accuser and the accused. It is possible to assign this exchange to Merc. and Lib. (rather than Leon.), as a continuation of the parody of the formal process of indictment ( Thierfelder 1929: 50), but slaves could not serve as witnesses (cf. Curc , Pers. 749, Ter. Phorm ). Moreover, an appeal to Lib. as supporting witness does not square well with the plurals at 474, 481, and , where it appears that Merc. is becoming exasperated with both Leon. and Lib.: that Merc. should suddenly treat the slave Lib. as an ally is unexpected and confusing, given its lack of grounding in the context, and unnecessary, given that he is a freeman lodging a complaint against a slave with the slave s owner. [Hurka prefers to see a bit of comic business here: rather than touching either Lib. s or Asinaria A Student Commentary ( J.R. Porter, 2015) 116

123 Commentary: II.iv Leon. s earlobe, Merc. gives Leon. a blow on the side of the head: in response to Merc. s mock-formal memento ( recall what you have observed, so as to bear witness ), Leon. implies, by means of a comic gesture, that he remembers it all too feelingly cf. ad ] [481-83]: the redundant nature of this exchange, which adds nothing to that at , recalls scenes of abuse betw. Plautine slaves but is phps. out of place in an exchange between a freeman and slave, nor does it altogether accord with the restraint displayed by Merc. elsewhere in the scene: note, e.g., how readily the latter returns to the business at hand at 486ff. [481]: DABITUR SUPPLICIUM MIHI DE TERGO VOSTRO i.e., a penalty will be paid to Merc. from Leon. and Lib. s back (in the form of a lashing); VOSTRO = vestro (suggesting that both Leon. and Lib. are the objects of Merc. s wrath; the use with a noun in the singular [tergo] is vivid: cf. 551); VAE TE in place of the usual vae tibi (Lindsay 29; cf. Lindsay 1904: 48: The plebeian Latin construction vae te can hardly be ascribed to P but cf. Cat. 8.15) [482]: supplicium(ne) tibi detur de nobis, carnifex? DE NOBIS Lindsay 86; CARNUFEX = carnifex [As Gellar 2008: 15 notes, the term breaks down etymologically into meatworker, but it almost always in Latin literature means executioner or torturer and, metaphorically as an insult, villain or fucker ; cf. Lilja 1965: 56]; DETUR delib. subj. in a repudiating question: cf. ad 93; ATQUE ETIAM annexes a more important idea: and indeed, and what is more (underlining the emph. hodie at the conclusion of 483) [483]: VOSTRIS = vestris; PENDENTUR from pendo (3); HODIE as Hurka notes, the adv. is emphasized by its position at the end of the line, repeating the similar effect at : VERBERO voc.; AIN = ais + ne (indignant: on the use of this collocation, see ad 812); FURCIFER see Lilja 1965: 54; censes nos erum (nostrum) fugitare? NOS FUGITARE acc. + inf. following censes; [As Lilja notes (loc. cit.), the use of such language by a slave of no matter what status in addressing a freeman is unparalleled and indicates that, as at , Leon. is getting carried away in his role. The deletion of places the emphasis squarely on Leon. s/ Saurea s faux indignation, as (building upon ) he here hits something of a comic crescendo] 486: QUO QUO rel. adv. (whither, to where); QUO (NOS) VOCAS whither you summon us [i.e., for punishment]; quo iam dudum (ire/nos ducere) volebas; [Hurka cites quo vocas here in support of retaining 480, but both passages depend, for their sense, on and on Merc. s repeatedly expressed desire to speak to Dem. in person (iam dudum volebas). Kurrelmeyer 1932: 45 mistakenly takes 486a as addressed to Lib.] : NUNC DEMUM expressing Merc. s exasperation (since he has been seeking to be taken to Dem. from the beginning of this scene); HINC i.e., from this bag (again pointing to the significant presence of the longed-for cash); fero = obtain, acquire (cf. 355); NUMQUAM ARGENTI NUMMUM as in Engl. not a penny ; ARGENTI gen. of material [A&G 344]; ME DARE (ARGENTUM TIBI) acc. + inf. following iubeo; IUSSERIT *fut. pfct. ind. where Engl. employs a generalizing pres. [A&G 516.a]; FACITO *fut. imperative [A&G 449]; AGE cf. ad 5; AMBULA (MECUM AD FORUM) Asinaria A Student Commentary ( J.R. Porter, 2015) 117

124 Commentary: II.iv even here Merc. is provided with no indication of where Dem. might be (above, ad 480), but the audience can readily fill in the omission 489: CONTUMELIAM Stewart 2012: 111 notes how Leon. once again appropriates the language of the elite freeborn male; ALTERI (dat.) to/against someone else (alter for alius, as often: L&S s.v. II.A); contumeliam facere to throw insults at, speak abusively to someone; FACIAS DICATUR delib. subj. in a repudiating question [cf. ad 93]: Are you to to hurl abuse at someone else, while none is to be hurled at you? (with the two clauses joined by *asyndeton [A&G 323b]); DICATUR sc. contumelia or (better) contumeliose; [Lib. switches to an urbane mode in an attempt to smooth over his past excesses. Note that, here and below, he still plays the wordly man of business, one who can speak with freemen on an equal footing] 490: TAM QUAM correl. adv. [A&G 323g] ( I am as much a human being as you are ); SCILICET of course (Lindsay 113); SEQUERE 2 nd sg. imperative; HAC adv. 491: PRAEFISCINI (later praefiscine?) (precise derivation disputed: Francis 1973: 32-33); here = if I might say so myself, not to brag, but (absit invidia verbo Gray); DIXERIM potential pfct. subj. (where Engl. employs a pres.: Lindsay 62; cf. de Melo 2007a: 214 and 313, Woodcock 119, A&G 447.1): I might say, let me just say 492: MERITO MEO i.e., justifiably, deservedly (cf. ad ); ME abl. of comparison [A&G 406] after alter (Lindsay 50); ALTER = alius (cf. ad 489); ATHENIS locative [A&G 80, and n. 1] : cui putent credi recte aeque; QUOI PUTENT *rel. clause of characteristic [A&G 535a]; QUOI = cui; CREDI impers. pass. inf. ( it is trusted, trust is placed ) in indir. disc. introduced by putent; RECTE = safely (cf. Cic. Att , Fam ); AEQUE = equally, to the same degree ; PUTENT with generic pl. subject ( people, everyone ); FORTASSIS = fortasse ( Calboli 2012: ) cf. 499, 502: Merc. s repeated use of this expression conveys the caution with which he continues to regard Leon. s claims; numquam me induces ut hoc argentum tibi ignoto credam; UT CREDAM *jussive noun clause [A&G 563]; IGNOTO *pred. ( whom I do not know ) 495: LUPUS complement after sum; HOMINI dat. of ref. ( so far as his fellow man is concerned ) [A&G 376]; NON HOMO providing a second, rejected, complement after sum ( not a human being ); *QUOM = cum (+ ind.); QUALIS SIT *indir. question [A&G 573] (qualis as a virtual equivalent of quis); QUOM NOVIT ind. in cum clause (expressing a general truth: whenever ) (A&G 548); [ Traina 1954: finds here a conscious parody, in P. s Grk. original, of a more noble Menandrian sentiment: cf. Caecil. 264 (homo homini deus est, si suum officium sciat). Characteristically, Gunderson 2015: 178 and n. 82 cf. id finds further complexity in an ambiguity re the actual subjects of sit and novit] : SECUNDA neut. pl.; SECUNDA MIHI FACIS = mihi obsecundas; MIHI dat. with adj. of fitness, etc. [A&G 384]; sciebam te huic capitulo hodie satis facturum (esse) pro iniuria; SCIBAM = sciebam (cf. ad 300); HUIC CAPITULO i.e., mihi (mimicking the use of caput in formal legal contexts to indicate the individual in his/her capacity as a citizen endowed with rights) but see below and ad 480; Asinaria A Student Commentary ( J.R. Porter, 2015) 118

125 Commentary: II.iv TE FACTURUM (ESSE) acc. + inf. following sciebam; satis facio = give satisfaction, make right, act in an agreeable manner (+ dat. of ref.); PRO INIURIA in answer for your earlier offence ; [Leon. maintains his high-handed facade, responding as if Merc. has acknowledged that he had been at fault in some way. Earlier edd., troubled by the seeming lack of motivation for this line, posit a lacuna after 495, but (as Hurka notes) Leon. simply inverts the significance of the maxim cited in 495: where Merc. stressed the need for caution when dealing with strangers, Leon. purports to take this as an apology for Merc. s own uncivilized behavior. Hurka provides further motivation for the reference to iniuria via a bit of stage business at 480: see my note ad loc.] 498: FRUGI cf. ad 175; PECULIUM (MEUM) nom.; NEC POTEST PECULIUM ENUMERARI comm. note a double entendre here: Saurea is so wealthy that he cannot count all of his money, while the slave Leon. is in a similar situation given that he has none to count. (Leigh 2004: 90 and n. 125 cites passages that present the possession of a peculium as the mark of a virtuous or worthwhile slave. ) 499: FORTASSE cf. ad ; RHODO abl. of origin ( from Rhodes ) (A&G 403.1, Lindsay 32); [This (fictive) allusion is cited by those seeking a specific date for Demophilus play, since it implies a period when commerce could be engaged in freely in the southern Aegean] 500: APSENTE = absente; APSENTE ERO abl. abs. [A&G 419]; ARGENTI gen. of material [A&G 344]: cf. above ad 193; MIHI SOLI indir. obj. 501: CREDIDIT sc. talentum argenti; DECEPTUST = deceptus est [deceptu(s) st prodelision]; IN EO indef. neut. (in that business, in that regard) : FORTASSE cf. ad ; ATQUE ETIAM cf. ad 482; si me percontatus esses ex aliis, crederes (mihi id) quod nunc fers; SI ESSES PERCONTATUS, CREDERES mixed contr.-to-fact *condition (past contrary-to-fact protasis; pres. contrary-to-fact apodosis although the latter is likely to be taken as referring to the past scene); ESSES PERCONTATUS ME here the acc. must be taken in the sense of make inquiries about me (contrast 343); earlier edd. delete me as a mistaken line heading. (In our texts, ME. is employed to designate lines spoken by MERC.); EX ALIIS (HOMINIBUS) OLD s.v. ex 14c; SCIO POL parenthetical; (MIHI) CREDERES (ID) QUOD FERS suppressed antecedent [A&G 307c]; NEGASSIM archaic form = pfct. subj. (cf. ad 256): potential subj. in a polite (but still guarded) expression of assent: I would not at all deny it ) [STAGING: exeunt omnes, via Wing B.] SCENE III.i [Trochaic septenarii] Cleareta reproaches Philaenium for her continued loyalty to Argyrippus, despite his poverty, and for the fact that she shuns wealthy clients. Asinaria A Student Commentary ( J.R. Porter, 2015) 119

126 Commentary: III.i [BIBLIOGRAPHY: Legrand 1917: , Rosivach 1998: 63-66, Fedeli 1999, Woytek 1982: (comparing Pers ).] [STAGING: Clear. and Phil. enter the stage from Clear. s house.] : the vivid introduction of Clear. and Phil., whose argument is already in full swing, scarcely leaves the audience time to wonder why they have elected to hold this conversation in the street. Contrast the nod to realism at : nequeone facere te mansuetam interdictis meis; NEQUEONE = nequeo + ne; TED = te; INTERDICTIS dat. with mansuetem (taking the latter in the sense of oboedientem: cf. Sen. ad Marc. 22.5) [G&L 383]; on the significance of the term in Roman law: Falcone 1988; MANSUETEM: here and at 145, this is an alt. 3 rd -decl. form attested by the ancient grammarians and inserted by modern edd. in place of mansuetam. 505: ita tu animata es ut sis expers imperio matris?; ANIMATA disposed in a particular way, inclined, minded ( strong willed, headstrong ); UT SIES: *consecutive clause, following ita so as to be [A&G 537]; QUI not the rel. pron. (which would require the fem.) but an indefinite particle regularly employed for emphasis following at, ut, quippe, and various exclamations (pol, edepol, ecastor, hercle); retained in CL atqui [Lindsay 95, 108, and 119; L&S II. qui II.C; A&G 150b]: indeed, somehow ; EXPERS having no part in, free from (+ abl. of sep. [A&G 401]); imperium authority (cf. Fedeli 1999: , Leigh 2004: and n. 87, Barrios-Lech 2016: 174); SIES = sis; [i.e., Phil. is so headstrong as to ignore her mother s wishes, as if she were sui iuris] : ubi piem Pietatem, si postulem (me) placere tibi, moratam isto more quo pacto praecipis mihi?; UBI i.e., under what circumstances, how (a relatively rare use); pio = to worship, honor (delib. subj. [A&G 444]); ISTOC MORE adv. (abl. of manner [A&G 412]): in that fashion (cf. 272), to be taken with moratam; ISTOC [= isto] this is picked up by quo pacto in 507; MŌRATAM = endowed with a certain character more moratam yields an etymological jingle of a sort freq. employed by P. (as in piem Pietatem); postulare to desire, claim, think it fit (Gray cfs. the Grk. ἀξιοῦν): the pres. subj. in the protasis of a fut.-less-vivid *condition (cf. Bennett 1910: 276); PLACERE sc. me (acc. + inf. introduced by postulo): the construction is anticipated by the acc. moratam in 506 and reflects P. s habit of favoring the acc. + inf. construction over *prolative infs. (cf. ad 67); MIHI dat. with praecipio [A&G 370]; QUO PACTO in which manner, way: i.e., in that way in which (correl. with istoc more in 506 [A&G 323g]): having been reared in that fashion in which you instruct me i.e., if I assumed the type of character that you have attempted to bestow upon me; [From her first words with their involved syntax, etymological word-play, and extensive use of alliteration the Asinaria A Student Commentary ( J.R. Porter, 2015) 120

127 Commentary: III.i audience can see that Phil. is not the typical New Comic ingénue, but a potentially formidable presence] 508: AN regularly employed to introduce an indignant question (cf. 524, 528); decorum est te adversari praeceptis meis? DECORUM EST impers. (introducing an acc. + inf.); ADVORSARI = adversari; QUID EST? requests an explanation ( What do you mean? What s the matter? ); [Given P. s general practice, this last reads better as a question posed by Phil. than as an indignant transitional expression on the part of Clear. (Hurka), but it is awkward on either reading. The line as a whole disrupts the flow of the argument and could easily be omitted as a weak mishmash of 504 and 509 ( Ussing 1875 ad loc., followed by others)] 509: HOCCINE (= hoc + ne) complement of est (with pietatem colere as subject): Is this what it is to? [Bennett 1910: ]; hoc anticipates imperium matris minuere, with which it is in apposition; IMPERIUM cf. ad 505; [Barber 2011: notes how Clear. s perversion of the notion of parental authority and filial pietas complements that of Dem. in I.i and V.i. McCarthy 2000: 142 compares the confrontations at Cist. I.i, Pers. III.i] 510: QUAE i.e., eas quae (suppressed antecedent [A&G 307c] sc. mulieres/matres/puellas?); DELINQUONT = delinquunt; [nec culpo eas [???] quae, nec amo eas quae : the ambiguity inherent in Phil. s reply just what women does she mean? and her failure to address Clear. s main point motivate Clear. s response in 511] 511: AMATRIX a witty and rather coarse word: see. Lilja 1965: 13 for similar formations; Hallett 1992: 119 and n. 39; [The agent noun amator (A&G 236), used of a male lover, incorporates traditional notions of the assertive male; used of a young girl it disrupts the gendered norms that governed sexual and social behavior. Prostitution in New Comedy often provides the site for such disruptions: cf. the final scene of our play]; IS anticipates the gender of the complement quaestus): points ahead to the list in 512 ( This is my way of making a living ); for the tone, cf. the lecture that Clear. presents to Diab. at ; MIHI *dat. of possession [A&G 373] 512: my tongue makes demands, my body plies its trade, my heart entreats, my circumstances command a marvelous line, but not altogether easy to decipher; LINGUA POSCIT: sc. munera/data cf. 165, 168, 181, 197, 234; QUAERIT: sc. lucrum (cf. 217), rem suam (= quaestum facit); ANIMUS ORAT: my mind/heart/passion pleads/begs? ( prompts Gray and de Melo); RES MONET: the reality of my situation/my self-interest ( my circumstances Gray and de Melo) warns, advises, instructs ( guide[s] Gray; urge[s] de Melo); [The third item in this list (ANIMUS ORAT) presents the chief difficulty. De Melo follows earlier edd. in printing the line as two pairs of thoughts, divided by a semi-colon. The first pair presents an apparent opposition betw. Phil. s tongue and her body (reminiscent of the traditional contrast in Grk. thought betw. word and deed: λόγος vs. ἔργον) an opposition that is exploded in the end, since both unite in contributing in a tangible way to Phil. s income. The second pair associates or contrasts her personal longing with the external social and economic realities that constrain her but, despite the recurrence of animus at 537 and 542 (cf. 156), Asinaria A Student Commentary ( J.R. Porter, 2015) 121

128 Commentary: III.i it is difficult to determine what that longing might be, in this context, or how it suits the logic of Phil. s list (cf., e..g, Clear. s response in 513). Ussing 1875: 399 (ad 522) takes each pair as a unit and detects a contrast betw. Phil. s professional behavior (lingua, corpus) and her personal longing (animus, res): Respondet filia eam esse huius quaestus naturam, ut, quum lingua impudenter poscat et corpus quaerat, animus, re ipsa monente, quae velit, eloquatur et, quae optet, proferat cf. Naudet s paraphrase of 512b (1830 ad loc.): ANIMUS ORAT, ut Argyrippum diligam; RES MONET: ipsa res quam exerceo, me monet ut amem. (Weise, on the other hand [1837 ad loc.], subordinates the first pair to the second: et res et animus orat monetque seu impellit, ut corpus quaerat, i.e. quaestum faciat, lingua autem poscat.) Hurka (no semi-colon) obtains greater consistency by detecting in animus orat an allusion to the wheedling coquetry that Phil. must employ with her clients, thereby tying the third item directly to the previous two, but this reading, which requires taking animus in an ironical sense, seems somewhat strained and to a great degree merely repeats the idea inherent in lingua poscit. In the end, I can offer nothing better]; [The clever, sing-song tone is enhanced here by the structuring within the line (versus quadratus: Gerick 1996), with coincidence of ictus and accent (below, p.xx): língua póscit, córpus quaérit, ánimus órat, rés monét] 513: TU ADES i.e., sed tu (*asyndeton [A&G 323b]: the opposition is suggested by the emphatic contrast EGO TE TU MI); MI = mihi (dat. with adesse); ACCUSATRIX *pred. (another comic fem. verbal noun: cf. ad 511) 514: neque existimo fas (esse) me id facere; EXISTUMO = existimo (introduces the acc + inf. fas esse, which in turn governs the acc. + inf. me facere) [Bennett 1910: 388] 515: VERUM adv. (cf. ad 310); cum prohibeor illo quem amo; *QUOM = cum (+ ind.); ILLO (masc.) abl. of sep. [A&G 401]; [This line rules out the presence of Argyr. in Clear. s house at this point: see ad 329 and 591] 516: DE DIE during the day, in daytime, in the course of the day (L&S s.v. de I.B2; Lindsay 86-87) i.e., before night falls and court adjourns (cf. 825) : along with , these lines give an unusually down-to-earth view of the prostitute s profession, considering their source. Phil. in this play assumes the role of both the saucy professional courtesan (here and 893ff.) and (in both this scene and at 591ff.) the devoted young female love-interest (cf. Traina 1954: , Lowe 1992, Porter 2016). The threat to Cleareta s livelihood that she suggests here is esp. interesting: this is no helpless ingénue living under the authority of a demanding leno/lena and waiting passively to be saved by the usual matrix of recognition/legitimacy/marriage; but neither is she altogether the calculating professional. See, further, Hurka, who (introduction to the scene) notes the way in which Phil. s dilemma, and her opposition to parental authority, recall the situation of the typical male adulescens of New Comedy one of several role-inversions presented in this play; [As noted in the introduction to I.ii, the transformation in the presentation of Phil. s character at the end of the play is determined to a large degree by the suddent plot-shift introduced at : the present passage helps to lay the ground for that transformation. In the end, however, Phil. consistently stands Asinaria A Student Commentary ( J.R. Porter, 2015) 122

129 Commentary: III.i betw. two worlds: both the practiced courtesan of whom we hear obliquely in I.ii and I.iii, and the lovelorn pseudo-maiden] 517: LOQUENDI gerund (partitive gen. with pars: A&G 504); TUAM (sc. partem); [Phil. echoes a forensic trope here, in response to Clear. s courtroom metaphors in 513 and 516: speakers in an Athenian courtroom occasionally offer to allow the opposing litigant to employ some of the time ( water ) allocated to the presentation of their own case: e.g., Demosth , 19.57, [50].2, 57.61; Aesch. 2.59] 518: AD + gerund with a view to doing x, for doing x (A&G 506, Lindsay 84; Bennett 1910: ); TUTE = tu; HABEAS jussive subj. [A&G 439] in place of imperative; portisculus hammer used to beat time for rowers : QUIN in affirmation ( but to be sure ); REPOSIVI QUIESCO CONSISTIT Phil. s implied threat is made all the more vivid by the use of the pfct. and pres. ind.; REPOSIVI < repono: alt. form of the 1 st sg. pfct. act. ind.; ubi ego sola in casteria quiesco; SOLA fem. nom. sg. (*pred.); the adj. has a humorously double point: Phil., by herself, has the ability to put an end to Clear. s business, by resting by herself (i.e., with no clients); CASTERIA word of unknown origin and meaning (hapax): part of ship where gear stored? where oarsmen rested? the deck?; OMNIS with causa; familia household, establishment; CAUSA = negotium (business undertaken for anyone, employment); TIBI: note the particularly effective use of the *sympathetic dat. here, in the sg., to make the threat more pointed and personal [A&G 377] 521ff.: on Clear. s ars amandi, see Fedeli 1999: 35-36, : QUID AIS TU? used to indicate surprise, astonishment, or indignation (see ad 104 and see Barrios-Lech 2016: 174, who notes the association of this phrase, in such contexts, with masculine authority); QUAM EGO UNAM VIDI MULIEREM AUDACISSUMAM = audacissima omnium mulierum quas ego vidi; QUAM VIDI (ESSE) acc. + inf. following vb. of perception (cf. ad 23-24); MULIEREM AUDACISSUMAM complement after esse; UNAM *pred. and emphatic: alone, by yourself [L&S s.v. unus I.B.3] (replacing the expected partitive gen. omnium): cf. Engl. the single most ; AUDACISSUMAM = audacissimam 522: VOTO = veto (like iubeo, this regularly takes the acc. + inf. vs. a *jussive noun clause) 523: compello to speak to, address (+ acc.); COLLOQUIVE colloquor regularly takes an acc. obj. in P.; the enclitic VE is employed in P. as a copula a virtual equivalent of que (cf. CL sive: Lindsay 128, Langen 1880: 95-99); it is employed here to add texture to Clear. s list; contueor/contuor to gaze at (+ acc.) : these lines add further grounds for assigning I.ii and I.iii to DIab. (intro. to I.ii) the portrait here is not of a young man who has now run through his patrimony, but an infatuated lover who has never had anything to give but his affections, and whose sole hope lies in the death of his mother (!). Asinaria A Student Commentary ( J.R. Porter, 2015) 123

130 Commentary: III.i 524: DEPORTARI almost technical of sending presents to a mistress house (Gray); AN cf. ad 508; TIBI ethical dat. (A&G 380), here used indignantly: do you really think?, do you think, I ask you,? 525: verba blanda aurum esse (et) dicta docta pro datis (esse) acc. + inf. following rere; RERE 2 nd sg. pres. ind. of reor; DOCTA here in the sense of cunning (a virtual equivalent, in this context, of blanda); PRO DATIS as good as gifts (for this use of data, cf. 56, 166) 526: ULTRO i.e., gratis; expetesso (3) to seek earnestly; (EUM) AD TE ACCERSI acc. + inf. after iubes (eum is to be understood with all three vbs. in this line) 527: EOS resumptive pron. (cf. ad 144), here employed to underscore Clear. s exasperation: Those who give things, them you ; deperis (illos) qui (te) deludunt suppressed antecedent 528: an oportet te id exspectare; AN cf. ad 508; ID obj. of exspectare; anticipates the content of the following si clause; SI QUIS = si aliquis [A&G 310a]; SI QUIS PROMITTAT after exspecto, si quis + subj. conveys the sense of if by chance someone might, whether someone might (*indir. question + subj. [L&S s.v. exspecto I.1.A.3; A&G 576a]) [cf. Lindsay 114, Bennett 1910: 275, 331]; [Clear. sardonically focuses not on the actual proffering of gifts, but the mere promise of them, further highlighting the impracticality of Phil. s behavior] 529: i.e., promittat (se) te divitem facturum (esse); (SE) FACTURUM (ESSE) acc. + fut. inf. following vb. of promising; DIVITEM *pred. acc. following factitive vb. (A&G 393); SI MORIATUR subj. in subord. clause in reported speech (with si for the expected ubi: cf. ad 143), representing an original pres. subj. (equivalent of the protasis of a fut. less vivid *condition: when his mother dies [whenever that might be] ) [Woodcock 280.7]; [Note the comic inversion here, which points to the emasculation of Dem. and the power wielded in his household by the wealthy Art.: in contrast to the typical rake (e.g., Luc. Dial. Mer. 7.1), Argyr. is presented as hoping to come into wealth upon his mother s death (cf ). The absurdity of the situation accounts for the indignant and scornful tone of Clear. s speech] 530: ECASTOR cf. ad 188; PERIC(U)LUM; FAMILIAE (NOSTRAE) dat. of ref./disadvantage [A&G 376]; portendo to portend, foretell, presage 531: DUM + pres. ind. while [G&L 569] (following NE MORIAMUR); EIUS i.e., Artemonae; NE MORIAMUR: fear clause, introduced by periclum (530); EIUS MORTEM NOS MORIAMUR the pointed contrast, along with the postponement of the fear clause, underscores Clear. s bitter sarcasm; FAME causal abl. [A&G 404] 532: ADEO (adv.) used here as an emphatic particle to emphasize the preceding adv. [L&S s.v. II B3]; NUNC ADEO to introduce an energelic command or expression of resolve, generally in breaking off a discussion (Gray); HUC adv.; ARGENTI gen. of material [A&G 344]; AFFERT pres. ind. for the expected fut. [Bennett 1910: 66] 533: NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; LARGUS (*pred., with concessive force) lavish as he is (+ obj. gen. A&G 349a); [The pause represented in de Melo s Asinaria A Student Commentary ( J.R. Porter, 2015) 124

131 Commentary: III.i text is unlikely to have been employed in performance: the *paraprosdokian is evident without it. (Lovers in New Comedy should be lavish in presenting gifts, not tears)]; FORAS adv. 534: SUMMUST = summus est [summu(s) st prodelision]; SUMMUS here in the sense last, latest, extreme, final (= postremus); QUO takes dies as antecedent (abl. of time when or within which [A&G 423]); INOPIAE appositional gen. (A&G 343d); [Zagagi 1980: 117 notes the echo of the language of judicial magistrates; cf. 594] 535: PATIAR SI I will endure (it) if you (with the si-clause providing the implied obj. of patiar; this is to be distinguished from the use of si in introducing *indir. questions: A&G 576a); PATIAR best taken as a fut. ind. (cf. 240), but see Rotheimer 1876: 42; CIBO abl. of sep. [A&G 401] with vb. of lacking; IUBES vs. the expected fut. ind. (A&G 516a n.); [While both patior and cibus can be employed in erotic contexts, attempts to import a sexual connotation to this line are unconvincing: in response to Clear. s assertion that favoring deadbeats such as Argyr. will reduce their entire household to poverty and starvation (531), Phil. agrees to forgo food so long as she can maintain her erotic relationship with the one man she truly loves. See Porter 2016: on the contrast betw the mercantile and controlling Diab. of I.ii, I.iii, and IV.i, and the utterly impractical nature of the affection that unites Phil. with Argyr.] 536: VOTO = veto (+ acc. + inf.); TED = te; QUI DANT i.e., eos qui dant (suppressed antecedent: A&G 307c); QUIOIA cuius, -a, -um (poss. adj.): pertaining to whom, of whom, whose; QUOIĀ GRATIĀ abl.; [gratiā is regularly employed as post-positive prep. with the gen. The phrase quoia gratia presents a curious form of compression that is quite common understand: qui dant ea (neut. pl.) quorum gratiā amentur. The possessive adj. quoius, in agreement with gratiā, implies an obj. gen. dependent upon gratiā cf. metus hostilis = fear of the enemy (A&G 348a, 404c: cf. above ad 68 and 144)]; AMENTUR subj. in *rel. clause of characteristic/purpose [A&G 531.2] ( who give things for the sake of which they might be loved i.e., gifts that would induce you to share your favors with them) 537: QUID SI OCCUPATUST for the ind. here (in a request for information), cf. Lindsay 115; QUID SI QUID quid si normally introduces an open-ended question, with a partially suppressed apodosis ( What [will happen,] if?, What [am I to do] if? cf. 195); the supplying of this apodosis (here in the form of a parallel question) adds to the sense of urgency/pathos; HIC adv.; ANIMUS cf. 505; OCCUPATUST = occupatus est (occupatus here in the sense of fixed, devoted ) [occupatu(s) st prodelision]; FACIAM delib. subj. [A&G 444] 538: CONTEMPLES jussive subj. [A&G 439]; EX RE TUA: with a view to your own affairs/interests/circumstances i.e., to your own advantage (L&S s.v. ex III G; Lindsay 87 contrast ab re in line 224); [As an elderly former prostitute, Clear. attempts to communicate the hard realities of their profession to Phil., particularly the danger of assuming that her young lovers will still be flocking to her when she is older and has lost the charm of youth. This type of scene is common in New Comedy: cf. Most. 157ff.] Asinaria A Student Commentary ( J.R. Porter, 2015) 125

132 Commentary: III.i : OPILIO a shepherd (nom.); OVIS acc. pl.; [The image introduced here is humorously apt: like a herdsman looking after his master s flock, Phil. will continue to tend and to fleece (cf. Bacch , , Merc : see next n.) the other sheep entrusted to her, but begs to be allowed to foster one lamb of her own] 541: ALIQUAM (OVEM) note the use, here and in , of the fem. ovis: this emasculation of the helpless lover, who has been ensnared by the wiles of the meretrix, is common in New Comedy: cf. Bacch. 1120ff. and above ad 218; peculiaris, -e personal, one s own (*pred.): here, likely, in reference to property (peculium) that a slave was permitted to accrue as his own (Watson 1971: 45 and n. 2); QUI = instr. abl. of the rel. pron. (A&G 150b): the antecedent is ovem peculiarem (fem.); QUI SOLETUR *rel. clause of characteristic/purpose [A&G 531.2]; solor (1) to comfort, soothe, nurture; [Arguments from silence are always subjective, but it is phps. worth noting that Phil. nowhere bolsters her case by citing the obligation entailed by Argyr. s past services, as we might expect if he were the young man of I.ii and I.iii: cf., e.g., Most ] 542: sine me amare solum Argyrippum, quem volo, animi causa; SINE 2 nd sg. pres. imperative act.; UNUM (*pred.) i.e., solum ( alone : L&S s.v. unus I.B.3): one might take unum as part of the rel. clause quem volo, but the word order is against this; ANIMI heart, desire ; ANIMI CAUSA corresponding to qui spem soletur suam in : INTRO adv.; ABI 2 nd sg. imperative of abeo; TE abl. of comparison [A&G 406]; NIHIL IMPUDENTIUS the use of the neut. reflects Clear. s exasperation (cf. the contemptuous use of thing in English: OED s.v. II.10.a) 544: AUDIENTEM (*pred.) i.e., obedient (audio + dat. is less freq. than + acc., but not uncommon in P.); dictum command, order; produco to rear, educate (children); [Given Phil. s unyielding insistence on being allowed to love Argyr., the vexed tone of Clear. s final comment in 543, and the generally inconclusive nature of this scene, 544 must be tinged with the same irony evident in a number of Phil. s exchanges with Clear.: Phil. cheerfully agrees to reenter the house, in accordance with her mother s wishes, while ignoring Clear. s more fundamental concerns. The line rounds out the scene nicely with its tart echo of ] [STAGING: Clear. and Phil. enter Clear. s house.] SCENE III.ii [Iambic septenarii] Libanus and Leonida celebrate their success achieved with the assistance of Demaenetus in extracting the twenty minae from the merchant s agent. Asinaria A Student Commentary ( J.R. Porter, 2015) 126

133 Commentary: III.ii [BIBLIOGRAPHY: Thierfelder 1929: 33 n. 1xx; Marshall 1999: ; Stewart 2012: ] [STAGING: Lib. and Leon. enter the stage via Wing B.] : on the parody here of the typical triumphator s prayer to Jupiter, see McDonnell 2006: 23-24; cf. Fraenkel 2007: Attempts to identify a more specifics allusion (e.g., Herrmann 1929: , Buck 1940: 33-36) are unconvincing. Stewart 2012: notes how the slaves brag about their capacity to survive the coercive instruments of the slave society. Barrios-Lech 2016: 241 and n. 33 compares other passages in which tricky slaves (or similar characters) present humorous collocations of terms for trickery, deception, cunning ruses, etc. 545: PERFIDIAE comic personification (dat. sg. with laudes gratiasque habemus: cf. gratias tibi ago); MERITO (adv.) deservedly, rightly (cf. ad ); MAGNAS to be taken with both laudes and gratias 546: *QUOM = cum (in the present state of the text, this lacks a vb.); SYCOPHANTIIS, DOLIS ASTUTIISQUE instr. abl. [A&G 409]; an instance of the relatively infrequent listing x, y, and z, so common in Engl.: comically grandiose; SYCOPHANTIIS cf. ad : SCAPULARUM CONFIDENTIA one of many references in P. to the brazenness of the servus callidus who has been whipped so many times that his shoulders are inured to pain (cf , 419): as Gray notes, confidens in P. generally implies an arrogant brazenness; SCAPULARUM obj. gen. [A&G 348]: confidence in our shoulders ; CONFIDENTIA VIRTUTE abl. with freti; ULMORUM elm-rods employed to beat slaves: a rather odd *paraprosdokian; phps. (Hurka) another obj. gen. (A&G 348: bravery in the face of elm-rods ). The 4 th /5 th -century grammarian Nonius records ulnorum [a variant of ulnarum forearms (i.e., arms)]: this seems out of place, since all of the other items in Lib. s list are decidedly unheroic in sense. Others suggest umerorum, which is possible but redundant after scapularum confidentia; [On Lib. s comic bravado, cf. Fitzgerald 2000: 40] 549: QUI presumably with Lib. and Leon. as the antecedent (again, a vb. is missing); ADVORSUM = adversum; laminae ardentes: red-hot metal plates employed as instruments of torture 550: nervus apparatus used for securing prisoners; numella framework fitted around neck of prisoners or animals so as to prevent movement; pedica shackle, fetter; boia a collar or yoke worn by criminals 551: INDUCTORES a hapax, from induco (to move, excite; put on; draw over, spread over, overlay). Gray: qui tergum rubro colore inducebant tanquam parietem pictores i.e., those who tattoo or scar the back with lashes. Hurka: those who apply (induco) chains, bonds, etc. i.e., torturers, tormentors. It is difficult to know what to make of the word, given the fragmentary nature of the passage, but it would seem to be in apposition to the items previously listed comic personification (cf. de Melo s translation); ACERRUMOS = accerimos; NOSTRI TERGI obj. gen. with gnaros [A&G 348]: for the sg. cf. 481 Asinaria A Student Commentary ( J.R. Porter, 2015) 127

134 Commentary: III.ii [552]: likely an intrusive gloss orig. intended to elucidate 551 but, as Hurka notes, objections to the line s metrical form are not conclusive; ANTE adv. 554: EAE NUNC LEGIONES, COPIAE EXERCITUSQUE cf. the similar use of que at 546 (the line continues the grandiosely triumphant tone, expressed via the same verbal superabundance, as is evident in : cf. Sharrock 2009: ); EORUM of theirs (i.e., belonging to the slaves unnamed opponents): this deliberately vague possessive gen. works in conjunction with the grandiose military terms in this line to give an inflated sense of the recently concluded encounter with Merc. 555: [The enemy s great forces,] fighting valiantly, thanks to our dishonest deceptions have achieved a quick retreat! ; VI abl. of manner [A&G 412]; PUGNANDO gerund (instr. abl. [A&G 507]); [The grandiloquent expression VI PUGNANDO ( by fighting mightily a common collocation: cf. Amph. 414, Men. 1054, Miles 267) is ironically misleading, since the enemy s valor is quickly undone by the slaves deceptions and concludes with the enemy forces themselves being routed. Earlier edd. place a comma after pugnando, taking it as parallel to periuriis (*asyndeton [A&G 323b]) in reference to Lib. and Leon. s heroic efforts, but this seems a less natural way to take the expression and spoils the joke somewhat]; 130 PERIURIIS causal abl. [A&G 404]; POTITI (SUNT) (potior) agreeing in gender and number with hostes (implied by the cmpd. subject provided by 554); FUGAE obj. gen. with potiti sunt [A&G 357a]: a comically grand circumlocution with a humorously ironic twist (since soldiers are normally celebrated for the taking of a city or the like, not the achievement of turning tail); [Comm. have generally regarded potiti here as the passive of potio ( to put someone [acc.] under the power of another [gen.], ) as, e.g., at Capt. 92, 144, 762, Epid. 532, 562: in that case, one should translate they have been taken captive by Flight (reading Fugae). This might well be the correct interpretation. In taking fugae as an obj. gen. I am influenced by the use of potior with this gen. elsewhere: as opposed to the acc. and the abl. (which are more common as objects of potior), the obj. gen. seems to emphasize the acquisition of mastery or control and is somewhat more lofty (as in the comically overblown Rud. 1337: cf. B.Afr. 18.4, 50.4, 61.5, Cic. Off , etc.). Following the bombastic introduction to the enemy troops in 554, vi pugnando suggests that the audience is being further set up for a bathetic conclusion: while it is impossible to argue the case definitively, I ve opted for the reading that gives the enemy greater (comic) agency.] 556: ID i.e., their victory; VIRTUTE COMITATE instr. abl. [A&G 409]; virtus courage, valor (cf. above ad ); COLLEGAÏ = collegae (archaic gen. [A&G 43a] another inflated term with military overtones): huius collegae = my colleague here ; comitas obligingness, consideration, courtesy (MEA COMITATE through my kind assistance [Gray, de Melo: abstract for concrete]; a comically affected phrase) 557: qui vir fortior est me ad sufferendas plagas? ME A&G 407b and Woodcock 81(ii) note that the abl. of comparison is more common than quam in negative expressions of comparison, and, as here, in 130 Vis and dolus (periuria) are generally treated as antithetical terms in military contexts (e.g., Naev. trag. 34). Their juxtaposition here is clearly humorous, but the common interpretation of 555a yields a rather muddy result. Asinaria A Student Commentary ( J.R. Porter, 2015) 128

135 Commentary: III.ii rhetorical questions that expect a negative answer; SUFFERUNDAS = sufferendas (gerundive ad + noun + gerundive = with a view to, when it comes to [A&G 506; Bennett 1910: ]); [The conclusion of the line gives a more honest sense of just where Lib. s valor lies (cf. ad 547): note the humorous exploitation of the pause associated with the mid-line diaeresis (just before ad sufferundas plagas)] 558: VIRTUTES i.e., deeds of valor (abstract for concrete: McDonnell 2006: 23-24); QUI particle (cf. ad 505); NON POSSIS potential subj. ( you could not possibly ) [A&G 447, Bennett 1910: ]; [Some edd. take qui as the interrog. pron. (qui tuas nunc possit collaudare) and print as a question] 559: sicut ego possim (laudare ea) quae ; POSSIM potential subj. (by attraction to possis in 558) [A&G 593]; QUAE neut. pl. acc. (sc. ea suppressed antecedent [A&G 307c]: those things which ); DOMI DUELLIQUE at home and in war, at home and abroad (locative) [A&G 427.3a]: a common phrase in the celebration of military achievements (McDonnell 2006: 23-24) employing the loftier, archaic duelli for belli. [You can see the substitution of b- for du- in the contrast betw. bis ( twice orig. duis) and duo]; MALE undercuts the apparent praise with which Leon. opens this speech and indicates just what direction his mock celebration of Lib. s achievements will take, as the scene continues its panegyric on the slaves heroic skullduggery for the stylized exchange of insults, cf. ad 297ff. 560: NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; ILLA those (wellknown/famous achievements) : i.e, the following; PRO MERITO TUO in accordance with your merit, as you deserve (cf. ad ); MEMORARI to be called to mind, celebrated; MULTA *pred. ( in great numbers Gray) : a series of statements with ubi and the pfct. subj. (ubi here introduces an *indir. question [A&G 573]); UBI in this context the distinction betw. the translation instances where and times when is neglegible; UBI UBI *anaphora (A&G 641); [As Hurka notes (introduction to this scene), the comic lists of misdeeds cited by Leon. and (at 569ff.) Lib. echo the formal commemoration of the triumphator s achievements (res gestae)] 561: FIDENTEM ptcple. employed as *substantive ( a trusting friend ) [A&G 494a] 562: VERBIS CONCEPTIS according to/employing a set, formal oath (cf. 735); SCIENS LUBENTER a comically redundant expression: the equivalent of quite happily or the like; LUBENTER = libenter; PEIIERARIS = periuraveris / periuraris 563: PARIETES PERFODERIS cf. Matthew 6.19: Lay not up for yourselves treasures upon the earth, where moth and rust spoils, and where thieves dig through and steal (Grk. τοιχωρύχος, τοιχωρυχέω cf. Lilja 1965: 49 and 58); IN FURTO i.e., in the act of stealing something 564: SAEPE parenthetical (ut saepe factum est as often happened ); CAUSAM DIXERIS you pleaded your case (i.e., tried to excuse yourself and be pardoned); PENDENS cf and 617; ADVORSUS = adversus (of a speech) in front of, in the presence of Asinaria A Student Commentary ( J.R. Porter, 2015) 129

