A Companion to Terence by Antony Augoustakis

By Antony Augoustakis

A complete choice of essays by means of prime students within the box that tackle, in one quantity, numerous key matters in analyzing Terence supplying an in depth learn of Terence’s performs and situating them of their socio-historical context, in addition to documenting their reception via to give day

• The first entire number of essays on Terence in English, by means of major students within the field
• Covers quite a number subject matters, together with either conventional and smooth matters of gender, race, and reception
• Features a wide-ranging yet interconnected sequence of essays that supply new views in examining Terence
• Includes an advent discussing the lifetime of Terence, its effect on next reviews of the poet, and the query of his ethnicity

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Extra info for A Companion to Terence

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In other cases, however, by adding an eavesdropper or even two to overhear and comment on a monologue or dialogue Terence has created opportunities for comic or emotional asides; the effect is sometimes similar to that of operatic ensembles in which different characters give vent to different emotions simultaneously. At An. 412–25 Byrria, whom we know to have been added to the play by Terence, eavesdrops on a dialogue between three other characters from which he thinks he learns that Pamphilus has broken his word to his master Charinus; his emotional asides add comedy for the spectators, since they know more than he does.

The extent of his freedom is a matter of interpretation and analysis, as is the relevance of his plays to current Roman concerns even when they remain consistently Greek; subsequent chapters in this volume will discuss such questions. Some have regarded Terence as a propagandist for Greek culture, but he gives no hint in his prologues that he is conscious of any such mission. He represents Luscius as taking too narrow a view of fidelity to the Greek plays and claims for himself the more reckless approach of his distinguished predecessors; analysis of his techniques, combined with the evidence we have for his addition of scenes and characters, confirms that he gave himself a free hand.

7–8 that Luscius “by translating plays well and at the same time writing them badly has turned good Greek plays into bad Latin ones” (bene vortendo et easdem scribendo male / ex Graecis bonis Latinas fecit non bonas), Terence perhaps implies that he has been too slavish in his translations, displaying the “undistinguished carefulness” that Terence criticized him for at An. 21. If so, the allegedly improbable scenes had been reproduced by Luscius from the Greek plays that he was translating. However, we have only Terence’s side of this debate, and it is probably futile to analyze the composition of the mud that he slings or to hope for serious insights from this quarter into his attitude towards Greek Comedy.

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