654:
men, and he is quite brazen about it, replying to
Sagaristio's taunt, "So what if do? At least I don't do it for free, like you do!" It has been argued for various reasons that the scenes with Paegnium were added by Plautus for humorous effect and were not in the original Greek play. One indication of this is that in Greek comedy it seems probable that no scene had more than three speaking actors; and yet the last scene of Persa requires five. Moreover, the carrying of two messages in Acts 2.2 and 2.4 seems superfluous to the plot; it is more likely that in the original play only Sophoclidisca delivered a letter and then returned without meeting Paegnium. The name "Paegnium" means "little plaything" and is also given in Plautus's
331:
Toxilus will bring the cash to buy his girlfriend. He sees
Toxilus and heaps him with insults, to which Toxilus replies in kind. Toxilus gives him the money. He makes a request that when Dordalus goes to have the coins assessed in the market, he should leave his house by the back door, and that he should send Lemniselenis over to his own house by the same door, out of sight of the public. Dordalus goes inside. – Toxilus, after saying he is confident the trick will go well, calls Sagaristio. Sagaristio comes out with Saturio's daughter. Sagaristio is dressed as a Persian, wearing a tall
463:
been enslaved. When
Dordalus asks Sagaristio's name, Sagaristio invents a comically long 55-syllable name. He departs. – Dordalus thanks Toxilus for his help, and goes inside for a moment leaving Toxilus to watch over the girl. While Dordalus has gone, Toxilus calls Saturio out from his own house and tells him to wait up the street out of sight. When Dordalus returns, Toxilus takes his leave and goes into his own house. Suddenly Saturio returns to reclaim his daughter. He drags Dordalus off to a magistrate.
95:. Unusually in this play, the lover is not a wealthy young man helped by a cunning slave, but the cunning slave himself. In order to repay the money he has borrowed to buy his girlfriend from the pimp Dordalus who owns her, Toxilus persuades his friend Sagaristio to dress up as a Persian, in order to trick the pimp Dordalus into paying a large sum to buy a girl who is dressed as an Arabian captive, but who is in fact free. The girl's father Saturio then appears and reclaims his daughter.
226:
door for other slaves to start warming up an elaborate meal. Having thus whetted
Saturio's appetite, before he allows him to eat anything, Toxilus makes a strange request: he wants to borrow Saturio's daughter to sell her to the slave-dealer. He commands Saturio to go and dress up his daughter and instruct her what to say. Toxilus suggests it will be possible to obtain a suitable costume from the theatre-producer.
134:, who has a pretty and clever daughter, to allow Sagaristio sell this girl to Dordalus, even though she is not a slave. Saturio, who will do anything for a meal, agrees. Meanwhile Toxilus sends a cheeky young slave boy, Paegnium, with a letter to Lemniselenis. Paegnium meets Lemniselenis's messenger, the maid Sophoclidisca, coming the other way and they exchange insults and banter.
608:, the slave Pseudolus rescues his master's beloved Phoenicium by dressing up another cunning slave, Simio, as the servant of the soldier who wants to buy her. What is unusual about Toxilus is that he himself is the character who is in love with the rescued girl rather than acting on behalf of his young master. This is unprecedented in Plautus, although Menander's comedy
209:
explains to
Toxilus that he has been punished by being made to work in a flour mill for more than a year. Toxilus explains that his master is away but that he has been wounded by love. He needs to borrow 600 coins to buy his beloved's freedom. Sagaristio says he can't help now but he will get back to Toxilus if he finds something. The two slaves depart separately.
645:. His trade is to buy under-age girls and rent them out for sex with rich clients. His meanness is shown by his deducting 2 didrachmas for the purse when he pays over the money to the Persian stranger. Unlike the pimp Labrax in Rudens, however, he keeps his word, and frees and delivers Toxilus's girlfriend Lemniselenis after being paid the agreed price.
