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Asides in New Comedy and the Palliata - Leeds International ...

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ECKARD LEFÈVRE, ASIDES IN NEW COMEDY AND THE PALLIATA<br />

269 hisce hoc munere arbitrantur<br />

270 suam Thaidem esse.<br />

This aside is completely <strong>in</strong>tegrated <strong>in</strong>to <strong>the</strong> action. A little later, when <strong>the</strong> two<br />

tease each o<strong>the</strong>r, <strong>the</strong> double aside is used <strong>in</strong> a very prom<strong>in</strong>ent way (type Ib):<br />

274 GN. uro hom<strong>in</strong>em. PA. ut falsus animist.<br />

This exchange—just like <strong>the</strong> complete dialogue—sounds more like a Roman<br />

argument than a text by Men<strong>and</strong>er. It could be derived from Plautus. On <strong>the</strong> o<strong>the</strong>r<br />

h<strong>and</strong>, Parmeno’s next comment on Chaereas’ appearance <strong>in</strong> II 3 is once aga<strong>in</strong><br />

<strong>in</strong>tegrated <strong>in</strong>to <strong>the</strong> action <strong>and</strong> without any comic effect (type IIa):<br />

297 ecce autem alterum!<br />

nescioquid de amore loquitur: o <strong>in</strong>fortunatum senem!<br />

hic vero est qui si occeperit,<br />

300 ludum iocumque dices fuisse illum alterum,<br />

praeut huius rabies quae dabit.<br />

It cont<strong>in</strong>ues like that.<br />

<strong>Asides</strong> are used with virtuosity <strong>in</strong> III 1 when Parmeno comments on <strong>the</strong><br />

dialogue between Thraso <strong>and</strong> Gnatho (type IIa) <strong>and</strong> Gnatho on his part endows<br />

Thraso’s remarks with mock<strong>in</strong>g asides (type Ib). It cannot be proved <strong>in</strong> this<br />

context, but it seems that this dialogue on three levels owes a lot to Terence, who<br />

obviously follows <strong>in</strong> Plautus’ footsteps. The same holds true for <strong>the</strong> ‘besieg<strong>in</strong>gscene’,<br />

IV 7. Whatever occupies <strong>the</strong> same place <strong>in</strong> Men<strong>and</strong>er, <strong>the</strong> parasite <strong>the</strong>re<br />

probably has hardly any reason to exclaim about his coward ‘employer’ (type Ib):<br />

782 illuc est sapere: ut hosce <strong>in</strong>struxit, ipsus sibi cavit loco.<br />

Even if <strong>in</strong> places Terence composes <strong>in</strong> a ‘Plaut<strong>in</strong>e’ manner, on <strong>the</strong> whole, he<br />

differs from his predecessor.<br />

2. Nša<br />

Of course, us<strong>in</strong>g asides is no Plaut<strong>in</strong>e <strong>in</strong>vention. 21 It is a sign of vivid drama<br />

<strong>in</strong> general, <strong>in</strong>clud<strong>in</strong>g Men<strong>and</strong>er’s. Never<strong>the</strong>less <strong>the</strong>re are big differences between<br />

Plautus <strong>and</strong> Men<strong>and</strong>er <strong>in</strong> this po<strong>in</strong>t as well as <strong>in</strong> o<strong>the</strong>rs. It is like emerg<strong>in</strong>g from<br />

<strong>the</strong> noisy activity <strong>in</strong> a suburb <strong>and</strong> enter<strong>in</strong>g <strong>the</strong> well-ordered world of <strong>the</strong><br />

bourgeoisie.<br />

In Samia <strong>the</strong> characters speak <strong>in</strong> asides several times. In <strong>the</strong> third act <strong>the</strong> cook<br />

has four asides dur<strong>in</strong>g <strong>the</strong> serious quarrel between Chrysis <strong>and</strong> Demeas (type<br />

IIa): 22<br />

375 toioàt' Ãn tÕ kakÒn: manq£nw.<br />

(So that’s what caused <strong>the</strong> trouble! [Now] I underst<strong>and</strong>!)<br />

383 tÕ pr©gm' Ñrg» tij st…n: prositšon.<br />

(What happened is a row. I must come forward.)<br />

21 It is, however, «un potente e diversificato espediente <strong>in</strong> Plauto» (Slater 1999, xxviii).<br />

22 The English translation of Men<strong>and</strong>er follows W.G. Arnott (ed.), Men<strong>and</strong>er III (Cambridge,<br />

Mass., <strong>and</strong> London 2000).<br />

8

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