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and the other to come with him to
Megadorus's. When Congrio complains, Strobilus tells him that at least he won't be accused of stealing since Euclio has nothing to steal. He knocks on Euclio's door and asks Staphyla to admit the cook and his assistants and the music girl. As Strobilus returns home, he wonders if it might be advisable to make the cooks work in a pit, to prevent them from stealing. Euclio now comes back from the market, having bought nothing but a little incense and flowers for the household god. Suddenly he hears the cook calling for a pot (
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which is in the centre of the stage. Euclio comes out of the temple, saying a prayer that the goddess may protect his gold. The slave, overhearing him, decides to go into the temple to look for the gold. But suddenly Euclio, disturbed by an omen, rushes out, discovers the slave in the temple, drags him out and searches him, but finding nothing he orders the slave to go away.
269:(household god or guardian spirit of the house). He explains that because the daughter of the house pays him so much respect he has allowed her father to find a treasure buried long ago by his grandfather. In this way he plans for the girl to have funds to marry the man who raped her. But to achieve this he intends first to cause the young man's uncle to propose to the girl.
593:, have argued that they are the same slave. According to this view, the unmarried Megadorus, his widowed sister Eunomia, and his nephew Lyconides, all live in the same house next door to Euclio, and Strobilus is therefore the slave of both Megadorus and Lyconides. One argument in favour of this view is line 727, where Lyconides describes Megadorus's house as "our house" (
239:(415–446). In all the rest of Plautus's plays this metre is used in only 34 lines, mostly in single lines mixed with other metres. Moore, noting the somewhat jarring rhythm of the colon, or ending, of the line, writes: "The versus reizianus finds itself in some of Plautus' funniest scenes, as when Olympio discovers that his "bride" has a beard (
607:
carries out
Megadorus's orders in the first half, seems to be in charge of the household, but the other seems to be a private servant of Lyconides; (c) the second slave applies to Lyconides for his freedom, without reference to the head of the family Megadorus; (d) in line 145 Eunomia tells her brother "I'm coming to advise you on this" (
606:
and Walter de Melo, believe that the second slave is a different slave, whose name was corrupted in the manuscripts. Among arguments supporting this view are that (a) Euclio does not seem to recognise either
Lyconides or the slave, which is unlikely if they live next door; (b) the slave who zealously
635:
The play also ridicules the ancient bachelor
Megadorus for his dream of marrying the nubile and far younger Phaedria. The silly business of preparing for the marriage provides much opportunity for satire on the laughable lust of an old man for a young woman, in a clever parallel to Euclio's lust for
577:
Megadorus's slave who organises the wedding preparations in the first half of the play is called
Strobilus (lines 264, 334, 351, 354); except that at 363 the heading in the manuscripts says "FITODICVS". The editor Leo, assuming this meant "Pythodicus", changed the name "Strobilus" to "Pythodicus" in
508:
Lyconides tells Euclio that he has a confession to make. At first Euclio mistakes him to mean that he has stolen the gold. But eventually
Lyconides sets him right. He says Megadorus no longer wishes to marry the daughter, but he himself wishes to do so, having got her pregnant. Euclio goes inside to
427:
A slave (the manuscripts name him "Strobilus" but he may be a different slave) of
Lyconides (the young man who had raped Euclio's daughter) appears and says it is a slave's duty to support his master. His master, who is in love with the daughter, has sent him to keep watch. He hides behind the altar
410:
Megadorus approaches from the forum, talking to himself: he says his friends universally approve of the match. It seems to him to be a good idea for rich men to marry poor girls, since wealthy brides always require lots of expenses. Euclio hears this speech with approval. But he chides
Megadorus for
459:
Megadorus's nephew
Lyconides now appears with his mother, Eunomia. He has confessed to her about the rape, and he wishes her to speak to his uncle to abandon the wedding. At that moment they hear cries as the girl gives birth next door. Eunomia goes inside. Lyconides looks around for his slave but
333:
Strobilus returns from the market bringing food, two sheep, two dancing girls, and two cooks. He says he has instructions to divide these between the two houses. He describes to the cooks how mean Euclio is. Strobilus now tells one of the cooks, Congrio, and one music girl, to go to Euclio's house
311:
Megadorus, however, says he would prefer the young girl next door, who is poor. Now he sees Euclio coming. He speaks to Euclio and proposes to marry his daughter. Euclio is deeply suspicious and is sure
Megadorus must have found out about the treasure. Eventually, however, he agrees, on condition
194:
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, since no manuscript contains them before the 15th century. Also, the acts themselves do not
655:, was at one time ascribed to Plautus but is now believed to be a late 4th-century Latin imitation. It provides a kind of sequel in which Euclio dies abroad and informs a parasite of the hiding place of his treasure, which the latter is to share with Euclio's son Querolus. In the 12th century,
639:
Plautus' frequent theme of clever servants outwitting their supposed superiors finds its place in this play too. Not only does Lyconides' slave manage to filch Euclio's beloved gold, but also Euclio's housemaid Staphyla is shown as intelligent and kind in her attitude toward the unfortunately
141:
of Euclio, an old man with a marriageable daughter named Phaedria, begins the play with a prologue about how he allowed Euclio to discover a pot of gold buried in his house. Euclio is then shown almost maniacally guarding his gold from real and imagined threats. Unknown to Euclio, Phaedria is
581:
The slave of Lyconides who plays a large role in the second half of the play is also called Strobilus in the manuscripts, both in the headings and in lines 697 and 804. Scholars have long debated whether this is the same slave as the Strobilus who appears in the first half of the play.
