The first part of this chapter explores the effects achieved by Heliodorus in his naming of his characters – among them the unusual name Cnemon from Menander’s Dyscolus chosen to underline the features of his story that related closely to New Comedy, and the philosophically resonant name Aristippus for his pleasure-seeking father. The second part argues that Heliodorus’ detailed description (5.14) of the pastoral ‘theatre’ represented on the amethyst given to the merchant Nausicles in exchange for Charicleia was calculated to remind readers of Longus, in particular of the scene where Dionysophanes, Cleariste and their retinue seated ‘as a theatre’ spectate Daphnis’ goats responding obediently to his panpipe’s commands (4.15.2–4). Heliodorus invites his readers to contrast the miniature and rustic world of Longus with his own vast and densely populated canvas – and incidentally offers an argument for putting his novel later than that of Longus.

Chapter 1 elucidates Bacchides’ interface between communicative media, arguing that it exemplifies how modes of correspondence work in the Plautine universe, and investigates the kinetic force of communication by proxy within the plot. It also considers the textual ruse devised by Chrysalus, with special attention to the dictation-cum-scheming scene at Bacch. 714-60. This onstage portrayal of epistolary composition is an unicum both amongst the Plautine letter plays and across classical literature in that it provides a rare glimpse of letter writing in action. The scene of writing is also rich with metatheatrical and metapoetic imagery, illustrating a main premise of this book, viz. that writing in Plautus is a source of creativity and comic power inside the play that reflects the playwright’s poetic enterprise outside of it.

The opening sequence is a delicate phase of any conversation. Through ritualized acts, interlocutors come into contact, reveal their respective stances toward each other and prepare themselves to broach the first topic of the discussion. Their positioning in the opening sequence influences the subsequent phases of the interaction. An integrated pragmatic approach that combines Conversation Analysis, Speech Act Theory and Im/Politeness Research is well-suited to studying this communicative stage in its complexity.

This chapter examines the opening phase in the dialogues of Menander’s comedy from such a perspective. After showing that, in Menander’s Athens, conversational openings follow rules analogous to those in our society, it then demonstrates how Menander exploits the social delicateness of the phase. Clear patterns in the development of Menandrean conversational openings are identified, which are linked to the communicative situation as well as to the speakers’ state of mind and relationship. Finally, the chapter discusses how in Dyskolos the poet plays with im/politeness in conversational openings to characterize the protagonist, structure the plot and generate humour.