136 Commentary: III.ii 565: ARTUTOS (a conjecture for the mss. astutos: large-limbed, hefty?); AUDACIS violent, fierce (masc. acc. pl.); VIRGATORES likely a comic coinage (virga = switch, rod): a play on viatores (subordinate officials, like the lictors, assigned to a magistrate or tribune in this case, to the tresviri capitales [cf. above ad ]: see Kunkel/Wittmann 1995: [cited by Hurka]; I have not been able to consult Muñiz Coello 1996). For officials who lacked lictors (such as the tresviri), the viatores did in effect double duty, including the infliction of floggings. On the evidence of P. (564, 574, Amph ; cf. Men. 223), they were regularly eight in number; [for the scenario envisioned here, cf and ad 868] : Lib. s retort echoes Leon. s comic shtick at in its syntax, sense, and much of its vocabulary: cf. above ad loc. 566: fateor (ea) vera esse (sic)ut praedicas; (EA) ESSE VERA acc. + inf. after fateor : tua quoque malefacta iterari possunt multa et vero; note the comic piling up of asseveratives: VERUM EDEPOL NE ETIAM QUOQUE ET VERO; VERUM EDEPOL but, to be sure, but indeed ; NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409. [Contrast Hurka, who detects in ne quoque an archaic equivalent for ne quidem, yielding, In truth, by Pollux, your numerous villainies can t even be reported in words ]; MULTA *pred. ( in large numbers ): cf. 560; ET VERO and truthfully, too! [OLD s.v. 1]: the ironic force of this additional assertion is reinforced via enjambment; SCIENS *pred. ( knowingly, willfully ) 569: PRENSUS SIES = prensus sis; FURTO MANUFESTO: a specific category of theft in Roman law, wherein the thief was caught in the act (cf. 563 and see Stewart 1912: 137 n. 100); MANUFESTO = manifesto; VERBERATUS (SIS) 570: PEIIERARIS = periuraveris / periuraris; SACRO dat. of motion [A&G 363]; MANUS acc. pl. (obj. of ammolitus sis): to direct one s hands against something sacred = to profane something sacred (here, by stealing it: cf., e.g., Cic. Ver ); see Hurka, however, who regards 570b as a vivid reaffirmation of 570a: Leon., on this view, not only has forsworn himself, but has done so while solemnly placing his hands upon an altar in confirmation of a sacrifice; ammolitus sis = admoveris [571-73: these lines are bracketed by many edd. as a later expansion of Lib. s response] 571: ERIS dat. pl. (dat. of ref./disadvantage) [A&G 376]; DAMNO, MOLESTIAE ET DEDECORI *pred. dat. (in *double dat. construction with eris [A&G 382.1]); [Note once again the a, b, and c construction: cf. ad 546]; SAEPE cf : ubi pernegaveris (id tibi) datum esse quod tibi creditum sit; PERNEGARIS = pernegaveris; CREDITUM SIT subj. by attraction to pernegaris [A&G 593]; quod tibi creditum sit i.e., a deposit 573: ubi fidelior amicae fueris quam amico tuo; AMICAE see ad Arg. 5; [A revealing statement that recalls a similarly misogynistic Engl. expression and undercuts much of the talk of passionate devotion on the part of the love-lorn iuvenes of New Comedy; of somewhat questionable relevance to the situation of the typical slave] Asinaria A Student Commentary ( J.R. Porter, 2015) 130

137 Commentary: III.ii : ubi saepe dederis octo validos lictores ad languorem tua duritia; SAEPE see ad 564; DEDERIS AD LANGUOREM i.e., you wore out (on the use of dare in such expressions, cf. ad 426); DURITIA instr. abl. [A&G 409]; LICTORES a grandiose term for lorarii (floggers, who beat slaves with leather whips: cf. ad 565 above); ulmeus made of elm-wood (reference to switches used in beatings); AFFECTOS *pred. (with concessive force): although they were equipped with ; LENTIS pliant, lithe (and so all the more effective as implements for whipping) 576: NUM MALE RELATA EST GRATIA i.e., I ve paid you back appropriately, have I not? UT interrog. adv.; COLLEGAM recalling 556, thereby effectively rounding out the opening comic shtick 577: (SIC)UT just as ; MEQUE TEQUE -que -que in the sense of both and ; MEQUE TEQUE INGENIO likely abl. with decuit (a unique instance), on the analogy of dignus + abl. (A&G 418b, Gray ad loc. an archaic construction [Hurka]? Zwierlein 1992: 196 brackets the line as a later interpolation); MAXUME = maxime 578: ISTAEC = ista; [On the overt signalling here of the end of a comic shtick, cf. Duckworth 1994: 196 n. 45]; QUID VIS: *indir. question [A&G 573] with ind. (on the model of loquere quid vis) [Some mss. read quod here (rel. pron. with suppressed antecedent), followed by some edd.] 579: ARGENTI VIGINTI MINAS the re-emergence of this by now all too familiar theme (cf. ad 89) helps to signal that the plot is getting back on track and puts the focus on the moneybag itself, which will play an important (if silent) role in the next scene; HABESNE the interrogative enclitic ne here gravitates to the vb., with something of the emphatic force of nonne ( you have the money, do you not? ) [A&G 332c]; HARIOLARE (2 nd sg. pres.ind. dep.) either, you guess/prophesize correctly (sarcastic: cf. 316, 924) or (more likely), you re raving!, what nonsense! (i.e., of course I do ): as Gray notes ad 316, the latter sense is denied for P. by Langen 1880: 260 (followed by most comm.), but the association of prophetic trances with irrational behavior (actual or feigned) was well established (cf., e.g., Truc and Ennius Cassandra [Cic. Div. 1.66]), while there is no question here, as in the other passages cited, of Lib. having reached a conclusion according to his own lights (cf. 731ff.). In general, the attempt to distinguish Plautine usage from that of Ter. in this regard seems artificial, given the limited evidence. See esp. Slater 2000, who notes that uses of hariolari in P. are consistently mocking and dismissive, suggesting something along the lines of, any fool can see that : the hariolus is presented as a fraudulent figure whose theatrical ravings are intended to conceal his lack of true prophetic insight. Further recent discussions: Montero 1993, Nice 2001, Traill 2004: , Santangelo 2013: : SENEM DEMAENETUM LEPIDUM FUISSE acc. + inf. of exclamation [A&G 462, Lindsay 75]: that Dem. was!, for Dem. to have been [This construction often employs interrogative ne ( to think that ), but not regularly (Bennett 1910: ): on p. 425 Bennett notes the unique use of this construction here to express satisfaction rather than disgust, contempt, or regret]; LEPIDUM here almost wonderfully agreeable/accommodating ; NOBIS dat. of ref./advantage [A&G 376] TUA Asinaria A Student Commentary ( J.R. Porter, 2015) 131

138 Commentary: III.ii 581: UT QUAM FACETE redundant use of the exclamatory adv.: how altogether cleverly! (Gray notes that such redundant reinforcement is common in colloq. speech; cf. Lindsay 118); MED = me; me Sauream esse acc. + inf. following assimulabat; [Dem. here lives up to the ideal established by his own father: lines 68ff.] 582: NIMIS all too, altogether (adv.): in combination with aegre = scarcely ; CONTINI = continui 583: QUOD NOLUISSET because (as Dem. said) the stranger had refused (quod + subj. subord. clause in indir. disc. [A&G 580, Bennett 1910: 318]) (see Lindsay 120 on P. s general preference for quia over quod in such contexts: cf. A&G 540); SE<SE> APSENTE abl. abs. [A&G 419]; ABPENTE = absente; MIHI i.e., Leon. in his role as Saurea ; fidem habere alicui to trust someone (an echo of 458) 584: UT exclamatory adv. 585: MANEDUM dum employed as an enclitic with imperatives and interjections [G&L 269, Barrios-Lech 2016: ]: hold on a moment, wait a second ; PHILAENIUM ESTNE delayed ne here likely reflects the degree to which the complement followed by sum are felt to represent a unit (Philaenium est); INTUS from within 586: UNA adv.; IS EST It s him! ; SUBAUSCULTEMUS hortatory subj. [A&G 439]. On the use of the hortatory subj. in New Comedy, see Barrios-Lech 2016: : LACINIA edge of a garment, fringe, hem (instr. abl. [A&G 409]); TENET take Phil. as subject (she restrains the distraught Argyr., who intends to run off and do himself an injury) [The ambiguity in this line might be problematic in a non-dramatic text; P. is of course writing for performance: the audience can see who is holding onto whom]; QUIDNAM (HOC) ESSE DICAM? i.e., what am I to make of this? (delib. subj. [A&G 444] followed by acc. + inf.); QUIDNAM for enclitic nam, see G&L 333a 588: TACITI *pred. adj. (where Engl. employs an adv.) [A&G 290; G&L 325 and R. 6]; AUSCULTEMUS hortatory subj. [A&G 439]; ATTATAE Grk. ἀτταταῖ (interjection); MODO adv.; VENIT pfct. ind.; MODO IN MENTEM VENIT it just struck me! 589: NIMIS very much, exceedingly; VELLEM potential subj. of wish that does not admit of achievement [A&G 442b and n.]; PERTICA rod, wand; QUOI = cui; QUOI REI *dat. of purpose (Lindsay 19, A&G 382); QUI adv. (= instr. abl. of the rel. pron. [A&G 150b], with pertica as the antecedent); VERBERAREM potential subj. in *rel. clause of characteristic ( by which I might ), implying purpose [A&G 531.2], in secondary *sequence (continuing the impossible wish introduced by vellem) 590: ASINOS Gray notes the stock joke of confusing animals with the price paid for them (repeated in Pers. 265 and Truc : Woytek 1982: 67-68): here the joke phps. gains some added point via a pun on the Latin terms asinos/asses; OCCEPERINT likely a pfct. subj. (A&G 484c, Bennett 1910: 343), representing an orig. *fut. pfct. ind. in the protasis of a fut. vivid *condition (here incorporated into the impossible wish introduced by vellem in 589): Woodcock In this context, as Bennett and Woodcock note, one would expect the plupfct. subj. rather than the pfct. (secondary sequence): cf. ad Asinaria A Student Commentary ( J.R. Porter, 2015) 132

139 Commentary: III.ii 443 (sit locatum). It might well be that P. s audience heard a *fut. pfct. ind. here cf. ad 20; CRUMINA money-bag, purse; [STAGING: Leon. likely mimes shaking the bag, in a fashion that suggests the jingling of the coins ( Schwarz 1936: 877)] SCENE III.iii [Iambic septenarii] Argyrippus and Philaenium share a poignant scene lamenting their doomed love. They are spied upon by Libanus and Leonida, who eventually intercede with the news of their success. After some boisterous mocking of their master, the slaves hand over the funds and inform Argyrippus of the one condition under which he is to receive this favor from his father: as a reward for his services, Demaenetus is to be allowed one night with Philaenium. [BIBLIOGRAPHY: Legrand 1917: and ; Lowe 1992: and 1999: 17-22; Segal 1987: , Marshall 1999: , McCarthy 2000: , Franko 2004: 44-45, Fraenkel 2007: , Dutsch 2012, Stewart 2012: Traina 1969 [2000] offers a commentary on ] [STAGING: Argyr. and Phil. enter the stage from Clear. s house. They commiserate with one another while Lib. and Leon. watch unobserved from the wings and provide comic commentary.] 591: QUOR = cur; RETENTAS iterative form of retineo, with conative force ( why are you trying to ; TUI ABEUNTIS gen. with egeo (although the gen. is reg. in P. with amans as well [e.g., 857]: see below) [Lindsay 11-12]; TUI gen. sg. of tu (obj. gen.: A&G 143c, 354, 356); AMANS *pred. ( in my passion, loving you as I do ); ABEUNTIS *pred. ( who are departing, even as you are departing ); [It is possible that the line was delivered in such a way that tui amans and abeuntis egeo were heard as, in effect, discrete units ( in my love for you, I long for you even as you depart ) but speakers of an inflected language are often presented with such constellations of terms: just how each listener would have sorted them out is freq. difficult to determine]; [How Argyr. has joined Phil. in the interval since the conclusion of III.i is never explained when last we heard, he was at home (329): cf. Duckworth 1994: 120 and n. 45, Lowe 1992: , Porter 2016: It is easy enough, however, for the audience to imagine that Phil. has summoned Argyr. to report Clear. s decree (532-34) and enjoy what Clear. has declared to be their last day together. (Such slight-of-hand is usually explained by the availability of a side- or back-entrance to the house, the angiportus: cf ) Productions that assign I.ii and iii to to Argyr. (see introduction to I.ii) must abandon even this limited degree of veresimilitude to present an Argyr. who departs for the forum at the conclusion of I.iii, is Asinaria A Student Commentary ( J.R. Porter, 2015) 133

140 Commentary: III.iii suddenly inside Dem. s house in the course of II.ii, is manifestly not in Clear. s establishment in III.i (515), yet enters from there at the opening of III.iii. The fact that Argyr. in our scene nowhere refers to the failure of the mission which (on this staging) he announced at and compounds this difficulty] 592: ALIQUANTO abl. of degree of difference [A&G 414]; VALEREM, SI MANERES pres. contrary to fact *condition; VALEREM Phil. puns on the literal meaning of Argyr. s valediction (to fare well ): cf. Barrios-Lech 2016: ; HIC adv. 593: SALVERE for the pun, cf. ad valerem in 592; QUOI = cui; ABIENS *pred. ( in departing, by your departure ); OFFERS one might have expected the subj. here (concessive rel. clause) 594: mater tua supremum (diem) mihi dixit; supremum (diem) dicere a play on the more usual expression diem (e)dicere (to decree a day by which something must be done, or on which one s opponent is to appear in court [cf. 838]: again we find Clear. portrayed as a judicial magistrate [cf. ad 534]), here conflated with the common diem supremum (one s final day, death). In this instance, Clear. s declaration that this is to be Argyr. s last day with Phil. (534) is presented as a death-sentence, capping Phil. s allusion to her own death at the conclusion of 593. (This rendering seems preferable to taking supremum as an allusion to the final farewells offered at a funeral [on the rather dubious model of Ov. Metam ] but cf. Bertini ad loc.); [Most edd. follow Turnebus in reading supremam (horam), an echo of the formula by which the presiding magistrate s assistant would announce (pronuntio) the conclusion of a court session at the end of the day (Varro Ling. 6.5, Plin. NH 7.212: Fraenkel 2007: 268 and 298 n. 43). This provides a specific context for the second half of the line, but the association seems oddly inconsequential, given Argyr. s melodramatic view of his situation. I have opted for the more tragic interpretation]; (ME) DOMUM IRE IUSSIT causal/explanatory clause joined via *asyndeton [A&G 323b]: provides the grounds for Argyr. s initial pronouncement 595: ACERBUM i.e., premature and therefore all the more grievous; FILIAE dat. of ref. [A&G 376]; FACIET i.e., she will cause, occasion; SI TE (MIHI) CARENDUM EST pass. periphrastic (with impersonal neut.) [A&G 500.3, Woodcock 204]; TE abl. with carendum; [Bertini notes the mock-tragic alliteration (parodied in Lib. s response in the next line): cf. A Funny Thing Happened on the Way to the Forum: Oh, her bridal bower becomes a burial bier of bitter bereavement! ] 596: HOMO colloquial and familiar: mocking; HINC i.e., from Clear. s establishment; EXCLUSUST = exclusus est [exclusu(s) st prodelision]; MITTE (ME) addressed to Phil. by Argyr. (who is as yet unaware of the presence of Lib. and Leon.): release me, let me go (= dimitte); QUAESO I ask you, please 597: QUO adv. (whither, to where); QUIN why not instead?, won t you rather? (+ ind.) [A&G 449.2b]; HIC adv.; NOX (adv.) by night, for the night; [Argyr. switches immediately from melodramatic despair to opportunistic randiness an indication of how seriously P. intends for his audience to consider the lovers plight. In effect, the despair-ridden adulescens momentarily drops his role as straight-man and intrudes upon the clowning of the servi callidi: cf., e.g., the similar Asinaria A Student Commentary ( J.R. Porter, 2015) 134

141 Commentary: III.iii slippage at Pseud and see Porter 2016: 340]; VOLES *fut. ind., where Engl. would employ a generalizing pres. [A&G 516.a]; [STAGING: Argyr. and Phil. engage in a lengthy embrace, thereby allowing for the comic patter by the slaves in 598ff.] : AUDIN = audis + ne; HUNC UT LARGUS EST *prolepsis (cf. ad 27-28); UT = how (interrog.); UT LARGUS EST pres. ind. in an *indir. question (cf. Bennett 1910: , who associates this type of pronominal question, that is *substantival in nature, with the ind.); OPERA NOCTURNA instr. abl. [A&G 409a] with largus ( nighttime service might imply some respectable endeavor; for the less seemly implications, cf. ad opere in 873); nunc interdiu licet videre (eum) negotiosum Solonem esse; (EUM) ESSE SOLONEM acc. + inf. following vb. of perception [cf. ad 23-24]; INTERDIUS = interdiu by day, during the day (adv.); VIDELICET = one can see that, it is plain to see that (+ acc. + inf.): ironical; [Rather than a particle, videlicet in P. can have the force of an impers. vb. (= videre licet: Lindsay 120): cf. ad scilicet in 787]; SOLONEM Solon (ca ca. 558 BC), the revered Athenian law-giver, known (somewhat unhistorically) for laying the foundations of the Athenian democratic constitution and bringing order to Athenian society. (On the other hand, the 4 th /3 rd -century comic poet Philemon cited, as one of Solon s most democratic measures, the institution of state-run brothels: F 3 K.-A. Whether P. s audience could be expected to recall this is uncertain: Fraenkel 2007: 348 n. 10); NEGOTIOSUM SOLONEM a busy little Solon (although the dimin. is not, admittedly, in the Latin); [Lib. ironically suggests that Argyr. is so busy with his serious public pursuits by day that, in order to find time to consult with others, he must book off his nights as well] 600: ut conscribat leges quibus populus se teneat; UT CONSCRIBAT *jussive noun clause [more precisely, a substantive clause of purpose: A&G 563e], for which the ground is laid by negotiosum in 599 (on the model of operam dat): a Solon devoted to writing [Bertini finds an allusion to Solon being compelled to compose his laws at night, which is difficult to derive from the Latin]; QUIBUS TENEAT *rel. clause of characteristic/purpose [A&G 531.2]; QUIBUS instr. abl. [A&G 409] or abl. of specification [A&G 418a]; SE TENEAT restrain themselves (OLD s.v. teneo 19, citing Merc. 1016): i.e., laws by which people might govern their behavior; POPULUS i.e., the citizen-body; GERRAE (interjection) nonsense! 601: (ei) qui apparent se parere huius legibus ; (EI) QUI APPARENT *rel. clause of characteristic (A&G 535) with suppressed antecedent [A&G 307c]: those who would in this instance, the rel. clause has the virtual force of the protasis of a fut. less vivid *condition (qui apparent = si qui apparent if anyone would [A&G 519]): hence the mood of sient potent in the main clause (602); apparare + refl. to prepare oneself to, to set about to (+ inf.); HUIUS i.e., the laws drawn up by this man (*subjective gen. [A&G 343 n. 1, 348 n.]); [The joke at seems curiously undigested: Argyr. is scarcely setting a stellar example for his fellow citizens, but the use of Solon as a model against which he might be judged is inept. See Fraenkel 2007: ] 602: BONAE FRUGI (frugi is a *pred. dat. [A&G n. 2, Lindsay 39], usually employed as an indecl. adj. (cf. ad 175) but here used with its original force and modified by an adj. [freq. in P.]): of any use, at Asinaria A Student Commentary ( J.R. Porter, 2015) 135

142 Commentary: III.iii all decent ; SIENT POTENT apodosis of the fut. less vivid *condition implied by qui apparent in 601; DIES NOCTESQUE POTENT joined to the previous clause by *asyndeton (adversative): sc. sed ( but rather, but instead ); DIES NOCTESQUE acc. of extent of time [A&G 423] ( day and night ); POTENT on the implications of poto, cf. ad : NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; ISTE ISTA on P. s use of iste, cf. ad 845; NON PEDEM DISCEDAT, SI (EI) LICESSIT (CUM EA MANERE) fut. less vivid *condition (although this instance provides a good example of the fine line that can separate the fut. less vivid from the pres. contrary to fact: Woodcock 197); PEDEM acc. of extent [A&G 425]: a single foot, a step ; LICESSIT = licuerit (pfct. subj: cf. ad 20, with de Melo 2007a: n. 14 and 207) sc. ei cum ea manere 604: QUI FESTINAT MINATUR: one might have expected the subj. here (concessive rel. clause); SESE ABIRE acc. + pres. inf. after vb. of threatening (where we would expect the fut. inf.: cf. 611 and above ad 67] 605: FACE = fac; ACCIPIAM jussive subj. [A&G 439]: let me hear (joined via *asyndeton [A&G 323b] to produce what is to all intents and purposes a *final clause: the parallelism with face presumably helped to mitigate the oddity of of this usage), 131 or (Hurka) *jussive noun clause [A&G 449c] dependant upon face, with ut omitted (in either case, accipiam here = audiam); [STAGING: as Hurka notes, Lib. s words here suggest that Argyr. and Phil. have now broken off their lengthy embrace (see ad 597) and are about to resume their dialogue] 606: QUO whither, to where (adv.); APUD ORCUM i.e., in the other world 607: me iam abiudicabo a vita quantum potest; abiudicare aliquem ab aliquo = to deprive someone of something by judicial sentence, declare someone officially divorced from something; [on P. s use of such law-court imagery, see Zagagi 1980: ]; quantum possum/quantum potest = as soon as possible (L&S s.v. quantum A) rather than as much as possible, which would scarcely make sense here (cf. 157) 608: QUOR = cur; OPSECRO = obsecro (parenthetical); optas me morti dedere immerito meo; dedere *prolative inf. following optas; IMMERITO MEO with an absence of guilt on my part, through no fault of mine : modeled after the more common adv. use of merito (cf. ad ) 609: EGO (OPTEM) TE (MORTI DEDERE)? Argyr. repeats Phil. s question in bewilderment (i.e., You think that I could wish? ): a repudiating question [cf. ad 93]; si intellegam te deficere vita; QUAM a connecting rel. pron. (difficult to translate directly into Engl.: [You can think that,] when if I knew that you ); SI INTELLEGAM pres. subj., here with the force of a pres. contrary to fact *condition (A&G 517e, Woodcock 197); QUAM DEFICERE acc. + inf. following intellegam; deficio run short of, be bereft of (+ abl.); VITA abl. of specification [A&G 418] with deficere (Lindsay 37) 131 For the jussive/hortatory subj. in the 1 st pers. sg., cf. Bacch Asinaria A Student Commentary ( J.R. Porter, 2015) 136

143 Commentary: III.iii 610: LARGIAR ADDAM pres. subj. in apodosis of pres. contrary to fact *condition (A&G 517e, Woodcock 197); DE MEA (VITA) AD TUAM (VITAM) Argyr. melodramatically professes his willingness to play Alcestis to Phil. s Admetus 611: QUOR = cur; MIHI dat. with vb of threatening (If, with Hurka, we follow the mss. in reading tibi, the latter is best taken as a *sympathetic dat. (A&G 377): te vitam tibi amissurum esse as a more vivid equivalent of te vitam tuam amissurum esse); TE ESSE AMISSURUM acc. + fut. inf. after vb. of threatening (cf. ad 67) 612: NAM QUID = quidnam; ME FACTURAM (ESSE) acc. + inf. after putas; ISTUC = istud; FAXIS = 2 nd sg. *fut. pfct. ind. act. [cf. ad ] (where Engl. employs a generalizing pres.: A&G 516.a) 613: (MIHI) CERTUM EST i.e., I have decided, made up my mind: cf. ad 247; [the dat. mihi in our mss. represents an intrusive gloss a marginal note, originally intended to aid the reader, that later came to be incorporated into the text; P. counted on his audience understanding the nature of the idiom]; IN + acc. of hostile action [OLD s.v. A.9]; FAXIS = 2 nd sg. *fut. pfct. ind. act.[ cf. ad ] (where Engl. employs a generalizing pres. 614: MELLE DULCI VITA abl. of comparison [A&G 406]; MI dat. of ref./judgment ( so far as I m concerned, in my eyes ) [A&G 378] 615: COMPLETERE 2 nd sg. pres. imperative; LUBENS = libens (*pred. adj. where Engl. employs an adv. [A&G 290; G&L 325 and R. 6]); EFFERAMUR i.e., for joint burial (opt. subj.: A&G 441); [STAGING: Argyr. and Phil. s melodramatic embrace marks an appropriate point for the intervention of the two comic slaves] 616: UTI = ut (exclamatory) here in a mocking vein; HOMO that person/man (i.e., any person/man); IMMO indicating disagreement with, or modification of, an earlier statement 617: (IS) QUI suppressed antecedent [A&G 307c]; PENDET of the slave hung up for flogging (cf. 301, 564); MULTO abl. of degree of difference [A&G 414]; periculum facere to experience something, learn by experience; QUI FECI i.e., given that I (for the ind. in a rel. clause with causal force, cf. ad 227); [Hurka takes 617b in a much more specific sense, as an allusion to the danger to which Leon. subjected himself in impersonating Saurea] 618: CIRCUMSISTAMUS APPELLEMUS hortatory subj. (A&G 439) with *asyndeton; [STAGING: a useful stage direction, provided here in performance to signal that Lib. and Leon. are about to establish contact with Argyr. and Phil.] 619: num haec mulier quam amplexaris fumus est?; NUM on this usage, cf. ad 31; AMPLEXARE = amplexaris 620: QUIDUM in just what way?, just how do you mean? (qui archaic adv.); eo rogavi quia oculi tibi lacrimantes sunt; TIBI *sympathetic dat. (more vivid than a simple possessive adj.) [A&G 377]; LACRUMANTES = lacrimantes; EO to this end, for that purpose (correl. with quia [A&G 323g, Bennett 1910: 131]) Asinaria A Student Commentary ( J.R. Porter, 2015) 137

144 Commentary: III.iii 621: (eum) qui patronus vobis futurus fuit, perdidistis often regarded as an angry rebuke (i.e., in speaking to me so flippantly, you have lost the master who some day would have freed you and thus, in your new status as freedmen, become your patron). Comparison with 629ff., however, suggests a pathetic/melodramatic delivery (Bertini and Hurka ad loc., Ussing 1875 ad 614), which would also lighten the tone of Leon. s response (see n. ad next line). The opening exchanges betw. the lovers and the slaves read better with a maudlin Argyr. who serves as straight-man to his two servants (cf. ad ) rather than one who is repeatedly angry from the beginning; PATRONUS QUI patronus is not the antecedent of qui but the complement following fuit futurus, moved to the opening of the sentence for the sake of emphasis and pathos; the antecedent of qui (eum) has been suppressed but must be understood as the obj. of perdidistis; QUI FUIT FUTURUS a vivid way of presenting an expected future event that is destined never to occur ( was going to be ); an interesting example of the possibilities offered in Latin (as in Engl.) by the use of periphrastic constructions (Bennett 1910: , Woodcock 104); VOBIS PERDIDISTIS the use of the pl. supports the notion that Argyr. s words are maudlin rather than angry 622: NULLUM (PATRONUM); IDEO QUIA for the very reason that [Bennett 1910: 128]; [i.e., fat chance of that ever happening ]; [STAGING: this exchange reinforces our impression of the nature of Dem. s household, the financial standing of Dem. and Argyr., and Argyr. s relationship to his slaves (cf. 270). Even in the topsy-turvy world of this play, however, Leon. s line displays an untoward affrontery: it was most likely spoken aside] 623: DABUNT the fut. ind. in such expressions is merely a stronger equivalent of the optative subj. (cf. A&G 449.2b, Bennett 1910: 43, 311). Barrios-Lech 2016: 187 notes that di te ament and related expressions, such as the one employed by Phil. here, are generally confined to male speakers; (EA) QUAE suppressed antecedent (A&G 307c); QUAE VELITIS *rel. clause of characteristic (A&G 535), or subj. by attraction to the wish implied by dabunt [A&G 593] 624: NOCTEM TUAM i.e., a night spent with you (cf. ad 736); VINI gen. of material [A&G 344, Bennett 1914: 14]; VELIM, SI FIANT: fut. less vivid *condition (picking up on the subj. velitis in 623); OPTATA neut. pl. as subst. ( my wishes ); FIANT were to come to pass/be provided 625: CAVE FAXIS take care that you don t (*jussive noun clause following caveo: see ad 5); FAXIS = feceris (pfct. subj.: cf. ad 256); VERBERO scoundrel (voc.); TIBI EQUIDEM, NON MIHI OPTO the same comic ploy as at 43; TIBI MIHI dat. of advantage ( for you, not for me ) [A&G 376] 626: TUM employed in a logical rather than a temporal sense; LOQUERE 2 nd sg. pres. imperative; (ID) QUOD suppressed antecedent [A&G 307c]; LUBET = libet (i.e., id quod libet tibi loqui); [Argyr. s momentary flash of anger is quickly allayed and he returns to his role as straight-man to the two slaves]; (LUBET MIHI) HUNC VERBERARE (*paraprosdokian); HUNC = i.e., Leon. 627: QUISNAM ADCREDAT potential subj. ( who could/would ) [A&G 446]; ISTUC = istud; accredo to trust someone (dat.) in regard to something (acc.); cinaedus a common term of abuse (Lilja 1965: 46-47, 69-70), used of one who was so given to sensuality as to play any role in a Asinaria A Student Commentary ( J.R. Porter, 2015) 138

145 Commentary: III.iii sexual encounter; similar in vulgarity, if not altogether in meaning, to the Engl. faggot, but inappropriate in regard to a slave, who lived outside of the bounds of honor and lacked the ability to deny any favors his master might ask of him; calamistratus having the hair artificially curled, effeminately adorned (here implying that Lib. enjoys a special position in the household as his masters puer delicatus [ boy-toy ] a charge commonly leveled in scenes of abuse betw. slaves); [Bertini 133 suggests that this insult accords with Lib. s name, which he associates with an elegant refinement] 628: TUN = tu + ne; (ME) VERBERES delib. subj. with indignant/repudiating force (cf. ad 93); QUI HABEAS: *rel. clause of characteristic (concessive) [A&G 535e]; PRO CIBO as good as food, as your daily nourishment (cf. Engl. mother s milk ) *pred. with te verberari; TE VERBERARI acc. + inf. (serving as obj. of habeas you regard your being beaten (to be) like mother s milk ) [cf. Cato, Orig. 74: laserpitium pro pulmentario habet] 629: UT exclamatory; VOSTRAE = vestrae; MEIS (FORTUNIS) 630: NUMQUAM by no means, not at all; VIVAM fut. ind. (rel. clause with ind. in causal/explanatory sense: vivid) : Argyr. s comic play with various forms of hic and ego (polyptoton: Sharrock 2009: 171), as well as amo, undercuts any concern for his emotional distress. In contrast to Terence, P. rarely provides an occasion for his audience to take the plight of his lovers all that seriously] 631: QUIA governs all four clauses in , the last two of which are joined via *asyndeton [A&G 323b]: Argyr. s account pours out in a melodramatically despair-laden rush; MED = me; HUIC Phil.; QUOD DEM *rel. clause of characteristic/purpose [A&G 531.2] 632: HINC pointing to Clear. s house; MED = me; AMANTEM *pred. ( in my passion, for all my love ); HUIUS Phil : the most obvious reference for these lines are the words spoken by the young man at , where, as here, specific reference is made to an exclusive contract that is to endure for one year. It is true that Argyr. will also express a desire for a year-long contract (721, 848) and that, like Diab. (634), he feels the pressure to produce these funds on this very day (98, 103). But at this point in the play, the only reference to such a contract has been that at 233ff., while the obsessive concern that this contract be exclusive is associated with Diab. both here and in IV.i, where it forms the basis of one of the play s most grandly comic scenes. See, further, Porter 2016: 331 and : VIGINTI MINAE personification; MED = me; AD MORTEM APPULERUNT have pushed me to the brink of death 634: QUAS take minas (633) as antecedent; ADULESCENS an important indication of the nature of Diab. s role: the rival in this play is a second young man rather than the typical miles (cf. 133a and my remarks in the introductions to I.ii and IV.i); Diabolus dixit daturus (esse) a Graecism (nom. + inf. in indir. disc.), as opposed to the expected se daturum esse [G&L n. 2 cite this as the earliest surviving example of this construction in Latin; cf. Bennett 1910: 435. Hurka and others read daturum (sc. se), arguing that such Graecisms are a feature of the literary refinement of the 1 st C. BC, with no Asinaria A Student Commentary ( J.R. Porter, 2015) 139

146 Commentary: III.iii place in P. s Latin: see Lindsay 2, 13, and, on our passage, 73; cf. ad 394, 442, 452]; IPSI i.e., Clearetae (ipse used, as often, of the master of a household or other authority figure) 635: UT NE MITTERET *final clause presenting a stipulation (with ut ne as an emphatic equivalent for ne) [A&G 531: cf. ad 230]; HANC i.e., Phil.; MITTERET on the implications of this vb., cf. ad 170 and see Porter 2016: 321 n. 39; HUNC ANNUM TOTUM acc. of extent of time [A&G 423] (on hunc, cf. ad 230) 636: VIDETIN = videtis + ne; VIGINTI MINAE the subject of pollent and possunt; QUID POLLENT QUIDVE POSSUNT quid is adv. (*limiting/cognate acc.: A&G 390c): to what degree/in what regard they enjoy authority and win out (i.e., what power they enjoy); POLLENT POSSUNT we might have expected the subj. here (*indir. question [A&G 573]: parallels at Bennett 1910: 464). Comm. note the echo here of a formula employed by the fetial priest at Liv , of Jupiter; -VE this enclitic is generally employed to present alternatives, often (as here) as a form of rhetorical reinforcement or enhancement; in early Latin it is more often copulative than adversative (G&L 495 and n. 1) 637: ILL = ille (apocope: cf. ad 66), in reference to Diab.; ILLAS sc. minas; SALVOS = salvus; PERDO (ILLAS); [The echo of , with its bitter illas, rather than suggesting identification with the speaker of I.iii, points instead to the opposite conclusion] 638: NON DEDIT as regularly in Latin, the question is answered by repeating a significant element in the response (often the vb.) [A&G 336]; BONO ANIMO abl. of description [A&G 415]; ES imperative; NE FORMIDA ne + pres. imperative in a prohibition (cf. ad 377); [On the *asyndeton [A&G 323b] here, cf. Lindsay 128] 639: HUC adv.; SI (ALI)QUID VIS i.e., whatever you say (although often this expression is attended by an imperative dic, roga, impera, etc.); QUID = aliquid (after si, num, nisi, ne [A&G 310a]); OPSECRO = obsecro; [OPSECRO VOS an empty formula: cf. the British, I say! ] 640: EADEM ISTAC OPERA at the same time (abl. of manner: A&G 412, L&S s.v. opera II.A.3); ISTAC = ista; SUAVIUST = suavius est (impers.) [suaviu(s) st prodelision]; (VOS) FABULARI acc. + inf. following the impersonal suavius est; COMPLEXOS *pred. ( while embracing [pfct. ptcple. of dep. vb. translated as if pres., as often: A&G 491; Bennett 1910: ]); [STAGING: Argyr. mimes this action with Phil. as he addresses Lib. and Leon. (repeating the same staging tactic as at ). Note how he changes registers once again and begins to engage in the same frivolous clowning as the two slaves] 641: scito non omnia eadem aeque suavia esse omnibus; OMNIA ESSE acc. + inf. after scito; OMNIBUS dat. of judging (A&G 378); SCITO *fut. imperative [A&G 449.2a]; [The faux philosophical wisdom in these lines finds numerous more serious echoes in the speeches of Menander s slaves, as well as those of Terence. Here it merely heightens the audience s sense of Lib. as a ludic father figure] 642: vobis amantibus suave est complexos fabulari (echoing 640); EST SUAVE cf. the construction with suaviust in 640; AMANTIBUS *pred. (in your passion, since you are in love); COMPLEXOS by Asinaria A Student Commentary ( J.R. Porter, 2015) 140

147 Commentary: III.iii rule, this should be dat. pl. (agreeing with vobis): P. employs the acc. in part due to the commonness of the acc. + inf. construction, in part because Lib. is echoing the same expression in 640 (cf. Lindsay 4) 643: COMPLEXUM the noun rather than the ptcple.; HUIUS HIC in reference to Leon.; HUIUS subjective gen. [A&G 343 n. 1, 348 n.]; NIL MOROR I don t care for, don t much like (+ acc.); MEUM (AMPLEXUM) the possessive adj. meum stands in place of a second subjective gen. (mei): A&G 348a; AUTEM moreover, indeed (setting up aspernatur, which has a stronger force than nil moror) 644: PROINDE cf. ad 27-28; FACIAS jussive subj. [A&G 439]; istud quod suades nobis (ut) faciamus; FACIAMUS *jussive subj. introduced by suades, without ut (A&G 565, 268 ad fin.: *parataxis) 645: EGO VERO I most certainly will! ; LUBENS = libens (*pred. adj., where Engl. would employ an adv.); SI VIDETUR (VOBIS) impers. ( if it seems good to you, if you d like : L&S s.v. video II.B.7c) 646: CONCEDITE ISTUC cf. secede huc in 639; ISTUC adv.; [STAGING: Lib. and Leon. withdraw and speak aside] VIN = vis + ne; ERUM DELUDI acc. + pass. inf. following volo; [As Hurka notes ad loc., deludo is employed repeatedly to characterize the action of the following lines: cf. ad 677]; DIGNUST = dignus est [dignu(s) st prodelision]; [DIGNUST SANE He certainly deserves it! ] 647: visne faciam ut Philaenium te amplexetur, hoc praesente?; VIN = vis + ne; FACIAM jussive subj. [A&G 439] following vis (*parataxis) [A&G 565]; UT AMPLEXETUR *consecutive clause following facio [A&G 568]; TE the acc. obj. is placed early in the clause for the sake of emphasis and to avoid confusion with the following abl. abs.; [The emendation of me to te, although not altogether necessary, makes Leon. s offer more tempting and helps to explain Lib. s enthusiastic response]; PRAESENTE HOC (i.e., Argyrippo) abl. abs. [A&G 419] 648: CUPIO the switch from volo to cupio (647) signals Lib. s enthusiasm; SEQUERE 2 nd sg. pres. imperative dep.; HAC adv.; [STAGING: Lib. and Leon. rejoin Argyr. and Phil.]; SALUTIS partitive gen. with neut. interrog. pron. ecquid [A&G 346a3; Bennett 1914: 29] (SALUTIS = hope of salvation i.e., Is there any hope? Have you found a way out? ); LOCUTI (ESTIS) Gray notes that the omission of the 2 nd pers. of sum is rare. 649ff.: Zagagi 1995: notes similarities between the following exchanges and those at Men. Perik and P. Merc : a young lover exchanging jokes with another person under circumstances of some erotic urgency; deliberation over the need to repay the interlocutor for promoting the lover s amatory interests; the repayment is conceived and expressed in essentially impractical terms whereby a comic point of delay is created [in the fulfillment of the lover s plans]. 649: the prominant use of rhyme is a rarity in CL: as Hurka notes, Leon. here assumes the role of a herald, proclaiming the opening of the games that are to follow 650: PRIMUM OMNIUM adv. ( first of all, first off ); OMNIUM partitive gen. [A&G 346a4; Bennett 1914: 37]; nos esse acc. + inf. following non negamus Asinaria A Student Commentary ( J.R. Porter, 2015) 141

148 Commentary: III.iii 651: SI PROFERENTUR Leon. employs the vivid *fut. ind., followed by the fut. ind. in the apodosis (vocabis, 652); ARGENTI gen. of material [A&G 344] 652: QUO NOMINE instr. abl. [A&G 409]; voco to call, address (someone); (VOS) LIBERTOS (VOCABO) double acc. following voco (A&G 393); NON PATRONOS (NOS VOCABIS)? 653: ID indef. neut. referring to the appelation patroni ; POTIUS adv. (rather, instead); HIC adv. 654: SERVASSINT archaic form (pfct. subj.: cf. ad 256) = optative subj. (Bennet 1910: 195, Woodcock 115 n. i) 655: ERILIS adj. with custos, in place of the obj. gen. eri [A&G 348a: cf. above ad 536] a mockingly elevated usage (Wright 1974: 5); POPLI = populi (obj. gen. [A&G 348]): for the form, cf. ad 771; THESAURUS for the nom. (vs. voc.), cf. ad 664; COPIARUM riches, but also phps. resources, means, devices gen. of material [A&G 344, Bennett 1914: 13] 656: INTERIORIS CORPORIS reading and sense uncertain. The solutions canvassed by Herrmann 1929: are unconvincing: interioris corporis is quite possibly a later gloss; AMORIS IMPERATOR i.e., leader and commander in love s campaigns; AMORIS obj. gen. [A&G 348] : cf. the similar comic routines at Pers , Pseud. 1313ff. 657: HIC (bis) adv.; PONE (ISTAM CRUMINAM); IN COLLO abl. + in with vb. of placing [G&L 385 R. 1]; PLANE utterly, absolutely, quite (= omnino [Ussing]); [HIC IN COLLO PLANE i.e., right here on my neck] 658: nolo te istud onus sustinere mihi; QUI ERUS SIS causal/explanatory qui-clause + subj. [A&G 535e]; MIHI dat. of advantage ( for me, for my sake ) [A&G 376]; ISTUC = istud 659: QUIN why not instead?, why don t you rather? (+ ind.) [A&G 449.2b: cf. Most. 168]; LABORE abl. of sep. [A&G 401]; TE refl.; ISTAM (CRUMINAM); IN ME abl. + in with vb. of placing [G&L 385 R. 1] 660: (SIC)UT; DECET DOMINUM (IRE); ANTE prep.; ITO *fut. imperative [A&G 449]]; INANIS *pred. adj. ( unencumbered ) 661: QUID NUNC? what about now? (a transitional expression: cf. 711) (OLD s.v. quis 14); QUIN see ad 659; tradis cruminam huc pressatum umerum (meum); HUC adv.; PRESSATUM supine (as usual, the supine presents the goal of motion in this instance, the motion indicated by tradis cruminam huc) (A&G 509, Lindsay 77); [older comm. follow the mss. in assigning 661 as a whole to Argyr.] 662: iube hanc (i.e., Phil.), cui daturus es hanc (cruminam), petere atque mecum orare (cf. 686); HANC HANC: comic repetition (likely attended by gestures on the part of the actor); QUOI = cui; DATURU S = daturus es [daturu(s) s prodelision]; PETERE sc. either cruminam or me (cf. Curc. 148) as object; ORARE MECUM to plead with me (i.e., to beg me) (Lindsay 86) 663: istud proclive est in quo me iubes (hanc cruminam) plane collocare; ISTUC = istud (i.e., that thing/place); proclivis = sloping downward [setting up a punning contrast with planus/plane (flat/absolutely cf. Argyr. s plea at 657)]; QUO whither, to where (adv.) [in prose, one would Asinaria A Student Commentary ( J.R. Porter, 2015) 142

