The Captiva and the Mostellaria By: Titus Maccius Plautus (254 BC - 184 BC)
In the ancient world of Roman theater, Titus Maccius Plautus emerged as a comedic genius, and two of his most prominent works, The Captiva and the Mostellaria, exemplify his remarkable talent. These delightful plays transport readers to a world of humor, mistaken identities, and love, offering a captivating glimpse into ancient Roman society. Both The Captiva and the Mostellaria follow a similar pattern, focusing on misunderstandings and deceptions caused by misplaced trust. Plautus expertly weaves these themes into the intricate plotlines, ensuring a constant sense of excitement and anticipation. The characters encounter obstacles that require quick thinking, creating a suspenseful atmosphere that engages the reader from beginning to end. One fascinating aspect of these plays is Plautus' mastery of comedic techniques. His use of wordplay, puns, and misunderstanding-inspired humor injects an infectious charm into the dialogue. The witty banter between the characters leaves readers chuckling along, appreciating Plautus' cleverness. Additionally, the plays feature slapstick comedy elements, with physical gags and humorous situations that evoke genuine laughter. Despite the comedic nature of the plays, Plautus also manages to incorporate insightful social commentary. The roles of women and slaves in Roman society are explored, shedding light on the inequalities and power dynamics of the time. Plautus subtly challenges societal norms, employing his characters as vehicles to question and critique the prevailing attitudes. This layer of depth adds richness to the plays and elevates them beyond mere light-hearted entertainment. Furthermore, Plautus' distinct writing style shines through in both works. His ability to capture the essence of various characters and their motivations is truly remarkable. From the resourceful heroines to the bumbling or conniving male figures, each character feels vivid and believable. Plautus' use of vivid imagery and descriptive language paints a vivid picture, transporting readers directly into the remote villa or bustling streets of ancient Rome. However, one minor drawback of these plays lies in the complexity of the plots. While the intricate storylines add depth and excitement, they may occasionally confuse readers or require additional attention to keep track of the characters' motivations. Some may find themselves consulting the character list or backtracking to fully grasp certain aspects. Nonetheless, the intellectual challenge that arises from navigating the intricate webs of deception ultimately enhances the overall experience. In conclusion, The Captiva and the Mostellaria are excellent examples of Plautus' comedic genius and provide incredible insights into ancient Roman society. Plautus' ability to entertain and provoke thoughtful reflection on societal issues demonstrates his timeless relevance. Readers looking for a delightful escape into the world of ancient Rome will find themselves thoroughly entertained and engaged by these remarkable plays. First Page: THE CAPTIVI AND THE MOSTELLARIA OF PLAUTUS Literally Translated with notes BY HENRY THOMAS RILEY, B. A. DRAMATIS PERSONAE. HEGIO, an Aetolian, father of Philopolemus. PHILOCRATES, an Elean, captive in Aetolia. TYNDARUS, his servant. ARISTOPHONTES, an Elean, captive in Aetolia. PHILOPOLEMUS, an Aetolian, captive in Elis. ERGASILUS, a Parasite. STALAGAMUS, the servant of Hegio. A SLAVE of Hegio. A LAD, the same. Scene . A place in Aetolia. THE ACROSTIC ARGUMENT [1]. [Supposed to have been written by Priseian the Grammarian.] One son of Hegio has been made prisoner ( Captus ) in battle. A runaway slave has sold the other ( Alium ) when four years old. The father ( Pater ) traffics in Elean captives, only ( Tantum ) desirous that he may recover his son, and ( Et ) among these he buys his son that was formerly lost. He ( Is ), his clothes and his name changed with his master, causes that ( Ut ) he is lost to Hegio ; and he himself is punished. And ( Et ) he brings back the captive and the runaway together, through whose information ( Indicio ) he discovers his other. [Footnote 1: In this Acrostic it will be found that the old form of "Capteivei" is preserved.] THE PROLOGUE. These two captives ( pointing to PHILOCRATES and TYNDARUS), whom you see standing here, are standing here because they are both [1] standing, and are not sitting... Continue reading book >>

The Captiva and the Mostellaria By: Titus Maccius Plautus (254 BC - 184 BC)

In the ancient world of Roman theater, Titus Maccius Plautus emerged as a comedic genius, and two of his most prominent works, The Captiva and the Mostellaria, exemplify his remarkable talent. These delightful plays transport readers to a world of humor, mistaken identities, and love, offering a captivating glimpse into ancient Roman society.

