Der Schaz (Trinummus) (German Edition)

Der Großsprecher (Miles gloriosus) (German Edition). May 10 Die Kriegsgefangenen (Captivi) (German Edition) Der Schaz (Trinummus) ( German Edition).
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Other Plautine plays were also given new titles as a result of the obvious brilliance of certain scenes in the Latin adaptation: Now that we have recovered the Dyskolos cf. As elsewhere, however, Menander exhibits greater dramatic economy than Philemon, who seems to have deliberately elaborated the ethical discussion. Later, however, his concern focuses on his own vulnerability to rumor In my opinion, Lysiteles' sermon is gratuitous and accordingly functions ironically, affecting audience and Lesbonicus in varying ways, but decidedly not as the puritanic Lysiteles intended.

Email your librarian or administrator to recommend adding this journal to your organisation's collection. This data will be updated every 24 hours. Check if you have access via personal or institutional login. Log in Register Recommend to librarian. Export citation Request permission. Who would you like to send this to? Please enter a valid email address Email already added. If a guy calls you a snail, he may want to get under your shell. The trouble is, there's no exact English translation for it. It's merely a cute-sounding word the Germans made up to dote on the people they love.

Try it out on your sweetheart and see what happens! Lest you get the wrong idea, German certainly does include some terms of endearment that actually have an attractive literal meaning, even though "Perle" pearl does still have a close link to the animal kingdom. You won't hear this nickname all over Germany; it's a favorite in the Ruhr Valley, the country's industrial heartland.

Liebling can be used as a prefix meaning "favorite. You could say, then, that your Liebling is your favorite person. Snails and mice may not be particularly sweet, but that doesn't mean Germans don't want to recognize the sugary quality of their loved ones. You don't have to go to the end of the rainbow to find it, because "Schatz" is by far the most common German term of endearment. It's popular among lovers and old married couples, but also used for children. Maisel" took home top honors at the 70th Emmy Awards. Despite having an ethnically diverse pool of nominees, people of color were largely snubbed.

Fast fashion churns environmental destruction as fast as seasonal trends. So how does sustainability become trendy? As anything does in Sustainable fashion is becoming more mainstream thanks to eco-friendly fashion bloggers and industry heavyweights doing their bit. The attitude was induced by contemporary events, and is quite distinct from such allusions as that to the Bostonian.

In like manner Hellen- istic comedy abundantly reflects the genuine feelings of Athens, whether of unfriendliness or of contempt and proud superiority, partly due to her hostile relations with other Greek states and bar- barian powers, and partly to an entirely legitimate sense of her superior civilization. We must, of course, continually remind ourselves that the Greek evidence consists solely of fragments. The relative amount of literary and commonplace allusion to the foreigner, on the one hand, and of significant material reflecting genuine atti- tude, on the other, may misrepresent the truth.

Moreover it is not unlikely that the Roman adaptations failed to preserve fully this element of their Greek originals, since much of it would be of no special interest to the Romans. Where an active r61e does occur in a Roman play as Hanno in the Foenulus — a r61e which, as being Cartha- ginian, would interest the Romans even more than the Greeks — we have a far better opportunity to observe attitude than in isolated incidental references to racial vices in the Greek fragments. Obviously only the use of individual foreigners in active rdles involves description of their costume, and for evidence of such characters we are dependent on the Roman plays.

It is possible, however, to detect in some cases an intention to individ- ualize, in external appearance, the foreigner as such, and it is inter- esting to observe such evidence as there may be of attempts to caricature particularly the non-Greek barbarian, and of a tendency to conventionalize the costume of the outsider as a traveller, if not as a foreigner. In the Pseudolus the mock-foreigner Simia, the pseudo-Harpax, who counterfeits the cacula militis from Macedonia, is provided with chlamySy machaera, petasus , and manuleata tunica He is chlamydatus , , , The genuine Harpax has the same features, chlamys , machaera , petasus , with the exception of the long tunic.

Collybiscus, the mock-foreigner in the Poenulus, is chlamydatus , In it is a matter of surprise that he does not wear the zona, Sagaris- tio, the mock-Persian in the Persa, is attired in the tunica, zona, chlamys, causea It is said of the sycophant in Trinum- mus SSI: This work discusses the costume of all the characters, both the stock-r6les and the unusual r6les, in Roman comedy. PrivatalterthUmer revised by Blumner, p. It was an original Gallic garment, see Blttmner Die romische Privalaltertiimer pp.