149 Commentary: III.iii expect in quo (G&L 385 R. 1)]; [A rather labored joke: despite Argyr. s plea that Leon. hand over the bag plane, Argyr. s neck is a slope: any money placed there will soon slip off into Phil. s hands (Gray)] 664: Phil. immediately begins to employ the professional language of seduction in order to win Leon. over; OCELLUS VOLUPTAS nom. for voc. (Lindsay 31: as Hurka notes, the mingling of voc. and nom. forms is common in the case of such metaphorical passages); ROSA usually applied to women (ironical); VOLUPTAS abstract for concrete; [STAGING: here and below, there is likely much unmarked clowning in this instance, as Leon. coyly responds to Phil. s sweet nothings] 665: ARGENTUM the separation betw. the vb. (da 664) and its object reflects the elaborate artifice of Phil. s plea; NE DIIUNGE ne + pres. imperative in a prohibition (cf. ad 377); AMANTIS *pred. (in our love, loving as we do) : cf Sharrock 2009: and n. 34 cites other examples of what she terms grammatical surfeit in erotic contexts 666: DIC ME (ESSE): cf. 667; TUOM = tuum; GALLINAM, COTURNICEM cf. Engl. chick, dove 667: dic me esse; TUOM = tuum; [P. mockingly toys here with the use of affectionate diminutives (hypocorism) in amatory persuasion: the terms here are all hapax] 668: (ME) PREHENDE; AURICULIS instr. abl. [A&G 409] (i.e., seize me by the ears and kiss me passionately cf. Poen. 375); comparo to place together [vs. comparo to prepare] 669: TEN = te + ne [cf. ad 94]; OSCULETUR delib. subj. with indignant/repudiating force (cf. ad 93) [Bennett 1910: ]; VERBERO voc.; QUAM INDIGNUM VISUM EST (TIBI)? How shameful did (the idea of her kissing me) seem to you? (Leon. s question sets up the threat in the following line.) [The pfct. visum est would seem to be for metrical convenience: we want a pres. here (cf. 697)]; VERO adv.: indignant ( to be sure, just how shameful ) 670: ATQUI cf. ad 505; FERES sc. cruminam/argentum (cf. ad ); NI GENUA CONFRICANTUR i.e., unless you get down and hug my knees as a suppliant (the pres. is more vivid than the expected fut.: cf. Lindsay 125) 671: QUIDVIS EGESTAS IMPERAT i.e., need can compel a person to do anything; QUIDVIS from quivis; FRICENTUR (sc. GENUA) jussive subj. with permissive force [A&G , Bennett 1910: 176] (in repeating the vb. employed by Leon. [670], Argyr. uses the simple form, as frequently in Latin); DAN = das + ne (pres. ind. where we might have looked for the fut.: A&G 468, Lindsay 58); (ID) QUOD ORO suppressed antecedent [A&G 307c] 672: AGE cf. ad 5; OPSECRO = obsecro (parenthetical); AMANTI ERO dat. of advantage [A&G 376]; AMANTI *pred. (in his love, who is in love) 673: ISTOC BENEFICIO instr. abl./abl. of price [A&G 409/416]; ISTOC = isto; TE refl.; AB HOC i.e., from Argyr. s ownership; TIBI dat. of advantage [A&G 376]; EME HUNC (i.e., Argyr.) i.e., purchase his gratitude, place him forever in your debt; ISTO ARGENTO instr. abl./abl. of price [A&G 409/416] Asinaria A Student Commentary ( J.R. Porter, 2015) 143

150 Commentary: III.iii 674: NIMIS all too, quite; SI HOC MEUM ESSET protasis of a pres. contrary-to-fact *condition ( if this were mine i.e., if the decision were up to me) 675: ORARES apodosis of the present contrary-to-fact *condition; QUIN DAREM quin + subj. in an expression involving a double negative ( you would never ask but that I would give = I would always give ) [A&G 558, Bennett 1910: ]: impf. subj. by attraction to the contrary-to-fact *condition of which it is a part (secondary *sequence); ILLUM (i.e., Lib.) the obj. of orare, placed first for emphasis; TE ORARE acc. + inf. dependent upon melius est; MELIUST = melius est (impers.) [meliu(s) st prodelision] 676: ille hanc mihi dedit servandam; ILLIC = ille + ce (strengthened form of ille); HANC (CRUMINAM); SERVANDAM gerundive (*pred. indicating purpose: A&G 500.4); I 2 nd sg. pres. imperative act. of eo; BELLA fem. nom. sg. (*pred.), used to reinforce belle; BELLE in an agreeable manner, nicely 677: HOC indef. neut. sg., in reference to the crumina; SIS = si vis; [STAGING: Leon. hands the bag to Leon., thus infuriating Argyr.]; ETIAM in interrogations, esp. when made indignantly (coll.); DELUSISTI Slater 2000: 51 n. 6 notes the prevalence of compounds of the vb. ludo in this scene: 679, 711, 730, 731; cf. ad : NUMQUAM (ID) FACEREM, NI FRICARES past contrary-to-fact *condition employing the impf. subj. [A&G 517e n. 2, Woodcock ] 679: AGE cf. ad 5; SIS = si vis; TU addressed to Lib.; IN PARTEM = pro parte for one s share, in turn (cf. 916); HUNC HANC Argyr. Phil.; AMPLEXARE 2 nd sg. pres. imperative; [STAGING: given Lib. s response in 680, this line must be spoken to Lib. aside] 680: TACEAS SPECTES jussive subj. [A&G 439] ( Shut up and watch me! ); QUIN why not then?, then why don t we? (+ ind.) [A&G 449.2b]; HUNC i.e., Lib. 681: VIRUM in apposition with hunc (680); OPTUMUM = optimum; FURIS HUIUS i.e., Leon. (gen. with similis) 682: INAMBULANDUM EST (MIHI) pass. periphrastic (impers.) [A&G 500.3, Woodcock 204]; [STAGING: as Hurka notes, Lib. begins to strut about the stage, recalling the aristocratic patron making his way grandly through the forum, to be approached by his humble clients. The 3 rd pl. supplicabunt indicates that this line too is spoken aside] 683: SIS = si vis (here with its full force, vs. the polite parenthetical remark [ if you please ] found so often elsewhere in P.: cf. 309); ERUM SOSPITARI acc. + inf. following vis; TUIS FACTIS instr. abl. [A&G 409] ( through your good services ) 684: ME EGERE acc. + inf. after a vb. of perception [cf. ad 23-24]; AMANTEM *pred. ( in my passion, despite my love ) 685: VIDEBITUR (MIHI) it will be considered by me (i.e., we ll see about that : OLD s.v. 18): the impers. construction phps. adds to the imperious tone of the remark; (MIHI) dat. of agent [A&G 375b]; (ID) FACTUM (ESSE) VOLO factum esse vs. the expected fieri; REDITO *fut. imperative of redeo Asinaria A Student Commentary ( J.R. Porter, 2015) 144

151 Commentary: III.iii (with adv. referring to the fut. A&G 449.1, Bennett 1910: 356) HUC adv.; CONTICINNO abl. of time when or within which [A&G 423]; [This last injunction again casts Lib. as the high-handed patronus. In that regard, it is phps. more appropriate to take conticinno in reference to the early morning salutatio rather than to dusk]; [On the reading conticinno, cf. Deufert 2002: ] 686: ISTANC = istam; TANTISPER in the meantime, for the present; PETERE ATQUE ORARE MECUM cf. ad : visne te exorari amando an osculando; AMANDO OSCULANDO gerund (instr. abl. [A&G 507]); AMANDO i.e., by means of hugging? by means of blandishments? (the distinction betw. the two activities mentioned by Phil. is an empty one: her line merely serves to set up Lib. s response); EXORARIER = exorari; TED = te; EXORARIER TED acc. + inf. following vis (vs. the expected *prolative inf.: cf. ad 67) 688: ENIM VERO a strengthened form of enim: see L&S s.v. enim IB; UTRUMQUE sc. volo; ERGO introducing Phil. s clever play upon Lib. s utrumque (below) [Lindsay 98]; OPSECRO = obsecro; ET TU you as well/in turn (cf. below re utrumque nostrum); NOSTRUM gen. pl. of nos (partitive gen.: A&G 143b); SERVA imperative; [ Phil. picks up (Leon. s) utrumque cleverly, I implore you, save both the one and the other of us, i.e. both Argyrippus and myself (Gray). Phil. s plea invokes deep-seated notions of reciprocity: if Lib. wants both, then he, in turn, should save both. As in III.i and V.ii, Phil. here shows her cleverness in rhetorical debate] : MI MI voc. m. sg. of meus followed by dat. sg. of ego (pseudo-*anaphora [A&G 641]); ISTUC = istud (i.e., the moneybag); magis decorum est libertum onus in via portare potius quam patronum; DECORUM EST impers. (introducing the following acc. + inf.); libertum portare potius quam patronum (portare) Argyr. offers a variation on the joke made at : as Argyr. s patron (689), Lib. should scarcely be seen on the street carrying his freedman s (i.e., Argyr. s) baggage; POTIUS QUAM a fairly common collocution MAGIS 691: OCELLUS AUREUS nom. for voc. (cf. ad 664); DONUM DECUSQUE i.e., glorious gift (*hendiadys) [A&G 640]; AMORIS (with donum) subjective gen. [A&G 343 n. 1, 348 n.] 692: AMABO i.e., please (Lindsay 60, Bennett 1910: 41-42: used by women, generally with an accompanying question or command but, as Gray indicates, here with overtones of the literal sense of the vb.); FACIAM (ID) QUOD VOLES suppressed antecedent [A&G 307c]; VOLES *fut. ind. (vs. the generalizing pres. commonly employed in Engl.); ISTUC = istud 693: DIC MED (ESSE); MED = me; [As in III.ii, we are presented with parallel exchanges that match the two slaves behavior: cf ] 694: monerula = monedula (jackdaw); putillus, -a, -um tiny, eensy-teensy (The older interpretation of this term [ little boy/girl ] is no longer accepted.) 695: FAC picking up faciam in 692?; PROSERPENTEM BESTIAM i.e., a serpent: *pred. acc. with facio [A&G 393]; ut habeam linguam duplicem *final clause [A&G 531] (alluding to the passionate kisses that Lib. hopes to receive from Phil.) Asinaria A Student Commentary ( J.R. Porter, 2015) 145

152 Commentary: III.iii 696: (mihi/collo meo) torquem circumda; BRACHIIS instr. abl. [A&G 409] (i.e., place your arms tightly around my neck like a collar) 697: TEN = te [cf. ad 94]; COMPLECTATUR delib. subj. in an indignant question: cf. ad 93; QUAM VERO INDIGNUS VIDEOR see ad : NE DIXERIS *final clause [A&G 531] (furnishes the grounds for the command in the next line) [on the pfct.: Bennett 1910: 257]; ISTUC = istud; NEQUIQUAM with impunity, without punishment; IN ME in + acc. of object of hostile action [OLD s.v. A.9] 699: VEHES fut. ind. for imperative (imperious) [A&G 449.2b]; SPERES the subj. here, vs. the expected *fut. ind. (with the sense, if you should have any hope at all to ) [Bennett 1910: ] 700: TEN = te + ne [cf. ad 94]; VEHAM delib. subj. with indignant/repudiating force (cf. ad 93); TUN = tu + ne; FERAS mocking use of the delib. subj. just employed by Argyr. ( Are you to get this money from me in any other way? ) 701: si verum et decorum (est) erum servum vehere; VERUM ET DECORUM (EST) impers. (introducing the following acc. + inf.); VERUM proper, just, right; ERUM VEHERE acc. + inf.; SERVOM = servum 702: SIC in this way, just so; ISTI SUPERBI those who are haughty, arrogant, proud; [Lib. draws a ludicrously grandiose moral from Argyr. s humiliation: mock tragic; likely delivered as an aside] 703: ASTA imperative; (ITA) UT CONSUETUS ES correl. adv. [A&G 323g]; PUER *pred. (i.e., in the way you used to when you played this game as a boy); SCIN = scis + ne; UT interrogative; UT DICAM *indir. question [A&G 573]; [For the possibly obscene overtones in this line cf. Capt. 867 and see Lowe 1990: n. 41, Leigh 2004: 91 and n. 129, Fontaine 2010: 221, Williams 2010: 37 and n. 130, Richlin 2015: (Cf. ad 707.) It is in any case more probable that Argyr. leans far over rather than descending onto all fours: cf. ad 710. (An actor on all fours is much more limited in his range of movement and less visible to the audience. In the Grk. comic tradition, κύπτω is employed in similar erotic contexts of bending over rather than going down on all fours)xx] 704: [STAGING: Argyr. complies with Lib. s command]; EM SIC i.e., that s right, there you go ; ABI freq. employed as a simple exclamation or address, either with a friendly or reproachful significance: here = good for you! [L&S s.v. abeo II.B.4: cf. such idioms as Engl. Go on with you!, Get out!, etc.] (its use here is in keeping with Lib. s high-handed tone); LAUDO good job, nicely done ; nullus equus magis sapiens est te equo; NEC cf. Lindsay 130 (nec for non): nec ullus = nullus; TE abl. of comparison [A&G 406]; EQUO *pred. (with te than you, in your role as a horse/when you play pony ); EQUOS = equus 705: FECERO more vivid than the simple *fut. ( I most certainly will ) [Lindsay 61; Bennett 1910: 54]; HEM hey! ; ISTUC = istud; UT interrog.; INCEDIS the vb. suggests a deliberate or sluggish gait 706: DEMAM fut. of demo (sc. aliquid); BADIZAS you (sg.) go (Grk.); pres. ind. where one might have expected the *fut. (Bennett 1910: 66); [Such borrowings are regularly treated as 1 st conj. forms, Asinaria A Student Commentary ( J.R. Porter, 2015) 146

153 Commentary: III.iii normally, in P. s day, with ss- for z-. The ms. tradition routinely introduces corrected forms (e.g., trapezitam at 438): Redard 1944] 707: AMABO i.e., please (see ad 692): cf. 711 and see Dutsch 2008: 50-53, who stresses that this expression is employed predominately by women in Roman New Comedy and notes, citing our scene, that the only instance of a man using amabo to address another man in Roman comedy occurs in a situation where the speaker is pretending to be the homosexual partner of his slave (cf. Hurka ad loc., Barrios-Lech 2016: , and, for the formulaic elements in Argyr. s request, Barrios-Lech 2016: 27); (ME) EXORABIS 708: CALCARI instr. abl. [A&G 409]; CALCARI QUADRUPEDO i.e., by spurring you on to a gallop; [QUADRUPEDO, by itself, could be adv. (abl. of manner [A&G 412]: sc. cursu), but it is difficult not to take it with CALCARI (*hypallage): the inflated style suits Lib. s self-presentation here]; AGITABO sc. te; ADVORSUM = adversum (prep.); CLIVOM = clivum (i.e., uphill) 709: AD PISTORES DABO i.e., to be worked to death at the mill (the fate of draught animals too old or disabled for other work: cf. Apul. Metam ). As Gray notes, asses were more commonly employed in this capacity than horses; the joke lies in the youthful master Argyr. ( Silverhorse ) being threatened with a punishment characteristically assigned to the comic slave (see Segal 1987: 108 for this and other comic inversions in the scene); UT CRUCIERE *final clause [A&G 531]; CRUCIERE = crucieris; CURRENS *pred. ( as you run at the double [de Melo], of the tortured pace at which Argyr. will be forced to labor) 710: ASTA: imperative (here in the sense of halt! vs. 703); UT DESCENDAM *final clause [A&G 531]; IN PROCLIVI i.e., easily (L&S s.v. proclivis 2) but also literal: Argyr. straightens his back enough for Lib. to slide off (cf. the similar joke at 663) 711: QUID NUNC cf. ad 661; AMABO please, I ask you (cf. ad 707); (ita) nos delusistis ut libitum est (vobis); UT correl. adv. [A&G 323g]; EST LUBITUM impers. (= libitum est/libuit: cf. ad 110) 712: DATISNE pres. ind. where we might expect the fut. (A&G 468); cf. ad 579 re the placement of the enclitic -ne; MI dat. of advantage (i.e., in my honor) [A&G 376]; STATUIS IMMOLAS (713) once again, pres. ind. for fut. 713: immolas bovem mihi (sic)ut deo; MI indir. obj.; HIC adv.; TIBI dat. of judging (so far as you are concerned, in your eyes) [A&G 378]; SALUS the god Salvation (recalling the use of Σωτήρ/Soter as an appellation of many monarchs) : ISTUNC = istum (i.e., Lib.); AMOVES AGGREDERE STATUIS SUPPLICASQUE pres. ind. for fut. (A&G 468), in an impatient question (etiam): equivalent of an imperative [Bennett 1910: 25]; APS = ab; ME acc. of motion w/o ad [A&G 388b]; IPSE emphasizes me (rather than stressing that Argyr. himself is to approach); ILLA neut. acc. pl. (obj. of statuis supplicasque); illa quae hic (i.e., Lib.) (te) iusserat sibi (statuere et supplicare); IUSSERAT plpfct. where CL employs the pfct. [Bennett 1910: 50] Asinaria A Student Commentary ( J.R. Porter, 2015) 147

154 Commentary: III.iii 716: quem deum te nominem? QUEM interr. adj. with divom; AUTEM emphasizing the parallelism with ; DIVOM = divum (i.e., deum); QUEM DIVOM *pred. acc. (with te nominem) [A&G 393]; NOMINEM delib. subj. [A&G 444]; (ME NOMINA) FORTUNAM, ATQUE OPSEQUENTEM; ATQUE and what is more, and indeed (explanatory: Gray cfs. Grk. καὶ ταῦτα); OPSEQUENTEM = Fortunam Obsequentem obsequens (indulgent, benevolent) is employed to designate a specific manifestation of a number of deities in Roman religion, but esp. the goddess Fortuna (see L&S s.v. obsequor ad fin.) 717: ISTOC = isto abl. of comparison [A&G 406] (in reference to Lib.: cf. 713); AN introducing a question that expects a neg. answer; cf. Bennett 1910: 484; (ALI)QUID indefinite (Lindsay 44: cf. 209, 719); HOMINI dat. of advantage [A&G 376]; SALUTE i.e., than me, as the god Salus (713) (abl. of comparison [A&G 406]) 718: LICET with concessive force (as indicated by the following tamen): L&S s.v. II.A, Lindsay 123 ( Granted, I, It might be that I ); LAUDEM *consecutive subj. with licet (*parataxis) [A&G 537, Bennett 1910: 235]; TAMEN in restrictive sense, limiting or correcting something already said, or some inference from it: but yet, but nevertheless, but still ; UT NE CULPEM *jussive clause employed to present a proviso (A&G 528b, Bennett 1910: 266: cf. ad 230); UT NE as often, for ne 719: ECASTOR cf. ad 188; SCIAM fut. ind.; sciam ubi (ali)quid boni dederint; BONI partitive gen. with aliquid [A&G 346a3, Bennett 1914: 28]; QUID = aliquid (cf. ad 717); DEDERINT *fut. pfct. ind. 720: opta id quod vis ut tibi contingat; OPTA pres. imperative; QUOD *proleptic; UT CONTINGAT *jussive noun clause [A&G 563] following volo; QUID SI as in Engl. what if (i.e., quid eveniet si ): cf. 537; OPTARO = optavero 721: ANNUM HUNC PERPETUOM acc. of extent of time [A&G 423] (on hunc cf. ad 230); PERPETUOM = perpetuum; MIHI dat. of advantage [A&G 376]; HUIUS i.e., Philaeni (subjective gen.: A&G 343 n. 1, 348 n.); OPERAS acc. pl. ( services : Scafuro : 12 [on Bacch. 45]; cf., however, ad opus in 873); IMPETRASTI = impetravisti; [Argyr. s reply again highlights the major inconcinnity in the play the fact that the two devoted lovers of III.i elsewhere reveal such a clearheaded sense of the social and economic realities that circumscribe their relationship: the young man who earlier was prepared to die if he could not be with his beloved, here is delighted at the thought of acquiring her services for a year s time. Contrast, however, the more brutal tone adopted by Diab. at 235] 722: AIN = ais + ne (expressing wonder or surprise do you really mean it? ): cf. ad 812; ADI EXPERIRE imperative 723: EXOPTA FIET cf. ad 350; QUOD EVENIRE acc. + inf. following vis (cf. 720); MAXUME = maxime; TIBI dat. of ref./advantage [A&G 376] Asinaria A Student Commentary ( J.R. Porter, 2015) 148

155 Commentary: III.iii 724: EXOPTEM delib. subj. [A&G 444]; ALIUD AMPLIUS NISI a curious blending of aliud quam, amplius quam, and aliud nisi, all of which would convey the same sense; QUOIUS = cuius (obj. gen. with inopia) [A&G 348]; INOPIA employed here with an obj. gen., much like opus 725: VIGINTI COMMODAS MINAS i.e., a full twenty minae (commodus, -a, -um): in apposition to illud in 724; HUIUS i.e., Philaeni; QUAS DEM *rel. clause of characteristic/purpose [A&G 531.2] 726: fac (ut) sis animo bono; ANIMO BONO abl. of description [A&G 415]; (UT) SIS *jussive subj. introduced by facio, without ut [A&G 565; Woodcock 130: *parataxis]; FACE = fac; EXOPTATA: cf. 624; (TIBI) OPTINGENT = obtingent 727: UT comp. adv.; CONSUEVERE = consueverunt (with pres. force: the so-called gnomic pfct. [A&G 475, Bennett 1910: 46]): sc. the two divinities as the subject; Salus et Fortuna frustrantur homines i.e., the gods often deceive human expectations; FRUSTRATUR sg. vb., in agreement with the nearest element of a cmpd. subject ( Salus and, along with it, Fortuna ) 728: caput fui huic argento reperiundo <tibi>; CAPUT chief, leader; REPERIUNDO = reperiendo (gerundive for gerund [A&G 503]); HUIC ARGENTO REPERIUNDO *dat. of purpose echoing the titles of official magistrates (A&G 505b, Woodcock 207.4c), vs. the expected gen. with caput; TIBI dat. of ref./advantage [A&G 376] 729: EGO PES FUI a joking non-sequitur, built on Leon. s claim in 728, employed here to set up Argyr. s response: caput and pes are freq. employed in conjunction to indicate the beginning and end of something, or its full extent; QUIN + ind. introducing an objection or correction ( but in fact, but as it turns out ); NEC CAPUT NEC PES i.e., neither a beginning nor an end; SERMONI dat. of ref./interest with apparet (echoing the use of the dat. in 728) 730: scire possum nec quid dicatis nec cur me ludatis; DICATIS LUDATIS subj. in *indir. question [A&G 573]; QUOR = cur 731: censeo satis iam (eum/te) delusum (esse); (EUM/TE) DELUSUM (ESSE) acc. + inf. following censeo; eloquamur rem ut est; REM UT EST *prolepsis (cf. ad 27-28): rem presents the obj. of eloquamur as well as the subject of the following subord. clause, which is introduced by the interrog. adv. ut (*indir. question + ind. [A&G 573]); ELOQUAMUR hortatory/jussive subj. [A&G 439]; [As so commonly, P. formally marks the transition back to the essential business of the plot] : ADVORTE = adverte; SIS = si vis; pater (tuus) iussit nos ferre hoc argentum ad te; UT exclam.; 734: HIC adv.; INERUNT i.e., inside you will find (idiomatic use of *fut. ind.: cf. Lindsay 60; Bennett 1910: 44-45); BONAE phps. the equivalent of Engl. a cool 20 minae (i.e., a full 20 minae: cf. 725 and L&S s.v. bonus I.C.1.c and d), but employed largely to set up the following joke; OPERA abl. of manner [A&G 412]; PARTAE *pred./*circumstantial partic. MALA 735: iussit nos has tibi dare pactis legibus; PACTIS LEGIBUS abl. abs. (i.e., on fixed terms: cf. 562); QUID ID EST = quae sint pactae leges? (Gray, who takes the clause to be subord. to quaeso) 736: ut dares sibi noctem huius et cenam; HUIUS i.e., Philaeni (an interesting use of the gen.: most easily taken as subjective i.e., one of the nights she has at her disposal; cf. 624, 721); SIBI i.e., Asinaria A Student Commentary ( J.R. Porter, 2015) 149

156 Commentary: III.iii Demaeneto (the subject of iussit: A&G 300.2); UT DARES *jussive clause employed to present a proviso (A&G 528b: cf. ad 230 and Bennett 1910: 267); in secondary *sequence following iussit (735); IUBE (EUM) ADVENIRE; QUAESO *paratactic, as often with these polite formulae; the repetition of the more pointed use of quaeso at the end of 735 phps. reflects Argyr. s desperate eagerness he seems willing to agree to virtually anything at this point 737: MERITISSUMO = meritissimo (a comic superl. form of the adv. merito: for the use of eius, cf. ad ): according to his well-deserving merit, as he so richly deserves ; faciemus (ea) quae volet suppressed antecedent [A&G 307c]; VOLET the *fut. ind., as regular in Latin (where Engl. employs a generalizing pres.); HOSCE = hos; AMORES idiomatic pl. ( In Plautus the sing. amor is regularly the feeling, mood of love, the plur. amores the actions, circumstances, etc. to which the feeling has led [Gray]): in this instance, hos amores nostros is merely a vivid equivalent for us lovers 738: DISPULSOS *pred. ( although they/we had previously been driven asunder i.e., although it looked as though we were doomed to be separated); COMPULIT one might have expected the subj. here (causal/explanatory qui clause). As Gray notes, the image suggested by the vb. derives from herding; PATIERIN = patieris + ne 739: patrem tuum hanc amplexari acc. + inf. after patieris; TUOM = tuum; haec faciet ut (id) facile patiar; HAEC in reference either to the bag of money (crumina) as it is finally placed in Argyr. s possession, or to Phil. (In performance, the reference would have been made clear via a gesture.) In either case, we have here another example of Argyr. taking a less than sentimental view of his relationship with Phil.; UT PATIAR *consecutive clause following faciet [A&G 568]: sc. patrem hanc amplexari 740: LEONIDA note that the voc. sg. of this adopted Greek patronymic ends in ā [G&L 65], whereas in the nom. sg. it has been assimilated to a standard 1 st decl. masculine in ă [cf. above under Dramatis Personae]; OPSECRO = obsecro (parenthetical); orato patrem ut huc veniat; HUC adv.; ORATO *fut. imperative [A&G 449]; [On the transition from pres. imperative (curre) to fut. imperative (orato), cf. ad 383]; UT VENIAT *jussive noun clause [A&G 563] : STAGING P. routinely employs references to the angiportus (a side or back alley, with a small door [posticum] giving access to the house) as a means of moving his characters into and out of a house without them appearing on stage (e.g., Most , Pers ): cf. Ill. 3 (the House of Sallust). His attention to such realistic concerns is not consistent, however: cf. the introduction to this scene. In this instance, the account of Dem. s circuitous entry into Clear. s establishment highlights his fear of being discovered by his wife and thereby prepares for the comic finale in V.ii. 741: IAM DUDUM EST pres. ind. where Engl. employs the pfct. [G&L 230; Bennett 1910: 17-18]; HAC adv. (by this route, this way); VENIT pfct. ind.; ANGIPORTO instr. abl. [A&G 409] or, more specifically, abl. of the way by which [Bennett 1914: 360] Asinaria A Student Commentary ( J.R. Porter, 2015) 150

157 Commentary: III.iii : ILLAC CIRCUM CLAM adv. (the piling up of these advs. suggests Dem. s obsessive caution; CIRCUM IIT = circumiit (printed as two words to signal the elision of the second syllable of circum); ne quis familiarium videret se huc ire; NE VIDERET *final clause [A&G 531]; QUIS = (ali)quis (after si, num, nisi, ne [A&G 310a]); SE IRE acc. + inf. following videret (of a perceived fact vs. a perceived action: cf. ad 23-24); SE i.e., Dem. (A&G 300.2) HUC adv.; FAMILIARIUM partitive gen. with quis (referring to Dem. s household slaves: L&S s.v. I) [A&G 346a1]; NE RESCISCAT fear clause (A&G 564): note the switch to primary sequence. (The present metuit further highlights Dem. s anxiety.) 744: DE ARGENTO concerning/regarding the funds (that Art. and Saurea expected to paid for the asses); SI SCIAT protasis of a fut. less vivid *condition (which is left unfinished out of fear of generating a bad omen: see Argyr. s response in this line and the next); ut factum sit *indir. question [A&G 573]; UT interrog.; SIT FACTUM impers. pfct. of fio (i.e., how we ve acted ) 745: BENE DICITE i.e., avoid any words of ill omen (comically transferred from religious ritual); DICITE pl.: addressing both the slaves, but also recalling the priest s admonition to the assembled crowd; INTRO adv.; ET VOS AMATE rather than simply responding et vos (valete), Leon. tacks on amate, thus giving the statement an entirely different turn (*paraprosdokian) [STAGING: Argyr. and Phil. enter Clear. s house; Lib. and Leon. exit into Dem. s house.] Re the manner of Lib. and Leon. s exit, see the discussion in App. II: Mapping Asinaria: entrances and exits in the play. Asinaria A Student Commentary ( J.R. Porter, 2015) 151

158 Commentary: IV.i SCENE IV.i [Iambic senarii] Enter Diabolus (the slanderer, the informer ), Argyrippus rival. He is attended by his parasite, a clever hanger-on, who feeds Diabolus folly in order to enjoy his hospitality. [Similar pairs are found, e.g., in P. s Miles Gloriosus and Terence s Eunuch; cf. Shakespeare s Sir Toby Belch and Andrew Aguecheek (Twelfth Night).] Further on the character of Diabolus, see introduction to I.ii. IV.i and IV.ii are the only scenes in the play, other than the prologue and opening scene, that are composed in iambic senarii and thus the only scenes in the play, once the plot is properly under way, not accompanied by music (Moore 1998a: ; on the use of iambic scenarii in scenes involving the reading of a document, cf. Beare 1964: 225, Moore 1998a: 250, Scafuro : 10). Those who assign I.ii and I.iii to Argyrippus (see introduction to I.ii) argue that the presentation of the boorish and humorless Diabolus in such a context serves to further isolate him (e.g., Marshall 2006: , 2016: , Porter 2016: 346 and 348). [BIBLIOGRAPHY: Ketterer 1986, Damon 1997: 37-40, Cohen 2000a, 2000b, 2015: , Scafuro , James 2006: , Roussel 2009, Petrides 2014a: , Marshall A commentary on this passage can also be found in Henderson 2009.] [STAGING: Diab. and Par. enter the stage via Wing B.] Opening: the opening is quite abrupt. No explanation is offered as to how DIab. has acquired the necessary 20 minae (cf ) nor is the identity of Par. expressly noted: P. relies upon Par. s general role in this scene and, phps., his mask to provide the necessary clues (cf. Damon 1997: 37 n. 1). If I.ii and I.iii are assigned to Argyr. (introduction to I.ii), the opening is still more jarring: in that case, the audience has only to suggest who these two characters might be. 746: AGEDUM: strengthened form of age, used for exhortation, encouragement (cf. ad 5); ostende istum syngraphum quem conscripsisti; ISTUM on P. s use of iste, cf. ad 845; CONSCRIPSTI = conscripsisti; SYNGRAPHUM (Grk.) presumably a representation of the Boeotian and Doric inflection of syngraphe (Scafuro : 12); [Those who assign I.ii and I.iii to Argyr. must assume that Diab. has also been informed of Clear. s offer to sign a contract, and of the required amount. The latter presents no difficulty (cf. above ad ), but the offer of an exclusive contract was presented specifically as a concession to the outraged interlocutor of I.iii and his demand that his financial contributions, in this instance, not be flouted as had his past donations ( ). The obsessive desire for control evident in IV.i, and the insistence that no possible loophole be left that Asinaria A Student Commentary ( J.R. Porter, 2015) 152

159 Commentary: IV.i might allow Phil. once again to bestow her favors elsewhere, suit the speaker of I.ii and I.iii perfectly and further highlight the awkwardness of assigning those scenes to Argyr. (cf. ad and see, further, Porter 2016). It is true, however, that nowhere in Act IV does Diab. mention how he has obtained the funds that he was so desperate to find at the conclusion of I.iii] 747: LEGES terms, conditions; pellego = per + lego 748: POETA P. often employs this word in a metaphorical sense; comically lofty and grandiose (Knapp 1917: 149 n. 2); AD with a view to, when it comes to; [Par. displays the two features commonly associated the comic parasite: humorous exploitation of his patron and expertise in legal matters. His toying with Diab. recalls that, e.g., of Artotrogus with the Pyrgopolynices of Miles I.i (note the comic use of writing tablets in the Miles scene as well), while his professed skill at exploiting the mechanisms of Athenian law suggests characters such as Ter. s Phormio: see, further, Lofberg 1920, Antonsen- Resch 2004: 22-23, Damon 1997: The nature of Diab. s relation to Par., in combination with the buffoonish alazoneia on display in this scene, leads Petrides 2014a: 219 and 225 to identify Diab. as a miles type: cf. introduction to I.ii. Antonsen-Resch (following Konstan 1978: ) is on surer ground in emphasizing the manner in which the association of Par. with legal expertise prepares for his role in indicting the wayward Dem. before Art. in V.ii] 749: faxo lena horrescet; HORRESCET fut. ind. dependent upon facio, where we expect a subj. in a *consecutive clause [A&G 568] (*parataxis); Hurka highlights the vb. s paratragic associations; FAXO 1 st sg. fut. act. ind. [cf. ad ]: I ll see to it that ; *QUOM = cum (+ ind.) 750: AGE: cf. ad 5; QUAESO parenthetical ( please ); TRANSLEGE a hapax: cf. pellege in 747; AUDIN = audis + ne; AUDIO as costumary in Latin, an affirmative response to a question takes the form of a restatement of a key element of the question (often the vb.) [A&G 336] 751ff.: [the contract read out here fits into a broader comic tradition of locating members of the demimonde in the respectable world of civic/legal discourse: cf. Lysias 24 (likely a comic fiction) and Herodas 2; see, further, Porter 2007: On the question of whether such formal written contracts have a historical foundation, see Scafuro : 11; cf. Zagagi 1980: and n. 44, Cohen 2000a, 2000b, and 2015: For other such contracts in P., see ad 230 and cf. ad 441. Scafuro (19) notes particularly interesting resonances with Cato s de Agricultura 143 in arguing that the scene is a Plautine confection; Hurka (introduction to V.i) suggests a possible mingling of both Grk. and Plautine elements while denying the historical reality of such extravagant alliances in P. s Rome (in contrast to that of Ter.: Polyb ). Many in the audience might also have detected humorous echoes of the standard marriage contract: cf. the texts collected in Instone-Brewer s on-line resource (2000)] : DIABOLUS FILIUS, CLEARETAE LENAE apposition (A&G 282); [the formal desgination of Diab. as the son of Glaucus (regular in Athens, where an adult male citizen was identified by his given name, his father s name, and the name of his deme) has a comical ring when juxtaposed with Cleareta the procuress ; on the similarity to formal epistulary salutations, see Scafuro : 16]; DONO for/as a gift (*pred. dat. [A&G 382]) (nonsensical in the context of a contract dealing with such a Asinaria A Student Commentary ( J.R. Porter, 2015) 153

160 Commentary: IV.i carefully defined exchange of money for services [opera pro pecunia, 172]; phps. in part a parody of the language employed of such transactions in ancient erotic literary traditions, where the lovers offer gifts in order to have the women show them a kindness : cf. the similar joke at and see Scafuro : 17-18); ARGENTI gen. of material [A&G 344]; VIGINTI MINAS on the amount, see ad : UT ESSET *final clause indicating a stipulation [A&G 531, Bennett 1910: 264 and 265: cf. ad 230] (note the use of secondary *sequence: dedit (752) is to be translated as a preterite, recording a transaction that was concluded at some past time); SECUM as usual, the refl. pron. refers back to the subject of the main clause (A&G 300.2); NOCTES ET DIES, HUNC ANNUM TOTUM acc. of extent of time [A&G 423] [on hunc cf. ad 230]; [The stipulation that Phil. abide with Diab. night and day for the entire year to come establishes the obsessive tone evident in the rest of the contract. For Diab., however, this is not enough: in 754b he immediately appends a much more direct stipulation]; NEC cf. ad neque in 775; QUIQUAM = masc. abl. sg. of quisquam 755: ADDONE addo + ne (ind. in place of the expected delib. subj. [A&G 444]: Bennett 1910: 22-23, Morris 1889: 401); SCRIBAS VIDE i.e., vide ut scribas (*jussive subj. introduced by vide, without ut [A&G 565, 268 ad fin.; Woodcock 130, Bennett 1910: : *parataxis]); PLANE ET PROBE right and proper (lit. clearly and fitly ) 756ff.: as Par. begins to read out the specific terms of the contract, his sentences repeatedly employ the jussive subj. (A&G 439) to indicate the obligations that Phil. is to fulfill, the types of behaviors from which she is to refrain, and the actions Diab. is to undertake ( let her, may she, see to it that you ): mittat, sint, scribat, vendat, etc.; Note as well the relatively high incidence of hiatus in sections of the contract. Comm. associate this with Par. s comically exaggerated display of diligence as he checks and/or edits the document as he goes: Gray and Hurka ad 756; Lindsay 1904: 128 n.; Scafuro : 16-17; Fontaine 2010: : ALIENUM regularly of a man who has no connection to a woman by blood or marriage (here: another ); INTRO adv.; MITTAT = admittat (cf. 236) (jussive subj.: A&G 439); NEMINEM for nullum (emphatic) 757ff.: QUOD + subj. = Supposing that, Regarding the possibility that she should, In case she should (a form of limiting acc.: G&L n. 3, Woodcock 241; Bennett 1910: 338; Used of a contingency which may happen in the future, a sense in which it is always followed by the subj. [Gray]) : Diab. forbids Phil. from admitting some man into her home under the pretense that he is merely a friend (?!) or patron or the lover of one of her female friends (i.e., of a fellow meretrix). 757: QUOD NOMINET see ad 757ff.; ILLA the repeated use of illa (cf. 758, 761, 767, 768, 773, 775, 783, 784, 788, 789, 796) adds to the comically official impression conveyed by the document and is phps. another indication of the obsessive concern to control Phil. s actions; AMICUM AUT PATRONUM either dir. obj. of nominet, or *pred. [ call (some man) a friend or patron (A&G 393)] Asinaria A Student Commentary ( J.R. Porter, 2015) 154

161 Commentary: IV.i with hominem understood from 756. [The similarly structured provision at would tend to argue in favor of the former]; AMICUM a nonsensical item in such a list, since women such as Phil. did not have male friends (instances such as the Diniarchus of Truc. notwithstanding) but customers; PATRONUM cf., e.g., the arrangement promised by the utterly respectable Laches of Ter. Hec : quod illa praedicet amatorem amicae suae; QUOD PRAEDICET see ad 757ff.; AMICAE obj. gen. (A&G 348): for interactions betw courtesans and the young lovers of other meretrices, cf., e.g., the scheme set out at Cist and the party at Most. I.iv; [PRAEDICET this must, on this reading, be taken to be parallel with nominet 757: either as mention (with amatorem as dir. obj.), or with an acc. and inf. understood (eum) amatorem (esse)] 759: OCCLUSAE SINT jussive subj. [A&G 439]; TIBI i.e., Diab.; [On the switch here to the second person in references to Diab. contrast see Scafuro : 10 and Par. in effect translates the text for Diab. s ears by employing the second person] 760: IN FORIBUS doors could be inscribed for a variety of purposes (e.g., Livy ) but one suspects an echo here of the brothel prostitute s titulus, posted above her cella (Sen. Contr and 5; Mart ); SCRIBAT jussive subj. [A&G 439]; se occupatam esse acc. + inf. introduced by scribat 761: QUOD DICAT: see ad 757ff.; epistulam allatam <esse> acc. + inf. dependent on dicat 762: NE SIT jussive subj. [A&G 439 and 450 n. 3]; [the prohibition against having letters in the house concerns in part the possibility of their being reused to send notes out to other lovers] : CERATA TABULA waxed tablet (used for taking notes and writing letters: O Bryhim 2010: ); ADEO freq. employed after adjs. to add emphasis [L&S s.v. II B4]; SI SIT protasis of a fut.-less-vivid *condition (followed by the jussive subj. vendat); QUA = aliqua (after si, num, nisi, ne [A&G 310a]); INUTILIS PICTURA i.e., a painting on a tablet that is not intended for practical use (i.e., as a means of composing letters) but still might be employed in such a capacity, thanks to the wax used in its production or as a preservative (Knapp 1917: ). (On this reading, inutilis defines the class pictura as a whole rather than a particular kind of painting.) Most relevant in this regard are the so-called parvae tabellae (Grk. pinakes) familiar from a later age: small framed paintings portraying couples engaged in various forms of sexual activity that were hung on the wall (as opposed to panel paintings or frescoes, which were embedded into the wall itself) and that bore a certain resemblance to writing tablets. 133 Another comically obsessive precaution. (Hurka proposes, rather, that inutilis indicates any picture not on display; Bianchi 1997: 773 suggests that the picture be regarded as a form of professional advertisement no longer necessary now that Diab. is firmly entrenched as her patron or a portrait of one of Phil. s former lovers. One could suppose, somewhat more crassly, that 133 Pollini 2010: , citing Ov. Trist f. and Suet. Tib. 43; cf. Ov. A.A Cf. Myerowitz Levine 1992, Clarke 1998: and fig. 60, and, on pinakes more generally, Ling 1991: 112. It seems more likely, in any case, that Diab. is thinking of smaller works that could be employed as ersatz writing-tablets rather than (Knapp 1917: 155) paintings of any sort from which Phil. might scrape the wax. Asinaria A Student Commentary ( J.R. Porter, 2015) 155