Both The Captiva and the Mostellaria follow a similar pattern, focusing on misunderstandings and deceptions caused by misplaced trust. Plautus expertly weaves these themes into the intricate plotlines, ensuring a constant sense of excitement and anticipation. The characters encounter obstacles that require quick thinking, creating a suspenseful atmosphere that engages the reader from beginning to end.

One fascinating aspect of these plays is Plautus' mastery of comedic techniques. His use of wordplay, puns, and misunderstanding-inspired humor injects an infectious charm into the dialogue. The witty banter between the characters leaves readers chuckling along, appreciating Plautus' cleverness. Additionally, the plays feature slapstick comedy elements, with physical gags and humorous situations that evoke genuine laughter.

Despite the comedic nature of the plays, Plautus also manages to incorporate insightful social commentary. The roles of women and slaves in Roman society are explored, shedding light on the inequalities and power dynamics of the time. Plautus subtly challenges societal norms, employing his characters as vehicles to question and critique the prevailing attitudes. This layer of depth adds richness to the plays and elevates them beyond mere light-hearted entertainment.

Furthermore, Plautus' distinct writing style shines through in both works. His ability to capture the essence of various characters and their motivations is truly remarkable. From the resourceful heroines to the bumbling or conniving male figures, each character feels vivid and believable. Plautus' use of vivid imagery and descriptive language paints a vivid picture, transporting readers directly into the remote villa or bustling streets of ancient Rome.

However, one minor drawback of these plays lies in the complexity of the plots. While the intricate storylines add depth and excitement, they may occasionally confuse readers or require additional attention to keep track of the characters' motivations. Some may find themselves consulting the character list or backtracking to fully grasp certain aspects. Nonetheless, the intellectual challenge that arises from navigating the intricate webs of deception ultimately enhances the overall experience.

In conclusion, The Captiva and the Mostellaria are excellent examples of Plautus' comedic genius and provide incredible insights into ancient Roman society. Plautus' ability to entertain and provoke thoughtful reflection on societal issues demonstrates his timeless relevance. Readers looking for a delightful escape into the world of ancient Rome will find themselves thoroughly entertained and engaged by these remarkable plays.

First Page:

THE CAPTIVI AND THE MOSTELLARIA OF PLAUTUS

Literally Translated with notes

BY HENRY THOMAS RILEY, B. A.

DRAMATIS PERSONAE.

HEGIO, an Aetolian, father of Philopolemus. PHILOCRATES, an Elean, captive in Aetolia. TYNDARUS, his servant. ARISTOPHONTES, an Elean, captive in Aetolia. PHILOPOLEMUS, an Aetolian, captive in Elis. ERGASILUS, a Parasite. STALAGAMUS, the servant of Hegio. A SLAVE of Hegio. A LAD, the same.

Scene . A place in Aetolia.

THE ACROSTIC ARGUMENT [1].

[Supposed to have been written by Priseian the Grammarian.] One son of Hegio has been made prisoner ( Captus ) in battle. A runaway slave has sold the other ( Alium ) when four years old. The father ( Pater ) traffics in Elean captives, only ( Tantum ) desirous that he may recover his son, and ( Et ) among these he buys his son that was formerly lost. He ( Is ), his clothes and his name changed with his master, causes that ( Ut ) he is lost to Hegio ; and he himself is punished. And ( Et ) he brings back the captive and the runaway together, through whose information ( Indicio ) he discovers his other.

[Footnote 1: In this Acrostic it will be found that the old form of "Capteivei" is preserved.]

THE PROLOGUE.

These two captives ( pointing to PHILOCRATES and TYNDARUS), whom you see standing here, are standing here because they are both [1] standing, and are not sitting... Continue reading book >>

This book is in genre
Languages

eBook links
Wikipedia – Titus Maccius Plautus
Wikipedia – The Captiva and the Mostellaria

eBook Downloads
ePUB eBook • iBooks for iPhone and iPad • Nook • Sony Reader	Kindle eBook • Mobi file format for Kindle
Read eBook • Load eBook in browser	Text File eBook • Computers • Windows • Mac