684:
where
Agamemnon is about to sacrifice his daughter. So part of the humour of her role may be that she is acting a parody of tragedy while Saturio and Sagaristio are playing an obviously comic role. Another humorous element is that she repeatedly refuses to follow the script which Toxilus has told her
225:
The parasite
Saturio enters and explains that his profession, like that of his ancestors, is to dine at other people's expense. He claims this is better than informing on wrongdoers for a reward. – Toxilus comes out of his master's house, and pretending not to see Saturio, he gives orders through the
124:
The slave
Toxilus is taking care of his master's house while he is away. Toxilus is in love with a girl, Lemniselenis, who is owned by the procurer (pimp) Dordalus. He asks his friend Sagaristio to lend him the money required to buy her freedom. Sagaristio does not have the required sum, but promises
330:
Saturio arrives with his daughter, who is dressed as an
Arabian captive; he instructs her how she is to behave. She is clearly reluctant to be sold but promises to obey her father's wish. They go into the house to wait. – Dordalus the slave-dealer now comes out from his own house, wondering whether
313:
Sagaristio tells
Paegnium not to be rude to his elders, but Paegnium continues to be cheeky. When Paegnium has gone inside, Toxilus comes out with Sophoclidisca, and sends her off with a message for Lemniselenis. When she has gone, Sagaristio gives him a purse with money in it. Sagaristio goes into
171:
The Persa only partly follows the ABC scheme. The play begins with music, rather than the usual unaccompanied iambic senarii. The following two sections also have music preceding the iambic senarii. The final scene, instead of being in pure trochaic septenarii, consists of trochaic septenarii mixed
140:
While Dordalus is having the money tested in the forum, Sagaristio dresses up as a Persian. Aided by Toxilus, he sells Saturio's daughter, pretending that she was captured in Arabia, to Dordalus for a huge sum. Immediately afterwards Saturio enters and reclaims his daughter, on the grounds that she
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Paegnium is a boy-slave. He is described by Sophoclidisca as young and good-looking but boyish "not yet weighing 80 pounds" (line 231). His main characteristic is his waspish tongue and his insolence and cheek; he is never short of an insult. It is hinted (lines 229, 284, 804) that he has sex with
296:
The slave Sagaristio enters, singing delightedly that some money has "fallen from heaven" into his hands. His master has given him some cash to buy oxen in Eretria; he will tell the master that there were no oxen and use the money to lend to Toxilus instead. Now he sees Paegnium returning home and
155:
Plautus's plays are traditionally divided into five acts; these are referred to below for convenience, since many editions make use of them. However, it is not thought that they go back to Plautus's time. One way in which Plautus himself articulated the different parts of the play is by changes in
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While Dordalus is inside, Toxilus praises the girl for her performance and instructs Sagaristio what to do next. Dordalus comes out with the money, meanly deducting two coins for the purse. Sagaristio thanks him and says he must hurry off to deliver letters and to redeem his twin brother, who has
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Dordalus expresses disquiet about the idea of buying a slave without a warranty, but Toxilus reassures him. Sagaristio and the girl now approach. The girl is talking in a clever way. Toxilus assures Dordalus that he will be able to make a lot of money out of her. He advises him to interrogate the
208:
The slave Toxilus enters and sings how unhappy he is because he is love but can't find enough money. On the other side of the stage Sagaristio (a slave from another family, and friend of Toxilus) is complaining that he does not get on well with his master. After they greet each other, Sagaristio
620:
Sagaristio is another cunning slave of the same kind as Toxilus. The similarity of the two is emphasised by the music of the opening scene, when the metres and words used by Sagaristio mirror those used by Toxilus. Sagaristio's cunning is shown by his quick-witted acting the part of the Persian
189:
As Timothy Moore points out in an analysis of the music of the play, the more emotional scenes tend to be accompanied by music, whereas more serious or "matter-of-fact" passages, such as the letter which Dordalus reads out (501–512, 520–527), are unaccompanied. Another point is that the slave
242:
From the slave-dealer's house, an old female attendant, Sophoclidisca, comes out. It appears that Lemniselenis has instructed Sophoclidisca to carry a message to Toxilus. Sophoclidisca (probably through the doorway) reassures her and begs her not to go on about it so
159:
In Plautus's plays a common pattern is to begin each section with iambic senarii (which were spoken without music), then a scene of music in various metres, and finally a scene in trochaic septenarii, which were apparently recited to the accompaniment of
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Dordalus now arrives, complaining bitterly over the fact that he has lost so much money. Suddenly he sees Toxilus and his friends celebrating. Toxilus invites Dordalus to join them. He orders the junior slaves to bring water to wash Dordalus's
180:
C. W. Marshall (2006), however, sees the metrical sections (or "arcs") as always starting with iambic senarii (excepting the two paragraphs where the forged letter is being read aloud). He therefore divides the play as follows:
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stranger; his slyness is shown by his willingness to risk punishment by "borrowing" his owner's money to lend to Toxilus. He helps Toxilus perform his con trick by dressing up in costume, just as Leonida helps Libanus in
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with anapaestic and other metres, perhaps reflecting the carnivalesque nature of the scene. If a metrical section is considered as ending with trochaic septenarii, the overall scheme may be seen as follows:
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girl before making an offer. Dordalus questions the girl about her parents and home country; she replies cleverly and evasively. Dordalus bargains with Sagaristio, and they agree a high price of 60
351:
Dordalus comes out, congratulating himself on the profit he has made. Toxilus approaches; Dordalus reassures him that he has officially freed the girl and delivered her to Toxilus's house.