162 Commentary: IV.i Diab. alludes to any non-erotic [and therefore useless ] paintings employed to decorate a diningroom or bedroom: cf. the related suggestion posited by Henderson 2006 ad loc. and see James 2006: 229 [citing Prop ], Ter. Eun. 583ff., and, e.g., Pollini 2010 [on the alleged Camera d Amore in the House of the Centenary]. The specific nuance of inutilis, in that case, would be indicated in the delivery.) On the challenge of conveying these lines to a modern audience in a manner that will raise a laugh, see Danese 2014: ; SIT sc. in aedibus; VENDAT jussive subj. [A&G 439]; quadriduum space of four days [IN QUADRIDUO = within four days (three days by modern reckoning, since the ancients counted inclusively)]; abalieno to transfer legal ownership (ABALIENARIT = abalienaverit [3 rd sg. fut. pfct. ind. or pfct. subj.: cf. below]); QUO ABS = ab quo (*anastrophe [A&G 640]) i.e., ab illo die quo: from that day on which (understanding dies as antecedent, implied by quadriduo) [Bennett 1914: 298]; ACCEPERIT 3 rd sg. fut. pfct. ind. or pfct. subj.; [Diab. s contract presents a number of instances where it is virtually impossible to decide whether a form is fut. pfct. ind. or pfct. subj. (cf. ad 20). Older comm. often favor the latter; while acknowledging the difficulty, de Melo 2007b: 80 n. 377 makes a case for the fut. pfct. (or the Plautine equivalent), noting the frequency with which that form is employed in legal texts. Cf. ad (extincta sit)] 766: TUOS = tuus (*pred. the complement after sit); ARBITRATUS power of deciding, judgment, decision; SIT jussive subj. [A&G 439]; COMBURAS jussive subj. [A&G 439] introduced by tuos arbitratus sit (*parataxis): see Hurka ad loc. who cfs. the similar construction following vbs. of will (LHS 2.530: cf. line 77) let it be in your power to decide that you burn it/to burn it [alternatively, one might read an *indir. question (A&G 573), with suppressed utrum (A&G 335a): cf. 805 and, for the suppression of the second alternative, A&G 335c]; SI VELIS subj. due to attraction to the subj. sit, on which it ultimately depends [A&G 593] 767: NE SIT *final clause [A&G 531]; ILLI i.e., Philaenio (*dat. of possession [A&G 373]); UBI POSSIT: relative clause of characteristic implying purpose [A&G 531.2]; [As Hurka notes, this last line must be intended as a side comment, for Diab. s ears only] 768: VOCET VOCES jussive subj. [A&G 439]; CONVIVAM a guest for a dinner party; NEMINEM = nullum; ILLA i.e., Phil. (illa establishes an emphatic contrast with the following clause [introduced by tu], reinforced by *asyndeton [A&G 323b] with *chiastic word order) [For the obsessive concern with the mistress behavior at a drinking party, cf. Ov. Amores 1.4 and see James 2006] 769: ne adiciat oculos suos ad (ali)quem eorum; EORUM i.e., convivarum (partitive gen.: A&G 346a3); QUEM = aliquem (after si, num, nisi, ne [A&G 310a]); ADICIAT jussive subj. [A&G 439 and 450 n. 3] 770: QUEM = aliquem; ASPEXIT = sigmatic fut. ind. with fut. pfct. force (de Melo 2007a: 177; cf. above ad ); SIET = sit (jussive subj.: A&G 439); [The more literal-minded comm. object that this type of curse does not properly belong in a practical contract: Par. mocks the obsessive nature of Diab. s passion by including items that have no means of being enforced] Asinaria A Student Commentary ( J.R. Porter, 2015) 156

163 Commentary: IV.i 771: UNA (adv.) together, along with; POSTEA either logical (marking as the next item on Par. s unfolding list) or temporal (i.e., once the guests have arrived and the party is under way?): cf. 785 (post), 799 (interim), and 803 (tum). A very casual, almost conversational use of the adv. (As Gray notes, postea has occasioned doubts. De Melo renders it as hereafter, from now on. Hurka ad 768 takes it as confirmation that P. s narrative presents a program of events arranged in a wellestablished order: cf. below ad 779. Leo emends to: tecum una potet, aeque pocla potitet); AEQUE (adv.) i.e., cup for cup; POC(U)LA here, as the obj. of potitet, = drinks (*metonymy) [poclum is actually the earlier form: poculum is a later development, via a process known as anaptyxis; so also periculum, populus, Hercules, etc.]; POTITET jussive subj. [A&G 439] 772: ABS TED = a te; ACCIPIAT PROPINET BIBAS jussive subj. [A&G 439]; ACCIPIAT sc. poculum; [Here, the three vbs. describe the proper procedure by which the couple s drinking is to occur: Phil. is to have no interactions with anyone but Diab. The concern in part is to prevent devious erotic interactions such as those at Ov. Am , A.A , Juv ; Anth. Pal ] 773: NE SAPIAT *final clause [A&G 531] ( lest she have sense/be prudent/employ restraint i.e., remain more or less sober: cf. Truc ; Tib ; Ov. A.A ); SATIS PLACET [like Diab. s other contributions to this dialogue, this pompous response provides an important clue both to his character and to how the scene as a whole is to be played] 774ff.: on Diab. s obsessive concern that Phil. might find some excuse to touch a secret paramour in passing, cf. Ov. Amores , 55-58, A.A ; Aristaenetus, Epist : OMNIS fem. acc. pl.; SEGREGET jussive subj. [A&G 439] : cf. Naev., Tarentilla 76-79: alii adnutat, alii adnictat, alium amat, alium tenet. / alibi manus est occupata, alii percellít pedem, / anulum dat alii spectandum, a labris alium inuocat, / cum alio cantat, at tamen alii suo dat digito litteras ( To one she nods, at another she winks; one she caresses, another embraces. Now elsewhere a hand she has taken; now she jerks another s foot. To one she gives her ring to look at, to another her lips blow a kiss that invites. She sings a song with one; but waves a message for another with her finger. E.H. Warmington, tr.). See Scafuro : : neque illa pedem pede premat ulli homini; NEQUE = neve (here and freq. below) [Bennett 1910: 170]; ILLAEC = illa (i.e., Phil.); ULLI HOMINI with pedem (*sympathetic dat.: of any man [A&G 377]); PEDE instr. abl. [A&G 409] : *QUOM = cum [These lines, along with 780, present a number of instances of quom + subj. (surgat inscendat descendat iaciat), which is not regular in P. Most instances of this construction can be explained (as here) via attraction to a subj. in the main clause (A&G 593, Lindsay 66-67, Bennett 1910: ) or are found in expressions involving an indef. 2 nd pers. sg.; QUOM SURGAT i.e., when she rises from her couch and sets about leaving: as at Ov. Am , surgere suggests departure (cf. ad 921); [Parallel passages cite interactions amid the milling crowd as the guests are arriving and being seated or, as here (surgat), as everyone rises and is in the process of Asinaria A Student Commentary ( J.R. Porter, 2015) 157

164 Commentary: IV.i departing (Ov. Am and 55-58, A.A ) rather than something Phil. might do while in the act of actually climbing onto or dismounting from her couch (the activities covered in 776b-77). Given that the Romans reclined facing a common table (ill. 6: cf. Dunbabin 2003: 36-46, and see below ad 891), the other occasion for amorous foot-play was with one s immediate neighbor(s) while actually dining (Ov. Am , Naev. Tarentilla 77 [see ad ]), not when engaged in the relatively awkward process of climbing on or off one s couch, when one s actions would have been visible to many; joining foot to foot with another guest while the latter was reclining on an adjacent couch would have been impractical at any time. (Pace Hurka, it is highly unlikely esp. at indoor banquets, where there was commonly no fixed table that guests regularly clambered over an adjoining couch to reach their position or to depart at the conclusion of the banquet; rather, the table would be set in place once everyone was seated and removed at the conclusion of the festivities. Cf. 829 below and, e.g., the guest on the far left of ill. 7, who has just arrived and is in the process of being seated, with no table in evidence; note as well the frequency of the phrase mensa remota, vel sim., to indicate the conclusion of a banquet [e.g., Ov. A.A ]. Trimalchio s curious arrangement at Petr. Satyr [separate tables for each guest, in the expectation that putidissimi servi minorem nobis aestum frequentia sua facient ( the stinking slaves won t make us so hot by crowding round ): cf. Dunbabin 2003: 61-62] is most readily explained by assuming that the usual arrangement, once the banquet was underway, involved a narrow space betw. the couches and the central table through which servers and, potentially, guests might squeeze [cf. Dunbabin 2003: fig. 18: summer triclinium in the House of the Moralist, where the table is a permanent fixture, as often in outdoor triclinia]. Should an important guest have needed to leave his/her seat in the course of the meal, the table itself was likely removed temporarily. McKeown s suggestion that one might pass along the foot of the couches when seeking or leaving one s place [1987 ad Ov. Am ] allowing the woman to caress her lover s foot with her hand would appear to be contradicted by the surviving floorplans for the typical indoor tricilinium, although such an arrangement is often implied in the [extremely stylized] artistic depictions of banquet scenes 134 and, e.g., in literary allusions to slaves standing at their masters feet [ad pedes: Petr. Satyr (cf. 70.8), Sen. Ben , Mart. 3.23]: in such cases, one should imagine the extravagent oeci Cyziceni and similar rooms familiar to a later age [Foss 1994: and n. 257, citing Vitr ] or the arrangement of the typical outdoor triclinium. 135 Neither Hurka s nor McKeown s scenario offers a viable occasion for amorous foot-play, however.) For all Diab. s 134 E.g., the central figure in a sketch found on the lararium in the kitchen of the House of Obellius Firmus (Dunbabin 2003: fig. 27) and phps. the older male presented just right of center in ill. 7 (Roller 2006: 74). On the stylized nature of such depictions, see Dunbabin 2003: 52-53, Suet. Calig suggests that the expression praeter pedes might be taken to allude to the side on which one mounted the couch. However one interprets , the arrangement imagined in Par. s contract and in Naev. Tarentilla esp. in their assumption of casual interactions betw neighbors seems to reflect that of the later Roman triclinium; pace Zaccaria Ruggiu (below, n. xx), it is altogether difficult to square with the layout of the Greek symposium (cf. ad 829). Asinaria A Student Commentary ( J.R. Porter, 2015) 158

165 Commentary: IV.i precautions while at table (below), there is little he can do to guard against erotic jostling as the guests depart. The difficulty here lies in the curious sequence in which the actions described in are set forth]; DET jussive subj. [A&G 439]; QUOIQUAM = cuiquam 778: ne det anulum (ali)cui spectandum, neve (anulum) roget; SPECTANDUM gerundive, *pred. with anulum ( to be examined, admired [purpose: A&G 500.4]) i.e., as another excuse to touch the other person s hand: cf. Naev. Tarentilla 78 (see ad ), Tib ; QUOI = (ali)cui (after si, num, nisi, ne [A&G 310a]); DET ROGET jussive subj. [A&G 439 and 450 n. 3]; NEC = neve; ROGET sc. anulum 779: TALOS dice (a common feature of such party-scenes: cf ): the notion that P. employs a deliberate pun here (talos in the sense of both dice and ankles Mendelsohn 1907: 98) is unwarranted; QUOIQUAM = cuiquam; ammoveo here in the sense of pass/serve/provide something (+ dat.) [jussive subj.: A&G 439]: cf. Varro R.R (haec (rota) ab uno puero, qui ministrat, ita vertitur, ut omnia una ponantur et ad bibendum et ad edendum et admoveantur ad omnes convivas); [Throughout his comments on this scene, Hurka attempts to impose a stringent regularity, arguing that P. offers a close reinactment of the typical commissatio/convivium, with events unfolding according to an acknowledged program. He thus regards the reference to tali here as an allusion to the selection of a master of the feast (rex/magister bibendi), an interpretation that would scarcely seem to jibe with 780. In general, it is far from certain that such a program was routinely observed by the Romans, still less that P. would feel compelled to follow it: cf. ad ] 780: QUOM + subj. see ad ; iacio cast (dice); [The reference is to an erotic game where the player would cast the dice as a type of prognostication ( he loves me, he loves me not ), or in order to win the love of another, or as a type of toast, or phps. for a kiss or other type of attention: cf. Dem. at and the Grk. kottabos (Csapo/Miller 1991: ). Diab. is concerned that Phil. not sneak in a reference to some other lover through a verbal ambiguity: cf. ad 792]; DICAT NOMINET jussive subj. [A&G 439]; NOMEN NOMINET cognate acc. [A&G 390]: let her name a name/call her dedicatee by name 781: deam propitiam sibi invocet quam libebit; INVOCET jussive subj. [A&G 439]; SIBI with propitiam (dat. of ref./advantage) [A&G 376], secondarily with lubebit (cf. below); LUBEBIT = libebit; QUAM LUBEBIT i.e., quam (deam) libebit (ei invocare) whichever goddess she wishes ; PROPITIAM *pred. ( as/to be favorable ): the equivalent of ut sit propitia (cf. 783) 782: (sed) deum nullum (invocet) i.e., Diab. fears even the male gods as potential rivals, or is concerned that addresses to a male god might serve as a cover for some hidden reference to a mortal lover; DEUM NULLUM *asyndeton (A&G 323b); MAGIS RELIGIOSUS if her religious scruples shall prove too strong (Gray) i.e., if she feels that she must invoke a male god (for the use of magis, cf. 573); FUERIT fut. pfct. ind. (cf. ad ) 783: DICAT ORES jussive subj. [A&G 439]; DICAT sc. nomen; PRO ILLA on her behalf; UT SIT *jussive noun clause [A&G 563] Asinaria A Student Commentary ( J.R. Porter, 2015) 159

166 Commentary: IV.i 784: NUTET, NICTET, ANNUAT Nor let her nod, wink, or signify compliance to any man (Gray) [jussive subj.: A&G 439]; [Annuo can indicate a movement of the eyebrows (Hurka) but, as Gray s rendition suggests, the vbs. nuto and annuo are sufficiently distinct without such refinements and generate an effective comic list (tricolon crescendo with *asyndeton [A&G 323b] and alliteration)]; [Again, there is a close reminiscence of Naev. Tarentilla (76): see ad ] : POST adv. ( thereafter ); SI EXTINCTA SIT i.e., should the lights go out. In this instance it is clear that the pfct. subj. is employed vs the fut. pfct. ind. (cf. ad ). If consistency were the goal, one would designate all the ambig. forms in Par. s contract as pfct. subj., but consistency is not a priority for P. In , 770, 782, 794, 800, 803, and , Par. either threatens penalties or presents concrete eventualities: in those instances, the *fut. pfct. fits well. Here, he posits a less likely possibility, where the fut. less-vivid is more appropriate; the use of the pfct. subj. in such *conditions is regular (A&G 516.2c, Woodcock 197); ne (ali)quid quicquam sui membri commoveat; (ALI)QUID (after si, num, nisi, ne [A&G 310a]): reinforced by the somewhat redundant quicquam (Lindsay 42: pleonastic strengthening ) [cf. the use of quicquam with nihil in the sense of nothing at all (L&S s.v. quisquam II.C)]; SUI MEMBRI i.e., any part of her body (partitive gen.: A&G 346a3; Bennett 1914: 28); COMMOVEAT jussive subj. [A&G 439]; OPTUME = optime; OPTUME (FACTUM) EST Superb! Very nicely done! 787: ITA SCILICET FACTURAM i.e., scire licet eam ita facturam esse you may be sure she will do so (Gray): for the pompous, self-satisfied tone, cf. ad 773; SCILICET = scire licet (employed in its literal sense rather than as a particle: Lindsay 113; cf. above ad ); (EAM) ITA FACTURAM (ESSE) acc. + inf. following scilicet; VERUM adv., here introducing second thoughts on Diab. s part, as he realizes that Phil. could employ the last provision as an excuse not to have sex with him (cf. ad 310) 788: demo take out, remove, subtract; ISTUC = istud (i.e., the last-mentioned provision); ILLAM MOVERI acc. + inf. after gestio; MOVERI refl. ( move about sens. obs.): Bennett 1910: 6; [Hurka cfs. Lucr ] 789: nolo illam habere causam et dicere (se) vetitam (esse hoc facere); ILLAM i.e., Phil.; causa excuse, plea; VOTITAM = vetitam ; (SE) VOTITAM (ESSE) acc. + inf. after dicere (note the personal construction with the fem. vetitam, which retains the implied inf. phrase (hoc facere) : VERUM i.e., hoc verum est: to be sure, I do indeed ; tollam sicut iubes; (SIC)UT correl. adv. [A&G 323g]; QUIDNI? how (could you) not? ( Of course you will Gray); [ni is originally a volitive negative, similar to ne: Bennett 1910: 182. In early Latin, it is regularly used to introduce a negated delib. subj. [A&G 444] in negative questions of duty or fitness, where CL employs non]; RELICUA = reliqua (neut. acc. pl.); LOQUERE 2 nd sg. pres. imperative 792: regarding the concern that Phil. might attempt to cheat the terms of her contract through the use of ambiguous language (a variant on that raised at ), cf. Porter The list of provisions at 792ff. invokes a broader, long-standing tradition of women s devious treachery, but the setting remains that of Asinaria A Student Commentary ( J.R. Porter, 2015) 160

167 Commentary: IV.i the convivium (Hurka ad 792: see, however, my comments ad 779 and 799); FACIAT jussive subj. [A&G 439]; PERPLEXABILE *pred. 793: ULLA LINGUA NISI ATTICA instr. abl. [A&G 409]; ATTICA i.e., Attic Greek (the dialect spoken in classical Athens): P. here maintains the fiction that the setting of the play is Athens and its main characters Athenian, via a witty metatheatrical joke (since of course Phil., like the other characters, perforce expresses herself in Latin): see further Fontaine 2010: 187 and cf. above ad 199; SCIAT jussive subj. [A&G 439]; SCIAT LOQUI an absurd provision to include in a contract (since one can hardly unlearn a language) 794: FORT(E) adv. (apocope: cf. ad 66): the order si forte is more regular; OCCEPSIT = sigmatic fut. ind. with fut. pfct. force (de Melo 2007a: 177 see ad ); SIC correl. adv., setting up the *consecutive clause in 795 [A&G 323g]; TUSSIAT jussive subj. [A&G 439 and 450 n. 3] 795: UT PROSERAT *consecutive clause [A&G 537]; QUOIQUAM = cuiquam; TUSSIENDO gerund (A&G 507.3); [i.e., Phil. is not to extend her tongue provocatively when coughing another weirdly obsessive provision] : QUOD SIMULET cf. ad 757ff.; QUASI PROFLUAT subj. in unreal comparison (A&G 524, Bennett 1910: 286); GRAVEDO a cold in the head (abstract, for the more concrete mucus/pituita): quasi gravedo profluat that she has a runny nose ; HOC to be taken closely with the following sic: let her not do this, she is not to act in this fashion ; FACIAT jussive subj. [A&G 439 and 450 n. 3]; SIC in this fashion (Par. mimes the action); APSTERGEAS = abstergeas (jussive subj.: A&G 439); [The scenario imagined here seems to involve the girl wiping her upper lip in a provocative manner phps. by affecting a suggestive pout in preparation for the action and thereby miming an erotic kiss. How such an action might be mimed by a masked actor remains something of a question. Most likely the actor employed a provocative pose and some sort of gesture with his hands] 798: POTIUS QUAM FACIAT *final clause with quam, introduced by the comparative force of potius (cf. ad ); QUOIQUAM = cuiquam [dat. of ref./advantage] [A&G 376]; QUOIQUAM SAVIUM FACIAT i.e., lest she mime a kiss in someone s direction 799: VINUM i.e., convivium (*metonymy): the on-going party (although in this context the expression ad vinum also provides a vivid sense of Clear. s purpose in coming: OLD s.v. ad 40a; cf. line 864); ACCEDAT jussive subj. [A&G 439]; INTERIM during this time, while we are in the midst of drinking (but see Bertini and Hurka ad loc. re suspicions against this usage, and against more generally; cf. ad postea in 771). Clear. is imagined to interrupt the party in search of drink, as a typical lena multibiba (Hurka ad loc., Fedeli 1999: 32-35). 800: ULLI masc. dat. sg. (= cuiquam); VERBO instr. abl. [A&G 409]: with a single word (Gray: cf. Ter. Phorm. 197); DICAT jussive subj. [A&G 439]; DIXERIT *fut. pfct. (cf. ad ); [Given the implicit connection betw. 799 and 800, Bertini 1968b concludes that Clear. is presented as being belligerent when drunk] Asinaria A Student Commentary ( J.R. Porter, 2015) 161

168 Commentary: IV.i 801: MULTA penalty (fem. nom. sg.); EI i.e., Clearetae (dat. of ref./disadvantage [A&G 376]); ESTO 3 rd sg. *fut. imperative act. of sum (multa esto echoes the language of law codes: Hurka cites Cato, Orig. 95e [Gell. NA ]; cf. A&G 449.2, Bennett 1910: 358); VINO abl. of sep. [A&G 401] with vb. of depriving, lacking, etc.; VIGINTI DIES acc. of extent of time [A&G 423] 802: UT CAREAT *jussive noun clause [A&G 563]; SCRIPSTI = scripsisti; SCITUM SYNGRAPHUM acc. of exclamation [A&G 397d] 803: TUM moreover, on the other hand ; [ Coronae are chaplets for the head, serta festoons for the doors, etc. (Gray)]; IUSSERIT *fut. pfct. (cf. ad ) 804: ANCILLAM FERRE acc. + inf. following iubeo (803); VENERI AUT CUPIDINI i.e., to their shrines 805: TUOS SERVOS = tuus servus; SERVET keep watch (for observet jussive subj. [A&G 439]) [Hurka detects an echo of legal texts in the etymological play servos servet]; (UTRUM ANCILLA) VENERI EAS DET AN VIRO; EAS agreeing with coronas; DET subj. in *indir. question [A&G 573]; VIRO i.e., some lover 806: si forte dixerit (se) velle pure habere; (SE) VELLE acc. + inf. following dico; HABERE (intrans.) to hold or keep oneself in a certain manner (+ adv.) [L&S s.v. II.C.6.(c): cf. Engl. hold still and ad 844, 869]: *prolative inf. with volo; PURE HABERE to maintain herself in a state of ritual purity (part of which involved sexual abstinence): as Hurka notes, this cannot be a reference to the cult of Isis, which was introduced in Rome at a later date; that need not indicate post-plautine authorship, however (pace Havet/Freté xviii); DIXERIT *fut. pfct. (cf. ad ) 807: tot noctes reddat spurcas quot (noctes) pure habuerit Phil. is to pay Diab. back as many impure nights over and above the stated duration of the contract as she has devoted to her ritual abstinence; TOT QUOT correl. adv. [A&G 323g]; REDDAT jussive subj. [A&G 439]; SPURCAS cf. Fontaine 2010: on sordeo (pace Hurka ad loc., it does not appear that some specially vile act is implied here); QUOT (NOCTES) acc. of extent of time [A&G 423]; HABUERIT *fut. pfct. (cf. ad ); PURE HABUERIT cf. ad 806; [The sipulation presented in is of a sort found in actual contracts dealing with the lease of slaves. Cf., e.g., P.Wisc. 1.5 (Egypt, AD 185), dealing with the lease of the slave-woman Tapontos. There we read (lines in the original Grk. text): The female slave Tapontos will have four days off in the month of Tybi and in Pachon also four days, eight days in total, for which nothing will be deducted from the hire. But if she should be absent for more days either because of a festival day or because of illness or on account of some imperious necessity on the part of her master, then the hire for those days will be deducted (APIS translation)] 808: non mortualia (carmina sunt); MORTUALIA (CARMINA) (mere) funeral songs, dirges (sung by hired mourners and therefore formulaic, traditional, by the book, trite), or phps. (Habinek 2005: and n. 91) winding sheets (sc. vestimenta), with the same dismissive overtones. (As Habinek notes, the former association focuses on Par. s spoken performance of the contract, the latter on the physical contract itself) Asinaria A Student Commentary ( J.R. Porter, 2015) 162

169 Commentary: IV.i 809: LEGES terms, conditions (cf. 747); SEQUERE 2 nd sg. pres. imperative; INTRO adv.; SEQUOR as usual in Latin, affirmation is indicated by the repetition of a key term in the original command [A&G 336] [STAGING: Diab. and Par. enter Clear. s house.] SCENE IV.ii [Iambic senarii] Diabolus and his parasite return to the stage from Cleareta s house, having been rebuffed by Demaenetus as the latter enjoys his afternoon with Philaenium. They decide to take revenge by informing Artemona of what her husband is up to. The sudden return of this pair, with no intervening scene, is clumsy by modern standards and has been taken as a sign of an act-break in the original production (Webster 1970: 257) or the suppression by P. of an intervening scene ( Havet 1905: 98): see, further, Lowe 1990: 275 n. 4 and 2004; cf. ad In performance, there was likely a brief musical interlude to separate the two scenes (Gray ad 809) but, as Moore indicates, 137 the evidence for such interludes (beyond Pseud a) is limited. (As Moore suggests, the fact that IV.i and IV.ii are both composed for spoken delivery makes the sudden reentry of Diabolus and Parasitus all the more jarring. A shift from accompanied to unaccompanied meters, or vice-versa, often serves to ease such transitions: cf., e.g., Cist. 630 and Trin. 601.) A modern production might employ an intervening bit of comic business by another actor or, if producing the play as sheer farce, simply have the actors playing Diab. and Par. suddenly turn about when half-way through the door and reenter straightaway. [STAGING: Diab. and Par. enter the stage from Clear. s house.] : the resemblances betw. the opening of this scene and I.ii provide an interesting irony if both passages are delivered by the same character: having obtained the funds which he so desperately lacked, DIab. once again finds himself driven from Clearata s establishment, under still more humiliating circumstances. See, further, Porter 2016: 348 and Hurka s introduction to IV As Danese 1999: 89 notes, the anomaly of having two adjacent scenes that present the same characters might be responsible for the misattribution of Diabolus role in the scene-heading for IV.ii. 137 Moore 1998a (esp. 246, ) and 2012a: Asinaria A Student Commentary ( J.R. Porter, 2015) 163

170 Commentary: IV.ii 810: SEQUERE 2 nd sg. pres. imperative dep. (addressed to Par.); HAC adv.; PATIAR TACEAM delib. subj. with indignant/repudiating force (cf. ad 93); taceo leave unmentioned, pass over in silence (+ acc.); [Here and in the following lines, the implication is that Diab. has been treated in a high-handed fashion by the triumphant Dem., in particular, who seems to have bragged about the clever way in which he acquired the funds required to purchase Phil. s favors: (For an example of the comic excesses of the boorish old man led on by wine and lust, cf. the concluding scenes of Aris. Wasps.) The sudden focus on Dem. rather than Argyr. as Diab. s rival lays the necessary groundwork for the comic finale but is well motivated: Diab. has not simply lost out in the race to produce the required 20 minae (230-31), but has been mocked and humiliated by a boorish and ludicrous rival to boot] 811: MALIM potential subj. (see ad 274 and contrast 121); quam haec non indicem uxori eius; QUAM NON INDICEM *final clause with quam, introduced by the comparative force of malim: cf. ad ; EIUS i.e., Demaeneti; [In expressing his fervent intention to inform on Dem., Diab. confirms the suitability of his name: cf. the similar threat at ] 812: AIN = ais + ne; AIN TU? a form of interrogation which includes the idea of surprise or wonder, sometimes also of reproof or sorrow: do you really mean so? really? is it possible? [Morris 1889: ] (addressed to the off-stage Dem.); AMICAM see ad Arg. 5; MUNUS here = role, part (as Hurka notes, however, munus is often employed of the sex act: cf. ad 873 [opus]); ADULESCENTULI the dimin. is dismissive : FUNGARE EXCUSES DICAS PRAERIPIAS OBICIAS SUPPILES delib. subj. used in an indignant question (cf. ad 93) sc. impune ( with impunity ) 813: FUNGARE = fungaris; EXCUSO + refl. exempt oneself from a duty or task; EXCUSES TE ET DICAS SENEM the references in this play to the husband failing to fulfill his sexual duties to his wife as a result of his adulterous liaisons (cf ) are interesting; contrast the more typical treatment of this theme at Most The tone struck in this play has a much more modern feel, and reflects more directly on the character of the husband rather than simply offering a caricature of the unattractive middle-aged uxor: cf. Cas (Ter. treats the same theme at Phorm , , absent the farcical element); DICAS SENEM i.e., dicas te senem esse. 814: AMANTI sc. mihi (*pred. from me, in my love/who am in love ): dat. of disadvantage/sep. [A&G 381] 815: suppilo (1) to rob, filch; (with pers. obj. [acc.]) to rob, cheat; [The scenario referred to here is played out in a much more vivid form in the opening scenes of Men.: Dem. s contrivance pales by comparison] 816: suspendam me potius quam tu tacita haec auferas; SUSPENDAM fut. ind. (cf ; contrast the subj. at 811, which entail an idiomatic use of malo); QUAM AUFERAS *final clause with with quam, introduced by the comparative force of potius: cf. ad ; TACITA *pred. (with neut. acc. Asinaria A Student Commentary ( J.R. Porter, 2015) 164

171 Commentary: IV.ii pl. haec): in silence, without remark (Gray); HAEC (n. pl.): most likely in reference to the bynow all too familiar 20 minae (cf. the use of aufero at 97, 154 a common usage: see L&S s.v. II.C) : AD to the home/establishment of [L&S 1.A.2.a.(b)]; ILLAM Art.; HINC IBO cf ; quam tu propediem effliges, nisi quidem illa te ante occupassit i.e., nisi uxor te praeverterit, eam funditus perdes et ad egestatem rediges (Ussing); QUAM rel. pron. (fem. acc. sg.); PROPEDIEM (adv.) very soon, shortly; ANTE adv.; occupo to be ahead of someone else in doing something, do it first, beat somone to it [OCCUPASSIT = sigmatic fut. ind. with fut. pfct. force: de Melo 2007a: 177; A&G (cf. ad ). As usual in Latin, a form of the *fut. is employed in the protasis of a fut. vivid *condition, where Engl. employs a generalizing pres.: A&G 516.a]; effligo to kill, destroy (here in the sense of ruin ); SCIO stands outside of the syntax of the rel. clause (quam effliges): parenthentical ( I know, I m quite sure ) 819: ut possis suppeditare sumptus luxuriae; LUXURIAE obj. gen. [A&G 348] with sumptus ( the expenses on/associated with your decadent lifestyle ) [cf. sumptus epularum; sumptus cenarum]; SUMPTUS acc. pl.; [Hurka draws a connection to contemporary sumptuary laws such as the lex Oppia (215 BC) and lex Orchia (182 BC) designed to stem the rise of what was regarded as a decadent extravagance]; POSSIES = possis (employed in a *final clause [A&G 531]) : SIC = as follows, in the following way (as often); FACIUNDUM = faciendum (sc. esse) pass. periphrastic (impers.) [A&G 500.3, Woodcock 204]; faciendum (esse) acc. + inf. following censeo; honestius est me hanc rem palam facere quam te (hanc rem palam facere); HONESTIUST honestius est [honestiu(s) st prodelision]: impers. construction introducing an acc. + inf. [Bennett 1910: 392]; PALAM FACERE palam here has an adj. force ( to make clear, reveal : cf. palam factum est it has become public knowledge/well-known, it has been announced ); ne illa existimet te, percitum, id fecisse amoris causa magis quam sua causa; NE EXISTUMET *final clause [A&G 531]; EXISTUMET = existimet introduces the acc. + inf. te id fecisse; percio to stir up, rouse (PERCITUM is *pred. having been stirred up, in your anger ); SUA the reflexive adj. refers back, as is regular, to the subject of the vb. that has introduced the acc. + inf. (illa i.e., Art.): A&G 300.2; SUA CAUSA for her sake [abl.: A&G 404c]: cf. ad 68 and 536; QUI particle (cf. ad 505); DIXTI = dixisti; RECTIUS cf. adv.; [As Hurka notes, the grounds for Par. s intervention are quite weak: they point rather to P. s desire to exploit the latter s cynical wit in the goading of Art. in V.ii. On Par. s role here, cf. Scafuro : 15, who notes, he does what parasites in Menaechmi (517-8, 561-2) and Phormio (985) do: he informs the wife of her husband s pecadillos. Cf. Damon 1997: 93-94, Antonsen-Resch 2004: 22-23, and see ad 748] 824: FAC UT CONCIAS: *jussive noun clause ( see to it that you ) [A&G 449.2c]; ILLI i.e., Demaeneto (dat. of disadvantage) [A&G 376]; TURBAS, LITIS (acc. pl.) *hendiadys in *asyndeton [A&G 323b] (= tumultuous quarrels ) 825: SIBI sympathetic dat. (A&G 377), reinforcing suo; employed, as often, to heighten the emotional tone of a statement (here, Diab. s and, presumably, Art. s indignation); UNAM unus here in the sense of Asinaria A Student Commentary ( J.R. Porter, 2015) 165

172 Commentary: IV.ii that which is common to several persons or things: one and the same ; AD at the home/establishment of (= apud; cf. Fr. chez) [L&S s.v. I.A.3]; AMICAM see ad Arg. 5; DIE during the day, in daytime, in the course of the day (L&S s.v. de I.B.2): cf. 516; [To engage in drinking parties or sexual liaisons in the middle of the day was regarded as a sign of decadence a convention flouted in several of the poems of Catullus and Ovid] 826: (EUM) POTARE EXPILARE the infs. likely convey the content of Art. s anticipated indignation: (at the thought) that he (indir. disc. introduced obliquely by turbas, litis concias [824], with eum as the understood subject); phps. the more freq. acc. + inf. in exclamation [A&G 462, Lindsay 75] ( for him to! ; that he should! ). 138 [It is possible that the disruption in the text following expilare hides a phrase on which these infs. might depend (Gray, who follows Leo in reading narra vs. iam iam; see Hurka for further suggestions); as it stands, Par. either interrupts Diab. s angry rant, or the broken syntax suggests something of the latter s incoherent rage]; POTARE cf. ad 270; ILLAM i.e., Art.; expilo to plunder, rob; [Comm. have expended much energy attempting to account for how Diab. might have witnessed a party that will only be instituted in the following scene: cf. Hurka ad loc., who suggests that Diab. may only have seen the preparations for the gathering. (That Diab. and Dem. have not encountered one another, however, seems unlikely: cf. ad 810.) See further ad ]; IAM IAM (iamiam) already (i.e., It s as good as done ); NE MONE ne + pres. imperative (cf. ad 377) 827: ISTUC = istud; [Note that Par. is able simply to enter Dem. s house, without the conventional rigmarole of knocking at the door: Rosivach 1970: 448 n. 8 cfs. Men. 520, also involving a parasite. In each passage, the playwright has other matters to which to attend] DE [STAGING: Par. enters Dem. s house while Diab. departs via Wing A.] 138 Cf. the acc. + inf. construction at 127. However we regard the construction at , the symmetry betw. Diab. s first and last utterances presents a nice touch. Asinaria A Student Commentary ( J.R. Porter, 2015) 166

173 Commentary: V.i SCENE V.i [Iambic octonarii but see ad ] Demaenetus enjoys Philaenium s favors while Argyrippus looks on in distress. Their allusions to the dutiful son s obligations to his father offer an inverted parody of traditional Roman moral discourse. Both V.i and V.ii are likely a Plautine confection, although one does find the presentation of drinking parties (actual or as a form of rehersal) on the Athenian stage. 139 Similar interior scenes can be found at Most. 157ff., Pers. 757ff., Stichus 683ff. 140 Cf. below ad For similarly disreputable fathers elsewhere in P., cf. Cas. and Merc. [BIBLIOGRAPHY: Lowe 1992: , 1995, 1999: 22-23; Sherberg 1995: ; Franko 2004; Sharrock 2009: ] [STAGING: Dem., Argyr., and Phil. enter the stage from Clear. s house attended by slaves and the necessary dining paraphernalia; they dispose themselves as at a drinking party. It is highly unlikely, however, that the actors reclined as at an actual convivium (pace Rollerxx: cf. ad 891 and see ad 905 and 925): not only would this make it difficult to communicate via gestures and body language, but it would hinder the projection of their voices. The actors were most likely positioned in quasi- Greek fashion, 141 with Dem. seated on a couch in the center, snuggling Phil. 142 (who would be to the left, from the 139 Cf. Hurka s introduction to V.i (citing Lowe 1992: 172). On sympotic scenes in Grk. comedy, see Prehn 1916: In addition to Aris. Wasps , note, e.g., Antiphanes Birth of Aphrodite (F 57 K.-A.), Clearchus Citharode and Pandrosos (F 1 and 4 K.-A.), Diphilus Synoris (F 74 K.-A.), Pherecrates Corianno (F K.-A.), and, to a limited degree, Men. Synaristosai (below, n.xx). See further Olson 2007: , Henderson 2014: See, further, Franko Cf. Zaccaria Ruggiu 1995: 148. She concludes (152) that the triclinium-style dining-room was first introduced ca. the time of P. s death, but the plays suggest that elements of later Roman dining ritual were already well established in P. s day cf. ad and Cf., e.g., the various well-known images of Mars and Venus discovered at Pompeii (ill. 4; cf. Pompeii Inv. 9248, 9250) or Perseus and Andromeda (Stabiae Inv. 8995). See as well the ancient depictions of Men. Synaristosai (Women at Breakfast: ill. 5), which, however, represent scenes from a Grk. rather than a Plautine staging, and a non-sympotic occasion: Dioscorides mosaic (late 2 C. BC Naples NM 9987), Daphne (first half of the 3 C. AD? Gutzwiller/Çelik 2012: fig. 21), Zeugma (early 3 C. nd rd rd AD? Gaziantep Museum of Archaeology inv. no. 8177; Abadie-Reynal/Darmon/Manière-Lévèque 2003: 93 fig. 23), Mytilene (late 3 /late 4 C. AD Charitonidis/Kahil/Ginouvès 1970: T6): see Nervegna 2013: Cf. Csapo 1999, whose rd th conclusions urge caution in employing such material as evidence for details of staging; the fact, however, that these depictions are part of an iconographic tradition that extends back to a time very close to Menander s death (Csapo 1999: ), that they select striking scenes designed to call the specific play to mind (Csapo 1999: 164), and that they strive to convey the impression Asinaria A Student Commentary ( J.R. Porter, 2015) 167

174 Commentary: V.i audience s perspective: cf. ad 891), and Argyr. seated somewhat awkwardly to the right, likely on a separate bench of his own. 143 See further Lowe 1992: and 1995: 24-26, Marshall 2006: 54.] : these lines continue the spoken iambic senarii of the previous scene, before the shift to chanted/sung octonarii at 830; they also present the commencement of the drinking party that Diab. would seem to have already witnessed in progress (812-13, ). If the text reflects the original production, this interlacing of meters supports the notion of a continuous performance, with no musical interludes betw. acts. (Note, e.g., the still more striking irrelevance of the act division in our mss. at Most. 348.) Lacking the means to have the stage facade pull away to reveal a celebration already in progress, the playwright must of necessity have his actors commence their festivities in front of the audience. In this instance, the brief overlap in the meters of the two scenes could be taken as an extradramatic marker for this stage convention. 144 The discrepancy in having Dem. et al. institute a party that Diab. seems already to have witnessed is slight, and readily accepted by an audience who can buy into the notion of a banquet being held in the street. (Cf. ad 941 and Bertini ) Earlier comm. argue that these lines derive from another play, or phps. from a scene (now lost) that originally preceded, and was interrupted by, the current IV.ii ( Ribbeck 1882: 57-58); if the lines are to be viewed with suspicion, it is more economical to assume the work of a later producer who saw the need to allow for the setting up of the requisite stage properties (Hurka): the lines would then represent a post-plautine modification designed to accommodate continuous performance. (See Hurka ad loc. on the use of iambic senarii in such interpolated passages.) 828: AGE cf. ad 5; DECUMBAMUS jussive subj. [A&G 439]; SIS = si vis ( if you please ): parenthetical; UT ITA (829) correl. adv. (A&G 323g); IUSSERIS 2 nd sg. *fut. pfct. ind. act. (the fut. pfct. is potentially more vivid than the mere fut. in that it anticipates that Argyr. s wishes will be met at any moment in the fut. when he will have issued a command [Bennett 1910: 108 for parallels]; in P., however, the distinction betw. the *fut. pfct. and the simple *fut. is often blurred) of witnessing an actual production, suggests their value in determining such fundamental issues as whether the actors were seated or reclining and indeed whether the scene in question was staged or merely reported. (On Synaristosai, cf. Seeberg : 45, who notes that, the appearance of three female characters on the ekkyklema must have been a highly distinctive curtainraiser. For a contrary view, see Gomme/Sandbach 1973: 12 n. 2, where the argument re the depiction of Phasma in the House of Menander needs to be updated: Arnott 1998: 36 and 2000: ) If this interpretation is correct, the use of vbs. such as cubo, accubo, accumbo, and decumbo in such scenes (Lowe 1995: 25) says little about the actual postures of the actors. 143 Cf. Stich and (with Petersmann 1973 ad locc.xx), Capt. 471, and, e.g., the depiction of Philainis in the mosaics from Daphne, Zeugma, and Mytilene cited in the prev. n. (Synaristosai). For the relative positions of the actors, cf. ad Such a staging assumes a division of roles with no overlap betw. the actors in IV.ii and V.i: see Introduction p. xx. Asinaria A Student Commentary ( J.R. Porter, 2015) 168

