Introduction
Titus Maccius Plautus, a prominent Roman playwright of the 3rd and 2nd centuries BCE, crafted comedies that reflected the social and cultural dynamics of his time while drawing heavily on Greek New Comedy. His play Aulularia (often translated as The Pot of Gold), likely performed around 195-190 BCE, offers a rich canvas for exploring gender roles, particularly the position of women in Roman society. This essay examines the portrayal of female characters in Aulularia, focusing on their agency, societal constraints, and the comedic function they serve within the play. By analysing key characters such as Phaedria and Eunomia, alongside the broader socio-historical context of Republican Rome, this discussion will argue that while women in Aulularia are often depicted within traditional patriarchal boundaries, they occasionally exhibit subtle forms of influence and autonomy. The essay will first outline the historical background of women’s roles in Roman society, then explore specific character portrayals, and finally consider the comedic and thematic implications of these depictions.
Historical Context: Women in Republican Rome
To understand the portrayal of women in Aulularia, it is essential to consider the socio-cultural milieu of Republican Rome, where gender roles were heavily influenced by patriarchal structures. Women, particularly in the upper classes, were often confined to domestic spheres, with their primary roles centred on family and household management (Dixon, 2001). Legally, many women remained under the guardianship (tutela) of a male relative, limiting their financial and personal autonomy. However, by the late Republic, some women, especially widows or those from elite families, could wield influence indirectly through dowries or familial connections (Gardner, 1986). In comedy, such realities were often exaggerated or inverted for humorous effect, as Plautus adapted Greek models to resonate with Roman audiences. This tension between societal norms and comedic subversion provides a crucial lens for interpreting female characters in Aulularia, who navigate a world dominated by male authority while occasionally challenging its constraints.
Phaedria: Victimhood and Limited Agency
One of the central female figures in Aulularia is Phaedria, the daughter of the miserly protagonist Euclio. Phaedria’s character encapsulates the vulnerability and restricted agency often associated with young women in Roman comedy. She is pregnant, a situation resulting from her off-stage rape by Lyconides, a young man of higher social standing (Plautus, Aulularia, Act IV). This event, while not explicitly detailed in the surviving text, reflects a common trope in ancient comedy where female chastity becomes a plot device, often resolved through marriage (Moore, 1998). Phaedria’s lack of voice—she does not appear on stage and her thoughts are conveyed through others—underscores her marginalisation. Indeed, her role is primarily passive; she serves as a catalyst for conflict between Euclio’s obsession with his gold and the romantic resolution sought by Lyconides. This portrayal aligns with societal expectations of women as objects of male negotiation, particularly in matters of marriage and honour (Dixon, 2001). However, it is worth noting that her pregnancy indirectly drives the narrative forward, suggesting a form of unintended agency within the constraints of her position.
Eunomia: Maternal Influence and Subtle Power
In contrast to Phaedria’s passivity, Eunomia, the sister of the wealthy Megadorus, represents a more assertive female presence in Aulularia. As a mature woman, possibly a widow, Eunomia engages in dialogue with her brother, urging him to marry and offering advice on his choice of bride (Plautus, Aulularia, Act II, Scene 2). Her role as a mediator and advisor hints at the informal influence some Roman women could exert within family structures, particularly in domestic and matrimonial matters (Gardner, 1986). Eunomia’s conversation with Megadorus, where she suggests he marry Phaedria despite her lack of dowry, reveals a pragmatic understanding of social dynamics and a willingness to advocate for others. This moment, though limited in scope, demonstrates a degree of autonomy and insight, contrasting with the more stereotypical depictions of women as entirely dependent. Nevertheless, her influence remains circumscribed by her subordinate position to Megadorus, whose decisions ultimately prevail. Thus, Eunomia’s characterisation reflects a nuanced interplay between gendered limitations and subtle empowerment, a balance typical of Plautus’ comedic style (Moore, 1998).
Comedic Function and Gender Stereotypes
Beyond individual characters, the portrayal of women in Aulularia serves a broader comedic purpose, often relying on stereotypes to elicit humour while reinforcing societal norms. Female figures, including the unseen Phaedria and minor characters like the household slaves, are frequently tied to domesticity or moral issues (e.g., chastity or obedience), which Plautus manipulates for laughs. For instance, Euclio’s paranoia about his daughter’s virtue and his treasure parallels the Roman anxiety over controlling female behaviour, a theme exaggerated to absurd lengths in the play (Segal, 1987). Moreover, the resolution of the play—where marriage restores order—reinforces the patriarchal framework, as Phaedria’s plight is ‘solved’ through her union with Lyconides, aligning with comedic conventions of the time (Moore, 1998). However, Plautus’ reliance on such tropes also invites the audience to reflect, albeit indirectly, on the rigidity of these norms. While the play does not overtly critique gender roles, its exaggerated scenarios—such as Euclio’s mistrust of everyone, including women—can be seen as subtly satirical, highlighting the absurdity of absolute male control (Segal, 1987). Therefore, women in Aulularia function both as comedic devices and as reflections of societal tensions, offering limited but noteworthy commentary on their position.
Conclusion
In conclusion, the position of women in Plautus’ Aulularia is one of constrained agency within a patriarchal framework, yet with occasional glimpses of influence and resilience. Characters like Phaedria exemplify the vulnerability and objectification of young women, reduced to narrative pawns in male-driven conflicts, while Eunomia illustrates the potential for mature women to wield subtle power within familial contexts. These portrayals, though rooted in comedic stereotypes, reflect the broader socio-cultural realities of Republican Rome, where women’s roles were largely domestic and subordinate, yet not entirely devoid of impact. The comedic function of female characters further reinforces traditional gender norms, though Plautus’ exaggerations arguably invite a critical, if understated, perspective on such structures. Ultimately, Aulularia offers a window into the complexities of gender dynamics in Roman comedy, balancing societal reinforcement with subtle subversion. This duality suggests that while women’s positions were limited, their presence in the narrative—whether passive or advisory—remains integral to the play’s thematic and comedic depth. Further exploration of Plautus’ other works could provide deeper insights into whether such portrayals are consistent or evolve across his oeuvre.
References
- Dixon, S. (2001) Reading Roman Women: Sources, Genres and Real Life. Duckworth.
- Gardner, J. F. (1986) Women in Roman Law and Society. Croom Helm.
- Moore, T. J. (1998) The Theater of Plautus: Playing to the Audience. University of Texas Press.
- Segal, E. (1987) Roman Laughter: The Comedy of Plautus. Oxford University Press.
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