T. Macci Plavti Captivi

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Allyn and Bacon, 1900 - 173 pages
 

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Page xxxi - At comicorum senarii propter similitudinem sermonis sic saepe sunt abiecti, ut non numquam vix in eis numerus et versus intellegi possit.
Page xlvi - In a dissyllabic iambic word1; (2) In a monosyllabic word (or one that has become such by elision) preceded by a short monosyllable (or a word which has become such by elision) ; (3) In the first syllable of a word of two or more syllables preceded by a short monosyllable (or a word that has become such by elision) ; (4) In the second syllable of a polysyllabic word beginning with a short syllable. In the cases under (3) and (4), the rule holds only for syllables " long by position,
Page xxii - Serv. Clodius, and above all M. Terentius Varro, whose works, distinguished as they were for their learning and practical wisdom, formed the chief source of information for the historians of literature. The material for these works was drawn from the actors' copies of the plays, so far as they could be procured, and from the records of magistrates regarding the productions of plays brought out under their supervision. Consideration for the convenience of the reader led to the practice of indicating...
Page xxix - An exception to this rule must, however, be made in the case of the mimes (mimi), in which the female parts were really taken by women. It is needless to say that these women, like all the other actors in mimes, were in very bad repute. The custom of using masks seems to have been introduced soon after Terence by the theatrical managers, Cincius Faliscus and Minucius Prothymus. Up to that time actors depended for their effects upon wigs and rouge. The plot in the fabula palliata is invariably laid...
Page 16 - Nunc senex est in tostrina, nunc iam cultros attinet. ne id quidem, involucrum inicere, voluit, vestem ut ne inquinet. sed utrum strictimne adtonsurum dicam esse an per pectinem, nescio ; verum, si frugist, usque admutilabit probe.
Page xxxiv - ... the Roman dramatists — for this is true not merely of the fabula palliata alone — could avoid monotony in their plays by varying the form of their verse to correspond at each point with the character of the scene. Adaptability of the Various Metres to Different Moods. All the plays of Terence open with iambic senarii. This is the verse of ordinary narrative, or dialogue, sometimes also of soliloquy, and seems the one best adapted for making the audience acquainted with the general situation....
Page xvi - ... books, the entire history of Rome from the earliest times down to his own — for his saturae, and his tragedies. But he also attempted comedy, and so deserves mention here. He was born at Rudiae in Calabria in 239 BC He was brought to Rome from Sardinia in 204 by the quaestor M. Porcius Cato, and here he seems to have lived in moderate circumstances as teacher of Greek and as stage poet. In 184 BC he received the right of Roman citizenship which he lived to enjoy for fifteen years. None of his...
Page xl - ... most of these metres are sometimes used where the above-mentioned characteristics are not prominent. The moods indicated are, in each case, to be regarded merely as those most frequently associated with the verse. Differences in the Manner of Rendering Various Rhythms ; Musical Accompaniment, etc. A change in the character of the verse was often accompanied also by a corresponding change in the manner of presenting the scene. With reference to the differences in the manner of presentation, the...
Page xxviii - ... 214 f.) for the manner in which he put the Epidicus on the stage. To these theatrical managers application was made by those who wished to give dramatic entertainments. The poets had business relations, for the most part, only with the actores, who bought, or rejected, their plays, and these actores accordingly were very influential in determining the fate and encouraging the development of poetic talent. In exceptional cases, however, the givers of the games, as they were men of experience in...
Page xxvii - It was capable of accommodating forty thousand spectators. The dramatic performances usually took place between prandium (about twelve o'clock) and cena (after three o'clock), so that when we consider the other amusements that formed a part of the day's exercises, it seems hardly possible that more than one play could, as a rule, have been presented on any one day. Later, in Cicero's time, the custom of giving these performances in the early morning was introduced. When the ludi scaenici were to...

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