259:
Meanwhile on the other side of the stage, Toxilus has given a letter to a cheeky young boy-slave called Paegnium and is instructing him to carry it to Lemniselenis. Toxilus goes indoors.
600:
Palaestrio rescues Philocomasium, with the help of two courtesans, who dress up as a rich divorcée and her maid, and Philocomasium herself, who pretends to be her own twin sister; in
544:
Toxilus calls for more wine and he and Sagaristio each perform an obscene dance in front of Dordalus to taunt him. Lemniselenis begs them to stop, but she is overruled by Toxilus.
168:(a pair of reed pipes). Moore calls this the "ABC succession", where A = iambic senarii, B = other metres, C = trochaic septenarii. However, the ABC order is sometimes varied.
137:
Then Toxilus receives Sagaristio's money (money which was entrusted to Sagaristio by his owner to make a purchase) and takes it to Dordalus to buy Lemniselenis's freedom.
528:
Toxilus mischievously asks Paegnium if he would like to play with the pimp. Given permission by Toxilus, Paegnium hits Dordalus twice and talks to him insolently.
666:
The unnamed daughter of Saturio combines the roles of the quick-witted courtesan and the highly moral unmarried girl. The costume she is dressed in, including
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The others continue to mock Dordalus, slapping him and pinching his bottom, until eventually Toxilus (or Sagaristio) declares that he has been punished enough.
592:
The character of the cunning slave who rescues a girl from the clutches of a slave-dealer by means of a trick is found in several other Plautus plays. In
116:. Unlike some other Plautus plays, it has been rarely if ever imitated in later literature, perhaps because of the somewhat coarse elements in its plot.
98:
The play is set in a street in Athens. Facing the audience are two houses, one belonging to Toxilus's absent master, and the other to the pimp Dordalus.
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The letter goes on to say that the Persian is bringing a female captive from Arabia to sell, but that it won't be possible for him to give a guarantee.
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is an Athenian citizen, and drags Dordalus off to court. The play concludes with Toxilus and Sagaristio feasting to celebrate Dordalus' misfortune.
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Toxilus comes outside in triumph, ordering the other slaves to lay out couches for a banquet in the street. Lemniselenis and Sagaristio join him.
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Toxilus thanks Dordalus and tells him that he has a business deal for him. He shows him a letter supposedly written by Toxilus's absent master.
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604:, the slave Milphio rescues two girls from a pimp by dressing up his master's farm-manager Collybiscus as a rich customer; and in
672:"sandals", appears to associated with tragedy rather than comedy; moreover, several of her lines seem to be quotations from
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Dordalus reads the letter aloud. In the letter the master orders Toxilus to extend hospitality to a certain Persian visitor.
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Act 5.2 (cont.) (819–857): tr. system (4 lines), tr. septenarii (17 lines), tr. system (8 lines), tr. septenarius (1 line)
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49:
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Dordalus responds by protesting furiously about how he has been tricked. Toxilus and Lemniselenis try to calm him.
