The Trinummus of Plautus

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Macmillan, 1910 - Latin drama (Comedy) - 118 pages
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Page 108 - tis not so deep as a well, nor so wide as a church door ; but 'tis enough, 'twill serve : ask for me to-morrow, and you shall find me a grave man.
Page xvi - in the large place assigned to the 'Cantica,' which were accompanied by music and gesticulation," the Plautine plays show considerable traces of the indigenous Saturae. Doubtless, these exerted some influence, but it is highly probable that the cantica are the surviving form of the old choral songs, which embodied the original lyric element in Greek comedy. With the loss of the chorus, this element, instead of being concentrated, as before, becomes more or less scattered through the dialogue.
Page 10 - Qui omma se simulant scire neque quicquam sciunt. 205 (Quod quisque in animod habet aut habiturust, sciunt : Sciunt, quid in aurem rex reginae dixerit : Sciunt, quod luno fabulatast cum loue:) [Quae neque futura neque sunt, tamen illi sciunt.J Falson' an uero laiident, culpent quem uelint, 210 Non flocci faciunt, dum illud quod lubeat sciant.
Page xvii - Greek poets, in exhibiting iocandi genus elegans, urbanum, ingeniosum, faceturn*; and Aelius Stilo, whose opinion used to be quoted by his pupil, the learned Varro, is said to have declared that this would have been the style followed by the Muses themselves, had they spoken in Latin.5 10. As to the dramatic art of Plautus, we have already seen that Horace's judgment was distinctly unfavorable. He accuses him of being careless and slipshod, Securus cadat an recto stet fabula talo (Epist. 2. 1. 176)...
Page xviii - Latina. 3 Epigramma Plauti, quod dubitassemus an Plauti foret, nisi a M. Varrone positum esset in libro De Poetis primo : Postquam est mortem aptus Plautus.
Page xiii - Shrew. 4. These plays show a great variety in subject-matter, characters, tone of thought, and construction of plot, due to the natural versatility of the author and the extreme freedom with which he handled his models. These he abridged or extended as he pleased, and though his characters and the scenes which form the background of his plays are all Greek, yet he has introduced such a large Roman element that the Latin comedies are evidently cast in a very different mould from his Greek originals....
Page xxv - Plautus in trochaic verse as well, the metrical ictus, however, being always upon the first syllable of the foot.
Page xviii - Bacchiac verses. and it would be easy to bring forward evidence in support of this criticism. At the same time, he is one of the world's greatest humorists, who, besides being immensely popular in his own day, has exerted a powerful influence on the literature of modern times. A noble tribute to his genius is the epitaph, in dactylic hexameters, cited by Gellius...
Page xviii - ... the whole of his account of hellebore, but Pliny's name is only casually mentioned. Many of his Other quotations are doubtless second-hand. For literary criticism and for incidents in the lives of Latin poets he is indebted to Varro, from whose work De Poe'tis he quotes the epitaph of Plautus : — ' postquam est mortem aptus Plautus, Comoedia luget, scaena est deserta, [ac] dein Risus, Ludus locusque, et Numeri innumeri simul omnes collacrimarunt '. Niebuhr has severely said of Gellius : —...
Page xiv - Atellanae2 were introduced into Rome. It is highly probable that these popular performances suggested to Plautus much of the broad farce and audacious roguery which fill his plays. Horace, who was no admirer of Plautus, calls him a very Dossennus, Quantus sit Dossennus edacibus in parasitis (Epist. 2. 1. 173) and the nomen itself of the author is by some derived from another stock character in the Atellan farce, viz. : Maccus, the buffoon. The careless haste to which Horace refers in the same passage...

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