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Querolus the treasure and receive a half share as reward. Instead he tricks
Querolus into allowing him to remove his âbad fortuneâ from his house â the pot with the gold within it. On inspection, the pot seems to be a funerary urn, with only ashes inside it. Mandrogerus throws the pot back into Querolusâ house. It breaks and reveals the gold hidden within. When Mandrogerus learns of the gold, he returns and attempts to claim his share by his agreement with Euclio; but his own account leaves him with a choice of a charge of theft or sacrilege. Finally Querolus takes pity on him and allows him to remain as his dependent.
19:
184:, who, in the style of popular philosophy, compels Querolus to admit that his dissatisfaction with life is unjustified and that there is nothing that he can reasonably desire. Querolusâ slave, Pantomalus, has a long monologue complaining of his unreasonable master, which rather reveals his own idleness and dishonesty. Mandrogerus advises Querolus about the various occult powers from which one can seek aid, a scene mocking superstitious beliefs, but also, perhaps, covertly alluding to corrupt civil servants, whose favour must be sought with bribes.
239:(Paris 1564). Only the most recent critical editions, Jacquemard-Le Saos (1994) and Brandenburg (2024) make use of an important witness, the seventeenth century copy of a lost manuscript from Reims. The ending of the work is missing (although evidently the plot is complete and very little text has been lost). In the manuscripts, it is followed without a break by the (also fragmentary)
196:
in the play: the grumpy character of
Querolus; a pot of gold; the appearance of the Lar of his house and his role in leading Querolus to discover the gold; a theft. In addition the grumpy house owner in Plautus is called Euclio, the name of Querolusâ father; some see the work as a kind of sequel to
153:
or iambic senarius; and there is a tendency to trochaic sequences at the start of the next unit. In the middle however the metrical form of a
Plautine verse is only occasionally preserved. The language used also has many reminiscences of early Latin comedy, both occasional archaisms and imitations
176:
It seems unlikely that the author of the work was expecting it to be performed on stage in its original context. More probably it may have been read out as an entertainment at a banquet. But it is clear that the play is written to be performable within the conventions of ancient drama; and many
167:
The plot concerns the attempt by a pretended magician, Mandrogerus, to cheat the poor and grumpy
Querolus of a treasure hidden in his house. Querolusâ father Euclio, dying abroad, had confided the location of the treasure to Mandrogerus. After Euclioâs death Mandrogerus was supposed to show
149:
Although the text is printed as prose, the author was clearly trying to give the effect of the metres of
Plautus. Sentences and phrases regularly end with the line endings of a
457:) scripsimus" ("We wrote this book for talk and feasts"); p. 5, 7 "materia vosmet reficiet, si fatigat lectio" ("the material will revive you, if the reading tires you").
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Many scenes are extended far beyond the demands of the plot for their own interest. The play opens with an extended discussion between
Querolus and the household
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aspects of dramatic technique, such as the preparation and motivation of entrances and exits, are carefully observed.
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will be your judgement, your decisionâ). The archetype of the surviving manuscripts seem to have had the title
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213:. Since the renaissance, however, it has been largely neglected. One exception is the satirical novelist
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66:, the only Latin drama to survive from this period and the only ancient Latin comedy outside the works of
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KĂŒppers, J., âDie spĂ€tantike
Prosakomödie âQuerolus sive Aululariaâ und das Problem ihrer Vorlagenâ,
127:(âby the Loireâ) suggests a Gallic origin and perhaps an early fifth-century date, if it refers to a
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18:
150:
8:
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214:
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Jacquemard-Le Saos (1994) conveniently annotates larger reminiscences where they occur.
