El título de la comedia transmitida unánime mente como Casina ha sido discutido por los más importantes críticos plautinos, en especial a partir de los enigmáticos versos 31-34, donde se consigna una traducción del título del original griego distinta de la que resultara favorecida por la tradición (Sortientes) y, además, se atribuye carác ter "ladrador" (latranti) a un nombre que, por su etimología, se asocia con una planta aromática y poco parece tener que ver con perros. Nuestro trabajo intenta contribuir al debate, formulando la hipótesis de que el nombre Casina se explica como un anagrama de las palabras casia y canis, que remiten a los campos semánticos de los olores y de los animales respectivamente, a la vez que se vinculan a lo largo de la comedia con dos personajes femeninos: la inasible e ideal Cásina y la demasiado asible y real Cleóstrata. Sustentando la autenticidad del título transmitido por los manuscritos, entendemos que este pasaje del pró logo contiene una clave destinada a iluminar el pro blema central planteado por la comedia: el re em plazo de la amante complaciente por la matro na, y la ridiculización y el conse cuente escar miento del viejo.Palabras clave: Plauto; Casina; título.The title of the comedy transmitted as Casina has been discussed by the main Plautine critics, especially because of the enigmatic verses 31-34, which offer an alternative translation of the original Greek title (Sortientes) and, moreover, describe as "barking" (latranti) a name that, from its etymology, recalls a spice and seems to have no connection with dogs. Our paper aims to contribute to the discussion, holding the view that the name Casina may be explained as an anagram of the words casia and canis, which remit to the semantic fields of scents and animals, and are related all over the comedy with two female characters: the elusive and ideal Casina, and the too concrete and real Cleostrata. Assuming the authenticity of the transmitted title, we suggest reading this passage of the prologue as a clue of the central subject of the comedy: the substitution of the matrona for the pleasing lover, with the resulting mockery and punishment of the senex.
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