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335:(Persian hat). Toxilus praises their costume and tells them to go and wait further up the street, out of sight.
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703:
104:
is believed to be one of Plautus's later plays. Among other indications is a reference in lines 99–100 to the
125:
to try to obtain some from elsewhere. Toxilus intends to get the money back from Dordalus after it is paid.
596:, Libanus rescues Philenium with the help of his fellow-slave Leonida who dresses up as a donkey dealer; in
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110:"banquet of Jupiter", a custom instituted in 196 BC; another indication is the large number of polymetric
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92:
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characters have most or all of their words accompanied by music, whereas Saturio speaks all of his.
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Act 1.1 (lines 1–52): polymetric song (iambic, cretic, trochaic metres, ending ia7) (52 lines)
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Act 4.3. (cont.) (491–500): anapaestic octonarii mixed with anapaestic septenarii (10 lines)
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65:
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699:
680:, and the conversation with Saturio seems to be a parody of the scene in Euripides' play
82:
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Dordalus the pimp is another stock character of Plautus's plays, similar to Ballio in
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441:(three times the usual price for a slave). Dordalus goes inside to fetch the money.
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opened in a similar way with a slave called Daos complaining of being in love.
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955:
Plautus, Vol III: The Merchant; The Braggart Soldier; The Ghost; The Persian
677:
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Act 5.2 (cont.) (843–857): anapaestic octonarii and other metres (15 lines)
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A parasite is a dinner-cadger, one of the stock figures of Roman comedy.
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to say, causing him to become frantic that his trick may fall through.
275:
Paegnium and Sophoclidisca cross paths and exchange insults and banter.
27:
761:"T. Maccius Plautus, Persa, or The Persian, Introduction, THE SUBJECT"
343:
Act 4.3 (470–489): trochaic septenarii mixed with octonarii (20 lines)
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163:
79:
576:
Toxilus says farewell to the spectators and asks them to applaud.
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1007:
934:"The Parasite's Daughter: Metatheatrical Costuming in Plautus'
787:. Cambridge University Press, pp. 237-42, 253-8, 305-8, 367-71.
404:
Dordalus is puzzled, but Toxilus tells him to continue reading.
504:
Act 5.2 (cont.) (792–803): varied anapaestic metres (12 lines)
428:
Act 4.3 (cont.)–4.4 (528–672): trochaic septenarii (145 lines)
251:
Act 2.1 (cont.) (182a–202): various trochaic metres (21 lines)
305:
Act 2.4 (cont.)–2.5 (280–328): iambic septenarii (50 lines)
297:
asks him where Toxilus is. Paegnium answers him insolently.
841:, ed. Stefan Faller (Tübingen, Gunther Narr, pp. 255–272.
267:
Act 2.1 (cont.) (203–250): trochaic septenarii (48 lines)
396:
Act 4.3 (cont.) (513–519): trochaic septenarii (7 lines)
520:
Act 5.2 (cont.) (804–818): cretic, bacchiac (15 lines)
471:
Act 5.1 (753–776): mostly anapaestic metres (24 lines)
217:
Act 1.2–1.3 (lines 53–167): iambic senarii (116 lines)
568:
Act 5.2 (cont.) (858): trochaic septenarius (1 line)
380:
Act 4.3 (cont.) (501–512): iambic senarii (12 lines)
412:
Act 4.3 (cont.) (520–527): iambic senarii (8 lines)
61:
33:
23:
18:
487:Act 5.2 (777–791): anapaestic octonarii (14 lines)
322:Act 3.1–4.2 (329–469): iambic senarii (141 lines)
288:Act 2.3–2.4 (251–279): polymetric song (29 lines)
953:Plautus; Translated by Wolfgang de Melo (2011).
454:Act 4.5–4.9 (673–752): iambic senarii (80 lines)
914:"Tyndarus' Past: The Name Paegnium in Plautus'
903:, Neue Folge, 127. Bd., H. 1 (1984), pp. 46–57.
234:Act 2.1 (168–182): anapaestic metres (15 lines)
1019:
8:
943:, Vol. 99, No. 1 (Autumn, 2005), pp. 25–33.
