Aristophanes' Plutus stands as a significant thread in the tapestry of Greek comedy, marking a transition between Old Attic Comedy and the emerging styles that would shape later theatrical traditions. While it departs markedly from Aristophanes' earlier works, Plutus introduces elements that prefigure the New Comedy of Menander and others. This play, rich with allegory and moral discourse, offers a fascinating glimpse into the evolution of comedic storytelling.

Middle Comedy: A Transition in Genre

Written around 388 B.C.E., Plutus is often considered a sole surviving example of Middle Comedy. This classification distinguishes it from the other existing plays of Aristophanes, which primarily belong to the era of Old Attic Comedy. Unlike the New Comedy epitomized by Menander, Plutus retreats from direct political and personal satire. It also tones down the crude obscenity that characterized Old Comedy, opting instead for themes that resonate with broader social and moral concerns.

Characteristics of Plutus

One of the defining elements of Plutus is its shift away from the entrenched conventions of Old Comedy. The play shows a reduced reliance on choral lyrics, a hallmark of Aristophanic structure, which is replaced with a more episodic format. Here, moral allegory takes center stage with personified abstractions, such as Plutus, the god of wealth, who becomes the focal point in exploring the arbitrary distribution of riches.

Moreover, Plutus is devoid of the topical controversy that was a signature of earlier works. Its central premise—that Wealth is blind and capricious—escapes the scrutiny of political allegiances, making it universally accessible. The absence of explicit political context allows the play to delve into the human condition, exploring timeless themes that transcend the sociopolitical landscape of Athens.

Humor in a New Light

While verbal jesting and irreverent humor are less prominent in Plutus, Aristophanes does not abandon comedy altogether. The play employs situational comedy and parody, as illustrated by the antics narrated by Cario from the temple of Asclepius. These scenes offer a mild parody of ancient healing practices and incorporate comic elements like Cario’s wife, whose reactions contribute to the humor.

The character of Hermes, seeking employment, introduces comedic variety through his misfit skills until a role is found for him—underscoring the play’s capacity to amuse with its depiction of divine joblessness and divine human interactions.

Reimagining Structure and Form

In Plutus, the traditional structure of Aristophanic comedy can still be discerned, particularly in the conflict between the characters Plutus and Penia (poverty). This contest, along with subsequent episodes following Plutus’s restored sight, mirrors a familiar narrative arc where a protagonist’s success or plan unfolds alongside a series of results. However, the diminished role of the chorus signifies a shift towards a more cohesive narrative, paving the way for the five-act structure that would typify later dramas.

Impact on Later Comedy

The stylistic choices in Plutus foreshadow developments in later Greek and Roman comedies. The reduced chorus function places greater emphasis on episodic content, a transition towards the plot-driven narratives of New Comedy. This evolution is evident as types and archetypes, like the clever servant Cario, begin to emerge. Such characters would become staples of future comedic works.

As Plutus shifts its focus from immediate political concerns to universal human experiences, it lays the foundation for comedy to break free from its Athenian roots. By doing so, it initiates a broader narrative scope that would come to define European drama, unshackling it from the confines of specific cultural and religious contexts.

A Reflection of Economic and Social Dynamics

Despite its reduced emphasis on specific political satire, Plutus still bears the imprint of Athens' economic realities in the fourth...