By Alison Sharrock
For a few years the area of experts in early Latin, in complicated metres, and within the reconstruction of texts, Roman comedy has just recently all started to set up itself within the mainstream of Classical literary feedback. the place newest books tension the unique functionality because the basic position for the encountering of the performs, this publication reveals the locus of that means and appreciation within the task of a reader, albeit one whose demeanour of studying inevitably comprises the innovative reconstruction of functionality. The texts are taken care of, and celebrated, as literary units, with programmatic beginnings, middles, ends, and intertexts. all of the extant performs of Plautus and Terence have no less than a piece half during this ebook, which seeks to reveal the authors' terrific artificiality and artifice, whereas taking part in besides their differing yet interrelated poses of primary humility.
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Extra resources for Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence (The W.B. Stanford Memorial Lectures)
Sample text
It will be clear that I disagree with the reading of Gilula (1991) in downplaying the importance of reported stories. See Feeney (1998: 27) for Mercury’s bilingual jokes on his name. 34 Reading Roman Comedy nam ego uos nouisse credo iam ut sit pater meus, quam liber harum rerum multarum siet quantusque amator siet quod complacitum est semel. is amare occepit Alcumenam clam uirum usuramque eiius corporis cepit sibi, et grauidam fecit is eam compressu suo. (Am. 104–9) For I think you already know what my father is like, how free he is in these many matters, what a great lover he is once something has taken his fancy.
7) on the designations of the longer iambic and trochaic lines. Silk (2000a: ch. 1) has an excellent discussion of ‘Three Openings’ of Aristophanic plays, including Frogs. Looking at (in reverse chronological order) Plutus, Frogs and Acharnians, Silk shows the programmatic nature of these scenes. It is worth noting that the two later plays both begin with master-and-slave routines. 30 Reading Roman Comedy two serui, one of whom is the lover and is therefore toying with the role of adulescens. ), in addition to which we must mention again Persa, plus also Amphitruo, where the opening scene is between a slave and a god pretending to be a slave.
Ta. r f[ecit] V . [idularia]m. Calderan (1982: 148) suggests that the prologue might be engaging in a joke quiz with the audience about guessing the name Plautus. magis qu[. . . . [ . . nciam . x. ro. c[ (Vid. 15–16 Calderan). It will be clear that I disagree with the reading of Gilula (1991) in downplaying the importance of reported stories. See Feeney (1998: 27) for Mercury’s bilingual jokes on his name. 34 Reading Roman Comedy nam ego uos nouisse credo iam ut sit pater meus, quam liber harum rerum multarum siet quantusque amator siet quod complacitum est semel.