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Alone on stage, Pseudolus boasts of his ability to carry about schemes. Soon Pseudolus encounters Harpax, the Macedonian soldier’s slave, who is looking for Ballio. Pseudolus pretends to be Ballio’s slave, Surus, and tells Harpax he can leave the money for Phoenicium with him. Harpax refuses, but he does leave a sealed letter from his master.
- Symbols & Motifs
Pseudolus frequently references or speaks directly to the...
- Scenes 5-8
Scenes 5-8 Analysis. The class inversions are reiterated in...
- Important Quotes
Calidorus, with great melodrama, explains to Pseudolus that...
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- Character Analysis
Pseudolus, whose name means “liar” in Greek, is the slave of...
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- Symbols & Motifs
Sep 5, 2023 · Pseudolus is a comedy with many elements of farce. While it pokes fun at the individual characters’ foibles, and its action hinges on stock devices such as deceit, disguise, and mistaken ...
Class does not equal intelligence: With the stock character, the clever slave (played by Pseudolus), the audience gets a glimpse that, despite the assumptions that Pseudolus, a slave, cannot possibly outwit the upperclass citizens, Ballio and Simo, this indeed does occur. Pseudolus is able to prove just how clever he is by fooling multiple others in order to help his owner's son, Calidorus.
Sep 5, 2023 · Summary. Pseudolus was written by Titus Maccius Plautus and is one of the oldest plays that survives from ancient Rome. The play begins with a warning that it’s long. After that, the story opens ...
Scene 17 Summary. Ballio tells Simo he can rest assured that the twenty minae he bet with Pseudolus are “safe and sound” (1069). When Simo expresses doubt, Ballio tells him that if Pseudolus steals Phoenicium, Ballio will give Simo the twenty minae himself. He also suggests that if Phoenicium has been turned over to Calidorus, Simo can take ...
Scenes 5-8 Analysis. The class inversions are reiterated in these scenes, with Pseudolus brazenly speaking with a sharp, insubordinate, even threatening tone to his master, Simo. From Pseudolus’s first sassy witticism, readers see that Simo exercises very little control over his slave: Simo addresses not Pseudolus but rather Callipho ...
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Just as Plautus expanded the role of the clever slave, he is likely to have inserted himself this scene of Simo’s praise of Pseudolus, a scene which borders on hero worship. In the last scene of the play, Simo is subject to remarkable mood swings. In 1291–91a he decides to be gentle to Pseudolus, just as in the last scene of the fourth act ...