175 Commentary: V.i 829: GNATE = nate; MENSAM APPONITE serve the course/meal. In the context of both the Greek symposium (where each couch in fact had its own table: ill. 8) and (likely) the Roman cena, the expression mensam apponite has its origin in the need literally to put the table(s) in position: cf. above ad : see Moore 2012a:183 on the use of iambic octonarii here in a transitional scene 830: NUMQUIDNAM = num quidnam (adv.): Surely not at all? ; MOLESTUM EST impersonal; GNATE MI the repeated emphasis on Dem. s relationship to Argyr. (cf. 829, 836), along with the former s comically solicitous manner, highlights the young man s grounds for discomfort while also emphasizing the problematic behavior of Dem.; SI ACCUBAT i.e, the fact that she reclines (see Lindsay , Bennett 1910: 77-78, and cf. 832) 831: OCULIS dat. of disadvantage/sep. [A&G 381]; ISTANC = istam (i.e., Phil.) on P. s use of iste, cf. ad 845; [Argyr. s reference to his reverence for his father (pietas) opens an extended parody, in this and the following scene, of traditional Roman morality] 832: INDUCERE ANIMAM to find it in oneself, bring oneself to do something; NE PATIAR: *jussive noun clause [A&G 563]; QUIA (conj.) that, the fact that (A&G 572.b) (+ ind.) 833: DECET + acc. + inf. (adulescentem verecundum esse) 834: MERITO TUO in accordance with your deserts, as you deserve (cf. ad ); FACERE sc. id (i.e., verecundus esse); AGE cf. ad 5; AGITEMUS jussive subj. [A&G 439] (the frequentative agito is more vivid than ago: let s get on with this party! ) : i.e., vino suavi sicut sermone suavi abl. of attendant circumstance [Woodcock 43.5ii, 47: cf. Bennett 1914: 301 on the similarity to the instr. abl.] ( let us conduct our party amid (with) pleasant wine and conversation alike ); UT = sicut (correl.); ego nolo me metui a te, sed me amari a te malo; MAVOLO = malo; [As often in P., nolo and malo here both introduce an acc. + inf. (me metui me amari) vs. the simple *prolative inf.: cf. ad 67]; AMARI MAVOLO ME the echo of 67 is likely deliberate: the audience now sees the true motivation behind what in I.i had seemed to be a curiously liberal outlook on the part of Dem.; APS = ab; UTRUMQUE i.e., et metuo et amo (the alternative sense [presented by Hurka] non metuo, sed amo is discounted by what follows; Roman sons were expected to love their fathers but also to be in awe of them: cf., 688 and, e.g., Poen. 282: deos et amo et metuo); UT = sicut; UT AEQUOM EST FILIUM (FACERE); AEQUOM EST = aequum est (impersonal), with acc. + inf. on the use of this expression in Roman Comedy, see Barrios-Lech 2016: : CREDAM SI VIDERO I will believe, if (i.e., when) I will have seen [Latin is more precise in its use of tenses in the protasis of a fut. vivid *condition: *fut. pfct. ind., where Engl. employs a generalizing present ( if (when) I see ): A&G 516.a]; ISTUC = istud (sc. te me amare); SI i.e., when (cf. ad ); TE ESSE acc. + inf. following vb. of perception (cf. ad 23-24); HILARUM on the connotations of this term, which alludes specifically to a sense of joy that expresses itself in an individual s words, actions, and facial expression, see Thomas 1998: 153; AN i.e., Asinaria A Student Commentary ( J.R. Porter, 2015) 169

176 Commentary: V.i Are you in earnest, or do you really think that I am gloomy? : cf. ad 717; [ESS ] esse is easily understood after putas; ME TRISTEM (ESSE) indir. disc. (acc. + inf.) introduced by putas; [The transmitted tu esse me tristem can be preserved by dropping the final vowel of the inf. (apocope: cf. ad 66). Edd. disagree as to whether it is more likely that P. employed this measure here (where esse is readily understood) or that the inf. was inserted by an overly diligent scribe] 838: PUTEM (TE TRISTEM ESSE) delib. subj. in a repudiating question (cf. ad 93); like Lib. at 93, Dem. tosses his interlocutor s words back at him, here with something of the force of an indirect question ( you ask whether I think! ); QUEM VIDEAM *rel. clause of characteristic with causal/explanatory force (sc. quippe/utpote) (A&G 535e but cf. Lindsay 68); QUEM ESSE acc. + inf. following vb. of perception; AEQUE UT correl. adv. (A&G 323g) [ut si often stands for quasi (L&S s.v. ut II.A.2.e); the use of all three (ut quasi si) is oddly pleonastic (see next comment)]; QUASI SI + subj. unreal comparison ( as if x were the case ) [A&G 524, Bennett 1910: 287]; pleonastic si is common in this construction [L&S s.v. quasi I ad fin.]; diem dicere = proclaim a day for someone to appear in court, indict (quasi si dies dicta sit sc. tibi); note that dies here is fem. (phps. merely metri gratia, or reflecting the use of the fem. to denote a specific day) : DIXIS archaic form, employed as the equivalent of dixeris (2 nd sg. pfct. subj. act.): cf. ad 256; NE DIXIS NE FUERIS pfct. subj. in prohibition (jussive) [A&G 450; de Melo 2007a: and 201]; ISTUC = istud; SIC i.e., maestus; DIXERO *fut. pfct. (vs. *fut.) in a mocking echo of the preceding pfct. subj.? [but cf. Bennett 1910: on the close similarity, in early Latin, betw. the *fut. and *fut. pfct.] 841: EM employed to add vividness and force to the following imperative; RIDEO in this context = to smile or look cheerful rather than to laugh ; utinam (illi) qui mihi male volunt sic rideant (suppressed antecedent: A&G 307c); UTINAM RIDEANT optative subj. [A&G 442]; male velle alicui to wish someone ill, be an enemy to someone; MIHI dat. of ref./disadvantage [A&G 376]; [Cf. Marshall 2006: 157 on the possible metatheatrical joke here: if Argyr. is in fact portrayed by a masked actor, his expression cannot change] 842: scio quam ob rem tu credas me tristem (esse) tibi; QUAM OB REM why; CREDAS subj. in *indir. question [A&G 573]; ME TRISTEM (ESSE) acc + inf. following credas; TIBI dat. of judging ( so far as you are concerned, from your perspective, in your eyes : reinforces the emphatic tu, but difficult to capture in translation) [A&G 378] : ISTAEC = ista (i.e., Phil.): cf. ad 845; ATQUE EGO QUIDEM HERCLE EA RES ME MALE HABET: as Gray notes, the switch from the seeming first-person subject, introduced with such fanfare, to the actual third-person subject (*anacoluthon: A&G 640) reflects Argyr. s awkward hesitancy; UT DICAM: *final clause [A&G 531], indicating the speaker s reason for speaking [Bennett 1910: 258]; VERUM neut. acc. sg. employed substantivally ( the truth ): A&G 289; PATER the repeated address to Dem. as father (cf. 842) highlights the awkwardness of Argyr. s situation and his awareness of the obedient allegience expected of the Roman son (cf. ad 830); male habere = to Asinaria A Student Commentary ( J.R. Porter, 2015) 170

177 Commentary: V.i treat/use someone (acc.) badly, put them in a bad disposition (cf. 869); non eo, quia non cupiam (ea) tibi (esse) quae velis (tibi) (with the first tibi as a *dat. of possession [A&G 373]) or non eo, quia non cupiam (ea) tibi quae velis (tibi) (with tibi in each instance as dat. of advantage [A&G 376]): comparison with 846 suggests the former; NON EO not for that reason (eo adv. [orig. an abl. of cause [A&G 404]); QUIA NON CUPIAM subj. in subord. clause in implied indir. disc. [A&G 592.3, Bennett 1910: ] (picking up eo) not for the reason that you might claim, i.e. that ; QUAE VELIS i.e., ea quae velis (suppressed antecedent: A&G 307c), with subj. by attraction to cupiam, to which it is subordinate (A&G 593), but also *rel. clause of characteristic: those things that you might wish (whatsoever they might be) cf. 846: quae exoptem. 845: VERUM adv. (cf. ad 310); ISTAM AMO cited by Joffre 1998 as an instance of the broader semantic range of iste in early Latin (cf. 831, 843, and passim); [Bertini, seconded by Hurka, argues that verum + ind. represents an *anacoluthon (A&G 640): in his agitation, Argyr. breaks off his early sentence (where non eo quia leads the audience to expect a corresponding clause introduced by sed quod ) to present an emotional affirmation of his love for Phil., introduced by the asseverative verum]; facile possum perpeti aliam (puellam) tecum esse like patior, perpetior introduces an acc. + inf. (aliam esse); FACILE adv. 846: ERGO all right then, well then; SUNT QUAE i.e., sunt (tibi ea) quae exoptas (tibi) (suppressed antecedent: A&G 307c); volo (ea) mihi (esse) quae exoptem (mihi); MIHI *dat. of possession with esse (understood) [A&G 373]; QUAE EXOPTEM relative clause of characteristic: those things (of the sort which) I long for (cf. 844: quae velis): the audience would have understood mihi with this vb. as well ( the things I want for myself ) [dat. of advantage (A&G 376): a more pointed application of common use of the ethical dat. with volo: e.g., line 6] 847: UNUM HUNC DIEM acc. of extent of time [A&G 423]; UNUM single (cf. 421); PERPETERE 2 nd sg. pres. imperative (sc. hanc mecum esse) 848: ANNUM acc. of extent of time [A&G 423], set in strong opposition to unum diem (847); UT ESSES subj. in *consecutive clause [A&G 537] in secondary *sequence (dependent on tibi potestatem dedi in 847); AMANTI (*pred.) sc. tibi; ARGENTI COPIAM gen. of material [A&G 344] : ISTOC FACTO instr. abl. [A&G 409] (istoc = isto); TIBI dat. of ref./advantage [A&G 376]; DEVINXTI = devinxisti; QUIN why not then?, then why don t you? (+ ind.) [A&G 449.2b]; TE DAS present yourself (das = praebes); HILARUM *pred. [A&G 393]: cf. ad 837; MIHI indir. obj., but phps. felt in part as dat. of ref./advantage ( for my sake ) [A&G 376] Asinaria A Student Commentary ( J.R. Porter, 2015) 171

178 Commentary: V.ii SCENE V.ii [Trochaic septenarii] 145 Artemona arrives on the scene in the company of the parasite and spies on the proceedings. Demaenetus gets his comeuppance. 146 [BIBLIOGRAPHY: Fantham 1968; Yardley 1972: ; Lowe 1992: , 1995, 1999: 22-23; Sherberg 1995: , Parsons 2001: , Franko 2004, Sharrock 2009: ] [STAGING: Art. and Par. enter the stage from Dem. s house and secretly observe Dem., Argyr., and Phil.] 851: AIN = ais + ne (cf. ad 812) introduces the acc. + inf.: virum potare detulisse (852) / facere patrem (853) Do you mean to say that? (Gray): a vivid way of introducing the audience to Art. and Par. s on-going conversation; HIC adv.; POTARE cf. ad 270; OPSECRO = obsecro (parenthetical) [STAGING: Art. does not actually catch sight of Dem. and Argyr. s convivium until line 880: Rosivach 1970: n. 8 cfs. Stich Throughout this early part of the scene, one can assume that Dem. s amorous activities provide a suitably comic backdrop to her conversation with Par. See further Lowe 1992: ] 852: AD to the home/establishment of [cf. 817]; ARGENTI gen. of material [A&G 344]; VIGINTI MINAS on this sum, see ad : MEO FILIO SCIENTE abl. abs. [A&G 419]; patrem id flagitium facere acc. + inf. introduced by ain (851), with id to be taken closely with flagitium (rather than as obj. of sciente); [Given that virum (851) has provided the acc. subject for the string of infs. in , it is possible that patrem here is to be taken as *pred. (emphatic or concessive): and that he, the (young man s) father,? and that he, although he is his father,? Like Diab. in IV.ii, Art. regards the entire affair as Dem. s doing (cf. 875), and focuses as much on the latter s betrayal of his duty as a parent as on his failure as a husband. As in V.i, note the repeated allusions to family relationships in this scene (husband, father, wife, son) in contexts that highlight the manner in which these relationships have been corrupted: cf above ad 71-72] 854: ne mihi posthac accredas quicquam aut divini aut humani; DIVINI HUMANI partitive gen. (neut.) with quicquam [A&G 346a3; Lindsay 12] in place of a simple adj. ( anything divine or human ); 145 Cf. Moore 2012a: 265 on the use of trochaic septenarii to mark the resolution of the plot. 146 Comm. note particularly close ties to Men. 559ff.: see, e.g., Fantham As Sharrock 2009: 283 notes: the big party which should be the comic end (father, son, and prostitute together) becomes a play within its own play, instead of the ending which it might have been. For a recent discussion of the imperious uxor dotata (focusing on Cas.), see James 2015: and 120. Asinaria A Student Commentary ( J.R. Porter, 2015) 172

179 Commentary: V.ii NEC DIVINI NEC HUMANI QUICQUAM i.e., in regard to anything at all (a figure of speech known as merism: cf. Engl. to search high and low ); NEC NEC for the sake of emphasis, these correl. forms are employed with the two adjs., which are foregrounded, in place of the expected negative adv. (ne/neve) with accreduas; ACCREDUAS [archaic 2 nd sg. pres. act. subj.: de Melo 2007a: 281, 287] believe someone (dat.) regarding something (acc.): jussive subj. [A&G 439] 855: HUIUS REI obj. gen. with verbal adj. mendacem (A&G 349c, Lindsay 12); me mendacem esse acc + inf. following inveneris; ESS apocope (cf. ad 66); INVENERIS 2 nd sg. pfct. subj. or fut. pfct. ind. (cf. ad 20 and see de Melo 2007a: 287) 856: SCELESTA with pathetic rather than condemnatory force: wretched, unlucky (cf. 476); ego meum virum praeter alios (viros) frugi (esse) rata (sum); FRUGI suspect here, given its use in the following line: as Gray notes, the opposition frugi (857) nihili (859) supports the appearance of frugi at 857; by contrast, Della Corte 1961: 36 brackets as part of a later elaboration of the text [retractatio]. Mechanical repetitions of this sort are characteristic of our text in its current form, however that form was achieved: note, e.g., :: ; :: (cf., in general, Sharrock 2009: 163ff.xx); VIRUM (ESSE) acc. + inf. introduced by rata (sum) : these lines are bracketed by Della Corte 1961: 36 as a later expansion of the text, based on the parallelism betw. 856 and : FRUGI [cf. ad 175]; UXORIS obj. gen. with amantem [A&G 349b; Lindsay 12], either to indicate an enduring attribute (Bertini) or to avoid the ambiguity that would be occasioned by providing an acc. object for the ptcple. [Amantem has the force of an adj., in parallel with siccum, frugi, continentem]; MAXUME = maxime 858: DEHINC temporal; SCITO 2 nd sg. *fut. imperative act. [A&G 449.2a]; ILLUM MORTALEM (ESSE) acc. + inf. introduced by scito; ANTE = praeter (+ acc.); OMNIS masc. acc. pl.; MINIMI PRETI of very little worth, worthless (gen. of value: A&G 417): see Lilja 1965: 22; MORTALEM = hominem: complement following esse (understood) 859: NIHILI of no worth (gen. of value: A&G 417); UXORIS SUAE obj. gen. with osorem [A&G 348]; [Par. s list of qualities matches up with, and inverts, that presented by Art. in 857] 860: NI ESSENT, NUMQUAM FACERET pres. contr.-to-fact *condition; ISTAEC = ista 861: antehac semper ratus sum illum hominem frugi (esse); ILLUM HOMINEM FRUGI (ESSE) acc. + inf. following ratus sum; FRUGI [cf. ad 175] : VERUM adv.; HOC FACTO instr. abl. [A&G 409]; SESE OSTENDIT i.e., he shows what he truly is, his true colors (Gray); QUI QUIDEM POTET ATQUE DUCTET causal use of *rel. clause of characteristic ( given that he ) [A&G 535e]; POTET cf. ad 270; UNA adv. (bis); AMICAM see ad Arg. 5; [On ducto, see ad 164]; DECREPITUS SENEX *pred. (with concessive force although he is ); DECREPITUS see Lilja 1965: : HOC EST QUOD this is the reason why (A&G 539 and 540 n. 1; L&S s.v. quod I II, Lindsay a *limiting acc./acc. of respect); ECASTOR cf. ad 188: the repeated use of this oath by Asinaria A Student Commentary ( J.R. Porter, 2015) 173

180 Commentary: V.ii Art. becomes something of a leitmotiv (869, 877, 880, 888, 902, 936), mocked by Phil. at 899 and 930; AD indicating purpose (metaphorical motion) [OLD s.v. 40a] : on this list of names, cf. Schmidt 1902: 362, Duckworth 1994: 347, Webster 1970: 254, Gratwick/Lightley 1982: 133. Hurka notes that this list is ordered alphabetically to Roman ears, by first letter (with ch [Grk. χ] and c [Grk. κ] treated as equivalents), and argues for this as an indication of Plautine authorship; AD to the home/establishment of [cf. 817] 867: CORRUPTELAE EST LIBERIS *double dative (A&G 382.1); [ The plur. liberis, though only Argyrippus is meant, is the indefinite plur. of rhetorical exaggeration, the more common because the sing. liber is rare. Gray: cf. 67, 932]; STUDET devotes himself to, is addicted to 868: quin tu iubes ancillas (tuas) rapere illum sublimen domum? QUIN interrog. particle ( why don t you? ) (+ ind.) [A&G 449.2b]; ANCILLAS i.e., Art. s maid-servants; [STAGING: there is no indication that these women are actually present on stage]; SUBLIMEN aloft (and therefore helpless); [Par. s suggestion here presents an inversion of a type of scene common at the conclusion of many a Roman comedy: a misbehaving slave being carted off by a group of large (male) slaves (lorarii) for punishment: e.g., Ter. Andr (Cf. Men. 990ff. [of Menaechmus, who is thought to be delirious with madness], Miles 1394 [of the soldier who has been caught seducing Periplectomenus wife ].) The image of the paterfamilias being carried off in such a fashion by his wife s maid-servants aptly captures the inverted gender relationships in Dem. s household.] 869: TACE cf. 680; MODO adv.; NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; MECASTOR cf. ad 188; MISERUM *pred. acc. [A&G 393]; HABEBO [habeo here in the sense of hold or keep a person or thing in a particular condition (+ adj., adv., or perf. part.): cf. 844]; ISTUC istud (see ad 870) 870: ITA FORE acc. + inf. (with impersonal vb.) in apposition to istuc in 869 and thus dependent upon scio ( that it will be so ); [Earlier edd. omit the comma at the end of 869, taking istuc as the acc. subject of fore, phps. correctly]; ILLI i.e., Demaeneto (dat. of ref.) [A&G 376]; CUM ILLO a regular construction with nupta sum; CENSEO historic pres. ind. (A&G 469): I thought/believed (of a mistaken opinion); [It seems best to assume that the latter part of 870a (dum quidem cum illo nupta eris), or 870a as a whole (Hurka), is delivered as an aside. (Contrast Krauss 2004: ) On the question of the punctuation at the end of 870, see ad ] : EUM HOMINEM DARE OPERAM STERTERE acc. + inf. introduced by censeo (870); [This reading is preferable to: a) inserting a period at the conclusion of 870 in which case Art. there agrees with Par. s assertion in but misses its sarcastic implications, with then taken as acc + inf. of exclamation [A&G 462, Lindsay 75]; b) assuming an intervening lacuna cf. ad 873]; ETIAM [to annex a more important idea: and even, nay, even ]; IN SENATU senatorial status is difficult to square with the impression of Dem. conveyed elsewhere in the play: the line has something of a throwaway feel to it (cf. ad 135, 270); Hurka notes that P. often bestows such standing upon his senes in order to enhance the ludicrous inversions inherent in his plots: cf. Cas. 536, Cist. 776, Asinaria A Student Commentary ( J.R. Porter, 2015) 174

181 Commentary: V.ii Epid. 188; CLUENTIBUS = clientibus [again, how the impoverished Dem. might maintain a group of clients is difficult to fathom: Pl. has imported a Roman social practice without regard for its suitability]; [ If the text is kept as it stands dare operam has two constructions (i) dare operam in senatu, (2) dare operam cluentibus. Gray] 872: [This line is joined to 871 by *asyndeton: A&G 323b]; IBI then, thereupon (temporal); LABORE causal abl. (A&G 404); DELASSATUM *pred.; NOCTEM TOTAM acc. of extent of time [A&G 423]; (EUM) STERTERE continuing the acc. + inf. construction of : ille <ad me> noctu advenit lassus opere foris faciendo; ILLE in strong contrast to ego in 870; OPERE FACIENDO causal abl. [A&G 404] (with lassus) [Many edd. read operī (abl.), a form attested at Varro Ling and Arnob. Nat Hurka argues that the final ē of opere constitutes a *locus Jacobsohnianus (see ad 85)]; FACIENDO gerundive for gerund [A&G 503]; [For opus of the sexual act, see Adams 1982: 157, Vioque 2002 ad Martial ]; FORIS adv.; LASSUS *pred.; NOCTU abl. of time when or within which [A&G 423]; ADVENIT historical pres. ind. of a habitual act (A&G 469); [the indignant contrast betw. ego censeo and ille advenit arat deserit lends support for the reading of proposed above] 874: ARAT DESERIT *asyndeton [A&G 323b]; INCULTUM *proleptic/pregnant adj.: abandons his own (so as to leave it) untilled [A&G 392] 875: ETIAM see ad 871; CORRUPTUS *pred.; SUOM = suum; [As Hurka notes, Art. s repeated concern about her son s education (851-53) further reflects the gender inversions in Dem. s household: she has assumed the typical father s moral/educational duties as well as his financial authority] 876: SEQUERE = 2 nd sg. pres. imperative; HAC = adv.; MODO adv. (but here to be scanned with long final ō); faciam ut opprimas hominem ipsum manifesto; FAXO = 1 st sg. fut. ind. act. [cf. ad ]; MANUFESTO = manifesto; OPPRIMAS *consecutive/result clause introduced by facio [A&G 568], w/o ut [A&G 565, 268 ad fin.; Woodcock 130: *parataxis] 877: MAVELIM = malim (quod mavelim *rel. clause of characteristic [A&G 535a, Bennett 1910: 288]); MANEDUM [dum employed as an enclitic with imperatives and interjections: G&L 269]: hold on a moment, wait a second ; [STAGING: with manedum, Par. establishes partial contact with Dem. s ongoing convivium. It is clear that Par. has turned toward Dem. s house and now has the party in view, while Art. has yet to turn to follow him (877c) and thus has not yet caught sight of her husband. The following lines offer a useful, and quite funny, scenic transition while also providing a good indication of Dem. s erotic activities throughout the early portion of this scene] : si forte conspexeris virum tuum accubantem cum corona amplexum amicam, si videas, (eum) cognoscere possis?; POSSIS SI CONSPEXERIS SI VIDEAS fut. less vivid *condition with double protasis (On the use of the pfct. subj. here: Woodcock 197 and cf. ad 20); TUOM = tuum; CUM CORONA = coronatum (Gray); (VIRUM) ACCUBANTEM AMPLEXUM acc. + partic. after vb. of perception (cf. ad 23-24); AMPLEXUM pfct. dep. partic. employed for pres.; [The length and complexity of Par. s question is humorous, since the audience can already see that this is precisely what Asinaria A Student Commentary ( J.R. Porter, 2015) 175

182 Commentary: V.ii Dem. is currently up to, but also generates a final touch of suspense before the long-awaited comic reveal ] 880: POSSUM ECASTOR as usual in Latin, an affirmative response is indicated by repeating a significant element in the question (often the vb.: A&G 336): I most certainly can! (Art. s use of the ind., vs. the subj. employed by Par., is likely emphatic); EM TIBI HOMINEM here s your man! [G&L n. 2; Lindsay 137]; [STAGING: Par. makes a show of revealing the on-going convivium of Dem. and Argyr.]; PAULLISPER = paulisper 881: AUCUPEMUS hortatory subj. (A&G 439); CLANCULUM Lindsay 85; QUAM REM GERANT *indir. question [A&G 573] 882: QUID MODI = quem modum (partitive gen. with impers. pron.: A&G 346a3) i.e., quem finem; AMPLEXANDO gerund (dat. of ref. [A&G 505, Woodcock 207.4c]: cf. 169) 883: FATERE 2 nd sg. pres. ind.; ME CORRUPTUM (ESSE) indir. disc. after fateor; [Note the echo of 875 and cf. ad 412]; EX on account of, by reason of, through; HUIUS (i.e., Phil.) obj. gen. with amore [A&G 348] : AUDIN = audis + ne; AUDIN QUID AIT ind. for subj. in *indir. question [A&G 575c]: in this common expression, it might be that quid was taken to have the force of [id] quod; AUDIO the brevity of Art. s response, while idiomatic (cf. ad 880), is somewhat ominous; egon ut non surripiam domo uxori meae pallam quam habet in deliciis atque ad te deferam; EGON = ego + ne; EGON UT NON SURRUPIAM ATQUE DEFERAM subj. in a repudiating/exclamatory question with ut (A&G 462a, Bennett 1910: 191; cf. ad 93): Am I not to?, Me not! others regard these as *consecutive clauses dependent upon non conduci possum (886), with nĕ (egon) as an affirmative particle related to nē/ναί/νή (Warren 1881: 53-54: cf. Lindsay ); UXORI MEAE dat. of disadvantage/sep. ( from my wife, my wife s ) [A&G 381]; SURRUPIAM = surripiam; pallam quam habet in deliciis the cloak that she particularly likes, her favorite cloak (habeo in the sense of hold, consider ); IN DELICIIS a comically florid expression (cf. Cic. s mocking use in In Verrem 2.4.3: ab ea civitate quae tibi una in amore atque in deliciis fuit); AD TE at 884b Dem. turns away from Argyr. to address Phil.; DEFERAM Defero and degero are almost technical terms for conveying presents to a mistress (Gray); [The scenario referred to here is played out in a much more vivid form in the opening scenes of Men.; Hurka cites further examples from the Roman fabula togata ( comedy in Roman attire, with Roman characters and themes)] 886: NON CONDUCI POSSUM sc. ut non surripiam pallam atque ad te deferam; POSSUM note the ind. of the modal vb. in a context where we might otherwise expect the subj. ( I couldn t ): Woodcock 125; VITA abl. of price [A&G 416] (vita uxoris annua presumably implies the tempting promise that Dem. s wife will die within a year s time [ si quis mihi spondeat fore ut mea uxor intra annum moriatur Gray]; others take it as a comic *paraprosdokian: I couldn t be led to do it even if my wife were to live another [whole] year! For the general sentiment, cf. ad 21-22) Asinaria A Student Commentary ( J.R. Porter, 2015) 176

183 Commentary: V.ii 887: CENSEN = censes + ne; illum hodie primum assuetum esse in ganeum ire; ILLUM ASSUETUM ESSE acc. + inf. following censes; ASSUETUM ESSE IRE i.e., to have developed the habit of going; ganea (1f.) a common eating house; place of debauchery: DeFelice 2001: (the 2n. form is rare and early) : (id) quod ancillas meas (facere) suspicabar; (ID) QUOD a thing which (suppressed antecedent: A&G 307c); ancillas (facere) acc. + inf. following suspicabar; [alternatively: QUOD as *limiting/cognate acc. (A&G 390c): quod ancillas meas suspicabar = with regard to which/wherein I used to suspect my maids Bennett 1914: , Gray ad loc.]; INSONTIS (fem. acc. pl.) *pred. ( I used to torture the poor things, innocent as they were/for all their innocence ); CRUCIABAM i.e., in interrogating them about the theft; [The revelation of Dem. s past transgressions against his wife (note the pointed use of the impf.) presents yet another surprise twist but helps to cement the audience s understanding of his character. See, however, ad 95] 890: DARI VINUM acc. + inf. following iube; [As Hurka notes, the mss. dare is quite defensible (sc. pueros/servos following iube)]; IAM DUDUM FACTUM EST QUOM i.e., it s been a long while since (cf. ad 251); * QUOM = cum (+ ind.); QUOM PRIMUM when [i.e., since] for the first time (Lindsay 136) 891: PUERE: voc. sg. (A&G 50a); AB SUMMO (LECTO) beginning from the uppermost couch (Lindsay 83). The Roman triclinium had three couches (cf. above ad ): the uppermost (lectus summus along the right wall, as one looked into the room), middle (lectus medius), and lowest (lectus imus along the left wall). Similarly, each couch had three positions (summus, medius, imus), again running from right to left, with guests reclining in a slanting fashion, propped on their left elbows and facing a common central table (ill. 6). (Note: the couches were not actually positioned at different levels: the designations summus and imus are metaphorical.) Dem. orders the slave to serve from the top i.e., beginning with Argyr., who is dining on one side of Dem. (the upper side), while Phil. is seated on the other (in imo). 147 The uppermost couch was not a place of honor (cf. Plut. Brut for one thing, the guests on this couch had the least comfortable perspective for any entertainment that might be offered) but serving did commence from the uppermost couch (e.g., Pers. 771, Lucil. Sat , Cic. Senec. 46), likely out of a sense that things should proceed from the guests left toward their right 147 In his analyses of convivial scenes in Pompeian wall-painting, Roller 2006: notes the consistency with which female companions are portrayed as seated below their partners (i.e., to the left, from the viewer s perspective). The degree to which these paintings might reflect Greek rather than Roman convention remains unclear, however: note the typical position of female companions in sympotic scenes in Attic vase-painting. While line 891 establishes the relative position of the three actors, it should not be taken to imply that they recline as in an actual triclinium: see below and intro. to V.i. 148 as the guests were already taking their places at the feast, Favonius came, fresh from his bath. Brutus protested that he had come without an invitation, and ordered the servants to conduct him to the uppermost couch; but Favonius forced his way past them and reclined upon the central one (B. Perrin, tr.). At Sen. Dial , an overly sensitive guest feels slighted when being accorded a place on the lectus imus ( non in medio me lecto sed in imo conlocauit ): again, the lectus medius is the goal. Asinaria A Student Commentary ( J.R. Porter, 2015) 177

184 Commentary: V.ii (the propitious side). 149 In having Dem. command that the serving commence ab summo, P. alludes to a common practice, but does so mainly to set up the following joke (ab infumo); TU i.e., Phil.; INFUMO = infimo; AB INFUMO from below; alluding to Phil. s position below his, but, as Hurka notes, with a punning secondary sense (sc. fauce [cf. 41]: i.e., a deep, passionate kiss): like the symposiasts on Attic vase paintings, Dem. is luxuriating in the delight of being served on all sides; [There is a possible secondary allusion here to fellatio. In the Greek tradition, in which actors were equipped with large phalloi, such a joke would have been reinforced through the use of gesture (cf., e.g., Rud ); whether P. here translates such a joke into a Roman context is impossible to know: we cannot be at all certain that a Greek source existed for this scene (cf. intro. to V.i). In any case, the bawdy reference is ignored by Phil., who proceeds to kiss Dem] 892: [STAGING: Dem. and Phil. kiss]; UT exclamatory (+ ind.) [L&S s.v. IA2]; CARNUFEX = carnifex (cf. ad 482); CAPULI DECUS fit only to grace a coffin (Gray) [obj. gen.: A&G 348]; cf. 655: decus popli and see Lilja 1965: : ANIMAM (TUAM) acc. of exclamation [A&G 397d] with edepol; ALIQUANTO abl. of degree of difference [A&G 414]; QUAM (ANIMAM) UXORIS MEAE : cf. Lindsay 1904: 49 on the curious disarrangement of this passage in the Palatine mss., which, he suggests, could represent evidence of a curtailed revival text of the play (retractatio) produced in the first century BC. Hurka (288-90) presents the lines in the order: , , 899, , , ; I follow Danese and de Melo in preserving the traditional order. 894: AMABO please (cf. ad 692); AN i.e., are you jesting, or does your wife s breath truly stink? : cf. L&S s.v. I.D: The first part of the interrogation is freq. not expressed, but is to be supplied from the context; in this case, an begins the interrog., or, or rather, or indeed, or perhaps (but it does not begin an absolute, i.e. not disjunctive, interrog.) ; cf. 717 and 837; FOETET = fetet; [STAGING: the coyness of this question suggests that Phil. delivers her line after having noticed Art. spying on the proceedings (cf. Sharrock 2009: 284). Such a staging lays the ground for her coy interaction with Dem. at the end of this scene. Comm. have been troubled by the seeming contrast in the presentation of Phil. here and in III.i and III.iii; cf., however, and see Porter 2016: , , ]; nautea an evil-smelling liquid: bilge-water? vomit? (de Melo) 895: MALIM, SI NECESSUM SIT pres. contrary to fact *condition with pres. subj. (A&G 517e, Woodcock 197); OSCULARIER = osculari 149 Cf. Powell 1988 ad Cic. Senec. 46. The most honored guest was seated imus in medio (at the far left of the middle couch: the so-called locus consularis/praetorius), with the host seated nearest to him on the couch adjacent (summus in imo). This arrangement would have been impractical, if not impossible, to portray in the Roman theater, given the requisites of staging and the small number of actors involved in such scenes. The terms summus, medius, imus have no meaning in a Grk. context, where guests reclined on couches parallel to the four walls of the andron (the Grk. equivalent of the triclinium: ill. 8), and where the host and guest of honor were allocated the couches on either side of the single doorway (to the left and right, respectively: Vickers n.d. 3). Asinaria A Student Commentary ( J.R. Porter, 2015) 178

185 Commentary: V.ii 896: AIN = ais + ne (cf. ad 812); AIN TANDEM an indignant interjection: Is that so?! ; NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; ISTUC = istud; CUM MALO MAGNO TUO abl. of attendant circumstances ( to your great harm ) [Woodcock 43.5(ii)] 897: IN against (+ acc.); SINE never mind, very well ; REVENIAS jussive subj. [A&G 439]; MODO adv. [+ jussive subj.]; FAXO = 1 st sg. fut. ind. act. [cf. ad ] (with following *consecutive clause: I ll see to it that ); UT SCIAS *consecutive clause [A&G 568]; [This use of ut following faxo is unique in P. (one expects *parataxis after this archaic form): de Melo 2007a: 180 and 340] 898: QUID SIT *indir. question [A&G 573]; PERICLI = periculi partitive gen. with quid ( how dangerous a thing it is to ) [A&G 346a3; Bennett 1914: 27]; vitium dicere alicui to insult, abuse someone verbally (a striking periphrasis for maledicere); the inf. supplies the subject of sit [cf. Bennett 1910: ] 899: ECASTOR Phil. offers a mocking echo of Art. s angry oaths (cf. ad 864) in employing her feminine wiles to goad on Dem., only to have the oath immediately reclaimed by Art.; QUID AIS cf. ad : ECQUID (adv. use of *limiting/cognate acc. [A&G 390c; further examples at Bennett 1910: ]) introducing a question: do you in any respect/at all ; EGONE ILLAM? i.e., quaerisne utrum ego illam amem annon? (a repudiating question: cf. ad 93) 901: QUID what about? (OLD s.v. quis 13): cf. 393, 661; *QUOM = cum (+ ind.); PERIISSE (ILLAM) note the use of the pfct.: I wish that she was dead and gone ; UT comp. adv. (i.e., to judge by what he says) [L&S s.v. IB4a] : NE (ναί/νή) affirmative particle (truly, indeed, verily): cf. ad 409; ILLA sc. verba (or generic neut.); fundito to pour forth, hurl (abuse); SI REDIERIT the virtual equivalent of a temporal clause (cf. 837); OSCULANDO gerund (instr. abl.) [A&G 507]; POTISSUMUM = potissimum (adv.); [Transposing to follow 895 provides a somewhat sharper context for this couplet: see ad ] 904: TALOS tali were employed in sets of four and differed from modern dice in being oblong and rounded at both ends. As a result they had only four playing surfaces, marked I, III, IV, and VI, with I and VI on opposite sides (Ramsay 1901: ); UT IACIAMUS *final clause [A&G 531]; MAXUME = maxime ( absolutely, certainly ) 905: TE, PHILAENIUM, MIHI ATQUE UXORIS MORTEM (sc. opto) Dem. announces the stakes for which he will cast the dice (i.e., for me, Phil. and my wife s death! ) in this instance, less the practical statement of a wager than the playful expression of a wish (as in the modern she loves me, she loves me not ): cf. ad 780 and Capt and see Lindsay 29; [Hurka (ad 904) and others argue that this throw of the dice is to establish who will assume the role of magister/rex bibendi (master of the feast), but this assumes a realism that is not supported by our scene: cf. ad 779 and 935. (As Hurka notes, Dem. has already assumed the role of host/master of the feast at ; consider, moreover, the specific rationale for Argyr. s command in 904.) The focus here is on the amorous misbehavior of Asinaria A Student Commentary ( J.R. Porter, 2015) 179

186 Commentary: V.ii Dem., not the particulars of setting the convivium in motion]; MIHI dat. of ref./advantage [A&G 376]; VENERIUM *pred.; iactus Venerius in gaming with tali, this was the highest throw, where all four dice displayed different numbers (see Gray ad loc., citing Mart , and, further, Antolín on Tib ): Dem. employs a generalizing neut. sg.; [The actual casting of the dice was likely mimed (cf. Marshall 2006: 70): P. is interested in the humorous personal interactions in this scene and the comic potential of the licentious Dem., not the realistic portrayal of Greco-Roman dining practices (cf. intro. to V.i). A similar scene was phps. presented in Diphilus Synoris: F 74 K.-A.] 906: PUERI, PLAUDITE it was clearly a duty of the serving staff to help sustain the jocular mood of such gatherings: cf. Petr. Satyr. 36.4, 50.1; DATE sc. bibere (a poetic construction: Lindsay 74); CANTHARO abl. of source [A&G 403.1] (the regular construction with bibo, although others take the abl. as instr.); [The Greek cantharus is a large tankard associated, in particular, with the god Dionysus and the heroes of old (cf. Athen d-74e) that would be passed among the guests: elegant examples have been found in the ruins of Pompeii and Herculaneum (ill. 9), and illustrations appear in Roman art. Several passages in P. demonstrate an awareness of the paraphernalia of the Greek symposium; many of his audience, however, likely thought only of a fancy large Greek cup: see, further, Zagagi 2012: 28]; MULSUM for a recipe for this sweetened wine, see Col : SI NON With si non [as opposed to nisi] the apodosis is only stated as true in the (negative) case supposed, but as to other cases no statement is made i.e., there is greater emphasis on the negation of the vb. in the *conditional clause [A&G 525a.2]; fullonia the fuller s trade, fulling; [The witticism involves either: (1) a rather obscure pun on durare (= both to endure and to harden or thicken cloth [as would a fuller]), or (2) a reference to the fortitude required to endure the stench of the fulling process (which regularly employed urine and other noxious substances as agents: Flohr 2013, esp ). Attempts to detect an obscene pun on durare (in the sense of to make hard ) seem somewhat strained (see, further, Bertini and Hurka ad loc.), but the point of the joke remains uncertain] 908: NON MIRANDUM EST impers. use of the pass. periphrastic (sc. te non posse durare) [A&G 500.3, Woodcock 204]; optimum est invadi in oculos (ei); IN OCULOS (sc. Demaeneto) a partic. vicious form of assault (in + acc. of hostile motion: Lindsay 11; OLD s.v. A.9); INVADI impers. pass. inf. ( an assault to be made a virtual equivalent of te invadere); OPTUMUM = optimum; OPTUMUM EST impers., with invadi in oculos as subject; [Par. continues to fan the flames of Art. s indignation] 909: [STAGING: Art. steps forward and interrupts Dem. s amorous play by standing over him in a threatening fashion (925); see, however, Hurka ad , with my n. ad loc.]; ISTAEC = ista (neut. pl.); CUM TUO MAGNO MALO abl. of attendant circumstances [Woodcock 43.5(ii)]: cf : INVOCASTI = invocavisti (the ref. here and in 909 [pol vivam] must be to 905); ACCERSERE = arcessere inf. of *purpose after vb. of motion (A&G 460c; Lindsay 74; Bennett 1910: 366, ); [STAGING: this line suggests an extravagant gesture of despair on the part of Dem. (Gray)]; [In 910 and 911 Par. again plays true to type: cf., e.g., Ter. Phorm ] Asinaria A Student Commentary ( J.R. Porter, 2015) 180

187 Commentary: V.ii 911: MATER, SALVE Argyr. immediately begins to play the innocent, dutiful son; SAT SALUTIS the curtness of Art. s response ( enough of your greetings! ) suggests her anger; MORTUOST = mortuus est 911b-919: [STAGING: Par. s lengthy aside is humorous and provides a sense of the characters actions following the conclusion of the plot, but it seems obtrusive: having built up so carefully to Art. s indignant confrontation with her husband, the playwright here leaves them frozen for the space of some eight lines while the minor character Par. bids his adieu (see further Lowe 1992: 173, Porter 2016: ). This gap must have been covered by some form of comic business on the part of Dem., Argyr., and Phil.] 912: TEMPUS EST + *prolative inf. (as in Engl. it is time to ) [A&G 504 n. 2; Bennett 1910: 417]; ME refl. 913: IBO DICAM the two clauses are joined by *asyndeton [A&G 323b]; MANDATA (ITA) FACTA (ESSE) acc. + inf. after dicam; UT correl. adv. (with ita understood) [A&G 323g]; VOLUERIT subj. in subord. clause in indir. disc. [A&G 580] 914: UT DECUMBAMUS *jussive noun clause [A&G 563] (decumbo recline at a banquet: i.e., eat); SUADEBO sc. ei (i.e., Diabolo); DUM + ind. while (here P. does not use the more precise *fut. ind. in a temporal clause); LITIGANT McCarthy 2000: 95 notes how frequently this term is employed in association with the uxores dotatae of Roman comedy : POSTE = post (adv.); HUC adv.; ADDUCAM sc. Diabolum; AD to the home/establishment of ; UT DET *final clause [A&G 531]; EI i.e., Clearetae; IN PARTEM HAC AMANTI UT LICEAT EI POTIRIER i.e., ut liceat ei [i.e., Diabolo] amanti potiri hac [i.e., Philaenio] in partem; LICEAT *final clause presenting a stipulation [A&G 531, Bennett 1910: 264: cf. ad 230]; POTIRIER = potiri to possess, be master of [with acc. or abl.]; AMANTI *pred. ( in his passion, longing for her as he does ); IN PARTEM = pro parte for his share, in turn (cf. 679) : Argyrippus poterit exorari ut sinat se hac frui cum illo alternas noctes; SPERO parenthetical; UT SINAT *jussive noun clause with exorari [A&G 563]; SESE = se (refl. referring back to the subject of the main vb., Argyr. [A&G 300.2]); SESE FRUI acc. + inf. dependent upon sino; CUM ILLO abl. of accompaniment ( along with that other fellow [Diab.]) [A&G 413]; HAC i.e., Philaenio; ALTERNAS NOCTES acc. of extent of time [A&G 423] ( on [throughout] alternate nights ); [Par. s plan, introduced so unexpectedly here, recalls the similar and, many feel, quite problematic plan announced at Ter. Eun. 1060ff. (cf. Truc and, for real-life (?) instances, the anonymous female slave of Lys. 4 and the Neaira of ps.-dem and 29: Fantham 2015: 94); cf. Legrand 1917: 144. Reichel 2000: 381 stresses the gratuitous manner in which the motif is introduced in our passage, which he characterizes as a Knalleffekt ( bombshell, surprise plot-twist ). But the absurdity of the ardent Argyr. of III.iii here being presented as a willing shareholder in Phil. s services is consonant with, and reinforces, the contradiction betw. the loving Phil. of that earlier scene and the much more manipulative courtesan presented here (894, , 930, ): both lovers UT Asinaria A Student Commentary ( J.R. Porter, 2015) 181