Hermann- Bliimner PrivatalterthUmer p. Pierre Paris in Dar. Pollux X says: Can the features be considered characteristic of the respective localities or does the dramatist not discriminate? Of the chlamys, machaera, and peiasus in Pseudolus , and the manuleata tunica in , no one could be considered distinctive of Macedonia. Bltimner Die r'dmische PrivatalterlUmer p. Evidence of the Greek attitude toward the Greek garment is, of course, one thing, that of the Roman attitude toward the Roman garment quite another, though they appear to coincide.

It is chiefly Roman evidence that is in point here. Sulpicio Gallo homini delicatOy inter pleraque alia, quae ohiectahaty id quoque prohro dedit, quod tunicis uteretur manus totas opperientibus. He gives the words of Scipio to Gallus, in which the long tunic appears in a highly unfavorable light. Maltinus tunicis demissis ambu- lat; Prop. Ill 2, 20 says: This is significant in connection with the tunic of Hanno in the Poen. Meretrix cum veste longa?

Yet Nonius , 10 says: It would appear that usually the courtesan was a foreigner, in which case she wore the long tunic. Collybiscus, the mock-foreigner in the PoenuluSy is chlamydaius] Charinus in the Mercator about to set out on a journey has need of the chlamys , It is a customary garment of the traveller. It is worn by Menaechmus of Epidamnus in Menaechmi The soldier, who is called a Rhodian in Epidicus , wears a chlamys in The machaera is a common equipment of the soldier Miles , Curculio The petasus is not men- tioned elsewhere in Plautus except in the Amphiiruo , , , being worn by the slave Sosia and by Mercury, his double, in the r61e of messenger.

The long tunic appears conspicuously in the Poenulus , Thus none of the four articles mentioned are specifi- cally Macedonian. Only one garment, the long tunic, is mentioned in connection with the Carthaginian Hanno in the Poenulus, and it is seen from the previous discussion that it is not distinctively Punic. But even this is a feature of the sailor's costume in Miles and of the mock- Persian's in Persa No reason is indicated why Charmides should recognize the sycophant as Illyrian. The mock-Persian in Persa wears the chlamys and causea, which have already been discussed.

He also has the tunic, which is one of the most distinctive parts of Greek dress, and the zona. In Mercator Charinus removes his zona when he decides not to go abroad; in Poenulus Milphio calls attention to the fact that Hanno has come to Calydon without his zona; the procurer Cappadox weais a zofia in Curculio Hence it cannot be a distinctively Persian feature. II says that Hanno's costume is manifestly distinctive, that it is recognized at once as Punic by Milphio and Agorastocles and as African by the miles The former, as has been said above, was a part of the national Greek dress, though it was foreign to the Romans.

The latter was strictly Oriental in Greek eyes. Nothing specific is said of the ornamenta mentioned in Curculio It could not have been characteristic of the Gauls. In Epidicus Periphanes says: Could he tell from her dress? In Persa Sagaristio is to take a part quasi sit peregrinus. The virgo is to be adorned in peregrinum modum The very fact that Plautus introduces natives as mock-foreigners supports the notion that natives and foreigners were recognized by their difference in costume, as well as that foreigners were not to any extent dis- criminated one from another.

Ignotafacies in Trinummus would indicate that it was necessary only for the impostor to be unknown, not that he have different physical features. As masks were not used in Plautus' day, costume alone would mark him. But, except for the tiara of the maiden, there is no justification for the statement in the description of their costume. It has been seen that the milesy the mercaior, and others who travel, in the main wear the same garments as does the foreigner.

Though there is considerable evidence in Plautus and Terence of travel for some specific purpose, business, war, etc. The traveller per se had no independent existence, at least in the minds of the comedians. No Greek or Latin word was in use during Hellenistic times for traveller in the modern sense. It would appear then that the conception of foreigner in New Comedy in large measure embraced that of traveller.

