A Companion to Terence by Antony Augoustakis

By Antony Augoustakis

A accomplished number of essays through best students within the box that tackle, in one quantity, a number of key concerns in studying Terence supplying an in depth examine of Terence’s performs and situating them of their socio-historical context, in addition to documenting their reception via to offer day

• The first finished choice of essays on Terence in English, by way of major students within the field
• Covers more than a few themes, together with either conventional and glossy issues of gender, race, and reception
• Features a wide-ranging yet interconnected sequence of essays that supply new views in reading Terence
• Includes an creation discussing the lifetime of Terence, its influence on next stories of the poet, and the query of his ethnicity

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The motive for the addition is a matter of interpretation, and we might be more inclined to stress the comedy added by the fact that Charinus is in love with the girl Pamphilus is determined not to marry and by his reactions when it looks at one stage as if Pamphilus is agreeing to marry her after all. Some have thought that Charinus and Byrria were imported into Andria from Perinthia, but what Donatus says is that “they do not come in Menander” (non sunt apud Menandrum), so perhaps Terence added them entirely out of his own head.

Scholars have seen significance in the fact that Terence chose only plays by Menander and Apollodorus to adapt: Menander is regarded as the subtlest and most refined of the authors of Greek New Comedy, and Apollodorus is seen as having followed very closely in his footsteps. However, Terence was not to know that he would write only six plays, and his limitation to these two authors may have been more haphazard than his early death makes it seem. (Admittedly, one account of his death recorded in the fifth chapter of Suetonius’ Vita Terenti has it that he died on his way back from Greece with some plays by Menander that he had translated, which might suggest that he planned to continue concentrating on that author.

The palliata thrives on the kind of easy paradigmatic substitution and conglomeration manifest in A Funny Thing Happened on the Way to the Forum (1966), a modern pastiche of Plautus’ Pseudolus, Mostellaria, and Miles Gloriosus, with smatterings of his Casina, Curculio, and Mercator. Terence does not ignore or overturn the inherited traditions of plot and character. His plots all fit comfortably within the above paradigm. He adds no new character to the stock types of the palliata tradition, and thus the inhabitants of Terentopolis—though more nuanced and less flamboyant than those of Plautinopolis—remain the usual suspects (Gratwick 1982: 104 coined the name “Plautinopolis”).

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