893:"On the Character of Paegnium in Plautus's
750:, (Loeb Classical Library), vol. 3, p. 444.
737:, (Loeb Classical Library), vol. 3, p. 448.
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875:The passage is analysed by Moore (2012)
850:For details of the metres used, see the
625:, and Simio helps Pseudolus in the play
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991:Latin text edited by Friedrich Leo at
821:(Cambridge University Press), p. 215.
7:
194:Toxilus seeks help from his friends
128:First Toxilus persuades Saturio, a
857:Washington University in St Louis.
14:
985:Latin text at The Latin Library:
901:Rheinisches Museum für Philologie
852:Database by Timothy J. Moore of
833:T. J. Moore (2001), "Music in
819:The Stagecraft of Roman Comedy
1:
78:("The Persian") is a comedic
1213:Plays set in ancient Greece
55:Unnamed daughter of Saturio
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854:The Meters of Roman Comedy
796:Apart from this play only
783:Moore, Timothy J. (2012),
185:BB, ABCBB, ACBACAC, ABBCBC
148:
1042:
932:Clara Shaw Hardy (2005).
839:Studien zu Plautus' Persa
176:BABC, BBAC, BACAC, ABBCBC
817:Marshall, C. W. (2006).
661:
314:Toxilus's house to wait.
921:Classica et Mediaevalia
912:K. Philippides (2011).
891:Douglas Hughes (1984):
694:English translation by
959:Loeb Classical Library
716:Wolfang de Melo, 2011
668:
162:
151:Metres of Roman comedy
112:
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50:an enslaved prostitute
46:Sophoclidisca, a slave
877:Music in Roman Comedy
785:Music in Roman Comedy
765:www.perseus.tufts.edu
448:Victory over Dordalus
149:Further information:
93:Titus Maccius Plautus
53:Paegnium, a slave boy
746:de Melo, W. (2011):
733:de Melo, W. (2011):
658:984 to a boy slave.
282:Lemiselenis is freed
1218:Plays set in Athens
1208:Plays about slavery
941:The Classical World
358:Dordalus is tricked
39:Sagaristio, a slave
696:Henry Thomas Riley
682:Iphigenia in Aulis
662:Saturio's daughter
145:Metrical structure
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808:begin with music.
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689:Translations
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641:or Lycus in
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107:epulum Iovis
101:
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74:
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72:
1181:Truculentus
1132:Mostellaria
1090:Cistellaria
798:Cistellaria
711:Amy Richlin
156:the metre.
41:Saturio, a
1197:Categories
1048:Amphitryon
770:2021-04-22
721:References
669:crepidulae
616:Sagaristio
583:Characters
90:playwright
34:Characters
24:Written by
1174:Trinummus
1153:Pseudolus
1111:Menaechmi
1069:Bacchides
1062:Aulularia
1034:Plays by
678:Euripides
674:Sophocles
639:Pseudolus
627:Pseudolus
606:Pseudolus
131:parasitus
1146:Poenulus
1118:Mercator
1104:Epidicus
1097:Curculio
1055:Asinaria
802:Epidicus
649:Paegnium
643:Poenulus
633:Dordalus
623:Asinaria
602:Poenulus
594:Asinaria
43:parasite
1167:Stichus
1076:Captivi
1036:Plautus
993:Perseus
987:"Persa"
916:Captivi
806:Stichus
748:Plautus
735:Plautus
700:Perseus
656:Captivi
588:Toxilus
333:"tiara"
113:cantica
62:Setting
28:Plautus
1160:Rudens
1083:Casina
965:
837:", in
804:, and
713:, 2005
164:tibiae
66:Athens
1139:Persa
998:Persa
936:Persa
895:Persa
835:Persa
705:Persa
610:Heros
496:feet.
439:minae
243:much.
102:Persa
87:Roman
80:Latin
75:Persa
19:Persa
963:ISBN
676:and
120:Plot
83:play
919:."
698:at
1199::
995::
961:.
957:.
938:."
899:.
884:^
826:^
800:,
763:.
702::
629:.
1027:e
1020:t
1013:v
971:.
897:"
773:.
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