This would explain why the foreigner's costume and that of the traveller mainly coincide. In he is described as cum novo ornatu specieque; and in , 52 he appears to be of the Illyrian variety in his hired costume. Finally in he states that the ornamenta have come from the choragus. In Ballio and Simio ask the genuine Harpax for how much he had rented the chlamySy machaera, and petasus. The passage is as much to the point as though the questions had been directed to the pseudo- Harpax. In Persa Saturio is instructed to obtain tunica, zona, cUamySj and causea, quasi sit peregrinus, and to equip his daughter in peregrinUm modum When he asks where the equipment can be obtained the answer is , The choragus says in Curculio These passages prove conclusively not only that foreign dress was an acknow- ledged part of the stage wardrobe, but that all foreigners received practically the same dress.

On the function of the choragus at Rome see Pauly-Wissowa and Darem. Aristophanes makes use of the Boeotian dialect in Acharnians , where a Boeotian, who has come to market at Athens, takes a leading part. Eubulus 12 see chap, on Mental and Moral Characteristics p. Anonymous reads PoujOTL6. The Megarian dialect is used only in Acharnians In of the same play the form 6L is made fun of as being Ionic.

Thus Meineke and Kock think. The fact that Aristotle Poetics b brings Crates into connection with Epicharmus and Doric comedy would favor the opinion of von Salis. But the point has not been proved. Laconian and other Doric forms are found among the fragm. Starkie, however, dissents from the common opinion: Starkie says on Ach, that Persian was as familiar to the Athenian at this time as French was to the Englishman in the time of Elizabeth.

Birds , says: The natural inference is that Greeks did not think of barbarians as possessing the use of human language. A third possibility would be vulgar Greek, and it is so understood by some scholars. Birds , fiF. There is a difference between them in that the Triballian is strictly a foreigner, while the Scythian policeman was a recognized feature of Athenian life and was not thought of as so clearly a foreigner.

A fairly close analogy would be our Irish policeman, with his brogue, who passes as one type of American. Birds , ; Frogs 93 with V. Leeuwen's note and ; Aesch. It continues at intervals up to It is generally regarded as belonging to the Punic tongue, one of the slight bits to survive the destruction of Punic civilization. It possesses no Latin elements. Etym, Magnum , Other fragments of little or no value, because it is impossible to deter- mine by whom they were spoken, are as follows: Meineke and Kock speculate both on these and on most of the fragments previously mentioned, but their speculations appear to have little foundation.

In the Oxyrhyn, Pap. A barbarian king and several others talk in an unknown tongue, which Grenfell and Hunt op, cU. He thinks there is no doubt that the author of the piece was familiar with and employed the specific Indian dialect of Kanara. This passage would appear to be similar to the mock-Persian passage in Ach. Crusius considers that the date of composition of the farce was somewhat earlier than the Roman period, though he does not regard it as a product of the better Hellenistic age. Hennen De Hannonis in Poenulo Plautina Precationis quaefertur Recen- sione Altera Punica names 69 titles of works running through the period of two and a half centuries up to , which treat the Punic passage in the Poenulus.

Band X ; J. XV to XX; Ussing ed. IV part 2 pp. It is considerable in Aristophanes, though the bulk of it appears in two plays, the Lysistrata and the Acharnians. The fragments of the Old Comedians, especially Her- mippus, Eupolis, and Aristophanes, frequently contain dialect forms, whereas there are relatively few among the fragments of New Com- edy.

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In Terence there are none; in Plautusthe two hits at an Italian town are of pure Roman invention. The Punic passage will be dis- cussed later. In general, we may say, the use of strange dialect was common in Old Comedy; in Hellenistic comedy it does not appear to be very common, though here the nature of the evidence is such that it is unsafe to generalize.

The question how far the poets strove for realism in the employ- ment of foreign dialect is one which admits of only approximate solution. Not only must the manuscripts in the case of Aristo- phanes be taken into account, and the evidence of Athenaeus, Hesy- chius, Suidas, Photius, and the other writers who quote Aristophanes, but also the extant inscriptions of the specific localities represented.

Qui Obsce et Volsce fabulantur: But the context is lacking and the subject oi fabulantur cannot be known. He concludes that in the case of the Megarian Aristoph. Elliott considers the Boeotian dialect to be used with less accuracy than the Meg.


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Though the textual question will not be taken up, it is in order to say that the manuscripts are in harmony with the above general notion of what we should expect Aristophanes to write ; and an extensive amount of emendation, even where the readings conform to metrical rules, would be necessary in order to make the dialects pure.