312:
that there should be no dowry given. Megadorus calls his slave Strobilus and they go off to buy things for the wedding. Euclio orders Staphyla to prepare the house for his daughter's wedding. Staphyla is horrified since she knows the girl is pregnant and foresees her disgrace.
278:
Euclio, the master of the house, chases out his housekeeper, Staphyla, so that he can have privacy to check on his buried treasure. Then he comes out again and tells Staphyla to watch the house and let no one in while he goes to collect his share of a public distribution of
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Lyconides overhears him and demands that he reveals what it is he has found. The slave says it is Euclio's gold, and that he wants his freedom for it. But Lyconides says he must give it up and return it to Euclio. The slave now tries to deny that he has found any treasure.
631:
of comedy for centuries. Plautus does not spare his protagonist's various embarrassments caused by the vice, but he is relatively gentle in his satire. Euclio is eventually shown as basically a good-hearted man who has been only temporarily affected by greed for gold.
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filling the house with thieves, and complains that the lamb which was sent was too skinny. When Megadorus offers to send round some wine, Euclio says he won't drink any. When Megadorus has gone, Euclio says he will hide his pot of gold in the nearby temple of Faith.
162:
E. F. Watling devised an ending as it might have been originally, based on the summaries and a few surviving scraps of dialogue. Other writers over the centuries have also written endings for the play, with somewhat varying results (one version was produced by
198:
In Plautus's plays the usual 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
449:
The slave hides again while Euclio goes into the temple to fetch the gold. When Euclio comes out, the slave overhears him saying that this time he is going to hide the gold in the grove of Silvanus outside the town. The slave runs off to get there before
145:
Euclio is persuaded to marry his daughter to his rich neighbor, an elderly bachelor named Megadorus, who happens to be the uncle of Lyconides. This leads to much by-play involving preparations for the nuptials. Eventually Lyconides and his
619:) to her as if she lives in a different house; (e) the two slaves seem to be of different characters, the one responsible and placed in charge of the preparations, and the second rascally, deceitful, and interested in personal gain.
243:
929)." Versus reiziani are also found, mixed with other metres ending in cola reiziana, in lines 153–160, where Eunomia is trying to convince her brother of the importance of getting married, while he resists her suggestions.
340:), and is alarmed in case they may be stealing his pot of gold. The other cook, Anthrax, wishing to borrow a pan comes out of Megadorus's house, but is alarmed to hear shouting and noise from Euclio's, so goes back inside.
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Euclio comes outside hiding the pot of gold under his cloak. He sends everyone in again. Left alone, he recounts how he found a cock scratching the ground near his treasure, and he had knocked off its head with his
153:
At this point the manuscript breaks off. From surviving summaries of the play, we know that Euclio eventually recovers his pot of gold and gives it to Lyconides and Phaedria, who marry in a happy ending. In the
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has always been one of the most popular and most studied of Plautus' plays, both because of its intrinsic interest and quality and also because of its later influence in the European dramatic tradition."
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appear, and Lyconides confesses to Euclio his ravishing of Phaedria. Lyconides' slave manages to steal the now notorious pot of gold. Lyconides confronts his slave about the theft.
207:(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.
665:
118:, Euclio, guards zealously. The play's ending does not survive, though there are indications of how the plot is resolved in later summaries and a few fragments of dialogue.
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Immediately afterwards Euclio comes rushing up in a frenzy: he has found the pot missing. He asks the audience if they have seen the thief. He begins to lament miserably.
