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Terence between Late Antiquity and the Age of Printing investigates the Medieval and Early Renaissance reception of Terence in highly innovative ways, combining the diverse but interrelated strands of textual criticism, illustrative tradition, and performance. The plays of Terence seem to have remained unperformed until the Renaissance, but they were a central text for educators in Western Europe. Manuscripts of the plays contained scholarship and illustrations which were initially inspired by Late Antique models, and which were constantly transformed in response to contemporary thought. The contributions in this work deal with these topics, as well as the earliest printed editions of Terence, theatrical revivals in Northern Italy, and the readership of Terence throughout the Early Middle Ages.
The writings of Cicero contain hundreds of quotations of Latin poetry. This book examines his citations of Latin poets writing in diverse poetic genres and demonstrates the importance of poetry as an ethical, historical, and linguistic resource in the late Roman Republic. Hannah Čulík-Baird studies Cicero's use of poetry in his letters, speeches, and philosophical works, contextualizing his practice within the broader intellectual trends of contemporary Rome. Cicero's quotations of the 'classic' Latin poets, such as Ennius, Pacuvius, Accius, and Lucilius, are responsible for preserving the most significant fragments of verse from the second century BCE. The book also therefore examines the process of fragmentation in classical antiquity, with particular attention to the relationship between quotation and fragmentation. The Appendices collect perceptible instances of poetic citation (Greek as well as Latin) in the Ciceronian corpus.
The purpose of this volume is to investigate scholastic culture in the Hellenistic and Roman eras, with a particular focus on ancient book and material culture as well as scholarship beyond Greek authors and the Greek language. Accordingly, one of the major contributions of this work is the inclusion of multiple perspectives and its contributors engage not only with elements of Greek scholastic culture, but also bring Greek ideas into conversation with developing Latin scholarship (see chapters by Dickey, Nicholls, Marshall) and the perspective of a minority culture (i.e., Jewish authors) (see chapters by Hezser, Adams). This multicultural perspective is an important next step in the discussion of ancient scholarship and this volume provides a starting point for future inquiries.
For many years the domain of specialists in early Latin, in complex metres, and in the reconstruction of texts, Roman comedy is now established in the mainstream of Classical literary criticism. Where most books stress the original performance as the primary location for the encountering of the plays, this book finds the locus of meaning and appreciation in the activity of a reader, albeit one whose manner of reading necessarily involves the imaginative reconstruction of performance. The texts are treated, and celebrated, as literary devices, with programmatic beginnings, middles, ends, and intertexts. All the extant plays of Plautus and Terence have at least a bit part in this book, which seeks to expose the authors' fabulous artificiality and artifice, while playing along with their differing but interrelated poses of generic humility.
Excerpt from The Andria and Adelphoe of Terence: With Notes The more ancient mss. Of Terence, except one, bear the subscription of Calliopius, and are none of them earlier than the ninth century. That one, now in the Vatican Library, by far the oldest and best, though the first 785 lines 'of the Andria are lost, belongs to the fifth century, was once in the possession of the Cardinal Pietro Bembo of Venice, and is called the Bembine. Of a col lation of this ms. By Petrus Victorius, now in the Royal Library at Munich, Fleckeisen availed himself in the preparation of his text published in the Teubner series of classics in 1857; and this text is adopted in the present edition of the Andria and Adelphos. With it, however, has been carefully compared the edition of Francis Umpfenbach, Berlin, 1870, which contains exact colla tions of all the important mss., and furnishes the most complete critical apparatus which has yet appeared. The more important various readings are mentioned in the Notes, and in a very few instances only a different reading has been preferred to that of Fleckeisen. The comedies of Terence, in comparison with those of Plautus, stand in very little need of expurgation; and. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Provides a comprehensive critical engagement with Roman comedy and its reception presented by leading international scholars in accessible and up-to-date chapters.
In The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.
The sixteenth century was an exciting period in the history of European theatre. In the Iberian Peninsula, Italy, France, Germany and England, writers and actors experimented with new dramatic techniques and found new publics. They prepared the way for the better-known dramatists of the next century but produced much work which is valuable in its own right, in Latin and in their own vernaculars. The popular theatre of the Middle Ages gave endless material for reinvention by playwrights, and the legacy of the ancient world became a spur to creativity, in tragedy and comedy. As soon as readers and audiences had taken in the new plays, they were changed again, taking new forms as the first experiments were themselves modified and reinvented. Writers constantly adapted the texts of plays to meet new requirements. These and other issues are explored by a group of international experts from a comparative perspective, giving particular emphasis to one of the great European comic dramatists, the Portuguese Gil Vicente. Tom Earle is King John II Professor of Portuguese at Oxford. Catarina Fouto is a Lecturer in Portuguese at King's College London.