We have seen that in Hellenistic comedy dialect does not appear to have been used frequently in the case of a foreigner. What was the purpose of the dramatists in employing the device of strange dialect? There is no trace of downright animosity. Con- tempt, ridicule, and a sense of the superiority of the Attic dialect appear. Blaydes works on that assumption, and Schneider, De dialecto Megarica p. Elliott loc, ciL illustrates at length from modern writers the fact that dialect is not faithfully reproduced. He quotes from George Eliot: But, so far as our evidence goes, this is untrue of the language of the foreigner, since the playwright in the latter period rarely has a foreigner talk his own language or dialect.

Hyperbolas was satirized as a barbarian for his pronunciation in Plato The same thing may be said of the mock-Persian in the Acharnians when he speaks in line The most frequent and obvious purpose is to get a humorous take-off on the foreigner, Greek or barbarian, to raise a laugh at his expense. In some cases, however, the attitude of the poet seems to be even favorable and sympathetic, as in the Spartan passages in the Lysistrata, Aristophanes, who strongly favored peace, could not be otherwise minded toward Lampito, who speaks in 81 ff. For they were all on the side of peace.


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Yet their talk was no doubt intended to be amusing to the audience. The lines spoken by a chance Ionian at the theatre in Athens, Peace 47, 48, are primarily for humorous effect. The two references to Praeneste in Tructdentus , 91 and Trinummus serve the purpose of delighting the audience with satirical thrusts at the dialect usage of a town of which Rome held no high opinion.

XVIII 5 speaks of a certain Carthaginian Mago, who was held in such honor by the Roman senate that it decided to have 28 volumes of his library translated into Latin, and to have the task assigned to those who were acquainted with the Punic tongue. The inference would be that no large number were so acquainted.

The close intercourse of Carthage and Rome during the first and second Punic wars renders it likely that the hearers would appreciate from the sound of the words the language to which they belonged. Other circumstances of the two episodes are strikingly analogous: See Ussing's note vol. IV, part 2, pp. This would suggest that succeeding generations were amused by the use of foreign dialect on the stage, and that managers of later pro- ductions may have been influenced by that to extend the Punic.

Friedrich has appeared in PkUologus 75 pp. Hellenistic comedy, on the other hand, is characterized by a closely organized plot, wherein a foreigner may take the leading part. It is literally a play of foreigners. It will be found that when the economy of the plot requires a foreigner the demand usually will be satisfied by a Greek alien, as well as by a non-Greek barbarian. This is due to the fact that each Greek state was a unit independent of others. Inter- relations were not extensive and communication was not very rapid.

Had the characters in the Poenulus been from Cyrene or from Syra- cuse they would have served their main purpose as well as if they came from Carthage. The foreigner, therefore, appears as purely a matter of dramatic convenience. We shall endeavor here to show that the playwrights were com- pelled by the exigencies of the plot to use foreigners in certain situations rather than natives.

In Greek New Comedy there occurs a number of conventional themes, to which the poets found them- selves limited. Among these are the impostor or mock-foreigner motif and the theme in which a recognition scene is the solution of the plot.

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With regard to the first an outsider is essential to its elabora- tion, since, in a city the size of Athens, a native would be too well ' See supra chap. And, so far as Roman comedy is concerned, masks were not worn in the time of Plautus and Ter- ence, so that the success of the imposture would depend entirely on the unfamiliar appearance of the impostor. The second appears with variations.

There is the seduction theme in which the dramatist has the action of his play begin many years after the seduction occurred.

Then there is the lost-relative theme, in several forms, each of which regularly issues in anagnorisis. Whether the plot hinges on seduction or on the loss of a child by kidnapping or exposure, the denouement must be effected usually by an outsider, for only such a character can, late in the action, plausibly identify the person who has been lost, kid- napped, or seduced.

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The impostor appears in five plays, in three of which, the Persa, the PseudoluSy and the Asinaria, the issue of the imposture is the primary interest; in the other two, the Trinummus and the Poenulus, it is only subordinate to the major plot. Plautus introduces the impostor into but one scene of the Trinum- mus, act IV, scene 2. In lines ff. Lesbonicus must not be apprised of the whereabouts of the treasure, yet a dowry must be provided for his sister.

Lysiteles may change his mind about marrying her, and it would be very unfortu- nate to lose so excellent a match. Though Lysiteles may properly offer to marry the girl without a dowry, the playwright may not allow her brother to break the binding social convention requiring a dowry. He therefore employs the impostor theme to initiate a solution of the difficulty: The money is to be taken from the treasure, but, owing to the explanations in the letter, the suspicions of Lesbonicus will not be aroused.