188 Commentary: V.ii become implicated in the play s farcical conclusion. (For Argyr. s other contributions to the farcical tone of this scene, see 911, 931, 938.) In the end, Par. s proposal merely sets in place the arrangement which Argyr. and Phil. had originally hoped to achieve: Porter 2016: It also provides a nice bit of poetic justice: the high-handed and indignant Diab. of Act I, who was so concerned with being given what he was owed and with asserting his control over Cleareta s household, is now reduced to begging to be allowed to have some part in the concluding celebrations after he has paid, of course (Porter loc. cit.). Par. s plan is utterly implausible, however, if Argyr. is in fact the obsessive lover of I.ii-iii (lines : see introduction to I.ii): in that case the play begins to take on the character, not of a farce, but an incoherent series of comic sketches. Contrast Hurka ad loc., who argues that Par. concludes that such an arrangement would be reasonable based on Argry. s arrangment with Dem.]; NI IMPETRO i.e., if I don t bring this about, achieve this; NI IMPETRO PERDIDI (919) the use of the pres. and pfct. ind. is vivid (cf. ad 243). 919: REGEM used comically of Diab. as Par. s patron/meal-ticket (Fraenkel 2007: , Damon 1997: 16-17); [Lowe 1989 highlights the typical Plautine parasite s obsession with food: cf. Damon 1997: In this regard, Par. might be regarded as something of an outlier. Lines suggest that this impression is in part due to the restricted role that he is accorded in the play]; EX AMORE abl. of origin/cause [A&G 404]; HOMINI (i.e., Diab.) *dat. of possession [A&G 373]; [ So great is the passion that is enkindled by love in that fellow a comically grandiose exit-line]; [STAGING exit Par. via Wing A] 920: quid tibi receptio est hunc virum meum ad te? (addressed to Phil.) On what grounds do you receive this husband of mine into your establishment? What business do you have receiving? ; QUID wherefore? why? on what grounds? (cf. ad 6); TIBI dat. of ref. [A&G 376], providing the subject of the verbal noun receptio; RECEPTIO the act of receiving (governs the acc. hunc virum meum) [ verbals in -tio formed directly from the verb [accessio, aditio, curatio, tactio, etc.] can retain their verbal force and govern the case of the verb itself. Gray (A&G 388d n.2; G&L 330 n. 3)]; AD to the home/establishment of ; POL QUIDEM Phil. objects that she has been far from a willing participant in her dealings with Dem. 921: MISERAM *pred. ( unhappy as I am, in my misery in such a sentence, me miseram is somewhat stronger than Engl. poor me ); ODIO instr. abl. [A&G 409]: cf. 446, Pers. 48a, Rud. 944 but see below; enico = eneco to kill off, kill completely; torment, torture, plague to death; [ODIO ENICAVIT given the freq. association of the senex amator with foul breath and disgusting odors (e.g., Merc : Christenson 2016: 218xx), it is tempting to take odio here as disgust/revulsion rather than annoying/revolting behavior. Cf. Bacch. 1152, Most. 705 (where, however, odio is dat.)]; SURGE the mot juste for rising from bed or from a dining couch (in the latter case, esp. when quitting the banquet): cf. ad 776; AMATOR a term of mocking abuse when employed of the comic senex (Lilja 1965: 13, 68); I 2 nd sg. pres. imperative act. of eo (the first of five such commands); SURGE, AMATOR, I DOMUM Art. s repeated refrain (cf. 923, 924, 925, 940) can be paralleled in other Asinaria A Student Commentary ( J.R. Porter, 2015) 182

189 Commentary: V.ii plays (Men , Pers , , Rud , cf. Aris. Peace , Wealth ). Here, however, it offers a distinctly ironic echo of the ritual exhortation to the newly-married bride and groom to make their way to the marriage chamber (e.g., Cat , ; ): Dem. is cast as the doddering groom in an inverted marriage ceremony, destined for a particularly unhappy wedding night (cf. Sharrock 2009: 283, Christenson 2016: 224xx). This motif is employed in a somewhat different fashion at the conclusion of Bacch. ( ) and figures prominently in Cas. 922: NULLUS SUM I m utterly done for, I m a dead man : for nullus as an emphatic negative ( not, not at all comical/colloquial), see Gray ad 408; IMMO ES NEQUISSUMUS Art. corrects Dem. s statement either by interpreting nullus as a regular complement of sum, which she amends ( No, don t deny it: you are the most worthless of all people : cf. Merc. 164), or (Hurka) by taking Dem. s nullus sum in the sense of nequam sum ( I am worthless/good for nothing ) and substituting the superl. adj.; NE NEGA ne + pres. imperative (cf. ad 377): parenthetical; NEQUISSUMUS = nequissimus 923: ETIAM still, still now; CUCULUS the cuckoo, notorious for laying its eggs in another bird s nest; also associated with folly and sloth: see Lilja 1965: 34 and Hurka ad loc. for other associations 924: HARIOLARE 2 nd sg. pres. ind. dep.; VERA HARIOLARE in predicting his own woe, Dem. is an accurate prophet: i.e., the comical display of misery that Dem. is performing (924a) will soon be all too real (cf. ad 579) 925: APSCEDE = abscede; APSCEDE ERGO Hurka follows Bertini in arguing that 925a is directed at Phil. or Argyr., with whom he must negotiate in order to come to his feet: the use of ergo would seem to argue against this view, nor does it make dramatic/comic sense to have the desperate Dem. break contact with Art. at this point; the modern assumption that Dem. is reclining as at traditional Roman convivium has led to a misinterpretation of the staging: cf. my introduction to V.i; PAULLULUM = paululum (adv.); ISTUC adv. 926: OPSECRO= obsecro; nunc meministi me uxorem tuam esse: Art. picks up Dem. s use of the vocative uxor and flings it back in his teeth; NUNC emphatic by position; ME ESSE acc. + inf. following meministi 927: MODO adv. ; *QUOM = cum (+ ind.) [the impf. is vivid/emphatic]; IN ME cf. ad 897; odium eram, non uxor tua cf ; ODIUM = odiosa i.e., a hated thing, a source of hatred or disgust (Lilja 1965: 39) 928: TOTUS a *pred. adj. in the nom. where Engl. prefers an adv. ( altogether, entirely ) [A&G 290]; QUID TANDEM? did you really mean it? i.e., were you in earnest when you answered Phil. s question in v. 894? Quid tandem expresses aroused curiosity (Gray, citing Langen); FOETETNE note the delayed introduction of ne, emphasizing the vb. [A&G 332]; FOETET = fetet 929: MURRAM cognate acc. (A&G 390a); IAM emphatic/indignant ( even, indeed, really ); SURRUPUISTI = surripuisti (sc. mihi); QUAM DARES rel. clause of purpose [A&G 531.2] (cf ) Asinaria A Student Commentary ( J.R. Porter, 2015) 183

190 Commentary: V.ii 930: ECASTOR cf. ad 899; QUI particle (cf. ad 505); promisit (se) surrepturum (esse) pallam tibi; SURRUPTURUM = surrepturum; (se) surrepturum (esse) acc. + fut. inf. after promitto (A&G 580c n.): on the omission of the acc. subject, see Lindsay 73; TIBI dat. of disadvantage/sep. ( from you ) [A&G 381] 931: NON TACES on the pres. ind. with non in a disguised command, see Bennett 1910: 24-25, Holford- Strevens 2010: 332 (citing Lodge : s.v. non III.C.2.c); DISSUADEBAM the impf. here has a comically weaselly tone ( I kept trying to ) [Bennett 1910: 31-32]; BELLUM FILIUM acc. of exclamation [A&G 397d] ( what a fine son ), employed sarcastically (Lilja 1965: 15) 932: aequumne est patrem istos mores liberis largiri?; ISTOSCIN = istos + ne; AEQUOM EST = aequum est (impers.); PATREM LARGIRIER acc. + inf. with aequom est; LIBERIS generalizing pl. (cf. 867); LARGIRIER = largiri; [On Art. s concern for her son s moral education, cf. ad 875] 933: NILNE TE PUDET? nihil (nil) is often employed as a strengthened form of non ( not at all ) [L&S I.B.1]: do you feel no shame whatsoever? (a *limiting acc.: A&G 390, Woodcock 13(iv)). Here, however, there is a suggestion (on which Dem. plays in his response) that pudet represents a (relatively rare) use of the personal vb. pudeo, with nil as the subject; SI ALIUD NIL SIT if there were nothing else (protasis of a contrary-to-fact *condition [A&G 517e, Woodcock 197], followed by a pres. ind.: cf , and see Rotheimer 1876: 44-45, Bennett 1910: 274); SI for etiamsi ( Rotheimer 1876: 6); TUI ME PUDET pudet + acc. of person who experiences shame; + obj. gen. [A&G 354.b] of the thing of which one is ashamed, or of the person before whose judgment one feels shame; TUI gen. of tu (obj. gen. with pudet): cf. Ter. Adelph. 683; [Hurka notes the quick-wittedness with which Dem. echoes Art. s use of nil as an emphatic negative, but employs it in a concrete sense to provide a heightened sense of his contrition. McCarthy 2000: 112 notes the frequency with which pudor is associated with the repentant husbands of Roman comedy] 934: uxor te rapit e lustris, cuculum cano capite; CANO CAPITE abl. of description [A&G 415] (with cuculum); CUCULUM in apposition with te (on the force of this metaphor, cf. ad 923); LUSTRIS as Hurka notes, the context draws upon both the literal and metaphorical sense of lustra (wood or thicket vs. brothel). 935: LICET MANERE sc. mihi; DUM CENEM MODO just until I might dine (dum/dummodo + subj. implying intention [A&G 553]); DUM MODO = dummodo (tmesis: G&L 726); [As Hurka notes, in a Greek context, dining should have preceded the concerted drinking and the party games that are clearly under way at 889ff. (cf. Lowe 1995: 29): Dem. s failure to obtain dinner combines with his failed amatory ambitions to present a picture of his thorough humiliation. (These two conjoined themes are played out at greater length, and with greater sophistication, in Cas.) Dem. s request here is absurd, both in terms of the relevant social conventions and as a strategy for dealing with his wife but it provides a great set-up line] 936: (SIC)UT DIGNUS ES correl. adv. [A&G 323g]; MAGNUM MALUM neut. acc. (obj. of cenabis: a heap of trouble, a feast of woe here, however, it is doubtful that it would be taken in the sense of Asinaria A Student Commentary ( J.R. Porter, 2015) 184

191 Commentary: V.ii a beating [cf. ad 43, 316], despite the similarities betw. the woeful Dem. and the typical comic slave apprehended in some misdeed) 937: CUBANDUM EST (MIHI) pass. periphrastic (impers.) [A&G 500.3; Woodcock 204]. Comm. note the blending of both senses of cubo here ( recline at a banquet and go to bed ); IUDICATUM masc. acc. used predicatively with me ( already sentenced, condemned : cf. Ter. Phorm. 334, Cic. Orat , Livy 6.14); [Bertini suggests an echo of the ancient procedure known as manus iniectio (employed against debtors): ni iudicatum facit, aut quis endo eo in iure vindicit, secum ducito. vincito aut nervo aut compedibus. XV pondo ne minore. aut si volet maiore vincito ( If [the debtor] does not satisfy the judgment, or no one in court offers himself as surety on his behalf, creditor may take defaulter with him. He may bind him either in stocks or in fetters; he may bind him with weight not less than 15 pounds, or with more if he shall so desire ) (Lex XII Tab. 3.3 [E.H. Warmington, tr.]; Mousourakis 2003: ). Cf. Zagagi 1980: 108 and n. 10] 938: DICEBAM here employed as a vb. of commanding or urging [Bennett 1910: 214] (note the weaselly impf. once again, as at 931); NE CONSULERES *jussive noun clause [A&G 563] 939: MEMENTO 2nd sg. *fut. imperative act. of memini [A&G 449.2a]; AMABO please (cf. ad 692); IUBEN = iubesne (addressed to Argyr.? Art.?) as in 931, Dem. expresses his impatient wish/command in the form of a pres. ind. (-ne in place of the expected nonne: cf. ad 424); APSCEDERE = abscedere 940: PRIUS QUAM + ind. Lindsay 133; A&G 551c; I IN CRUCEM a common curse ( go onto a cross i.e., to Hell with you ) 941: Phil. wittily deflects Dem. s curse by pretending to take it literally and correcting it; INTUS (adv.) as regularly in P., the space in which the on-stage action is to be imagined as occurring is utterly fluid: it is clearly a private indoor affair into which Art. intrudes, but it is presented for the audience on the street in front of Clear. s establishment, as is implicitly acknowledged by Phil. s response here (cf. Lowe 1995: 24-25); POTIUS (adv.) rather, instead; SEQUERE 2 nd sg. pres. imperative (addressed to Argyr.); HAC adv.; [Gray (citing Langen): Philaenium s conduct in this last scene is inconsistent with her previous character. So far her genuine love for Argyrippus has roused sympathy; here she sinks to a common drab. As evident already in III.i, the presentation of Phil. involves the blending of two distinct comic types. Cf. Lowe 1992: , Bertini ad 930, Hurka ad , Porter 2016: , , ]; EGO VERO SEQUOR I most certainly will! ; [941 precedes 940 in the mss.: the transposition presented here was first proposed by the 19 th -C. scholar Fleckeisen. Hurka defends the transmitted text, but the sequence of interactions is smoother with the transposition, and it is difficult to imagine P. concluding the action of his play with the curse of 940b. (In this regard, Pers. 856 provides no parallel quite the opposite.) The same objection applies to Zwierlein s proposed bracketing of 941 (1992: 322 n. 716).] [STAGING: Argyr. and Phil. exit into Clear. s house; Art. and Dem. enter Dem. s house.] Asinaria A Student Commentary ( J.R. Porter, 2015) 185

192 Commentary: V.ii EPILOGUE (942-47) [Trochaic septenarii] 150 [STAGING: the actors as a group, or the lead actor alone, return on stage to deliver the concluding lines. The former is suggested by the attribution in the mss. (GREX), but it is likely that these lines were presented by the same actor who spoke the prologue. In terms of staging and characterization, it would be fitting if these words were delivered by the actor who had played Parasitus, who would here return to the stage to provide a suitable moral for the play as the other four actors departed. Since, as chance would have it, this same actor likely portrayed Libanus (the first character to speak once the play itself was under way), a fitting symmetry between prologue and epilogue would result if each was associated, via the identity of the actor, with one of the play s prominent trickster figures. 151 ] [BIBLIOGRAPHY: Sharrock 2009: , Gunderson 2015: , Christenson 2016xx. On epilogues more generally: Moore 1998b: 18-20, Slater 2000: , Sharrock 2009: ] : the play concludes with a Saturnalian moral worthy of the atmosphere of the Roman ludi (cf. Cas ). The outlook presented here could, however, be employed in more reputable contexts: cf. Cic. s defense of the youthful Caelius at Cael (further, Dyck 2013 ad loc.). 942: SI cf. Lindsay on si-clauses following vbs. such as miror; (ALI)QUID after si, num, nisi, ne [A&G 310a]: adv. use of *limiting/cognate acc. [A&G 390c]: at all, in some way ; CLAM (prep.) in secret from, without the knowledge of, unbeknownst to (+ acc.); facere volup act agreeably to, please (+ dat. of ref./interest); suo animo fecit quid volup = acted at all in accordance with his desires, pleased himself in some fashion 943: NOVOM = novum (a new/strange thing; with mirum anything new or out of the ordinary ); SECUS QUAM differently than; SOLENT sc. facere 944: INGENIO DURO FIRMO PECTORE abl. of description [A&G 415] 945: quin sibi faciat bene ubi quicque occasionis sit; QUIN FACIAT quin + subj. in a statement involving litotes (nec quisquam est quin faciat = omnes faciunt) [A&G 559.1]: note how the quin clause here replaces the expected *consecutive clause (following tam); UBI SIT subj. in 150 All of P. s works conclude with this meter: de Melo xcvi. 151 Cf. Marshall 2006: , but see Hurka ad , Moore 2012a: 72-75xx, Sharrock 2009: It is in any case unlikely that the final lines were spoken by Phil. ( Zwierlein 1992: 322 n. 716 and 323 n. 717), who would most probably have been played by one of the lesser members of the troupe (i.e., the one actor to be assigned only a single role: see above, Introduction: The Assignment of Roles ). There is no reliable ancient evidence for a cantor, distinct from the actors, who would present the epilogue: Sharrock 2009: Asinaria A Student Commentary ( J.R. Porter, 2015) 186

193 temporal ubi clause, by attraction to quin faciat (on which it depends) [A&G 593]; Commentary: Epilogue QUICQUE OCCASIONIS any chance/opportunity whatsoever (partitive gen. employed idiomatically with neut. pron.: A&G 346a3; Bennett 1914: 30) (Lindsay 50); facere bene do a good action, benefit somebody, impart benefits, treat well (+ dat. of ref./interest) [cf. fecit volup in 942]; SIBI to be taken both with faciat bene and, secondarily, ubi quicque occasionis sit 946: VOLTIS = vultis; DEPRECARI to intercede on someone s behalf, plead for mercy or pardon for someone (+ dat.); HUIC SENI *prolepsis; NE VAPULET *jussive noun clause [A&G 563], providing the content of the intercession; [The reference, here at the end of the play, to the possibility of a character being beaten presents an extra-dramatic joke common in P.: not only does the fictional character Dem. require the audience s intercession but also the slave-actor playing the role of Dem., along with the rest of the troupe, all of whom will suffer if the audience does not appear to be sufficiently pleased by their efforts. Cf. Gray ad loc.: That the fear of beating was no idle threat will be seen from Cist. [784-85] ornamenta ponent: postidea loci, qui deliquit, uapulabit, qui non deliquit bibet. Cf. Amph. 85, Rud. 1418ff. The [actor/producer] himself was paid according to the success of the piece. If it succeeded he was well paid, if it was a failure his fee was greatly reduced. Whether all or some of the performers were in fact slaves remains an open questiion. Cf. ad 3 and see Moore 1998b: 11-12; Marshall 2006: 87-89; Fitzgerald 2000: 43-44] 947: remur (id) posse impetrari; (ID) POSSE acc. + inf. following remur; CLARUM ringing, loud; DATIS pres. vs. the expected *fut. ind. (A&G 516a n.) Asinaria A Student Commentary ( J.R. Porter, 2015) 187

194 Principal Differences from the Text of de Melo (2011) 152 Appendix I Line Porter de Melo 15 ut vos, [item] <ut> alias ut vos, item <ut> alias 33 secl. 100 venari autem rete iaculo in medio mari reti autem iaculo venari in medio mari 149 ut ne id quidem me dignum esse ut ne id quidem, me dignum esse 241 portitorum port[it]orum 247 experiri experi[ri] 252 secl LIB. audacter licet. LIB. audacter. <LEON.> licet, <LEON.> sis amanti sis amanti 331 LIB. mitto. istuc < > quod affers <Libane>. LIB. mitto. istuc quod affers 360 exasceatum exasceato secl. 547 ulmorum ulnorum 594 supremum supremam 656 interior corporis interior corporis 758 aut quod illa amica<e suae> amatorem praedicet aut quod illa amicai <eum> amatorem praedicet 780 quom cum 856 frugi frugi 870 censeo censeo. 873 opere operi 885 deferam? deferam 152 I have ignored the occasional difference in punctuation. Asinaria A Student Commentary ( J.R. Porter, 2015) 188

195 Mapping Asinaria: entrances and exits in the play Appendix II Enter = enter stage Exit = exit stage Wing A Demaenetus house Cleareta s house Wing B I.i Enter Lib & Dem (16) Exit Lib (117) Exit Dem (126) I.ii Enter Diab (127) I.iii Enter Clear (153) Exit Clear (242) Exit Diab (248) II.i Enter Lib (249) II.ii Enter Leon (267) Exit Leon (380) II.iii Enter Merc (381) II.iv Enter Leon (407) Exit Lib, Leon, & Merc (503) III.i Enter Clear & Phil (504) Exit Clear & Phil (543-44) III.ii Enter Lib & Leon (545) III.iii Enter Phil & Argyr (591) 153 Exit Lib & Leon (745) 154 Exit Phil & Argyr (745) IV.i Enter Diab & Par (746) Exit Diab & Par (809) IV.ii Enter Diab & Par (810) Exit Diab (827) Exit Par (827) V.i Enter Dem, Argyr, & Phil (828) V.ii Enter Art & Par (851) Exit Par (919) Exit Art & Dem (941) Exit Argyr & Phil (941) 153 How Argyr. has come to be in Clear. s establishment is left unexplained. At 329 he is said to be in Dem. s home, while the essential premise of III.i denies his presence in Clear. s house at that point (cf. ad 329). 154 The manner of Lib. and Leon. s exit is not indicated by the text, although it is clear that they do not enter Clear. s establishment. I have elected to have the two slaves enter Dem. s house to generate symmetry with the exit of Argyr. and Phil., and to reinforce the sense of closure: at this point, the young master s quest, and the slaves labors, have seemingly reached their end. If the actor playing Leon. is also assigned Diab., however, an exit via Wing B would allow for a much quicker transition to Act IV. This would lead to a still more imbalanced use of Wing B, however, and a more leaden dynamic in the deployment of entrances and exits. Asinaria A Student Commentary ( J.R. Porter, 2015) 189

196 Appendix II The above scheme assumes that both wings lead to the forum (see introduction: Setting ) but presents Wing B in particular as a mercantile space, where money matters. Note how the stolidly dutiful Merc. first appears via Wing A, only to be drawn, after much verbal sparring, to Wing B the wing associated with the conniving Dem., Diab., Leon., and Par. Asinaria A Student Commentary ( J.R. Porter, 2015) 190

197 Common Features of Plautus Language Common Features of Plautus Language -o- for e- (following v-): ADVORSARI = adversari ADVORSUM = adversum ADVORTE = adverte INTERVORTAM = intervertam VORSES = verses VORSUTUS = versutus VORTO = verto VOSTER = vester VOTO = veto -o- for u- (following u/v-): DELINQUONT = delinquunt SOLVONT = solvunt VOLT = vult VOLTIS = vultis -os for us (2 nd decl. masc. nom. sg.): CORVOS = corvus MORTUOS = mortuus NOVOS = novus SALVOS = salvus SERVOS = servus TUOS = tuus VIVOS = vivus -om for um (2 nd decl. masc./neut. sg.): AEQUOM = aequum CLIVOM = clivum DIVOM = divum (i.e., deum) NOVOM = novum RELIQUOM = reliquum SALVOM = salvum SERVOM = servum SUOM = suum TUOM = tuum -u- for e- (esp. in gerunds/gerundives): INVENIUNDO = inveniendo FACIUNDUM = faciendum REPERIUNDO = reperiendo SUFFERUNDAS = sufferendas SURRUPTURUM = subrepturum -u- for i- : CARNUFEX = carnifex CLUENTIBUS = clientibus DISCUPLINA = disciplina EXISTUMO = existimo INFUMO = infimo LACRUMANTES = lacrimantes LUBET = libet MAGNUFICUM = magnificum MANUFESTO = manifesto QUIDLUBET = quidlibet SURRUPIAM = subripiam esp. in superlatives: ACERRUMUS = acerrimus AUDACISSUMAM = audacissimam DIGNISSUMI = dignissimi EXFERTISSUMAS = effertissimas MAXUMAM = maximam MERITISSUMO = meritissimo NEQUISSUMUS = nequissimus OPTUME = optime OPTUMUM = optimum PESSUMO = pessimo PROXUMO = proximo SIMILLUMAE = simillimae -p(s)- for b(s)- : APS = ab APSENTE = absente APSCEDE = abscede APSTERGEAS = abstergeas APSTULI = abstuli OPSCAEVAVIT = obscaevavit OPSECRO = obsecro OPSEQUI = obsequi OPSERVAVIT = observavit OPSIDIONE = obsidione OPSTITIT = obstiti OPTESTOR = obtestor OPTINES = obtines quo- for cu- (esp. in oblique cases of qui/quis): QUOI = cui QUOIQUAM = cuiquam QUOIUS = cuius QUOM = cum (conj.) QUOMQUE = cum + que QUOR = cur dropping of final s often before es/est (accompanied by prodelision): AGGRESSU S = aggressus es DATURU S = daturus es DECEPTUST = deceptus est EMISSU S = emissus es IMPERIOSUST = imperiosus est INTERMINATUST = interminatus est LOCUTU S = locutus es MORATUST = moratus est MORTUOST = mortuus est OCCUPATUST = occupatus est SIMILLIMUST = simillimus est SUAVIUST = suavius est USUST = usus est also common with ne: AIN = ais + ne AUDIN = audis + ne CENSEN = censes + ne DAN = das + ne PATIERIN = patieris + ne PERGIN = pergis + ne SANUN = sanus + ne VIDETIN = videtis + ne VIN = vis + ne Asinaria A Student Commentary ( J.R. Porter, 2015) 191

198 Common Features of Plautus Language dropping of final e (apocope): ILL = ille QUIPP = quippe esp. common with ne: EGON = ego + ne HOCCIN = hoc + ne IUSSIN = iussi + ne NEQUEON = nequeo + ne TEN = te + ne TUN = tu + ne unexpanded forms (esp. omission of -u- betw. stop and liquid see ad 771): HERCLE= hercule PERICLUM = periculum POPLUS = populus archaic noun/pronoun forms: COLLEGĀĪ = collegae (gen. sg.) IPSUS = ipse (masc. nom. sg.) PUERE = puer (voc. sg.) archaic/retained suffixes with pronouns/demonstrative adjs. MED = me TED = te TUTE = tu HOCCINE / HOCCIN = hoc + ne HOSCE = hos ILLAEC = illa ILLIC = ille ILLUC = illud ISTAEC = ista ISTANC = istam ISTOC = isto ISTOSCINE = istos + ne ISTUC = istud ISTUNC = istum deponent/passive present infinitives in -ier : AUXILIARIER = auxiliari EXORARIER = exorari OSCULARIER = osculari PERCONTARIER = percontari VERBERARIER = verberari EXPERGISCIER = expergisci NANCISCIER = nancisci LARGIRIER = largiri POTIRIER = potiri contracted forms ABALIENARIT = abalienaverit CONSCRIPSTI = conscripsisti DISCESTI = discessisti DIXTI = dixisti IMPETRASTI = impetravisti INVOCASTI = invocavisti OPTARO = optavero PEIIERARIS = periuraveris PERNEGARIS = pernegaveris archaic/uncontracted verb forms: MAVELIM = malim MAVOLET = malet MAVOLO = malo SIES = sis SIET = sit ASSIET = adsit POSSIES = possis DICE = dic FACE = fac sigmatic fut. ind., fut. pfct. ind., pfct. subj. ASPEXIT = aspexerit DIXIS = dixeris FAXIS = feceris FAXO = faciam LICESSIT = licuerit OCCEPSIT = occeperit 1 st conj. forms in ass- (fut. pfct. ind., pfct. subj.) NEGASSIM = negaverim OCCUPASSIT = occupaverit SERVASSINT = servaverint SUPPLICASSIS = supplicaveris archaic/poetic verb forms AIBAT = aiebat CONTINI = continui INDIPISCET = indipiscetur MORIRI = mori PERDUINT = perdant SCIBAM = sciebam SCIBO = sciam particularly common HĪC (adv.) here, in this place HUC (adv.) to this place, hither ĪS = eis MAGE = magis MODŎ (adv.) only, merely; just now [often scanned as MODŌ] NĒ (ναί/νή) affirmative particle (truly, indeed) QUĪ archaic abl. of qui (all genders): often used as adv how, whereby (also freq. in exclamations, with intensive force) SIS = si vis The most useful recent discussion of P. s language is that of de Melo (2011b). See also: Lindsay, Hammond et al. 1963: 39-57, MacCary/Willcock 1976: 23-27, Karakasis 2005, de Melo 2007a, Fontaine Many of the features set out above are presented in a more systematic fashion on the following pages in the overview by Professor Bret Mulligan of Haverford College. Asinaria A Student Commentary ( J.R. Porter, 2015) 192

199 Common Features of Plautus Language A Brief Introduction to the Language of Plautus by Bret Mulligan, Haverford College 155 The language of Plautus differs in two significant ways from the Latin of Cicero, Catullus, Vergil, and other Roman authors with which you are familiar: 1) Plautus reproduces the free style and tone of daily speech, and so his syntax is significantly freer, regulated less by strict adherence to grammatical laws than the principle of constructio ad sensum (i.e., if it makes sense, it is permissible, even if it is not, strictly speaking, grammatically correct). Compare how you talk, even in a formal setting, with how you write. Spoken language is full of fragments, implied words and phrases, and mixed constructions. 2) It is among the earliest Latin that survives, and so old pronunciations, forms, and constructions abound. We normally refer to these aspects of Plautus style as archaism and speak of him using an archaic form (e.g., quom for the Classical cum), but this is not exactly correct. Technically, archaism refers to the conscious attempt by an author to imitate outmoded forms of spelling and diction. Were I to write this handout in the style of Shakespeare or Chaucer, that would be an example of archaism (and a perverse one at that). Plautus is using the common language of his time; it just so happens that his time is well before the classical period of Latin prose and verse, and so we call it archaic. I. BASIC FEATURES (a) spelling changes, especially of vowels (b) loss of final s in many words: see II.h (c) prodelision of sum: see III.a (d) parataxis ( setting alongside ), where short independent clauses are simply juxtaposed to one another rather than logically/syntactically related via conjunctions such as ut or ne or some other type of subordinating construction (contrast Cicero, whose style is full of subordination): cf. III.j; VI.c and d (e) Plautus uses more pronouns than is common in Classical Latin. Ultimately, this makes understanding the play easier, once you adjust your expectations. (f) prepositions often follow their nouns (anastrophe): quo abs = ab quo II. SPELLING (a) quo- for cu-: quom = cum; quoius = cuius (b) -ŏ- for -ě- (vorto = verto; vostrum = vestrum) (c) -i- for -e- or -ae- (spicit = specit; tutin < tute-ne; hicine < hic-ce-ne) (d) -u- for -i- in superlative ending: optumus, maxumam 155 Presented, with some modifications, by permission of the author. Asinaria A Student Commentary ( J.R. Porter, 2015) 193

200 Common Features of Plautus Language (e) -ŏs for ŭs: servos = servus 156 (f) -ŏm for ŭm: servom = servum; quom = cum 2 (g) loss of -u- between -cl- and -pl- (hercle = hercule; periclum = periculum) (h) loss of final s in many words: auden = audesne; pergin = pergisne; vin = visne; satin = satisne (i) loss of final e (esp. common with the suffix -ne): egon = egone; hoccin = hocne; iussin = iussine (j) contraction: sis = si vis III. VERBS (a) prodelision of sum: praefectust = praefectus est; quidemst = quidem est (b) future and past stems formed with -s- (~ Greek future and aorist): faxo < fac-s-o (future indicative); faxis < fac-s-(er-)is (perfect subjunctive) related: -ss- for -ver- in first conjugation verbs (future perfect indicative and perfect subjunctive): amassis = amaveris; verberassis = verberaveris (c) perfects contracted: sisti = sivisti; instruxti = instruxisti; dixis = dixeris (d) siet = sit; sies = sis (e) foret commonly for imperfect esset (f) final -e retained in singular imperatives with monosyllabic stems: dice, face, duce (for Classical dic, fac, duc); but fer is regular (g) -ier in the present passive and deponent infinitive: sectarier = sectari; haberier = haberi (h) -ibo in future of fourth conjugation verbs: mentibitur = mentietur (i) deletion of the final -s and final -e when enclitic interrogative -ne is added to a second singular verb: vin = visne (j) parataxis is particularly common with verbs like sino, volo, facio: sinite abeam = sinite me abire / sinite ut abeam; fac felix sis = fac ut felix sis; vin dicam? = visne me dicere? (k) cědŏ ( give it here, out with it ) = dŏ (old form of the imperative of do, dare) with the intensifying prefix cě- [vs. cēdō ( I yield )] IV. NOUNS & PRONOUNS (a) o- for u- in second declension noun endings: servos = servus; servom = servum (b) -āī in the genitive singular of the first declension: comoediāī = comoediae; sapientiāī = sapientiae (c) -īs in the nominative as well as the accusative plural of third declension i-stems: di deaeque omnis (d) forms of pronouns are less defined: routinely see qui for classical quo/qua/quibus quis for feminine interrogative quae (e) -ŭm common ending of second declension genitive plural: deum = deorum; vostrum = vestrorum this is not a contraction of -orum but borrowing from -um genitive of other declensions and Greek -ων 156 In early Latin uo- stands invariably for uu- (MacCary/Willcock 1976 ad Cas. 8). This applies to consonantal u- (e.g., servos) as well as vocalic u- (e.g., aequom). Asinaria A Student Commentary ( J.R. Porter, 2015) 194

201 Common Features of Plautus Language (f) (g) irregular forms are sometimes regularized: ipsus = ipse archaic forms of is, ea, id: eae (dative singular) = ei; ibus = eis V. PREFIXES & SUFFIXES (a) ec- with forms of relative, interrogative, and indefinite pronouns: ecquis = quis (b) ecce (ed + ce) combined with pronouns: eccillam = ecce illam; eccam = ecce eam (c) -ce or -c: deictic; added to many cases of demonstrative pronouns: istuc = istud, hasce = has (d) -pte, -te, or -met added to personal pronouns and possessive adjectives as an intensive: suopte; nosmet (e) -d with me or te in the accusative or ablative, to eliminate hiatus: med = me; ted = te 157 VI. CONSTRUCTIONS (a) partitive genitive with neuter pronouns, in place of interrogative adjective: quid negoti; quid modi (b) similis with genitive (rather than dative): similem furis huius (c) paratactic subjunctive frequently for Classical infinitive with accusative subject [e.g., volo amet me vs. volo eum me amare] (d) some verbs can be either parenthetical or paratactic: quaeso, credo, opinor, obsecro, amabo ( please ) [ama me quaeso or quaeso ames me vs. quaeso ut me ames] VII. ADVERBS & INTERJECTIONS (a) nē is an affirmative particle, borrowed from Greek (nai, ναί) other exclamatory interjections are also borrowed from Greek: eu, eugae, apage; and perhaps heu, eheu, heia, and vah (b) quī = adverbial ablative how and ablative of means whereby (cf. IV.d) [aliquam habet peculiarem qui spem soletur suam] often employed in exclamations, with intensive force: edepol qui; at pol qui (c) adverbs in -o (perhaps from ablative, but this is uncertain): eo, isto quo, hoc, aliquo, quo alio, illo, alio 157 This is a relic of the archaic ending d, which originally concluded the ablative of all five declensions, as well as some imperative forms (MacCary/Willcock 1976 ad Cas. 90). Asinaria A Student Commentary ( J.R. Porter, 2015) 195

202 Overview of Select Grammatical Terms and Constructions; Figures of Speech Common Features of Plautus Language 1) Anacoluthon 2) Anaphora 3) Anastrophe 4) The Aorist Aspect 5) Aspect 6) Asyndeton 7) Attributive Use of Adjectives 8) Chiasmus 9) Circumstantial Participle 10) Conditional Sentences 11) Consecutive/Result Clauses 12) Dative 13) Final/Purpose Clauses 14) Future Tenses 15) Hendiadys 16) Hypallage / Transferred Epithet 17) Hyperbaton 18) Indirect Questions 19) Jussive Noun Clauses / Indirect Commands 20) Limiting Accusative 21) Metonymy 22) Paraprosdokian 23) Parataxis 24) Predicative Use of Nouns/Adjectives 25) Prolative Infinitive 26) Prolepsis ( Anticipation ) 27) Quom (Cum) 28) Relative Clause of Characteristic 29) Sequence of Tenses 30) Substantive 31) Synecdoche [Note: the constructions and figures discussed here are flagged in the commentary with an asterisk (*).] [The definitions and examples provided here make no pretense to originality and often draw upon standard discussions available on the Internet and elsewhere or (in the case of Latin constructions) discussions in the standard Latin grammars. For a more detailed, exhaustive, and authoritative account, see Smith 2011.] 1) Anacoluthon [A&G 640] A syntactic interruption or deviation: an abrupt change in a sentence, from one construction to another which is grammatically inconsistent with the first. This can involve a dramatic shift, as a sentence breaks off and adopts a different course, or a change in perspective or the like that leads to a grammatical or logical inconsistency: I warned him that if he continues to drink, what will become of him? 2) Anaphora (A&G 641) The repetition of a word or phrase at the beginning of successive phrases, clauses or lines: We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. (Others apply this term to cover a broader range of repetition.) 3) Anastrophe (A&G 640) Figure of speech in which a regular preposition is placed following the noun that it governs: e.g., quo ab for ab quo. (The above represents a very limited application of this figure, which is sometimes employed to indicate a more fundamental dislocation of traditional word order. The latter is more appropriately referred to as *hyperbaton.) 4) The Aorist Aspect [see under Aspect ] Asinaria A Student Commentary ( J.R. Porter, 2015) 196

203 Overview of Select Grammatical Terms and Constructions; Figures of Speech 5) Aspect The Latin verbal system mingles two distinct elements: tense and aspect: strictly speaking, tense indicates only the time at which a specific action is imagined as occurring: at the same time as that at which the sentence is being spoken or written: the present at some time prior to that at which the sentence is being spoken or written: the past at some future time, yet to occur, relative to that at which the sentence is being spoken or written: the future aspect, on the other hand, concerns how the action is imagined as occurring: progressive aspect: 158 presents the action as on-going or in some way incomplete [a moving picture: I am talking to you! I am living the dream! I kept pulling on the handle. ] aoristic/aorist aspect: presents the action as a bare fact or as occurring in the blink of an eye, with no concern, in the former instance, for the time the action might have taken or its duration [a snapshot: I make model airplanes. She studied at Oxford. He collapsed. ] perfect aspect: presents an action that was completed at some point in the past but is viewed from the standpoint of the present, often with the sense of some enduring result [ I have read the book (and can now answer your question). I have drunk too much beer (and cannot drive). I have decided what is to be done. You have stepped over the line, buster! ] In theory, then, there should be nine distinct sets of forms for each Latin verb in the indicative, accounting for every possible combination of tense and aspect. In practice, however, there are not. Instead, some forms are made to do double duty to make up for the loss of the aorist in CL. The chart below employs active forms of the verb dormio to indicate the way the system works in actual practice. 158 Often referred to, rather unfortunately, as the imperfective aspect. Asinaria A Student Commentary ( J.R. Porter, 2015) 197

204 Aspect Overview of Select Grammatical Terms and Constructions; Figures of Speech Tense and Aspect in the Roman Verbal System Tense Present Future Past Progressive dormio dormiam dormiebam I am sleeping I will be sleeping I was sleeping Aorist [dormio] [dormiam] [dormivi] I sleep I will sleep I slept Perfect dormivi dormivero dormiveram I have slept I will have slept I had slept Note: forms in square brackets are being employed artificially to present a combination of tense + aspect for which no distinct form exists in CL When we refer to the present tense, the future tense, or the perfect tense, we are alluding to forms that are each employed to present two distinct combinations of tense + aspect. The present tense can be used to indicate the present tense of either the progressive or the aorist aspect. The future tense can be used to indicate the future tense of either the progressive or the aorist aspect. More confusing, the perfect tense can be used to indicate either the present tense of the perfect aspect (the true perfect), or the past tense of the aorist aspect (its more common function). On the other hand, the past tense of the progressive and perfect aspects each receive a specific designation of their own: the imperfect and pluperfect tenses. In the same fashion, the future tense of the perfect aspect is also given its own designation: the future perfect tense. In P., however, we will run into a number of forms (esp. those involving an s at the end of their stem) that represent the survival of forms related to the aorist. Other forms esp. the pfct. subj. will often best be taken as aorists (as also, on occasion, in CL). 6) Asyndeton [A&G 640; G&L 474 n., 483 n., 492 n.] Figure of speech wherein a conjunction is omitted (freq. in P.). The omitted conjunction can be copulative, adversative, disjunctive, consecutive (result) or epexegetic (presenting an explanation). She eats, sleeps, drinks Latin grammar. Hate the sin, love the sinner. dives pauper, clarus obscurus sit ( whether he be rich or poor, celebrated or unknown ) ausculta ergo, scies. ( Just listen and you will know. ) bene hercle facitis, a me initis gratiam. ( Excellent work! You have won my thanks. ) 7) Attributive Use of Adjectives [A&G 287] An attributive adj. presents an attribute of the noun that, from a grammatical point of view, is simply assumed to be true. For example: the statement, The purple cow ate the grass, merely specifies which cow did the eating, Asinaria A Student Commentary ( J.R. Porter, 2015) 198

