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 began to set up itself within the mainstream of Classical literary feedback. the place newest books rigidity the unique functionality because the fundamental place for the encountering of the performs, this e-book reveals the locus of which means and appreciation within the task of a reader, albeit one whose demeanour of analyzing inevitably consists of the imaginitive reconstruction of functionality. The texts are taken care of, and celebrated, as literary units, with programmatic beginnings, middles, ends, and intertexts. the entire extant performs of Plautus and Terence have at the very least a section half during this booklet, which seeks to reveal the authors' brilliant artificiality and artifice, whereas taking part in in addition to their differing yet interrelated poses of everyday humility.
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Extra resources for Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence (The W.B. Stanford Memorial Lectures)
Goldberg (1978) on Epid. ; Lef`evre, St¨ark and Vogt-Spira (1991) passim. On the other side, which remains the dominant position, see Fantham (1981) and Lowe (2001). 73 I have learnt much from criticism of this nature and from the related performance criticism which is particularly prevalent in America. It is perhaps attacking a straw man to say that I aim to avoid the tendency of this school to disparage literary criticism and to celebrate primitivism,74 and I would certainly not want to set up an opposition between performance criticism and literary criticism, but nonetheless it is a major part of my aim in this book to (re)introduce the concept of the literary artist in these works and so to re-evaluate, for modern ‘readers’ rather than ‘audiences’, the study of texts on which sophisticated work in performance criticism has provided a basis for progress in literary analysis.
When the highly knowing Prologue tells us that Tyndarus will unknowingly enable the return of his unknown brother. g. Men. ) we could easily guess; the excessively knowing Palaestrio, speaking the delayed prologue of Mil. as if he were outside the play, tells us something of what will happen (which within character he would not know), though not the mechanisms for the resolution; Poenulus’ Prologue does tell us the ending, although, as he says, he nearly forgets to after his complicated games with us (118).
Go. e [. . . . 36 The line nearest to intelligibility acknowledges that the audience would be expecting a prologue, but probably then refuses to give one. s. s. q[uid a]g[an]t. d[o a]gent (Vid. 10–11) I believe you want to know about the plot, but you’ll understand what’s going on better when you see it acted. It is unlikely that the prologue went on to give some hints of exposition, since the traces of 15–1637 look closural; it is clear that even in this recognition comedy Plautus self-consciously plays around with the giving and withholding of information in the prologue.