THE ENTRANCE OF THE MISER: FROM PLAUTUS TO MOLIERE

Renato Raffaelli

The Aulularia of Plautus is dominated by the figure of Euclio. The character of the old miser obsessed by the pot of gold is one of the greatest 'masks' of Plautine theatre, comparable to few other equally exaggerated and paradoxical characters, such as the miles gloriosus Pyrgopolynices or the pimp Ballio of the Pseudolus. In my paper I wish to show that in Plautus the exceptionality of these characters is emphasised in a very marked way right from their first appearance on the stage. In particular, with reference to Euclio in the Aulularia, his entrance is marked by a very special device: the old miser makes his presence felt, even before appearing on stage, shouting like a madman and not restraining himself even though a god (the Lar familiaris) is delivering the prologue. Faced with the unbridled fury of the apoplectic old man, even a god has to make way and retire with good grace. It is extremely interesting to note that this effective dramatic device, to which scholars have not directed sufficient attention, was on the other hand fully appreciated by Moliere, who, in L'Avare (Paris, 1668, based, as is well known, on the Aulularia of Plautus and above all on the character of Euclio) picked up the same technique and used it for the entrance of his Harpagon, applied obviously in a slightly different context but with identical intention, that of putting into relief right from the beginning - even before the spectators can see him - the absolutely exceptional dimension of the irrepressible protagonist Harpagon.

Renato Raffaelli