205 Overview of Select Grammatical Terms and Constructions; Figures of Speech taking it for granted that a cow can be purple. An attributive adj. qualifies its noun directly, without the intervention of a vb. or ptcple. (expressed or implied): vir bonus a good man multae puellae many girls Contrast below regarding the *predicative use of nouns and adjs. 8) Chiasmus [A&G 641] The structuring of related or parallel words, phrases, or ideas in an ABBA pattern: desertosque videre locos litusque relictum [Aen. 2.28: adj. 1 noun 1 noun 2 adj. 2 ] expletus dapibus vinoque sepultus [Aen ] Who dotes, yet doubts; suspects, yet strongly loves. 9) Circumstantial Participle [A&G 496, Woodcock 88-93, 95-96] *Predicative use of a ptcple. to introduce the equivalent of a subordinate clause. True ptcples. are employed as *attributive adjs. much more rarely in Latin than in Engl. (Woodcock 97-99): e.g., draco dormiens would typically be translated, a dragon that is sleeping/while it is sleeping, not a sleeping dragon. The main exceptions involve ptcples. that have become common adjs. iratus, sapiens, etc. Circumstantial ptcples. are commonly translated in a temporal, concessive, or causal sense ( when/while/after, although, because/since ); more rarely with conditional or relative force ( if, who ): haec minatus, abiit. haec dicens, Marcus stultus est. servum haec locutum verberaverunt. After he had made these threats, he departed. Although he had made these threats, he departed. Because he had made these threats, he departed. If he says this, Marcus is a fool. They beat the slave who had said this. 10) Conditional Sentences [A&G , Lindsay , Woodcock ] A conditional sentence presents a hypothesis (the if clause) and then considers what results/conclusions would follow if that hypothesis were true (the main clause). In the grammars, the if clause or hypothesis is called the protasis, and the main clause (the then clause) the apodosis. In CL, conditions are broken down according to their degree of likelihood and their temporal reference: Vivid (employing the indicative) a. Future Vivid: If you (in fact) do this (at some future time), you will (in fact) be a fool. si hoc facies, stultus eris. [Note that where Engl. employs a generalizing pres. indicative in the protasis, CL employs a *fut. indicative.] b. Present Vivid: If you (in fact) are (now) doing this, you are (in fact) a fool. si hoc facis, stultus es. c. Past Vivid: If you (in fact) did/used to do this (in the past), you were (in fact) a fool. Asinaria A Student Commentary ( J.R. Porter, 2015) 199

206 si hoc fecisti/faciebas, stultus fuisti/eras. Less Vivid (employing the subjunctive) Overview of Select Grammatical Terms and Constructions; Figures of Speech a. Future Less-vivid (present subjunctive in both protasis and apodosis) If you should ever do this (and there is no certainty that you will), you would be a fool. si hoc facias, stultus sis. b. Present Contrary-to-fact (imperfect subjunctive in both protasis and apodosis) If you were in fact (now) doing this (and we both know that you are not), you would be a fool. si hoc faceres, stultus esses. c. Past Contrary-to-fact (pluperfect subjunctive in both protasis and apodosis) If you had in fact done this (in the past and we both know that you did not), you would have been be a fool. si hoc fecisses, stultus fuisses. In CL, this simple scheme admits of all sorts of variation: there are numerous examples of mixed conditions e.g.: If you had done this, we would now be in trouble. [past contrary-to-fact protasis with present contrary-to-fact apodosis] in special contexts, the impf. subjunctive can be employed to present a past contrary-to-fact condition In P., however, this scheme is going to be employed much more loosely. In particular: the pres. subjunctive will often be employed to express a present contrary-to-fact condition the impf. subjunctive will often be employed to express a past contrary-to-fact condition 11) Consecutive/Result Clauses [A&G , Woodcock ] A consecutive clause indicates something that follows (consequor) or results from the action indicated in the main clause: She ran so fast that she fell down. In Latin, as in Engl., the consecutive clause is regularly signaled by the presence of a demonstrative (correlative) adj./adv. in the main clause: tantus, talis, tam, ita, sic, adeo, etc. (Note the use of so in the Engl. example above.) A positive result is introduced by ut + the subjunctive, a negative result by ut non. The latter is a bit remarkable: normally one expects non to be employed with the indicative, in clauses that deal in the realm of fact, while ne is regularly employed with the subjunctive to indicate an action that is possible, contingent, urged, wished for, etc. This points to the oddity of the Latin consecutive clause. Grammatically, such clauses should indicate something that is contingent or expected, as in the Engl. they were foolish enough to do this (i.e., that they would do this). For the most part, however, the Latin consecutive clause deals with an actual, not an expected, result. The use of ut non reflects this fact. Thus: tam acriter pugnavit ut occideretur. = He fought so fiercely that he (actually) was killed, Asinaria A Student Commentary ( J.R. Porter, 2015) 200

207 Overview of Select Grammatical Terms and Constructions; Figures of Speech not He fought so fiercely as to be killed / that you might expect that he would be killed. Consecutive clauses are also useful in that they reveal how much context, not the particular form of expression, must guide our analysis of the subjunctive. Contrast with fecit ut hoc fieret. = He/She brought it about/saw to it that this was done. fac ut hoc fiat. = See to it that this is done. The former is most readily taken as a consecutive clause: he/she acted in such a way that this actually got done. The latter involves a jussive noun clause: it presents a command i.e., an action that might or might not actually take place. 12) Dative (A&G , Woodcock 56-68) Virtually all datives are in effect datives of reference (A&G 376) in some sense, but they can be employed in a variety of specific contexts. A small selection follows below. Perhaps the best way to conceive of the dative is to regard it as the case that limits the meaning of a sentence by indicating the specific regard in which it is to be taken to be true. Consider the following: This is difficult for me. She is a good person in my eyes. He is a hindrance to me. This is a source pride for me. They are presenting an award to me. They are stealing this from me. They are in charge of me. All of the above statements would make sense if you left out the underlined words. In each instance, adding the reference to me limits the general statement by indicating the specific regard in which it is to be taken to be true. In each instance, Latin would simply employ the dative case of me (mihi) where English has a variety of ways of conveying the same meaning. Dative of Possession [A&G 373] The dat. is often employed, in conjunction with sum, to indicate possession: est mihi filius. ( There exists a son so far as I am concerned i.e., I have a son. ) This construction is more vivid and personal than the more straightforward, habeo filium. Sympathetic Dative [A&G 377] In a variation on the dat. of possession, the dat. can indicate ownership even when that is not the main focus of the sentence. oculi mihi dolent. ( My eyes ache. ) Asinaria A Student Commentary ( J.R. Porter, 2015) 201

208 Overview of Select Grammatical Terms and Constructions; Figures of Speech In this construction, the dat. colors the entire sentence, rather than oculi alone, and, again, is more vivid and personal. Double Dative (Predicative Dative/Dative of Purpose) [A&G 382, Woodcock 67-68] The dat. can indicate the end or purpose for which something serves: auxilio sum. ( I am a source of aid. ) The term predicative dat. highlights the way this dat. states something actively of the subject (as in the Engl. transl. above). As in the example above, it usually involves an abstract noun. The predicative dat. is often joined with a dat. of reference/advantage to form what is known as the double dat. construction: corruptelae est liberis. ( He is a source of corruption for his children. He corrupts his children. ) This construction is relatively easy to spot since it regularly presents: 1) the vb. sum (or some other vb. indicating existence); 2) an abstract noun in the dat. (the predicative dat.); 3) a noun or pronoun in the dat. alluding to the person(s) or thing(s) affected. (This last will generally refer to a person or personified obj. one s homeland, troops, etc.) 13) Final/Purpose Clauses [A&G , 538; Woodcock ] Final clauses indicate the goal or end (Latin: finis) of the action indicated in the main clause: We studied for five days in order to pass the exam. A positive purpose is introduced by ut + the subjunctive; negative: ne. Final clauses stand out, in both Engl. and Latin, in that (as in the example above) there is no prompt in the main clause to signal their presence: no equivalent of a vb. of commanding, exhorting, persuading, etc. (as in the jussive noun clause); no demonstrative adj./adv. (tantus, tam, etc.) as in a consecutive clause. Nor is there a clear prompt in the final clause itself to indicate its nature: no si/nisi (condition); no cum. Final clauses are a bit like the Spanish Inquisition: no one expects them. In both Engl. and Latin, final clauses also stand apart from, e.g., jussive or consecutive clauses in that the subordinate clause can come first without the sentence sounding Yoda-esque. One would not tend to say: To do this, I commanded her. or That he fell down, he ran so fast. But one can say, quite naturally: ut sapiens fieret, Athenis habitabat. ( In order to become wise, she lived in Athens. ) The inf. of purpose is rare and poetic, although not unknown to P. (A&G 460c; Lindsay 74-75; Bennett 1910: ): ecquis currit pollinctorem accersere? ( Is anyone running to fetch an undertaker? ) 14) Future Tenses (A&G 449, 472, 478, 516.2a (with n.) and c (with n.); Lindsay 59-61, 63-66; Bennett 1910: 38-45, 53-59; de Melo 2007: , ) Latin is generally much more precise in its use of tenses than is modern North-American Engl.: in a land where expressions such as I seen and I have went thrive, students often struggle in dealing with the Romans use of the perfect, pluperfect, and future perfect tenses. Asinaria A Student Commentary ( J.R. Porter, 2015) 202

209 Overview of Select Grammatical Terms and Constructions; Figures of Speech In subord. clauses involving an ind., CL will freq. employ the fut. and fut. pfct. where Engl. employs a generic present. Thus Engl. would be rendered with a fut. ind. in the subord. clause: When/If I see them, I will summon the consul. ubi/si eos videbo, consulem vocabo. Following a similar logic, Latin will employ the fut. imperative in contexts where there is a distinct reference to fut. time (often emphasized via an adv. or similar expression, or evident from the nature of the command itself). The fut. imperative is also used in legal statutes, wills, and general precepts: in P., it is often employed to establish a comically lofty tone. In P., the distinction betw the fut. ind. and pres. subj. (which was felt to have a fut. force) is freq. blurred; this is still more the case with the fut. pfct. ind. and the pfct. subj. (an issue with which I struggle a good deal in the commentary). P. is also quite ready to employ a fut. pfct. ind. where, in CL, a simple fut. would serve: this is taken to suggest that the fut. pfct. originated as an aorist subj. that (like all subjs.) was felt to have the force of a simple fut. 15) Hendiadys (A&G 640) Use of two words connected by a conjunction to express a single complex idea: minis animisque angry threats donum decusque glorious gift 16) Hypallage / Transferred Epithet (A&G 640) A poetic device: use of an adj. with a noun to which it does not properly belong. Transforms a prosaic expression into one that has greater texture, nuance, or vividness: She tossed her angry locks. vs. In her anger, she tossed her locks. / She tossed her locks angrily. 17) Hyperbaton (A&G 641) Deviation from normal or logical word order for rhetorical or poetic effect. 18) Indirect Questions (A&G , Lindsay 65-66, Woodcock ) Consider the following two statements: I know the man who killed Caesar. She asks who killed Caesar. The first of these involves a straightforward relative clause, and would be translated: novi virum qui Caesarem necavit. Asinaria A Student Commentary ( J.R. Porter, 2015) 203

210 Overview of Select Grammatical Terms and Constructions; Figures of Speech The second is quite different: there the object of the vb. asks is in fact the question, Who killed Caesar?, introduced by an interrogative pronoun. This is known as an indirect question, and would be translated: rogat quis Caesarem necaverit. In this second instance, CL employs the subjunctive to indicate a form of indirect discourse. (Cf. the use of the subjunctive in subordinate clauses in reported speech: A&G 583, Woodcock ) The tense of the subjunctive is determined by the rules of *sequence of tenses: see the discussion of that topic below, which employs indirect questions to illustrate the relevant principles. P. will be less rigorous than CL in employing the subj. in such constructions (cf. ad 598). 19) Jussive Noun Clauses / Indirect Commands [A&G 563, Woodcock 139] In Latin, commands are generally conveyed via the imperative mood, or through the use of the jussive subjunctive. Sentences such as, I order/forbid you to do this, are known as indirect commands, since in such sentences the actual command has come to be subordinated to the main vb. A few vbs., such as iubeo and veto, convey an indirect command with an acc. + inf., as does Engl.: iubeo / veto te hoc facere. ( I order/forbid you to do this. ) More commonly, however, Latin employs ut/ne + subjunctive in what is known as a jussive noun clause. The main vb. in such sentences can cover a wide range of volition: commanding, forbidding, admonishing, requesting, permitting, persuading, urging, etc. Typically, the recipient of the command, etc. is presented as the obj. of the main vb., independently of the subordinate clause (*prolepsis): impero tibi ut hoc facias. ( I order you to do this. ) nos hortati sunt ut hoc faceremus. ( They urged us to do this. ) [The older grammars will refer to the construction with the subj. more precisely as a substantive clause of purpose: cf., e.g., ut conscribat at Asin. 600.] In P., as opposed to CL, one will often find a prohibition expressed via ne + the imperative: ne formida. ( Don t be uneasy. ) 20) Limiting Accusative [A&G 390, Woodcock 13-14] Often referred to as an internal object, this is a dir. object that melds with the vb. to modify its meaning: i.e., it generally has an adverbial force. Consider the Engl. I teach you Latin. In this sentence, you represents a regular direct object; the limiting acc. Latin, however, melds with the vb. teach to form a more nuanced verbal notion (to Latinize ). Thus, we can generate a passive equivalent of this statement ( you are taught Latin ), where the limiting acc. is retained. Consider: si quid te volam videtis viginti minae quid pollent? if I shall want you for anything / at all Do you see what twenty minae can do / how powerful they are? Asinaria A Student Commentary ( J.R. Porter, 2015) 204

211 Overview of Select Grammatical Terms and Constructions; Figures of Speech In some contexts this construction is identified as an acc. of respect. In any case, you should note how often this acc. consists of a generic neut. adj./pronoun and how readily it can be translated with an adv. force. In a related construction, the noun in the acc. is derived from the same root as its vb. (the cognate accusative): aliquam fraudem frausus est. He has committed some deception. 21) Metonymy (A&G 641) Figure of speech in which the name of one object or concept is substituted for that of another to which it is related: the Crown for the government, the bottle for alcohol, sweat of one s brow for labor The pen is mightier than the sword. To be distinguished from *synecdoche. 22) Paraprosdokian Figure of speech in which a phrase or sentence takes an unexpected (generally humorous) turn: He was at his best when the going was good. I want to die peacefully in my sleep, like my grandfather, not screaming and yelling like the passengers in his car. 23) Parataxis [A&G 268 ad fin., Lindsay 66, Woodcock 130] The juxtaposition of two independent clauses to convey a single complex thought, without the use of a subordinating conjunction: faxo erunt I will see that they are facito afferas see that you bring volo amet I want him to love sine astet let him stand cave supplicassis see that you don t beg (cf. ad Asin. 30) This type of paratactic construction will be most familiar from the typical fear clause, where the commonly employed ne/ut are not in fact subordinating conjunctions: A&G 564. Contrast *asyndeton, which commonly joins two coordinate clauses rather than a main and subordinate clause. 24) Predicative Use of Nouns/Adjectives [A&G 285.2, ] The use of a noun or adj. to state something actively of another noun and thus modify the clause as a whole rather than only the noun with which it is associated. To be distinguished from the *attributive (descriptive/specifying) use of the adj. (above). tua ista culpa est, quae discipulum semidoctum aps te amoves. That s your fault, since you re dismissing your student (while he is/despite his being) only half-taught. quid illuc quod exanimatus currit huc Leonida? How is it that Leonida comes running here all out of breath? Asinaria A Student Commentary ( J.R. Porter, 2015) 205

212 Overview of Select Grammatical Terms and Constructions; Figures of Speech In reality, these expressions represent a hidden use of the *circumstantial ptcple. (see separate entry, above): in each instance, the pres. ptcple. of sum ( while being ) is to be understood with the underlined adj. (The pres. ptcple. of sum is not employed in CL.) Thus, one would not translate lines 6-7 of our play s argument: but: rivalis amens ob praereptam mulierem rem omnem nuntiat his distraught rival reports the whole matter on account of the snatched woman (attrib.) his rival, distraught on account of the woman who was snatched away, reports his rival, in his distress over the snatching away of the woman, reports A more straightforward and limited version of this construction is known as apposition: the renaming of a noun Arthur, king of Britain. Predicative adjs. are freq. employed where Engl. would use an adv.: laetus abiit. ( He departed (while being) happy i.e., He departed happily. ) Related constructions: Circumstantial Participles: see separate entry, above Predicative nom./acc. after a factitive vb. (of making, etc.): e.g., I was elected king, he makes me happy Proleptic/pregnant acc.: I shot him dead. (see below, s.v. Prolepsis. ) 25) Prolative Infinitive [Woodcock 22-24] Often referred to as the complementary infinitive: this inf. is used in combination with a finite vb. to carry on or complete the sense of the finite vb. by specifying the domain in which it applies. Thus the prolative inf. serves to limit or define the area in which the finite vb. holds true: possum currere I am able to run volo currere I want to run This usage reflects the origin of the Latin inf. as a verbal noun in the locative or dat. (in the first example: I am able when it comes to running ). This original function was forgotten over time as the inf. came to be taken as, in effect, a dir. object of the finite vb. or, with the addition of an acc. subject, as an acc.-inf. noun clause (e.g., volo te currere). Cf. the construction ferox est tractare at ) Prolepsis ( Anticipation ) [A&G 576, 640] The anticipation of the subject of a subordinate clause as an object of the main vb. (the I know you, who you are construction). faciam te ut scias. [consecutive clause] ( I will let you know. / I will fill you in. ) Asinaria A Student Commentary ( J.R. Porter, 2015) 206

213 Overview of Select Grammatical Terms and Constructions; Figures of Speech Cf. the regular construction in indirect commands: impero tibi ut abeas. Modern discussions of prolepsis sometimes conflate two distinct phenomena: the syntactical figure, where something that properly belongs in a subordinate clause is anticipated in the main clause (as above) vs. the pregnant use of the predicative acc. ( she shot him dead [A&G 392]), which is merely a vivid figure of speech involving a form of compression. 27) Quom (Cum) [Bennett 1910: 79-86, ; A&G ; Lindsay 69, 113, , 123, , ; Woodcock ] The conjunction quom (= CL cum) can be employed with temporal ( when, after ), causal ( since, given that ), or concessive ( although ) force. In CL, it typically takes a subjunctive except in certain contexts where the clause has a temporal force: in such contexts, it regularly takes an indicative 1) when the temporal clause refers to the pres. or the fut. 2) when cum is employed, like ubi or ut, to indicate a purely temporal relationship betw two actions in the past 3) in inverse cum-clauses, where the temporal clause, while subordinate grammatically, is the focus of the sentence (otherwise known as burying the lead). (E.g., I was making a peanut-butter sandwich when the atomic bomb went off. ) Generally speaking, this use is merely a particular application of 2) above. 4) when the temporal clause refers to a habitual action in the past ( whenever ) In P., the indicative is regularly employed with quom. The principal exceptions can be explained via attraction to a subj. in the main clause (A&G 593, Lindsay 66-67, Bennett 1910: ) or are found in expressions involving an indef. 2 nd pers. sg. (Cf., e.g., line 442, where the quom-clause is a subordinate clause in indirect discourse: in such instances the subj. is regular.) 28) Relative Clause of Characteristic [A&G , Woodcock 148, ] A relative clause with a potential subjunctive can perform many of the same functions as a subordinate clause introduced by cum, ut, or ne. In its purest form, such a clause describes, not a particular person or object, but a class: nihil est quod facere malim. There is nothing (of any sort whatsoever) that I would prefer to do. Quite often, such clauses will imply intention or purpose (esp., but not exclusively, after a vb. of motion): cupio argentum quod det amicae suae. I desire money which he might give / for him to give to his mistress. But they can also have a concessive, explanatory, or consecutive force: tune verberes, qui pro cibo habeas te verberari? You beat (me), although you consider / given that you consider your being beaten to be like mother s milk? cum is me dignum cui concrederet haberet since he considered me worthy to confide in 29) Sequence of Tenses (A&G , Lindsay 56-63, Woodcock 140, , 180, 217) For the sake of this discussion, sequence of tenses concerns the tense of verbs in the subjunctive in subordinate clauses. Consider the following sentences in English: He does this in order that he may be happy. He did this in order that he might be happy. Asinaria A Student Commentary ( J.R. Porter, 2015) 207

214 Overview of Select Grammatical Terms and Constructions; Figures of Speech Each of these sentences involves a statement of purpose. In the first, where the verb of the principal clause ( does ) is in the present tense, English prefers to indicate purpose by using the modal verb may in the subordinate clause; in the second sentence, where the main verb is in the past tense ( did ), English prefers the modal verb might. Thus, the tense of the main clause influences the tense of the modal verb may/might in the subordinate clause. In the same way, Latin will employ different tenses of the subjunctive in subordinate clauses according to the tense of the verb in the main clause. Thus the two sentences above would be translated into Latin as follows: hoc facit ut beatus sit. hoc fecit ut beatus esset. The matter is a bit more complex, however. One must consider not only the tense of the main verb, but the temporal relationship between the principal clause and the action presented in the subordinate clause. (Thus relative tenses might be a better term than sequence of tenses.) Consider the following: She asks why we are doing this. She asks why we did this. She asked why we were doing this. She asked why we had done this. In the first and third sentences, the person is asking why something is being done at the very moment she asks the question; in the second and fourth sentences, the person is asking why something was done prior to the moment she asks the question. Notice how the tense of the verb in the subordinate clause ( are doing, did, were doing, had done ) shifts according to: 1) the tense of the main verb and 2) the temporal relationship between the time the question is being asked and that at which we performed the action being discussed. In Latin, indirect questions (a type of subordinate clause) require the use of the subjunctive. The Latin equivalent of the above sentences would be: quaerit cur hoc faciamus. quaerit cur hoc fecerimus. quaesivit cur hoc faceremus. quaesivit cur hoc fecissemus. Notice how the form of the subjunctive changes according to each scenario, along lines similar to the vb. do in the Engl. To describe what is happening here, grammarians make a distinction between primary and secondary sequence: Primary sequence is introduced when (as in the first and second sentences above) the main clause refers to the present or the future. The verb in such a clause is said to be a primary tense. In Latin, the primary tenses are: the present, the future, the true perfect (e.g., I have read the book. ), and the future perfect. Secondary sequence is introduced when (as in the third and fourth sentences above) the main clause refers to the past. The verb in such a clause is said to be a secondary tense. In Latin, the secondary tenses are: the perfect (when used as a simple past tense), the imperfect, the pluperfect, the historic infinitive, and (sometimes) the historic present. In primary sequence, Latin employs the present subjunctive to indicate (as in the first sentence above) that the action in the subordinate clause is thought of as occurring at the same time as the action in the main clause or in some (usually indefinite) future time. (For an example of the latter, see the first of the purpose clauses at the beginning of this discussion.) The perfect subjunctive will be used (as in the second sentence above) to indicate that the action in the subordinate clause is thought of as occurring prior to the action in the main clause. Asinaria A Student Commentary ( J.R. Porter, 2015) 208

215 Overview of Select Grammatical Terms and Constructions; Figures of Speech In secondary sequence, Latin employs the imperfect subjunctive to indicate (as in the third sentence above) that the action in the subordinate clause is thought of as occurring at the same time as the action in the main clause or in some (usually indefinite) future time. (For an example of the latter, see the second of the purpose clauses at the beginning of this discussion.) The pluperfect subjunctive will be used (as in the fourth sentence above) to indicate that the action in the subordinate clause is thought of as occurring prior to the action in the main clause. Finally, consider the following sentences: She asks what we will do. She asked what we would do. Here the verbs in the subordinate clauses are emphatic futures (as opposed to the more indefinite futures implied, e.g., in the usual purpose clause or clause of fearing): the person asking the question uses the future tense. To reflect this fact, Latin will employ what we might call an ad hoc future subjunctive (found mainly in clauses involving indirect discourse: i.e., indirect questions and subordinate clauses in indirect discourse). In Latin, the two sentences above would be expressed as follows: quaerit quid facturi simus. quaesivit quid facturi essemus. Here the subjunctive of the verb sum is joined with future active participle to create a periphrastic future tense involving the subjunctive. Notice, however, that the tense of the subjunctive of sum in each sentence does in fact observe the rules regarding sequence of tenses as set out above (literally: She asks what we are (now) on the point of doing vs. She asked what we were (back then) on the point of doing ). Vb. in subord. clause Vb. in subord. clause alludes to an action that alludes to an action that is presented as occurring is presented as occurring Tense of verb at the same time as that at some time prior to that in main clause indicated by the vb. in the indicated by the vb. in the main clause, or at some main clause indef. future time Primary Tense Present Subjunctive Perfect Subjunctive Secondary Tense Imperfect Subjunctive Pluperfect Subjunctive As the above chart suggests, most constructions involving the subjunctive in a subordinate clause will fall into the first column: generally speaking (but not invariably), clauses of command, purpose, result, and fear deal with something that has yet to happen, or that is viewed as happening at that very moment. (Exceptions generally involve the perfect tense: e.g., I fear that they have betrayed us. ) Constructions involving the second column tend to be: cum-clauses clauses introduced by quamvis or the like (similar to a cum-clause) subordinate clauses in indirect discourse (since speakers can employ any tense in a subordinate clause) indirect questions (same rationale) relative clauses of characteristic As we have seen, the so-called future subjunctive (future active participle + subjunctive of sum) is employed mainly to represent an original future indicative in indirect discourse. In such constructions, the tense of sum falls Asinaria A Student Commentary ( J.R. Porter, 2015) 209

216 Overview of Select Grammatical Terms and Constructions; Figures of Speech under column one (since the speaker is viewed as affirming that someone or something is (right now) on the point of acting, or was (back then) on the point of acting). NOTE: the above rules do not apply to conditional sentences or to independent uses of the subjunctive (sentences where the subjunctive is the main verb). For the most part, P. will observe these same rules, with some allowances for the more concise and vivid forms of expression demanded by comic verse. 30) Substantive [A&G ] A word or group of words that functions as a noun. Includes: nouns adjs. and ptcples. when used as nouns ( the rich, the damned ) substantival phrases and clauses of various sorts ( to go outside in this weather without a hat is foolish, that John should even think of running for office is ridiculous ). 31) Synecdoche (A&G 641) Figure of speech in which the speaker refers to something by the name of one of its parts, a prominent feature, the substance of which it is made, etc.: set of wheels (car), long-hairs (hippies), plastic (credit card), lead (bullets). To be distinguished from *metonymy. Asinaria A Student Commentary ( J.R. Porter, 2015) 210

217 Metrical Matters Metrical Matters 159 Meters Employed in Asinaria ia canticum mixtis modis [sung verse]: cretic tetrameters a choriambic dimeters tr ia tr ia ia ia tr 7 SIGLA Short Element Long Element Division between metrical feet Caesura Diaeresis Anceps Bridge ^ Catalexis ia 6 iambic senarii [The only unmarked form of speech in P. spoken rather than chanted; unaccompanied] Resolutions/Substitutions: any of the first five feet may employ,,,, or 161 The second and the fourth foot show a tendency toward or 159 Note: the following discussion is quite elementary and will not account for all elements of P. s practice. It assumes a basic familiarity with the terminology and principles associated with the scansion of standard verse forms such as dactylic hexameter. For a more detailed account of ancient metrical practices and verse forms, consult Halporn et al For a glossary of terms, see Smith For an introduction to the meters of P., see esp. Moore 2012a: , Deufert 2014; also useful are Duckworth 1994: , Hammond et al. 1963: 29-45, Willcock 1987: (a modified version of the account in MacCary/Willcock 1976: ), Gratwick 1993: and , Christenson 2000: 56-71, Henderson 2006: , Fortson 2008: 20-33, de Melo lxxxv-xcvii. Recent studies of more advanced matters include: Soubiran 1988, Fortsan For more on the use of meters in Asin., see Marshall 2006: Passages in iambic senarii were spoken (diverbia: the equivalent of Shakespeare s iambic pentameter); trochaic septenarii were presumably chanted, to the accompaniment of the pipe (tibia); the longer iambic and trochaic meters were also performed to the tibia and were either chanted or sung. As Moore 2012a: 16 notes, following the conclusion of the prologue, nearly 92% of the lines in Asin. would have been accompanied by the tibia, including (Moore 257) the longest continuous stretch of sustained musical scenes in our preserved plays (lines ). 161 I.e., only the sixth foot regularly retains its identity as an iamb. (See Gratwick 1993: 44 for statistics re the treatment of ancipitia in each position.) The fifth foot is generally a pure iamb only if the last two feet of the line form a single word or senseunit: (Luch s Law). For potential peculiarities in the fourth foot, cf. below and ad 85 (Locus Jacobsohnianus). Asinaria A Student Commentary ( J.R. Porter, 2015) 211

218 Metrical Matters ia 7 [ia 8^] iambic septenarii 162 Resolutions/Substitutions: any of the first seven feet may employ,,,, or When there is word-end at the end of the fourth foot, the latter should consist of or (brevis in longo before diaeresis). 163 The seventh foot is often iambic. ia 8 iambic octonarii [Virtually identical to ia 7, but with one additional element at the end of the line.] 164 Resolutions/Substitutions: any of the first seven feet may employ,,,, or tr 7 [tr 8^] trochaic septenarii [P. s favorite meter, both for its liveliness and its closeness to common speech.] Resolutions/Substitutions: any of the first six feet may employ,,,, or 165 The first, third, and fifth foot show a tendency toward or The seventh foot may employ 162 As Moore 2012a: 188 notes, Asin. includes more iambic septenarii than any other Roman comedy. 163 In P. s other works, the diaeresis here is frequent enough, and strong enough, as to give the sense of two half lines, as indicated by the frequent appearance of brevis in longo (often indicated as anceps: ) and hiatus before the diaeresis in this position in the line. Havet/Freté x cite what they allege is the exclusive use of this diaeresis in the iambic septenarii of this play as an indication of non-plautine authorship, but this effect is only achieved via a certain editorial ingenuity at select places in the text (e.g., line 473, 556). Terence, by contrast, often employs a caesura in the fifth foot. 164 One of the curious features of Asin., which it shares with Merc., are its runs of iambic octonarii without the central diaeresis. In the case of Asin., this feature is phps. in part intended to distinguish the iambic octonarii from the very similar iambic septenarii that are so prominent in this play and that display the opposite tendency. 165 See Gratwick 1993: 44 for statistics re the treatment of ancipitia in each position. The fourth foot generally avoids and Asinaria A Student Commentary ( J.R. Porter, 2015) 212

219 Metrical Matters Glossary of Metrical Terms Anapaest the metrical pattern Anceps a double-headed syllable that can be either long or short ( ). Common at line-end in stichic meters, where it is sometimes referred to as indifferens (to distinguish this from the more complex nature of the true anceps, which admits of a wider range of options). Aphaeresis see Prodelision Arsis the strong element of an iambic or trochaic foot (i.e., the one that receives the ictus) Bacchiac the metrical pattern Breve short element/syllable. (More recent works prefer the terms light/heavy to short/long. ) Brevis in longo: the substitution of a short syllable in place of an expected long element Bridge place in line where word-division is avoided ( ) Caesura word/sense-division within a metrical foot, esp. when characteristic of a given meter (indicated by two raised vertical dotted lines: ) [Asin. 5: age núnc resi de, cávĕ modō ne gra tiis] Canticum mixtis modis song composed in a variety of lyrical meters, or as a series of cretic and/or bacchiac verses Catalexis the dropping of a syllable from the beginning or (esp.) the end of a line (a type of syncopation). E.g., both iambic and trochaic septenarii (above) can be described as catalectic octonarii (ia/tr 8^). Choriamb the metrical pattern 166 Cretic the metrical pattern Correption/Semi-hiatus/Prosodic Hiatus final long vowel-sound shortened when followed by a word that begins with a vowel-sound, rather than being elided altogether (e.g., Asin. 228, 316, 354, 369) Dactyl the metrical pattern Diaeresis word/sense-division between two metrical feet, esp. when characteristic of a given meter (indicated by two vertical lines: ) [Asin. 396: argen ti vi ginti minas, si ades set, ac cepis set] Elision striking out of a vowel-sound at the end of one word when the following word begins with a vowel sound (e.g., ego hanc) 167 Enclisis a long monosyllable preceding the enclitics quis/quid or quidem will often be shortened: e.g., tŭquidem. (Note that this applies only to monosyllabic words that conclude in a vowel.) Foot as in English, the basic unit of Latin iambic and trochaic verse (demarcated by the insertion of single raised vertical lines: ). (In actual practice, however, it is better to think of the senarius as made up of three, and the septenarius/octonarius of four, measures [metra], each consisting of two feet [but with catalexis in the case of the septenarius]) Hiatus pronunciation of adjacent vowel-sounds that are separated by word-division (i.e., lack of elision) (indicated by two forward slashes: // [in raised text, where hiatus accompanies foot division or caesura]) [e.g., Asin. 10: dicam // huic] Iamb / Iambus the metrical pattern Iambic shortening / Brevis brevians words of the shape (with accent on first syllable) are pronounced with a short final syllable (e.g., modŏ) a regular feature of Latin prose pronunciation. In P., a long syllable preceded by a short syllable can be shortened if the accent falls on the syllable immediately preceding or following it (e.g., măgĭstrátus). This principle can also be applied with longer word-groupings involving an initial monosyllable (e.g., dăt(a) ŏccásiost). Ictus the hypothetical beat (rhythmical stress) typical of a particular meter. In the case of iambic meters, this naturally falls on the second (long) element of each foot (or in the equivalent position in any of the resolved versions of such a foot); 168 in the case of trochaic meters, on the first element (whatever form it might take) See Halporn et al. 1980: 90 on the so-called polyschematist choriamb. 167 Technically, the process would have involved a blending of the two sounds, but most modern readers simply omit the first. 168 I.e.,,,,,, Asinaria A Student Commentary ( J.R. Porter, 2015) 213

220 Metrical Matters Longum long element/syllable. (More recent works prefer the terms light/heavy to short/long. ) Metron larger metrical unit ( measure ) that defines a particular verse-form. Thus, e.g., the iambic senarius is in some ways better understood as comprising three metra, each consisting of two iambic feet: Proceleusmatic the metrical pattern Prodelision / Aphaeresis striking out of an initial vowel-sound when the preceding word ends with a vowel-sound (principally with the forms es and est [Fortson 2008: ]: e.g., decretum est) 170 Prosody the rules that determine the metrical shape of words and phrases as well as their use in particular types of verse: the grammar, as it were, of P. s versification Pyrrhic the metrical pattern Resolution the replacing of a long element in a particular foot with two short elements ( for ) Scansion the analysis of poetic verse into its metrical components Stichic Meter metrical form whose basic unit is the free-standing line (vs. stanza) Substitution the irrational replacement of one metrical element by another that is not its metrical equivalent (e.g., for or vice-versa) Synizesis (indicated by sublinear ) the melding of two adjacent vowel-sounds within a word into a single sound (e.g., cui us, e am, ei, pro inde, dehi nc) Synaloephe elision between vowels that are separated by line end (stichic verse) or change of speaker: rem. uxoris (43) Tetrameter stichic verse composed in four metra ( measures ) Thesis the weak element of an iambic or trochaic foot (i.e., the one that does not receive the ictus) Tribrach the metrical pattern Trimeter stichic verse composed in three metra ( measures ) Trochee the metrical pattern 169 I.e.,,,,,, 170 See, further, Pezzini 2015: , which I have not seen. Asinaria A Student Commentary ( J.R. Porter, 2015) 214

221 Metrical Matters General Notes on Plautine Resolutions and Substitutions Iambic Passages: the basic unit ( foot ) consists of a short syllable followed by a long: in practice, however, P. regarded his lines as being composed of metra rather than feet in the case of the senarius: 171 to aid the beginning reader, the working assumption in this text will be that the second element (the longum) is marked by some form of stress (ictus), indicated in the following metrical analyses by an acute accent ( ). While the importation of this stress is quite possibly foreign to Roman practice, it provides the native English speaker with a toe-hold from which to begin to get a feel for P. s spoken and chanted meters. 172 in most feet of a typical line, the basic pattern ( ) can be replaced by any of the following:,,,, but not by. (The essential notion here is that a long syllable ( ) is the equivalent in duration of two short syllables ( ). Once the substitution of for is allowed, the patterns listed here will follow.) Note the assumption that the original ictus will persist in the equivalent position within the foot, even after resolution. these patterns are not, however, usually admitted ad libitum consider the opening of the first line of the play: hoc ági te sul tis. The pattern of the first foot, with an accent on the a of agite (hoc ági), indicates the substitution of two brevia (short syllables) for the longum (i.e., for ). But you ll notice that the two brevia are part of a single word: you get a sense that the longum has been replaced by a single sense unit, with the stressed element appearing just where you expect it, after the initial breve. Moreover, the stress appears precisely where the natural prose accent would occur for the form agite, so that the phrase rolls off the tongue quite naturally. the unit age núnc (Asin. 5) indicates a substitution of for, but again the essential integrity of the initial unit is preserved. more rare is a pattern such as Demae netús u bi, (Asin. 382) where the last two syllabus of Dem. s name combine with the first syllable of ubi to form a pattern we have seen above ( ), but where the integrity of the original metrical shape ( ) has been disrupted: the longum of the basic pattern once again has been replaced by two brevia, but these two brevia have been allocated to separate words that have no close syntactical connection, and the stress (ictus) is at odds with the natural prose pronunciation of the line. This sort of dislocation is relatively rare in the sample passages below (Ritschl s Law). (Note, however, that ictus and accent do coincide in the preceding foot: Demaénetus.) one of the many uncertainties in dealing with Latin scansion is the degree to which word groups might have been melded together in a fashion that mitigated the clash of ictus and accent: see, e.g., Soubiran 1988: and Hence the tendency for the second and the fourth foot to present an iamb or tribrach. 172 Most recent assessments deny the presence of a metrical ictus in ancient Latin verse: Gratwick 1993: and (esp.) 46-48, 59-62, Christianson 2000: 69, Questa 2007: 10-14; contrast Gerick 1996: 24 and n. 53xx. For balanced assessments, see Soubiran 1988: , Brooks 2007: 49-54, Fortson 2008: 30-33, Moore 2012a: See, further, my discussion on the following pages and the brief bibliography provided below. Asinaria A Student Commentary ( J.R. Porter, 2015) 215

222 Metrical Matters as complex as Plautine rhythms can be with all of the various resolutions and substitutions, and the myriad exceptions to the general rules that are commonly applied, e.g., in scanning standard dactylic hexameter (see the excerpts from Gray s account below) it is striking just how regular the results often turn out to be, in terms of the ways in which the lines incorporate different word-shapes to account for the natural shape and stresses of the line, and the degree to which the verse ictus coincides with the natural stress accent of many words. Trochaic Passages: the basic foot consists of a long syllable followed by a short: in scanning trochaic septenarii, however, it is often useful to regard the line as a standard senarius, preceded by a cretic: 173 as in the case of iambic verse, the analyses below present a stress (ictus) in each foot: here on the initial longum substitutions are permitted, as in iambic lines:,,,, but not (following the same rationale as for iambic passages [above]) again, you will find a tendency, as these various substitutions are applied, for word-shape to preserve the integrity of the essential metrical pattern, and the coincidence of ictus and accent in key places. Note that a pattern such as could occur as a foot in either an iambic or a trochaic context, but it is likely to have a different feel in each, depending on how it integrates the particular words and word-shapes into the metrical texture of the line. In the selections at the end of this section, I have tried to provide enough help so that a student proficient in scanning the poetry of, e.g., Vergil or Catullus will be able to tease out the meter of these lines and test the validity of the various observations presented above. In the end, there is no substitute for knocking one s head against P. s verse. 173 Gratwick 1993: 45-46, Soubiran 1988: 160. Note how the first of the principal caesurae in the standard senarius (indicated in my scheme above) coincides with the diaeresis of the septenarius. (This relationship is reflected in Meyer s Law: below.) Asinaria A Student Commentary ( J.R. Porter, 2015) 216

223 Metrical Matters Ictus and Accent: Some General Reflections In encouraging students to consider a possible tension between the rhythm of a line (verse ictus) and the natural stress accent of common speech, I am very much swimming against the current. 174 Below I offer some general considerations in support of this approach certainly at the undergraduate level. When a speaker of Classical Latin heard someone say the word philosophia, they were aware that they were hearing a word of foreign origin one that employed a phoneme (represented by ph = Grk. φ) that was not native to the Latin tongue. The same holds true in the case of most of the measures of Latin poetry: these were not native verse-forms that arose out of a regional tradition of oral performance, but foreign imports consciously modeled on Greek practices, many of them developed within the relatively few decades ranging from the mid-third to the early-second centuries BC. This process was aided by certain similarities in the manner in which Greek and Latin distinguished long from short syllables, but it was far from straightforward, esp. given the fact that Classical Greek employed a pitch accent, as opposed to the stress accent of Classical Latin. 175 In the case of epic verse, one can argue that the new form likely derived a good deal of its effect, especially among the untutored in the audience, from precisely this impression of an exotic (i.e., foreign) grandeur. The argument that a poetic verse-form should necessarily reflect natural patterns of pronunciation is not, then, without its difficulties. 176 And yet P. s iambic senarii (the meter routinely employed to present unmarked [ natural ] speech) reveal a significant inclination to achieve a coincidence of ictus and accent, one of the features of these verses that makes them the easiest of all of P. s meters for a modern student to master. 177 The practice of heroic epic stands in rather pointed contrast in this regard. There, an accordance of ictus and accent is routinely achieved in the last two feet of the line through the convention of avoiding word-end between the final two syllables (indicated in the metrical scheme below by a bridge [ ]): Since the penultimate syllable in a Latin word routinely receives the stress accent when it is long, the above practice yields a line in which the final two feet can generally be read out exactly as they would be in a prose passage: the strawberry icecream / shave and a haircut clausula. Ictus and accent also tend to coincide at the opening of each line. In the center of the line, 174 See above, n. xx. It should be noted, however, that, in the case of the iambic senarius and the trochaic septenarius, even those who oppose the older notion of verse ictus at times posit a form of beat or emphasis associated with the verse: Soubiran 1988: 333 (re Vandvik 1937); cf. Gratwick 1993: Vs., e.g., Questa 2007: 10-14, I accept that the Latin of P. s time employed a stress accent similar to that taught in today s typical first-year Latin course. Cf. the useful remarks of Halporn et al. 1980: and 65-66, Soubiran 1988: 309; for a more general discussion, see Allen 1978: To provide a sense of the difference between the two languages, Allen cites the treatment of syllables that are considered long by position (i.e., that contain a short vowel followed by two consonants or a double-consonant). In both Classical Greek and Classical Latin, such a syllable is considered long for the purposes of scansion. But in Greek this feature plays no role in determining the way the word is accented e.g., αὖλαξ receives a circumflex accent on its first syllable, even though the short α of its final syllable is followed by the double-consonant ξ. As a result, the way a word is accented is to some extent determined independently of its metrical shape. The latter is not true of Classical Latin, where the metrical shape of a word plays an integral role in determining its accent and thus its nature (cf. Soubiran 1988: 309). That the presence of this stress accent was felt can be demonstrated by examples such as those to be presented below. 177 As is often pointed out, this coincidence of ictus and accent is to some degree embedded in the structures that define the typical iambo-trochaic line (Gratwick 1993: 59, Deufert 2014: 481). Asinaria A Student Commentary ( J.R. Porter, 2015) 217