The plan was designed to succeed in its purpose. That the dramatist does not make the denouement issue from this plan is due to the fact that he wants to enhance the interest by the meeting of Charmides and the impostor. Charmides then naturally becomes the person to solve the difficulties. Incidentally it is more satisfactory that the father of the bride be present at the betrothal and marriage of his daughter. The omission of either r61e, that of Charmides or of the impostor, would have weakened the action. The mock-foreigner enters only in the minor plot of the Poenulus. The design is the downfall of the villainous procurer , , , and the freeing of Adelphasium, the girl whom Agorastocles loves , The clever slave, Milphio, is made the arch-intriguer.

Collybiscus, the bailiff of Agorastocles, is to be the agent. He is to be dressed as a foreigner, to be introduced to the procurer by Milphio as a gullible sort of fellow. It is essential to the technique that Collybiscus be unknown to the procurer, As Calydon was the home of the former, Plautus represents the latter as having recently migrated to the town from Anactorium, 93, Witnesses are to be called, who shall see Collybiscus delivering gold pieces to the procurer. Thereupon Agorastocles is to claim his slave and the money, which, according to law, must be doubled, , The procurer will be unable to pay the increased amount, and in consequence, in the praetor's court, his whole household, including Adelphasium, will be adjudged to Agorastocles, , The double purpose of humbling the procurer and obtaining the girl will thus be accomplished.

The end sought by the imposture is not attained, though the execution of it is successful. This corresponds to the situation in the TrinummuSy except that in the Poenulus the trick is executed, in the Trinummus it is balked. After Plautus entirely forgets what he had made the purpose of the trick in , addicet praetor familiam Mam tihiy and has the same person, Milphio, suggest another plan whereby Adelphasium and her sister Anterastylis also may be removed from the procurer, though the first plan had apparently been a complete success.

The latter hinges on the discovery of the two sisters, Adelphasium and Anterastylis, by their father, Hanno, a Carthaginian, and the recognition of Hanno's nephew, Agorastocles, who is now the adopted son of Hanno's guest- friend. The poet could lead up naturally to the recognition of Agora- stocles, the son presumably of his. In the Pseudolus it is the main point in the action which hinges on the employment of a mock-foreigner. Here, as in the minor plot of the Poenulus, a lover must get his sweetheart out of the clutches of a grasping leno. Again the clever slave is the author of the scheme.

The entrance of Harpax, the cacula militis, soliloquizing, is the means of suggesting the plan to the mind of Pseudolus. It assumes definite shape when Harpax entrusts to Pseudolus the letter from his master containing the token whirh the procurer and the captain had agreed upon, , The captain had already paid down fifteen minae and still owed five minae, , The courtesan, Phoenicium, is to be turned over to the messenger on the presentation of the letter and five minae.

Obviously the letter is worth fifteen minae to any one desiring to gain possession of the girl. He must be equipped with chlamys, machaera, and petasus. The captain is a Macedonian from abroad, 51, , Had Plautus made him a native, there would have been no need of a messenger, and the chance to develop the imposture theme would have been removed. As in the Pseudolus and the Poenulus the procurer is made the object of the intrigue. Here also the clever slave is made responsible for the plan. Toxilus has succeeded in borrowing money to obtain the freedom of his mistress, who is in the possession of Dordalus.

The necessity of paying back that loan is the motive which impels him to devise the following plan: Saturio, a parasite, shall lend his daughter to Toxilus, ; another person shall be chosen to sell her, who is to say that she is a foreigner, , 36; both are to be dressed after the foreign fashion in costume which is to be obtained from the choragus, ff. They are represented as Persians, , , , , etc. The fictitious letter from Tim- archides, ff. The remark of Sagaristio in , 96, that he has heard that his twin brother is a slave there and that he wants to look him up and buy his freedom, seems to me clearly to have been made with the purpose of forestalling any suspicion in the procurer's mind that he had seen him in Athens before.

Toxilus strengthens the effect by saying that he had seen a man there much like him in form and size. He reminds us that Timarchides, an Athenian, is absent on an expedition for the Persian king in Arabia. A Persian sells a girl at Athens who was captured in Arabia. That this is a pure fiction of Toxilus matters not. It might have been true.