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pregnant by a young man named Lyconides. Phaedria is never seen on stage, though at a key point in the play the audience hears her painful cries in labor.
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Outside the house next door, Eunomia is urging her brother Megadorus to get married. She has in mind a rich older bride who will be suitable for him.
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Lyconides now comes outside, and thinks that the reason for Euclio's distress is that he has found out about the baby. He is at a loss what to do.
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The slave enters, speaking to himself. He is saying he has found the gold. He sees Lyconides and says he will now ask him for his freedom.
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The setting is a street scene. On the left and right are the houses of Megadorus and Euclio. Between them is a temple dedicated to
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of 1668, was even more successful and thereafter served as the basis for dramatic imitations, rather than Plautus' work.
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cannot find him. – The slave now returns, talking to himself: he has found the gold. He says he is going home to hide it.
718:. At about the same time it was also used by the Danish Hieronymus Justesen Ranch (1539–1607) as the basis for his play
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his gold. Again, Megadorus is eventually shown as sensible and kind-hearted enough to abandon his foolish dream.
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all the places mentioned. However, it is now thought that FITODICVS is a mere copyist's error for STROBILVS.
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Euclio follows him outside and there is a furious argument. He goes inside again to check on his gold.
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Congrio runs out of Euclio's house in distress, complaining that he has been beaten black and blue.
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Plautus, Vol. I: Amphitryon; The Comedy of Asses; The Pot of Gold; The Two Bacchises; The Captives
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681:
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always match the structure of the plays, which is more clearly shown by the variation in metres.
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There is a discussion of Plautus' play and of the various imitations in: John Colin Dunlop,
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The second and fourth sections each have musical passages in two contrasting metres.
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by Plautus, translated and introduced by E.F. Watling, Penguin Classics 1965
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Act 2.1 (120-160): mixed metres (ba, ia-tr, cr, an, versreiz) (41 lines)
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613:) and in line 175, when she takes her leave, he says "farewell" (
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599:), implying that he too lives in the house next door to Euclio.
962:. Cambridge University Press, pp. 237-42, 253-8, 305-8, 367-71.
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69:, before the houses of Euclio and Megadorus, and the shrine of
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Act 2.1 (cont.)–2.3 (161-279): trochaic septenarii (118 lines)
1060:
Joannes Burmeister: Aulularia and Other Inversions of Plautus
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Act 3.1 (cont.)–3.4 (447-474): trochaic septenarii (28 lines)
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921:, 1981, New Series, No. 27. (207) (1981), pp. 37–49; p. 37
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Lyconides says he will wait to see if his slave turns up.
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Prologue; Act 1.1–1.2 (1-119): iambic senarii (119 lines)
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Act 4.10 (cont.) (803-807): iambic septenarii (5 lines)
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Act 4.1–4.4 (587-660): trochaic septenarii (74 lines)
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Act 3.1 (cont.) (415–446): versus reiziani (32 lines)
348:
Act 3.1 (406-414): mixed metres (ia-tr, an) (9 lines)
121:
One scholar, R. L. Hunter, writes of this play: "The
751:, that reworked Plautus' comedy to a play featuring
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Act 5.1 (cont.) (819-832): mixed trochaic (14 lines)
216:
is incomplete but the surviving part is as follows:
180:"Faith" or "Loyalty", with an altar in front of it.
712:adapted elements of the plot for his early comedy
500:Act 4.10 (731-802): trochaic septenarii (72 lines)
434:
1026:"The Number of Slave Roles in Plautus' Aulularia"
919:Proceedings of the Cambridge Philological Society
538:Act 5.1 (808-818): trochaic septenarii (10 lines)
402:Act 3.5–3.6 (475-586): iambic senarii (112 lines)
325:Act 2.4–2.9 (280-405): iambic senarii (125 lines)
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441:Act 4.5–4.8 (661-712): iambic senarii (52 lines)
107:, and the plot revolves around a literal pot of
747:published a Neo-Latin adaptation, also called
318:
250:
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999:For details of individual lines, see Moore's
509:see if it is true, leaving Lyconides to wait.
484:Act 4.9 (727-730a): trochaic system (8 lines)
1100:has original text related to this article:
782:
743:in 1617. In 1629, the German poet laureate
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516:Lyconides discovers his slave with the gold
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676:there were a number of adaptations of the
247:The structure of the play is as follows:
931:Plautus: The Pot of Gold and other plays
468:Act 4.9 (713-726): anapaestic (14 lines)
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1001:Database of the Meters of Roman Comedy
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688:(The Basket), which was published in
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167:in the late 15th century, another by
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1015:
977:, Washington University in St Louis.
