Chapter 3 launches with Pseudolus’ opening scene which revolves around a letter. I explore Phoenicium’s epistle to discern how it determines Pseudolus’ comic course as well as audience expectations about what lies ahead, and consider what a letter composed by a meretrix reveals about literacy and the symbolism of writing on the Plautine stage. Next is the play’s protracted indeterminacy, which flies in the face of its textual exposition. Why is Pseudolus uncertain about how to proceed when he himself recites the letter that so clearly sets out the comic plot? The answer lies in this comedy’s claim to dramatic innovation. Pseudolus tells us that its epistolary interception is new to the comic stage, a nova res which inspires in the schemer a novum consilium that neither he nor we expect. But the play repeatedly undercuts its own novelty, a paradox reified in the element around which its innovation revolves – the stolen letter. I perform a close analysis of the false delivery scene in which this text is put into action, reading for its epistolarity but also laying bare the internal replication it effects and the resultant mise-en-abyme.

Plautus’ Pseudolus plays upon the concept of ‘credit’, and reveals the similar nature of the belief that audiences grant to the stage-events and the belief in someone’s credit that underpins borrowing and lending. The Roman understanding of credit in both senses anticipates the modern emergence of the concept of fiction within a modern mercantile economyy.