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At no time, he says, could a person who was from Arabia be said to have come from Persia, except when the Persians were in possession of all Asia. He places the date in the time of Demosth. C, when many Athenians were on campaigns in the East. Exemplis AUicis 70, The arguments are dis- cussed and rejected as unsafe premises for such a surprising conclusion by Max.

The foreign r61e is necessary then but it must be the mock-foreigner. Otherwise the father could not immediately claim the girl and carry her off, with confidence in the support of the law, as he does, ff. Yet the principle may be stated to include this play, viz.

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To this extent the play illustrates the foreigner's function in the technique of comedy. Again the ultimate motive of the trick is for a lover to get possession of the girl he loves. The immediate sufferer is not, however, a pro- curer, nor in fact anyone to whom the girl belongs, but an innocent foreigner who is coming to pay a debt. Twenty minae must be found immediately to prevent the transfer of the girl to a soldier, with whom a bargain has already been struck by her mother, ff. An ass- dealer of Pella in Macedonia having bought some asses is sending a young man with twenty minae to pay for them, ff.

In he says: He does know Demae- netus, the father of the lover, Argyrippus, We see the arch- intriguer at work again. He finds that he can depend upon the aid of Demaenetus even to the extent of cheating his own wife or her chamberlain. His wife is one of the well-dowered women at Athens who control their own finances.

The messenger from the ass-dealer supposes that he will be safe in paying the money to the person whom Demaenetus identifies, and agrees to do so. Libanus, the intriguer, then arranges for his fellow slave, Leonida, to impersonate the cham- one hand, and the latter's remark that he must make a search for his twin brother ,96, on the other. In either case the inconsistency remains and is no doubt due to Plautus' carelessness, which is common in minor details. It could not be presumed by the playwright that a native would have so readily trusted the identification vouched for by the man of the house when the money was to be paid to a servant of the mistress of the house.

In the Eunuchus Chaerea, as his only disguise is that of dress, , 83, is able to succeed in his imposture only because the deceived people have but recently come to Athens. In the Miles also the plan to outwit Pyrgopolynices, the soldier, is successful because one party is a foreigner from the standpoint of the other.

Contrast is also seen in the fact that in the three non-Menandrian plays seduction is represented as having taken place from sixteen to twenty years prior to the action, while in the three Menandrian plays it is a matter of months. Menander's technique then does not require the foreigner for the phase of this theme which he uses, while the foreigner is essential to the theme as employed in the non- Menandrian plays in Roman comedy. But in each case it must be a foreign city. The fact that Lemnos was near to Athens lends plausibility to Terence's dramatic invention, in the Phormio, of an assumed name ' In the HeroSf however, both methods of treatment appear to be used.

Yet, as but brief fragments of it survive, we cannot argue from it with assurance one way or the other. Chremes' regular visits to the island are accounted for naturally by having him possess estates there, which must be looked after periodically, and their revenues collected, fiF.

The fact that they really belong to his Athenian wife brings his misdemeanor into stronger relief and prepares for his more complete discomfiture at the end, flF. Chremes had not been at home one day before he encountered Sophrona, the nurse, who is the only foreigner involved in the action. The death of the Lem- nian wife is necessary to avoid a situation inconvenient for dramatic purposes, viz.

Phanium's part is entirely behind the scenes. But Sophrona is essential as a means of identifying Phanium, act V, scene 1. It is doubtful, therefore, whether the marriage between her and Antipho can be considered fully legal.

English-German Dictionary

The same difficulty appears in the CisteUaria and in the Curculio. The scene of both of these plays, however, b laid outside of Athens, where the laws may have been different from those in Athens. The evidence of Phormio , But a foreign woman is speaking, upon whose mind the status of the girPs father would be impressed.

Gilbert Constitutional Antiquities of Sparta and Athens pp. The penalty to aliens in case of transgression was slavery. The law does not seem to have been effective in practice, for Attic tomb inscriptions record numerous wives of Athenian citizens from other Greek states. He concludes that such marriages were never forbidden by Attic law.

See also Dziatzko-Hauler Phormio 4th ed. Demipho, in the CisteUaria, after the death of his first wife, comes to Sicyon to live, and by accident marries the woman of his former adventure, , Their recognition of each other is apparently effected after their marriage, , though in what man- ner the author gives us no intimation. As the adventure was multa node, , they would probably not have known each other even the next day, to say nothing of eighteen years later,