783:Brandenburg, Yanninck, ed. (2023).
627:The figure of the miser has been a
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1062:. Leuven: Leuven University Press.
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972:Database by Timothy J. Moore of
725:The very successful Dutch play,
565:The manuscript breaks off here.)
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885:de Melo, Wolfgang, ed. (2011).
863:The Pot of Gold and Other Plays
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435:Lyconides confesses to the rape
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101:, but some translators provide
1049:, New Series, 47,1, pp. 84-99.
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233:is the 32 continuous lines of
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947:Titi Macci Plauti Mostellaria
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704:(The Miser, 1555) and set in
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265:The prologue is spoken by a
171:in the early 16th century).
95:. The title literally means
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1311:Plays set in ancient Greece
1073:History of Roman literature
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602:Others, however, including
319:The cooks cause a commotion
251:Megadorus proposes marriage
220:ABC, ABBC, AC, ABBC, ACB...
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974:The Meters of Roman Comedy
958:Moore, Timothy J. (2012),
889:. Loeb Classical Library.
680:. One of the earliest was
227:An unusual feature of the
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1058:Fontaine, Michael. 2015.
737:Pieter Corneliszoon Hooft
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917:Hunter, R. L. (1981). .
853:Sir Robert Allison, 1942
821:Edward Holdsworth Sugden
1075:Volume 1, London 1823,
1043:"De Aulularia Plautina"
945:Merrill, F. R. (1972).
809:Ramón Emeterio Betances
785:Aulularia sive Querolus
682:Giovanni Battista Gelli
1024:Dorothy Lange (1973).
787:. Berlin: De Gruyter.
767:'s French adaptation,
663:in his own version of
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396:Euclio hides the gold
188:Further information:
158:edition of the play,
93:Titus Maccius Plautus
722:(The Stingy Miser).
1316:Plays set in Athens
1030:Classical Philology
715:The Case is Altered
640:pregnant Phaedria.
1041:P. J. Enk (1919).
1032:, 68,1, pp. 62–63.
875:Palmer Bovie, 1995
833:Henry Thomas Riley
759:from the biblical
745:Joannes Burmeister
210:The scheme of the
184:Metrical structure
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130:Plot summary
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65:a street in
15:
1284:Truculentus
1235:Mostellaria
1193:Cistellaria
879:Erich Segal
731:, based on
700:was titled
698:Marin Držić
696:version by
692:in 1543. A
674:Renaissance
672:During the
644:Adaptations
116:protagonist
91:playwright
1300:Categories
1151:Amphitryon
1098:Wikisource
1012:See below.
905:References
710:Ben Jonson
708:. In 1597
623:Key themes
160:translator
111:which the
36:Characters
26:Written by
1277:Trinummus
1256:Pseudolus
1214:Menaechmi
1172:Bacchides
1165:Aulularia
1137:Plays by
1102:Aulularia
1077:pp.160 ff
1047:Mnemosyne
990:, p. 204.
949:, p. xix.
849:full text
847:Aulularia
840:full text
838:Aulularia
835:, 1912:
828:full text
826:Aulularia
816:full text
814:Botijuela
749:Aulularia
733:Aulularia
706:Dubrovnik
686:La Sporta
678:Aulularia
666:Aulularia
230:Aulularia
213:Aulularia
123:Aulularia
80:Aulularia
53:Lyconides
51:Strobilus
49:Megadorus
21:Aulularia
1249:Poenulus
1221:Mercator
1207:Epidicus
1200:Curculio
1158:Asinaria
823:, 1893:
811:, 1863:
777:Editions
694:Croatian
690:Florence
661:Querolus
659:adapted
651:Querolus
55:Phaedria
45:Staphyla
1270:Stichus
1179:Captivi
1139:Plautus
770:L'Avare
765:Molière
728:Warenar
450:Euclio.
113:miserly
62:Setting
47:Eunomia
30:Plautus
1263:Rudens
1186:Casina
893:
881:, 1996
869:
859:, 1963
791:
389:stick.
279:money.
203:tibiae
137:, the
67:Athens
57:Phygia
43:Euclio
1242:Persa
757:Rahab
753:Achan
177:Fides
148:slave
89:Roman
85:Latin
83:is a
71:Fides
891:ISBN
867:ISBN
789:ISBN
755:and
739:and
702:Skup
616:vale
589:and
337:aula
241:Cas.
109:gold
684:'s
267:Lar
1302::
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1017:^
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1130:e
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