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Querolus an
Aulularia haec dicatur fabula, vestrum hinc iudicium, vestra erit sententia
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206:
225:
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63:
453:
Ranstrand p. 3, 13â4 "nos fabellis atque mensis hunc librum (or more probably
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uprising. The work is addressed and dedicated to a certain
Rutilius (perhaps
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137:
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is a conjectural supplement here, but the identification of
Rutilius as a
268:
Querolus sive Aulularia, Incerti Auctoris Comoedia una cum Indice Verborum
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KĂŒppers, J. âZum âQuerolusâ (p. 17.7â22 R) und seiner Datierungâ
310:
Lassandro, D. and Romano, E. âRassegna bibliografica degli Studi sul
123:
Date and place of composition are uncertain. Mention of lawlessness
108:
106:, along with a false attribution to Plautus, who had also written an
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Aulularia sive Querolus. Theodosiani aevi comoedia Rutilio dedicata
128:
26:, misattributed to Plautus, in a 12th- or 13th-century copy of the
552:, Rudolfus Peiper (ed.), Lipsiae in aedibus B. G. Teubneri, 1885.
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67:
392:
For discussion, see Cavallin (1951), 137â143; KĂŒppers (1979).
181:
544:, 41° fascicule, Paris, P. Vieweg, Libraire-éditeur, 1880.
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The "Qverolvs", Edited with an Introduction and Commentary
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The play had some success in the Middle Ages and provided
82:
In his prologue to the spectators the author first says
466:
KĂŒppers (1989), 88, with n. 25; Le Saos (1994), xxviii.
291:(New York: Random House) 1952, vol. II p. 891â952.
209:in the twelfth century with the model for his own
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200:
245:, which some regard as a part of the play.
192:There are several similarities to Plautusâ
141:of higher social standing than the author.
112:. Modern scholars generally use the title
520:Zeitschrift fĂŒr Papyrologie und Epigraphik
542:BibliothĂšque de l'Ă©cole des hautes Ă©tudes
484:Jacquemard-Le Saos (1994), xxxviiiâxxxix.
300:, PhD diss., University of London, 1980.
90:todayâ), then offers a choice of title:
17:
500:vol. X (London: Constable, 1926), 4â38.
328:Cavallin, S. âBemerkungen zu Querolusâ
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171:
144:
217:, who devoted an essay to it in his
77:
62:) is an anonymous Latin comedy from
537:Le Querolus, comédie latine anonyme
39:, an anthology of classical authors
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518:M.D. Reeve, âTricipitinusâs Sonâ,
14:
582:
529:
509:Jacquemard-Le Saos (1994), lxvii.
263:(Berlin/Boston: De Gruyter) 2023.
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116:to avoid confusion with Plautusâ
498:The Works of Thomas Love Peacock
496:45, 1852, 291â302, reprinted in
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316:Bolletino di Studi Latini
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22:Start of an excerpt from
365:KĂŒppers (1989), 82 n. 1.
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289:The Complete Roman Drama
435:Cavallin (1951), 143â6.
426:does not depend on it).
273:Jacquemard-Le Saos, C.
261:Aulularia sive Querolus
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475:KĂŒppers (1989), 100â1.
383:Ranstrand p. 5, 12â13.
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571:Late Latin literature
226:first printed edition
21:
540:, L. Havet (ed.) in
401:Ranstrand p. 17, 13.
275:Querolus (Aulularia)
151:trochaic septenarius
29:Florilegium Gallicum
566:Ancient Roman plays
339:123, 1979, 303â323.
215:Thomas Love Peacock
133:Rutilius Namatianus
410:Ranstrand p. 3, 1
374:Ranstrand p. 5, 1.
346:133, 1989, 82â103.
277:(Paris: CUF) 1994.
172:Dramatic technique
145:Metre and language
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494:Fraserâs Magazine
332:49, 1951, 137â58.
294:O'Donnell, R. D.
287:Duckworth, G. E.
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249:References
125:ad Ligerem
221:of 1852.
211:Aulularia
194:Aulularia
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109:Aulularia
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324:Studies
72:Terence
68:Plautus
60:The Pot
330:Eranos
188:Models
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135:), a
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224:The
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