224 Metrical Matters however, the poets routinely avoid such coincidence, most famously perhaps in Aeneid 1.1, which P. would likely have written: árma virúmque canó, qui Troíae prímus ab óris. As a result, there is a natural ebb and flow to each of the lines in heroic epic, as the tension between ictus and accent in the central part of the line is resolved in the last two feet, which flow smoothly to a conclusion. 178 This feature of epic verse, and what is for us the more telling distinction between it and P. s senarii, suggest that a tension (or lack thereof) between the natural prose accent and the rhythm of the verse was a defining feature of the various poetic genres, something that is lost if we proclaim that one need only read out a line as if it were in prose. 179 Such a tension (or lack thereof) is employed to good effect in specific lines, and in at least one common metrical form. Vergil will opt to violate the above rule regarding a bridge in the sixth foot of the dactylic hexameter when he wishes to achieve a rugged/archaic/ Ennian grandeur e.g., in the description of the violent storm in Aeneid 1: prora avertit, et undis / dat latus; insequitur cumulo praeruptus aquae mons (Aen ). 180 Horace will exploit the same device in order to illustrate the bathos produced when such a lofty style is employed to convey a trite theme: parturient montes, nascetur ridiculus mus (Ars 139). 181 In each instance, the disruption must have been felt quite strongly more so than we can readily account for, other than through the very phenomenon here under discussion. 182 The same holds true for the Latin version of the Greek choliambic meter (otherwise known as limping iambics ) where the substitution of a final spondee ( ) for the expected iamb not only causes an unexpected metrical drag in the one place in the line where an iamb was by rule usually required, but, in Latin, imposes a coincidence of ictus and accent at a place where it is not expected, resulting (in this instance) in a sudden collapse into prosaic flatness: 183 In P., by contrast, we find times when ictus, accent, and word-shape align so strongly that the lines seem to have a deliberate sing-song effect as, e.g., at Asin. 512: língua póscit, córpus quaérit, ánimus órat, rés monét (cf. line 198). 184 We moderns are all too likely to undervalue P. s achievement in catching the flavor of colloquial speech in what was a quite artificial and exacting set of verse forms. That a good deal of training was required to deliver such lines effectively that capturing this peculiar mix of artifice and naturalism involved much more than simply reading out the Latin as if it were prose is suggested by the following instruction of Horace to his chorus: Lesbium servate pedem meique / pollicis ictum (Odes Ennius plays with the above expectations in Ann. 471 [358], where an individual who openly declares himself to be a nonnative speaker proclaims: Híspané non Rómané memorétis loquí me ( report that I speak Spanish, not Roman ): in addition to the humorously inept adv. Romane, note how only memoretis (in the center of the line) observes coincidence of ictus and accent. 179 Cf. Brooks 2007: 51 and then the prow swings round and gives the broadside to the waves (H.R. Fairclough and G.P. Goold, trs). 181 Mountains will labour, to birth will come a laughter-rousing mouse! (H.R. Fairclough, tr.). 182 Cf. Brooks 2007: 51. Note that avoidance of a monosyllable at the conclusion of the line is not so pronounced a feature of early Greek hexameter, nor is such a monosyllable felt to be disruptive. In Vergil if we omit collocations such as si quis, et vox, in ulmo est, duorum est we find just over 30 instances of a final monosyllable in nearly 13,000 lines of hexameter verse. If we employ a similar set of criteria with Homer, Iliad 1 alone yields some ten examples. (For details regarding Vergil s practice, see Winbolt 1903: ) 183 Choliambics highlight one of the non-naturalistic features of iambo-trochaic measures: the frequent lack of concern to achieve coincidence of ictus and accent at the conclusion of each line. 184 Note that the Latin hexameter shuns line-endings consisting of two dissyllabic words, in order to avoid the very sing-song effect for which P. here aims: Halporn et al. 1980: 70. Asinaria A Student Commentary ( J.R. Porter, 2015) 218

225 Metrical Matters 36). 185 While the latter is of much later date and involves a passage in Sapphics rather than iambo-trochaics, it is clear that Horace s verse involves what is to the chorus (and, more pointedly, to the reader) an artificial rhythm, and likely entails an artificial form of pronunciation. The same likely held true, mutatis mutandis, not only for P. s cantica, but for his spoken and chanted verse-forms as well. As with Horace, we are dealing with a poet engaged in an ongoing tradition of poetic innovation and experimentation. Given more recent scholarship on Latin metrics, no one should imagine that P. s iambo-trochaic verses were actually read out with a staccato beat defining the ictus of each foot: P. was not composing doggerel. (As Waite 1976: 104 notes citing Shakespeare Son [ In me thou seest the twilight of such day ] such mechanical precision is equally alien to the English poetic tradition.) But it is, very likely, a mistake to assume that some form of rhythmical emphasis did not provide a framework for the line, and a set of expectations. However P. s verses might have sounded in performance, an attention to the possible tension between ictus and accent allows one to develop a sense of the different feel of each meter, and of a particular poet s engagement with that meter. It also encourages a close examination of how individual words and word-shapes are deployed within a line, and of the tone of individual passages. 185 observe the Lesbian beat and the snap of my fingers (N. Rudd, tr.) although ictum might be taken to allude to the poet s (imagined) striking of the lyre (Porphyrio). Asinaria A Student Commentary ( J.R. Porter, 2015) 219

226 Metrical Matters The Performance of Latin Verse: Further Resources [*resources particularly useful for beginning students] *Society for the Oral Reading of Greek and Latin Literature (SORGLL) [ Abbott, K.M. Ictus, Accent, and Statistics in Latin Dramatic Verse, TAPA 75 (1944) Allen, W.S. Accent and Rhythm. Prosodic Features of Latin and Greek: A Study in Theory and Reconstruction. Cambridge, Allen, W.S. Vox Latina: The Pronunciation of Classical Latin. 2 nd ed. Cambridge, Becker, A.S. Listening to Lyric: Accent and Ictus in the Latin Sapphic Stanza, CW 103 ( ) *Brooks, C. Reading Latin Poetry Aloud: A Practical Guide to Two Thousand Years of Verse. Cambridge and New York, *Daitz, S.G. The Pronunciation and Reading of Classical Latin. New York, Guilford, and London, Fraenkel, E. Iktus und Akzent im lateinischen Sprechvers. Berlin, Grotjahn R. A Statistical Model for the Analysis of the Coincidence of Ictus and Accent, in R. Grotjahn, ed., Hexameter Studies (Bochum, 1981) Lindsay, W.M. Early Latin Verse. Oxford, Raven, D.S. Latin Metre: An Introduction. London, *Sonkowsky, R.P. Latin Aloud: Audio AP Selections from Vergil, Catullus, Ovid, Cicero, and Horace. Wauconda, Sonkowsky, R.P., and F. Halberg. Latin Verse-Ictus and Multimodal Entrainment, ElectronAnt 8.2 ( ) Sonnenschein, E.A. Ictus and Accent in Early Latin Dramatic Verse, CQ 23 (1929) Sturtevant, E.H. The Pronunciation of Greek and Latin: The Sounds and Accents. 2 nd ed. Philadelphia, Waite S.V.F. Word Position in Plautus: Interplay of Verse Ictus and Word Stress, in A. Jones and R.F. Churchhouse, eds., The Computer in Literary and Linguistic Studies (Cardiff, 1976) Asinaria A Student Commentary ( J.R. Porter, 2015) 220

227 Metrical Matters Some Particular Features of Plautus Prosody 186 In P. more so, e.g., than with Vergil one needs to be on the lookout for the contingencies noted below. Not all of these features are displayed in Asin., however, nor should all of them be regarded as common. Many of these observations need to be refined, or present phenomena that can be explained by other means, but they give a sense of the challenge that P. s prosody offers to the beginning reader and provide a number of useful specific examples. (See, further, the sources cited above, n. 1.) a. final -s is frequently dropped and thus often will not make position: salvŏs sis [salvos = masc. nom. sg.], estĭs nunc, occidistĭs me. (Asin. 286) This accounts as well for the disappearance of final s before an enclitic: rogan = rogasne, iuben = iubesne, viden = videsne (apocope) b. final -m: as in classical Latin verse, final -m is pronounced as a nasalization of the preceding vowel and thus need not make position. In Plautus this rule can apply as well when m closes a syllable within a word: nĕmpe, ŏmnis (Asin. 482) c. final r need not make position. In Plautus this rule can apply as well when r closes a syllable within a word: ĕrgo, ărgentum, ŏrnatus, hĕrcle (for cl here, see next n.) (Asin. 817) d. a stop (p, t, c, b, d, g, f, qu) followed by a liquid (l, m, n, r) need not make position: ăgros, lĭbros, dŭplex 187 e. s followed by a mute (p, t, c, qu) need not make position: quiĕsce, harŭspex, Diĕspiter, ĕst, adĕst, potĕst, ĕstis, ĭste, ĭstic, ĭstuc, ŏstendo, venŭstate. This is true even when an r follows this combination: magĭstratus, minĭstrare, fenestra (Asin. 705) f. x (cs) need not make position: ĕx, ĕxercitus, senĕx, ŭxor g. ps (often bs in classical Latin) need not make position: ĭpse, ăps, ăpscessi, ăpstulisti (Asin. 463) h. double consonants need not make position, esp. mutes (p, t, c, qu), liquids (l, m, n, r), and s: ĕcce, ĕccum, ĕccam, ĕcquis, quĭcquid, ăccepisti, ŏccasio, ŏcculto, sagĭtta, ădde, rĕdde; ĭlle, ĭllic, 188 cavĭllator, simĭllimae, satĕllites, puĕlla, ănnona, ĭnmortales, ĭrridiculo; dedĭsse, necĕsse, ĕsse (Asin. 244, 513, 818) i. d and t often do not make position when at the end of words or syllables: ătque, ĕtsi, tamĕtsi, ŭt, ăt, ăd, ĭd, apŭd; the 3 rd sing. of verbs before a consonant (e.g., valĕt pugilice) (Asin. 482) j. n followed by another consonant does not always make position: thus ĭnde and ŭnde; compounds: ĭncedere, ĭngenium, ĭndiligenter, ĭnprudens; decĕnt, studĕnt, solĕnt, ĭntus, ĭnterea, iuvĕntus, ănte; ităn tandem; tamĕn (when followed by consonant) (Asin. 487) 186 Excerpted from Gray xvi-xxiii, with some additions and modifications. 187 This is also a common feature of CL verse, but note, e.g., the treatment of apud at 156 (phps. an example of iambic shortening: see Hurka ad 219). 188 The first syllable of forms of ille and iste are shortened quite frequently when preceded by a monosyllabic word: e.g., in ĭllis (a form of iambic shortening). Asinaria A Student Commentary ( J.R. Porter, 2015) 221

228 Metrical Matters k. iambic shortening: in its simplest form, words of the shape (with accent on first syllable) regularly are pronounced with a short final syllable: domĭ, bonǐs, forĭs, benĕ, malĕ; imperatives such as: tenĕ, abĭ, vidĕ. The following regularly display both patterns: ego, mihi, tibi, sibi, ubi, volo; modō (adv.) sometimes; immō always 189 l. hic in all its cases and forms that end in -c can be short, at least when a short monosyllable precedes (a form of iambic shortening): quis haĕc est; sed quid hŭc; quid hŭnc sollicitas m. ēs (2 nd sg. pres. ind. and imperative of sum) regularly has a long ē in Plautus n. final -ōr (in comparative adjs., nouns such as amor, 1 st pers. sg. pass./dep. verbs, etc.) regularly has a long ō in Plautus o. thematic vowels in conjugational endings that conclude in s or t (many of which came to be shortened by the classical period) are often long in Plautus: amāt, erīs, egēt, sīt, fuāt, velīt,vixīt, fuīt, adduxerīt (fut. pfct.) (Asin. 404) p. 3 rd decl. abl. sgs. in e or i are often long in Plautus: retē, carnē, ordinē, militē q. synizesis (indicated by sublinear ): a. meus, tuos, suos (not tuus, suus), 190 deus are scanned as monosyllables. Also quoius, quoi, huius, huic, rei, dies, diu, fui, trium, duas, ais, ain, ait, eo, eam, eas, eat, eant, etc. (Asin. 60, 589, 736) b. trisyllabic forms of meus, tuus, suus, deus, etc. are dissyllabic. Also duorum, duellum, fuisti, fuisse, puella, diebus, etc. Diutius and exeundum are trisyllabic. (Asin. 559) r. hiatus: In Plautus hiatus occurs between two words closely connected: e.g., a preposition and its noun, a pair of nouns, a noun and its verb, an adjective and its noun, etc. E.g., de ea, octo hominum, gratiam habeo, tuam amicam, eri imperia. But hiatus is practically confined to cases when there is a pause in meter or in sense which at least tones down the harshness (e.g., the caesura, breaks in sense, change in speakers). Most frequently hiatus is met with in the case of monosyllables with a long vowel (pro, de, etc.) or a short vowel if the word ends with -m (nam, cum) in cases like quae ego, qui in, nam ego, ne ego, qui homo, di ament, cum Alcumena, quam ob rem, qui obviam. Frequent before forms of homo, habeo, hic, and other words beginning with h. Also in interjections especially after the monosyllables o, au, ah, eu, heu, em and with vocatives. More generally, hiatus is permitted: (1) after monosyllables, (2) after dissyllables which scan as pyrrhics ( ) whether the last syllable is naturally short or shortened, (3) after words of more than two syllables. A vowel at the end of one verse followed by another at the beginning of the next does not constitute a hiatus (i.e., synapheia/synalephe is not featured). 191 s. final e is often dropped in a small group of disyllables (e.g., ill, nemp, ess ) [apocope] 189 This principle can also be applied with longer words or word-groupings (e.g., dăt(a) ŏccásiost). For a fuller account, see above ( Glossary of Metrical Terms ), s.v. The enclitics quis/quid or quidem present a related phenomenon: a long monosyllable preceding these words will often be shortened: e.g., tŭquidem (enclisis). 190 I.e., this phenomenon more commonly occurs in words of the shape: 191 For a related phenomenon, consult the glossary s.v. Correption/Semi-hiatus/Prosodic Hiatus. Asinaria A Student Commentary ( J.R. Porter, 2015) 222

229 Metrical Matters t. Some words continued to be pronounced in day-to-day speech according to an older set of conventions, or in recollection of an earlier established form: e.g., vóluerim (line 6 freq. with other words of the shape: : cf. 783); istúc (from istudce), harúnc (harumce), illíc. These pronunciations sometimes inform Plautus text. Asinaria A Student Commentary ( J.R. Porter, 2015) 223

230 Some Commonly Cited Metrical Features ( Laws ) Metrical Matters [The following features of Plautus verse will often be cited in the commentaries by the name of the scholars who first set them out. The descriptions here are those of Willcock and others, slightly paraphrased or expanded in places.] 192 Hermann s Law: the two shorts of a resolved long or anceps should not be the final syllables of a trisyllabic or longer word. (This does not apply to the first foot of lines or half-lines.) 193 Locus Jacobsohnianus: brevis in longo and/or hiatus appear commonly in two places 1) at the end of the fourth foot of the iambic senarius (i.e., the eighth element: e.g., Asin. 85, 110, 762, 775, 791) and the equivalent position in the trochaic septenarius (i.e., the eleventh element: Asin. 184, 250, 328, 340, 828); 2) as the final element of the initial cretic of the trochaic septenarius (e.g., Asin. 175, 178, 199, 333, 873, 903). 194 Luch s Law: if an iambic line or half-line, or a catalectic trochaic line, ends with a word of the shape, the preceding elements may not be formed by an iambic word or the iambic end of a longer word. 195 (This results in the bridge at the conclusion of P. s iambic senarii: above, n. xx.) Meyer s Law: if a word of more than one syllable has its word-end coincide with the end of the second or fourth foot of an iambic senarius (i.e., with the fourth or eighth element), or the equivalent places of a trochaic septenarius (i.e., the seventh or eleventh elements), its penultimate syllable cannot consist of a long syllable or a resolved long. 196 (This feature guards against the stress accent muddying the iambic/trochaic feel of the verse at key locations.) Ritschl s Law: there should not be word-division between the two shorts of a resolved long or anceps, unless the former of the two is a monosyllable or an elided disyllabic word, or the two words go so closely together as to constitute a type of grammatical unit or a common phrase. 197 (This does not apply to the first foot of lines or half-lines.) Acceptable: ŭtĭnam, ŭt ŏpinione, nam quĭd ĕgo; vs. dīcĭt ĕlephans See Willcock 1987: 146 and Ritschl s and Hermann s laws are often said to mitigate against a broken anapaest ( ). 194 Soubiran 1988: , , , Fortson 2008: Soubiran 1988: , Fortson 2008: Soubiran 1988: , Fortson 2008: 34-37, Ritschl s and Hermann s laws are often said to mitigate against a broken anapaest ( ). 198 Fortson 2008: 7-8. Asinaria A Student Commentary ( J.R. Porter, 2015) 224

231 Metrical Matters The Meters of Plautus Asinaria: Sample Passages 199 SIGLA Division between metrical feet Caesura Diaeresis // Hiatus 200 itaque Elided vowel-sound (printed in reduced font with a strike-through) Synizesis I) Iambic Senarii (Acrostic Metrical Hypothesis and Asin. 1-59) Aman t i argen to fi lio au xiliá rier Sub ĭmpéri o viv ens volt senex uxo rio. [b] Itaque ób a sinos rela tum préti um Sau reae Numerá ri ius sit ser volo Leo nidae. Ad amí c am id fer tur. ce dit noc tem fi lius. Riva lis a mens ob praerep tam múli erem [t] Is rem om n em uxo ri per parasí tum nun tiat. Accur rit ux or ac virum e lustris rapit. hoc ági te sul tis, spec tato res, nun ciam, quae quídĕm mihi at que vo bis res vortat bene gregĭque huíc et dómi nis at que con ducto ribus. [k] [k] face nún ciam tu, prae c o, omnem au ritum poplum. age núnc resi de, cávĕ modō ne gra tiis. [k] [not k] 5 nunc quid proces serim huc et quid mi vólu erim dicam: ut scire tis no men hu i us fab ulae; [t] [q] 199 Letters in the margin refer to Gray s summary (excerpted above) of metrical features typical of Plautine verse. For a metrical analysis of the entire play, see Henderson s text (2006). Henderson s presentation offers a readily performable text; the passages here attempt to provide the basis for a study of the possible interplay between rhythm and word-shape, ictus and accent. 200 In raised text in instances where hiatus accompanies foot division or caesura. Asinaria A Student Commentary ( J.R. Porter, 2015) 225

232 nam quód ad argu mentum at tinet, sāne breve est. Metrical Matters nunc quod me di xi vel le vo bis di cere dicām: // hu ic no men Grae c e Ona go est fa bulae; [q] 10 Demóphi lus scrip sit, Mac cus vor tit bar bare; Asiná riam volt es se, si per vos licet. inest lepos ludus que in hac comoe dia, ridícu la res est. dáte beni gne operám mihi ut vos, item <ut> áli as, pa riter núnc Mars ad iuvet. 15 sicut tuom vis u nicum gnātum tuae superés se vi tae sos pitem et super stitem, ita té d opte stor per senec tutem tuam perque il lam quam tu métu is ux orem tuam, si quid med er ga // hódi e fal sum dix eris, 20 ut tíbĭ super stes ux or ae tatem siet [k] atque il la vi va vi vos ut pestem op petas. per Di um Fídi um quae ris: iu rato mihi videó neces s e esse e loqui quicquid roges. ita me óp stina t e aggres su s ut non au deam 25 profec to per contan ti quin prōmam om nia. pro inde ac tutum is tuc quid sit quod scire ex petis [q] elóque r e: ut ip se sci bo, te faciam út scias. dic op secro her cle se rio quod te rogem, cavĕ mí menda ci quic quam. quin t u ergo rogas? [k] 30 num me il luc du cis úbĭ lapis lapidém terit? quid istúc est? aut ubi istúc est ter rarum loci? ubĭ flént nequam hómi nes qui polen tam pin sitant, apud fús titúdi nas, fer ricrépi nas in sulas, [k] [e] [k] [i] Asinaria A Student Commentary ( J.R. Porter, 2015) 226

233 Metrical Matters ubĭ ví vos hómi nes mor tui in cursant boves. [k] 35 modŏ pól perce pi, Líba ne, quíd ĭs tuc sit loci: [k] [e] ubĭ fít polen ta, te fortas sē dic ere. ah, [k] neque her cle ego is tuc di co nec dictum volo, teque op secro her cle ut quae locu tu s de spuas. [a + prodelision] fiat, gera tur mos tibi. áge, a g e usque ex screa. 40 etiám n e? age quaé s o hercle us que ex péni tis fau cibus. etiam ám plius. nam quo us que? usque ad mortem volo. cavĕ sís malam rem. uxo ris di co, non tuam. [k] dono te ob is tuc dic t um ut ex pers sis metu di tíbĭ dent quae quomque op tes. red d e operám mihi. [k] quor hōc ego ex te quae r am? aut quor minitér tibi proptére a quod me non scien tem fec eris? aut quor postre mo fi lio suscen seam, patres ut fáci unt ce teri? quid ĭstúc novi est? [e] 50 demi ror quid sit et quo eva dat sum in metu. equidém scio iam fi lius quod amét meus istanc meretrí c em e pro xumo Philae nium. estne hōc ut di co, Líba ne? rec t am instas viam. ea rés est. séd e um mor bus in vāsit gravis. 55 quid mor bi est? quía non sup petunt dictis data. tune ēs adiu tor nunc aman ti fi lio? [m] sum ve r o, et al ter nos ter est Leon ida. bene her cle fáci tis, [et] a me ini tis gra tiam. Asinaria A Student Commentary ( J.R. Porter, 2015) 227

234 Metrical Matters II) Iambic Septenarii (Asin ) ut de monstra tae sunt mihī, // hasce ae dis es s e opor tet Demae netús u bi di citur habitá r e. i, púe re, pul ta [hiatus before diaeresis] [anceps] atque atr ien sem Sau ream, si est in tus, e voca t o huc. quis nost ras sic frangit fores? ohe, in quam, si quid au dis. nemo éti am téti git. sa nun ēs? at cen sebam at tigis se [m] 385 proptére a huc quía ha bebas iter. nolo égŏ fores conser vas me as a te ver bera rier. sane égŏ sum ami cus nost ris [aedibus]. [k] [q] [k] pol hau peric lum est car dines ne fóri bus ef fringan tur, si // is toc ex emplo om nibus qui quae runt res ponde bis. ita haec mora t a est ia nua: // extem plo ia nito rem [anceps] 390 clamat, procul si quem videt ire ad se cal citro nem. [anceps] sed quid venis? quid quae ritas? Demae netum vole bam. si sit domi, dicam tibī. quid e ius at rien sis? [not k] nihiló mage in tus est. ubi est? ad ton sorem i re dix it. quom ve nisset, post non redit? non éde pol. quid vole bas? 395 argen ti vi ginti minas, s i ades set, ac cepis set. qui pro is tuc? ási nos ven didit Pellae o mer cator i merca tu. scíŏ. tu id nunc refers? iam hic cre d o eum af futu rum. [k] qua fa cie vós ter Sau rea est? si is est, iam sci re póte ro. macilén tis ma lis, ru fulus aliquán tum, ven trio sus, [anceps] 400 truculén tis ócu lis, com moda statu ra, tris ti fron te. non pótu it pic tor rec tius descri bere e ius for mam. atque her cle ipsum áde o con tuor, quassan ti cápi t e ince dit. quisque ob viam hu ic occes serit ira to, va pula bit. [q] [anceps] sīquídem hĕr cle Aeáci dinis minis animís que exple tus ce dit, [c] 405 si med ira tus téti gerit, ira tus va pula bit. [anceps] Asinaria A Student Commentary ( J.R. Porter, 2015) 228

235 Metrical Matters III) Iambic Octonarii (Asin ) numquid nam tíbĭ moles tum est, gna te mi, si haec nunc mecum ac cubat? [k] 830 pietás, patér, o culís dolo rem próhi bet. quam quam ego ĭstánc amo, [e] possum équi d em indu cere áni mum, ne ae gre páti ar quía tecum ac cubat. decet vere cundum es s e adulés centem, Ar gyrip p e. edepól, pater, meritó tu o fáce re pós s um. age er g o, hoc ági temus convi vium [q] vino ut sermo ne sua vi. no l o egŏ métu i, ama ri ma volo, [k] 835 mi gna te, me aps te. pól e g o utrum que fáci o, ut ae quom est fi lium. credam is tuc, si es se te híla rum vi dero. an tu [ess ] me tristem putas? putem égŏ, quem vídeam aeque es se mae stum ut quási dies si dic ta sit? [k] ne di xis is tuc. ne sic fúe ris: i lico égŏ non dix ero. [k] em // ăspéc ta: ri deo. úti nam mále qui míhi volunt sic ri deant. [e] scio équi dem quam ob rem me, pater, tu tris tem cre das nunc tibi: quia ĭstaéc est te cum. atque égo quidem her cle ut ve rum tíbĭ dicam, pater, ea rés me mále ha bet; at non e ó quia tíbĭ non cúpi am quae velis: [e] [k] [q] [k] verum istam amo. áli am te cum esse équi dem fáci le pos sum per peti. 845 at ego hánc volo. er go sunt quae exop tas: míhĭ quae ego ex optem volo. [k] unum hunc diem perpéte re, quóni am tíbĭ potes tatem dedi [k] cum hac an n um ut es ses, at que aman t i argen ti fe ci co piam. em // ĭstóc me fac to tíbĭ devin xti. quin te ergo híla rum das mihi? [e] [k] Asinaria A Student Commentary ( J.R. Porter, 2015) 229

236 Metrical Matters IV) Trochaic Septenarii (Asin ) malĕ quod poterō facere faciam, meritō que id faci am tu o. egŏ pol te redi g am e ódem un d e orta es, ad eges tatis termi nos, [k] [k] [q] ĕg o ĕdĕ pol te faciam ut quae sis nunc et quae fue ris sci as. 140 quaé prius quam istam adii atque a mans ego animum méŭm // is ti de di, sordi do vi t am oblec tabas pane in pannis ĭnŏpĭ a, atque ea si erănt, mag nas ha bebas omni bus dis grati as; éadem nunc, quom est melius, me quo ius opera est igno ras ma la. [a] [t] [k] [q] reddam egŏ te ex fe ra fam e man suétem, me spec ta mo do. [k] 145 n am isti quid sus cense am ipsi? nihil est, nil quic quam me ret; tu ó fa cit ius su, tuo ĭm perio paret: mater tu, e ád em e ra es. [q] [k] [q] t e egŏ // ul ciscar, te egŏ // ut digna es perdam at que ut de me me res. at sce lesta vidĕn ut n e id quidĕm, me dig n um esse ex istu mat [k] quĕm // ădĕ at, quem collo quatur, quo ique i rato suppli cet? [q] 150 atque ec c am illece bra exit tandem; op inor hic an t e osti um me o mo do lo quar quae vŏlăm, quon i am intus non lici tum est mi hi. [q] [k] Asinaria A Student Commentary ( J.R. Porter, 2015) 230

237 Abbreviations Abbreviations A.A. Ovid, Ars Amatoria A.P. Horace, Ars Poetica (Art of Poetry) A&G Allen and Greenough, New Latin Grammar [cited by section] abl. ablative abl. abs. ablative absolute absol. absolute (i.e., employed without an object) acc. accusative act. active ad on, in reference to ad Att. Epistulae ad Atticum (Letters to Atticus) ad fin. ad finem (at the end) ad loc. ad locum (on / in reference to the passage cited) Ad Marc. Seneca the Younger, Consolatio ad Marciam Adelph. Terence, Adelphoe (Brothers) adj. adjective / adjectival adv. adverb / adverbial Aen. Vergil, Aeneid Aesch. Aeschines Ag. Nepos, Agesliaus Agr. Tacitius, Agricola alt. alternative / alternate Am. Ovid, Amores Amph. Plautus, Amphitruo Andr. Terence, Andria anon. anonymous Anth. Pal. Palatine Anthology APIS Advanced Papyrological Information System App. Appendix approx. approximately Apul. Apuleius Argyr. Argyrippus, son of Demaenetus Aris. Aristophanes Arnob. Arnobius Ars Horace, Ars Poetica Art. Artemona, wife of Demaenetus Asin. Plautus, Asinaria Athen. Athenaeus, Deipnosophistae [Sophists at Dinner] Att. Cicero, Epistulae ad Atticum attrib. attributive Aul. Plautus, Aulularia (Pot of Gold) B.Afr. anon., de Bello Africo Bacch. Plautus, Bacchides Ben. Seneca the Younger, de Beneficiis betw. between Brut. Plutarch, Life of Brutus ca. circa (approximately of dates) Caecil. Caecilius Statius Cael. Cicero, Pro Caelio Caes. C. Iulius Caesar Capt. Plautus, Captivi (Prisoners) Cas. Plautus, Casina Cat. Catullus cf. confer (compare) cfs. compares chap. chapter Cic. Cicero Cist. Plautus, Cistellaria (Casket-Comedy) CL Classical Latin Clear. Cleareta, mother of Philaenium cmpd. compound cod. codex (i.e., ms.) codd. codices (i.e., mss.) Col. Columella, de Re Rustica collat. collateral form, variant colloq. colloquial Com. Comoediae comm. commentator(s) / commentary comp. comparative conj. conjugation / conjunction Contr. Seneca the Elder, Controversiae correl. correlative Curc. Plautus, Curculio (Weevil) Asinaria A Student Commentary ( J.R. Porter, 2015) 231

238 Abbreviations dat. dative de Melo de Melo s edition of Asin. decl. declension Decl. Min. Declamationes Minores del. delete delib. deliberative Dem. Demaenetus, father of Argyrippus demonstr. demonstrative Demosth. Demosthenes dep. deponent Diab. Diabolus, rival of Argyrippus Dial. Mer. Lucian, Dialogues of the Courtesans dimin. diminutive Diph. Diphilus Dis. Ex. Menander, Dis Exapaton (The Double- Deceiver) disc. discourse Div. Cicero, de Divinatione dr. drachma / drachmae Dysc. Menander, Dyscolus [The Grouch] ead. eadem [the same author (female)] ed. editor edd. editors emph. emphatic Engl. Modern English Epid. Plautus, Epidicus Epist. Aristaenetus, Epistulae (Letters) Epitr. Menander, Epitrepontes (Arbitration) esp. especially et al. et alii (and others) Eun. Terence, Eunuchus (Eunuch) exclam. exclamatory Fam. Cicero, Epistulae ad familiares fem. feminine ff. and following (in citations) fin. finem [ad fin. = towards the end ] fl. floruit (indicating the period at which an author, historical figure, etc. was at the height of his/her career) Fr. French freq. frequent / frequently frg. fragment fut. future G.E. Gai Institutionum epitome G&L Gildersleeve and Lodge, Gildersleeve s Latin Grammar [cited by section] Gal. de Bello Gallico Gell. Aulus Gellius gen. genitive Gray Gray s commentary on Asin. Grk. Greek hapax (sc. legomenon) [Grk.] a word that does not appear elsewhere Heaut. Terence, Heauton Timorumenos (Self- Tormentor) Hec. Terence, Hecyra (Mother-in-Law) Her. Ovid, Heroides Hom. Homer Hor. Horace Hurka Hurka s commentary on Asin. Hyper. Hyperides i.e. id est ( that is to say ) id. idem [the same author (male)] IG Inscriptiones Graecae Il. Homer, Iliad impers. impersonal impf. imperfect ind. indicative indecl. indeclinable indir. indirect inf. infinitive / inferior ( later ) Inst. Or. Quintilian, Institutio Oratoria instr. instrumental interj. interjection interrog. interrogative intrans. intransitive intro. introduction KA Kassel-Austin, Poetae comici graeci L&S Lewis and Short, A Latin Dictionary Leon. Leonida, slave of Demaenetus Lib. Libanus, slave of Demaenetus Lindsay Lindsay, Syntax of Plautus [cited by page] Asinaria A Student Commentary ( J.R. Porter, 2015) 232

239 Abbreviations Ling. Marcus Terentius Varro, de Lingua Latina lit. literally loc. locative Luc. Lucian Lucil. Lucilius Lucr. Lucretius, de Rerum Natura Lys. Lysias Lys. Aristophanes, Lysistrata Mart. Martial masc. masculine Men. Menander Men. Plautus, Menaechmi Merc. Mercator (character) Merc. Plautus, Mercator Metam. Metamorphoses meton. metonomy Miles Plautus, Miles Gloriosus (Braggart Soldier) Most. Plautus, Mostellaria (Haunted House) ms. manuscript mss. manuscripts n. note n.d. no date (i.e., no date of publication provided) NA Aulus Gellius, Noctes Atticae (Attic Nights) Naev. Naevius Nat. Arnobius, Adversus nationes neg. negative Nep. Cornelius Nepos neut. neuter New Pauly Brill s New Pauly: Encyclopaedia of the Ancient World ( ) NH Pliny the Elder, Naturalis Historia nom. nominative Nonius Nonius Marcellus obj. object / objective Od. Homer, Odyssey Oec. Xenophon, Oeconomicus OED Oxford English Dictionary Off. Cicero, de Officiis OLD Glare, Oxford Latin Dictionary Orat. Cicero, de Oratore Orig. Cato, Origines orig. originally Ov. Ovid P. Plautus or (in titles) Papyri P.Wisc. The Wisconsin Papyri pace (with peace/by permission of) contrary to the opinion of Par. Parasitus, hanger-on of Diabolus partic. particular, particularly pass. passive PCG Kassel-Austin, Poetae comici graeci pers. personal Pers. Plautus, Persa (Persian) Petr. Petronius pfct. perfect Phaedr. Plato, Phaedrus Phil. Philaenium, beloved of Argyrippus Phorm. Terence, Phormio phps. perhaps pl. plural Plat. Plato Plin. Plny plpfct. pluperfect Plut. Plutarch Poen. Plautus, Poenulus poet. poetic, in poetry Polyb. Polybius poss. possessive pr. proem, foreword pred. predicate / predicative prep. preposition / prepositional pres. present prev. previous pron. pronoun Prop. Propertius ps.-dem. pseudo-demosthenes ps.-xen. pseudo-xenophon Pseud. Plautus, Pseudolus ptcple. participle punc. punctuation Asinaria A Student Commentary ( J.R. Porter, 2015) 233

240 Abbreviations Quint. Quintilian r. remark R.R. Marcus Terentius Varro, Res Rusticae re regarding, concerning (in re in the matter of ) ref. reference refl. reflexive rel. relative Rep. Republic Rhet. Her. Anon., Rhetorica ad Herennium Rud. Plautus, Rudens (Rope) Rust. Columella, de Re Rustica s.v. sub voce ( under the heading / lemma ) Sam. Menander, Samia (Girl from Samos) Sat. Saturae (Satires) Satyr. Satyricon Saur. Saurea sc. scilicet (i.e., understand, insert ) [supplies a word or phrase omitted in P. s text] secl. secludit / secludunt ( remove(s) i.e., declare(s) to be spurious) Sen. Seneca Senec. Cicero, de Senectute sens. obs. sensus obscenus ( employed in an obscene or ribald sense ) sep. separation Serv. Maurus Servius Honoratus, In Vergilii Aeneidos Libros sg. singular Soph. Sophocles Stich. Plautus, Stichus subj. subjunctive subord. subordinate subst. substantive, substantival(ly) superl. superlative t.t. technical term Tac. Tacitus Ter. Terence Tib. Tibullus tr. translator trag. tragoediae trans. transitive transl. translation Trin. Plautus, Trinummus (Three-dollar Day) Truc. Plautus, Truculentus (The Boor) v. verse / line Varro Marcus Terentius Varro vb. verb vel sim. vel simile / similia ( or the like ) Vell. Velleius Paterculus Ver. Cicero, in Verrem Verg. Vergil Vid. Plautus, Vidularia (The Traveling Bag) Vitr. Vitruvius voc. vocative vs. versus, as opposed to w/o without Woodcock Woodcock, A New Latin Syntax [cited by section] Xen. Xenophon Asinaria A Student Commentary ( J.R. Porter, 2015) 234

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248 Zagagi, N. The Impromptu Element in Plautus in the Light of the Evidence of New Comedy, in L. Benz, E. Stärk, and G. Vogt-Spira, eds., Plautus und die Tradition des Stegreifspiels (Tübingen, 1995) Zagagi, N. Tradition and Originality in Plautus: Studies of the Amatory Motifs in Plautine Comedy. Göttingen, Zwierlein, O. Zur Kritik und Exegese des Plautus, IV: Bacchides. Stuttgart, Asinaria A Student Commentary ( J.R. Porter, 2015) 242

249 Illustrations Illustrations Ill. 1: The Greek Chlamys Detail of Attic Red Figure Pelike attributed to the Cleophon Painter (ca. 430 BC) Boston Museum of Fine Arts Boston (ARV no. 37) Ill. 2: The Reckoning Apulian Bell-Krater (ca BC) State Hermitage Museum, St. Petersburg Leningrad inv. B-1661 (Trendall, Phlyax Vases 2 nr. 33) Ill. 3: House of Sallust (Early 1 st C. AD, with rear entrance via service area, likely reflecting an earlier plan) Pompeii VI.2.4 A. Laidlaw and M.S. Stella. The House of Sallust in Pompeii (VI 2, 4). Portsmouth, Ill. 4: Mars and Venus (House of the Citharist, Pompeii) 1 st C. BC 1 st C. AD Museo Archeologico Nazionale di Napoli Pompeii Inv Ill. 5: Menander, Synaristosai (Women at Breakfast) Pythias and Plangon on couch; Philainis seated on chair to the right Floor mosaic by Zosimos of Samosata (3 rd C. AD) Zeugma Gaziantep Museum of Archaeology inv. no Ill. 6: Disposition of guests at the Roman Convivium Possible triclinium layout for Room 23 of the Villa of Oplontis Martin Blazeby, King's Visualisation Lab (KVL) Ill. 7: Roman banqueting scene (mid-1 st C. AD) Pompeii: House of the Triclinium (V 2.4) Naples, Museo Nazionale Ill. 8: Disposition of guests at the Greek Symposium Dining room in South Stoa I: furnished isometric reconstruction by Piet De Jong Athenian Agora PD no. 791 Ill. 9: Silver Cantharus (1 st C. AD) Dionysiac Scene Museo Archeologico Nazionale di Napoli Pompeii Inv /?searchterm=kantharos Asinaria A Student Commentary ( J.R. Porter, 2015) 243

250 Illustrations Ill. 1: The Greek Chlamys Detail of Attic Red Figure Pelike attributed to the Cleophon Painter (ca. 430 BC) Boston Museum of Fine Arts Boston (ARV no. 37) Asinaria A Student Commentary ( J.R. Porter, 2015) 244

251 Illustrations Ill. 2: The Reckoning Apulian Bell-Krater (ca BC) State Hermitage Museum, St. Petersburg Leningrad inv. B-1661 (Trendall, Phlyax Vases 2 nr. 33) Asinaria A Student Commentary ( J.R. Porter, 2015) 245

252 Illustrations Ill. 3: House of Sallust (Early 1 st C. AD, with rear entrance via service area, likely reflecting an earlier plan) Pompeii VI.2.4 A. Laidlaw and M.S. Stella. The House of Sallust in Pompeii (VI 2, 4). Portsmouth, Asinaria A Student Commentary ( J.R. Porter, 2015) 246

253 Illustrations Ill. 4: Mars and Venus (House of the Citharist, Pompeii) 1 st C. BC 1 st C. AD Museo Archeologico Nazionale di Napoli Pompeii Inv Asinaria A Student Commentary ( J.R. Porter, 2015) 247

254 Illustrations Ill. 5: Menander, Synaristosai (Women at Breakfast) Pythias and Plangon on couch; Philainis seated on chair to the right Floor mosaic by Zosimos of Samosata (3 rd C. AD) Zeugma Gaziantep Museum of Archaeology inv. no Asinaria A Student Commentary ( J.R. Porter, 2015) 248

255 Illustrations Ill. 6: Disposition of guests at the Roman Convivium Possible triclinium layout for Room 23 of the Villa of Oplontis Martin Blazeby, King's Visualisation Lab (KVL) Asinaria A Student Commentary ( J.R. Porter, 2015) 249

256 Illustrations Ill. 7: Roman banqueting scene (mid-1st C. AD) Pompeii: House of the Triclinium (V 2.4) Naples, Museo Nazionale Asinaria A Student Commentary ( J.R. Porter, 2015) 250

257 Illustrations Ill. 8: Disposition of guests at the Greek Symposium Dining room in South Stoa I: furnished isometric reconstruction by Piet De Jong Athenian Agora PD no. 791 Asinaria A Student Commentary ( J.R. Porter, 2015) 251

258 Illustrations Ill. 9: Silver Cantharus (Pompeii: 1 st C. AD) Dionysiac Scene Museo Archeologico Nazionale di Napoli Pompeii Inv Asinaria A Student Commentary ( J.R. Porter, 2015) 252