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_sal_'s review
emotional
funny
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.0
Probably written during the end of Plautus’ career The Pot of Gold holds within, one of comedy's most monomaniac characters. Euclio is a man who finds the pot of gold endowed by the divine guardian of his household for the dowry of his pregnant daughter. Becoming thus a character ever superstitious of anything (not excluding a rooster) and anyone who he believes is out to steal his hidden treasure. The Pot of Gold however much comidic can be seen as an effort by Plautus of interpreting a variety of Roman virtues and values; its story can be read as one that teaches how this virtuosity is not to be practiced, exemplifying the infelicitous actions such as averice, promiscuity and deciet of its dramatis personae. The Pot of Gold hosts a plethora of Roman virtues within it, but perhaps the most immediately distinguishing virtue is that of frugalitas of which Euclio according to Erich Segel, in his introduction for Oxford World’s Classics is “a deliberate Roman caricature: Roman frugality brought to its comic extreme.” This can assist us in understanding one of the play's central themes: the dowry a father should, according to Roman custom, be provided for his daughter.
Polybius, a historian of the Hellenistic period, wrote about how Romans appreciated adept responsibility in financial affairs, further stating 'absolutely no one gives you anything he possesses of his own free will' when speaking of the Romans’ praiseworthy quality. (Segal, xxxvii). This can help us understand the underlying significance of Euclio’s unfrugal way of looking at his treasure. In an exchange of dialgoue where Megadorus (whose name coincidently signifies “great gift”) tells of wanting to marry his daughter, Euclio states “But I’ve nothing for a dowry”. This, aside from also moving the play's narrative by accentauting Euclio's pathological aversion to using his gold for a dowry, also shows how he is very much aware of the socioeconomic importance of providing a dowry for his daughter. Megadorus’ response, “Nevermind. virtue’s the most important dowry– and she’s rich in that” (pg.197) perfectly encapsulates Roman values even when its setting is in Athens.
Although the original end to the play has been lost there still survived fragments that require us to imagine Euclio coming to his senses and relinquishing his pot of gold and with it his anxieties. After all, when Lyconides promises that even if he heard of the treasure from someone else he’d return it, we are left to assume that he practiced Roman virtues like Fides and Humanitas and gave Euclio his gold when discovering his slave Strobilus had stolen the booty. Lastly, The Pot of Gold can symbolize the corrupted mind of a person met with sudden riches. Much like the real life cases of lottery winners who become tormented with anxieties about everyone around them including family, Euclio sucumbs to the power of the ring much like Gollum. This makes the only remnants that allude to Euclio’s transformation hold a melancholic quality that makes us ponder about how we would react in his very situation: “I never had a moment’s peace–not a day or night. Now I can rest.”
haleybre's review
4.0
Read The Brothers Menaechmus for my theater class. It was pretty funny (for being from Ancient Roman times) and easy to read.
emilylogan77's review
funny
lighthearted
relaxing
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
guojing's review
5.0
I read the third and fourth plays - Haunted House and Pot of Gold - a few months ago and really enjoyed them, so I decided a couple days ago that I should finish the book. Indeed, it was definitely worth the read.
This translation was awe-inspiring. Beautifully worded, with an almost lyrical style (forsooth, I read it mentally as if a song), clever word-play, witty witticisms. I haven't checked yet, but I do so hope that this translator has more, many more, for if he does I shall search for them (I probably have them in my collection, so many plays have I, and so few have I read), for he is a master at his craft. Rarely do I get any joy from reading English plays, those that I have read seeming stilted and fake, but not this.
As seems to be Plautus's theme, most of the characters (at least, the heroes) are slaves. His misogyny is hilarious, his love for slaves is endearing, and his oafish citizens are, well, oafish. I am tired of Shakespeare; if you want real theatrical literature, the place to go is Plautus.
This translation was awe-inspiring. Beautifully worded, with an almost lyrical style (forsooth, I read it mentally as if a song), clever word-play, witty witticisms. I haven't checked yet, but I do so hope that this translator has more, many more, for if he does I shall search for them (I probably have them in my collection, so many plays have I, and so few have I read), for he is a master at his craft. Rarely do I get any joy from reading English plays, those that I have read seeming stilted and fake, but not this.
As seems to be Plautus's theme, most of the characters (at least, the heroes) are slaves. His misogyny is hilarious, his love for slaves is endearing, and his oafish citizens are, well, oafish. I am tired of Shakespeare; if you want real theatrical literature, the place to go is Plautus.
timfrank's review
3.0
Segal's translations are good, but I hate having the notes at the back of the book rather than the bottom of the page.
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