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Ad Navseam Episode 219: Roman Slapstick, Puns, and the Miles Gloriosus

Meta Description: Join Ad Navseam Ep. 219 as Dr. David Noe and Dr. Jeff Winkle dive into Roman comedy, the slapstick world of Plautus, and the “braggart soldier” Pyrgopolynices!

Welcome back, classical gourmands, to episode 219 of the Ad Navseam podcast! Prepare to get your fill with another delectable discussion of Greco-Roman civilization, stretching from the ancient Minoans and Mycenaeans through the Renaissance and right down to the present day.

Broadcasting from the Parnassus Vomitorium Central—imagined today as being nestled among beautiful, swaying olive trees overlooking the Gulf of Corinth—your devoted hosts return to the microphones. Dr. David C. Noe is enjoying a beautiful sunny day in the simulated Mediterranean sun, joined by his good friend and fabulous co-host, Dr. Jeffrey T. Winkle.

The Oxymoron of Roman Comedy

To kick off the episode, Jeff presents a challenge to the standard view of Roman culture. When people think of ancient Rome, they often think of heavy conceptual legacies like gravitas (seriousness), dignitas (worthiness), pietas (devotion), and officium (duty). Given this reputation for sternness, the phrase “Roman comedy” can feel like more than a tinge of an oxymoron.

However, as the hosts explore today, the Romans were far from humorless. Today’s episode marks the beginning of a deep dive into the world of Titus Maccius Plautus, the most famous of the Roman comic playwrights. If the Greeks gave us high philosophy and epic tragedy, the Romans—through Plautus—gave us the foundation of Western slapstick, situational comedy, and the witty, fast-talking “clever slave” archetype that still influences entertainment today.

Who was Plautus?

Before diving into the play, the hosts examine the man behind the masks. Titus Maccius Plautus (c. 254–184 BC) was a master of the palliata—comedies in “Greek dress”. While these plays were based on Greek “New Comedy” originals (like those of Menander), Plautus completely transformed them with a uniquely Roman energy.

His name itself is a bit of a joke. “Plautus” likely refers to being flat-footed (perhaps from wearing the thin-soled shoes of a comic actor), and “Maccius” is linked to a clown character from the older Atellan farces. He was a man of the theater through and through, a former stagehand and actor who allegedly turned to writing plays after losing his fortune in a failed merchant venture.

The Miles Gloriosus: The Braggart Soldier

The centerpiece of today’s discussion is Plautus’s most famous and perhaps longest play: Miles Gloriosus, or “The Braggart Soldier”. The play centers on one of the most enduring stock characters in literature: Pyrgopolynices.

His name is a classic Plautine mouthful, combining the Greek words for “tower,” “city,” and “many victories”. He is a man who believes his own hype, a soldier who claims to have slaughtered thousands with a single blow and whose beauty is supposedly a danger to every woman who glimpses him.

Act One: The Art of the Flatterer

The play opens not with the protagonist’s heroic deeds, but with his insatiable vanity. Pyrgopolynices enters the stage accompanied by his “parasite” or flatterer, Artotrogus. The name Artotrogus translates to “bread-muncher,” signaling his role as someone who survives by stroking the ego of the wealthy in exchange for a meal.

In a masterful display of ironia (irony), Artotrogus spends the opening scene feeding Pyrgopolynices the most absurd lies. He reminds the soldier of the time he broke an elephant’s leg with a single punch in India, or the time he killed 500 men in a single day—a number Pyrgopolynices “corrects” to 7,000.

While the soldier basks in this false glory, Artotrogus turns to the audience in asides, admitting that he hates the man’s guts but stays for the free food. It is a perfect introduction to the Plautine world, where characters are defined by their appetites—whether for glory, sex, or bread.

The Clever Slave and the Elaborate Hoax

The plot truly thickens with the introduction of Palaestrio, the “clever slave” (servus callidus). Palaestrio is the true architect of the play’s action. Originally the slave of a young Athenian named Pleusicles, Palaestrio was captured by pirates and sold to the braggart soldier. To his horror, he discovers that Pyrgopolynices has also abducted Pleusicles’ girlfriend, Philocomasium, and is keeping her in his house in Ephesus.

Palaestrio secretly contacts his old master, who travels to Ephesus and stays with an elderly, open-minded neighbor named Periplectomenus. Together, they hatch an elaborate “twin sister” hoax to explain why Philocomasium is being seen in both houses.

The hosts discuss the sheer theatricality of this setup. Plautus relies heavily on the “house-next-door” set, using a secret hole in the wall to allow characters to move between residences. This creates a fast-paced, “Liminal” environment (a favorite word of Dr. Winkle) where the truth is constantly being manipulated.

Plautine Language and Latin

One of the highlights of reading Plautus in the original  is his linguistic creativity. He loves alliteration, puns, and inventing bizarre, bombastic Greek-sounding names.

For students of Roman history, Plautus offers a glimpse into a world that is less about marble statues and more about the bustling, noisy, and often vulgar life of the Roman streets. His Latin is “Old Latin,” preceding the polished prose of Cicero, but it possesses a rhythmic, almost musical quality that was meant to be performed with instrumental accompaniment.

A Contrast with Terence

The hosts briefly contrast Plautus with his younger rival, Terence. While Terence was known for a more refined, psychological approach to comedy—focusing on family relationships and more “gentlemanly” behavior—Plautus is unashamedly broad.

Dave admits he has “kicked” Terence more than a few times on the show for being a bit too polite. Plautus is the playwright for those who want to see a soldier get tricked, a slave outwit his master, and a lot of door-slamming and physical comedy.

Sponsors and Support

Before the hosts are carried off by a troupe of disgruntled Atellan farcers, they extend a massive thank you to the sponsors who keep Ad Navseam running!

For those wanting to learn Latin or master ancient Greek, head over to latinperdiem.com. Whether you are tackling the Moss Method for Greek or diving into an advanced Latin masterclass, Dr. Noe will be your expert guide. Use the code 10PLUS for 10% off any order.

You can also “Lurch with Merch” on the website! Pick up a QVAE NOCENT DOCENT t-shirt or an Ad Navseam hat to show the world you are taking in the classics—and keeping them down.

Credits & Gustatory Parting Shot

A huge thank you to the podcast’s audio wizard, Mishka, for her top-tier engineering. Special thanks to shredding guitarist Jeff Scheetz for the intro music from his rock extravaganza, Thrill Seeker.

Next week, the discussion continues with Plautus Part Two!

We leave you today with our Gustatory Parting Shot, featuring a rare moment of kindness for the playwright Terence. This comes from his play The Eunuch (Act 2, Scene 2), translated by Henry Thomas Riley in 1853, and perfectly captures the bustling energy of the ancient marketplace:

“As we were talking, we came to the marketplace. All the poulterers ran joyfully to meet me, the fishmongers, the butchers, the cooks, the sausage makers, the confectioners, to whom both when my fortune was flourishing and when it was ruined, I had been a gain and often am so still. They complimented me, invited me to dinner, and welcomed my arrival.”

Thanks for listening, and we will catch you next week!

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