Discussion Topic
"The Pot of Gold" by Plautus and its reflection on the roles of women in Roman and Greek societies
Summary:
"The Pot of Gold" by Plautus reflects the limited and traditional roles of women in Roman and Greek societies. Women in these societies were often portrayed as secondary to men, with their roles primarily centered around the household and family, lacking autonomy and significant societal influence.
How does The Pot of Gold by Plautus reflect Greek women's role?
Plautus' play The Pot of Gold reveals the vulnerability and powerlessness of women in ancient society but also shows their unofficial power and influence.
The play centers around Euclio and his daughter, Phaedria. Euclio, with the assistance of his household deity, has recently discovered a pot of gold. The deity intends to provide the riches to pay Phaedria's dowry so that she can marry Lyconides, for she is already pregnant with his child. Euclio, however, has no intention of spending any money on his daughter. He doesn't even realize that she is pregnant. She is almost nonexistent to him.
In fact, Phaedria never actually appears on stage. She is merely a figure to be manipulated for the purposes of other characters. Megadorus decides that he wants to marry Phaedria, for instance, although he doesn't really know much about her. She is at least not wealthy and demanding like other...
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women, he reasons. He can control her because she is poor and will be dependent upon him. He doesn't even require her father to pay a dowry, for that would give Phaedria leverage in the relationship. He wants a powerless wife.
Megadorus does not realize, of course, that Phaedria is pregnant or that his own nephew is the father. Even Phaedria does not know who the father of her child is until the end of the play, for their relations (seemingly not consensual) took place during a festival, and Lyconides was masked. Lyconides does, however, wish to marry Phaedria and seems to have genuine feelings for her. Phaedria is, apparently, agreeable to this marriage—although, again, she doesn't have much choice in the matter.
In contrast to the vulnerable and powerless Phaedria stands Lyconides's mother (and Megadorus's sister), Eunomia. She insists that Megadorus marry, and while Megadorus isn't enthused, he accedes to his sister's will (mostly to quiet her). Eunomia seems to have significant unofficial influence over her brother, although he is so apathetic that perhaps he just goes along because he doesn't really care. When Eunomia finds out about her son's actions, she changes her plans quickly, along with those of her brother. Megadorus again goes along with his sister and renounces his engagement to Phaedria in favor of his nephew.
Finally, Euclio's housekeeper, Staphyla, adds a touch of feminine common sense and compassion to the play. She is devoted to Phaedria and worries about her situation. She does her best to help the young woman even as she comments on Euclio's miserliness. Indeed, Straphyla seems to know better than anyone else what is going on in Euclio's household, which she unofficially and intelligently manages without Euclio even being aware of it.
What does "The Pot of Gold" reveal about Roman women's lives?
The Pot of Gold presents a depressingly accurate picture of women's lives in ancient society. Though set in Athens, the play also provides us with a revealing glimpse into Roman society's attitude towards women, which, if anything, was even more regressive.
The unseen Phaedria is presented as little more than an object, both a sex object and a piece of property. Lusted after by Lyconides and Megadorus, Phaedria is at no point ever regarded as a human being in her own right. She's desired for her looks, her body, and for the enormous wealth that she will bring to a marriage. But then, Phaedria doesn't really exist in her own right, at least not legally. Like the Roman women of Plautus' day she belongs entirely to her father, who has the sole right to determine how this piece of "property" should be dealt with.
As we've already seen, Phaedria never actually makes an appearance on stage during the play. This reinforces the subordinate role that she and all other women in this society occupy. When important decisions are being made about her and her future, she's nowhere to be seen. But then she doesn't have a voice; her life's course is to be determined by her father and any future husbands she may have.