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Excerpt from The Scholia on Hypokrisis in the Commentary of Donatus: A Dissertation On the other hand, some emphasis may be laid upon the general character of many elements in the commentary which, apart from the supposed directions for scenic action, have an unmistakable scenic import' It will thus appear that the com piler aimed distinctly to incorporate lore concerning the objective representation of plays, though they may have passed from the stage, and that he had at hand the material for much scenic information. 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.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ...Eun. 5, 4, 25 (v. 947), Quae illaec turba est? (Parmeno); sed apparet vultum Pythiae turbam dicere. Eun. 5, 8, 7 (v. 1037), Audin tu quid hic ait? (Gnatho);--hoc vultu mutato et conturbato dicitur. Phor. 1, 2, 7 (v. 57), Scd quid tu es tristis? (Davus);--hic admonemur omnem ab initio sermonem Getae quasi satagentis et anxii pronuntiari accommodatis praesertim ad vultum verbis: 1, 4, 7 (v. 184), cited below, p. 53. Fear: Eun. 4, 6, 31 (v. 769), Fac animo haec ut praesenti dicas;--haec non dicerentur a Thaide, nisi in illius (i. e. Chremes) vultu pavor nimius appareret. Eun. 5, 4, 21 (v. 943), Pro deum fidem! (Pythias);--haec singula pronuntianda sunt pavido et attonito vultu. Displeasure: Ad. 5, 7, 9 (v. 907), Turbas lampadas tibicinas (Demea);--haec igitur vultu pronuntianda sunt, ut appareat ea displicere dicenti. Eun. 1, 2, 51 (v. 131), Aliquantulum est ad rem amdior (Thais);--vultu accommodate ad reprehensionem pronuntiandum est. Eun. 4, 7, 35 (v. 805), Hui (Thraso);--'hem' et 'hui' genus sannae sunt adversus eos quibus irascimur.1 1As such note Ad. 3, 4, 21 (v. 467); And. 1, 2, 23 (v. 194); 2, 6, 4 (t. 435); Eun. 5, 3, 3 (v. 912). Hec. 1, 1, 17 (v. 74), Heu me miseram (Syra);--intelligit ex vultu eius (i. e. Philotis) non se persuasisse quod voluit. Hec. 4, 3, 8 (v. 614), Quid est? (Laches);--eo vultu pronuntiantur, ut consilium eius (i. e. Pamphilus) et verba videatur contemnere pater. Hec. 4, 4, 48 (v. 670), Quern ipse neglexit pater, ego alam? (Pamphilus);--hic sibi obmurmurans vultu et verbis ostendit nolle suscipere filium. Hec. 4, 4, 103 (v. 725), Sed vin adesse me una dum istam consents? (Phidippus);--melius pronuntiaveris, si renitente et improbante hoc vultu dicere acceperis Phidippum. Confidence: Ad. 5, 7, 22 (v. 920), Quid...
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PIERIDES IV This volume examines interpretation as the original process of critical reception vis-a-vis Terence’s experimental comedies. The book, which consists of two parts, looks at Terence as both an agent and a subject of interpretation. The First Part (‘Terence as Interpreter’) examines Terence as an interpreter of earlier literary traditions, both Greek and Roman. The Second Part (‘Interpretations of Terence’) identifies and explores different expressions of the critical reception of Terence’s output. The papers in both sections illustrate the various expressions of originality and individual creative genius that the process of interpretation entails. The volume at hand is the first study to focus not only on the interpreter, but also on the continuity and evolution of the principles of interpretation. In this way, it directs the focus from Terence’s work to the meaning of Terence’s work in relation to his predecessors (the past literary tradition), his contemporaries (his literary antagonists, but also his audience), and posterity (his critical readers across the centuries).
Each number includes "Reviews and book notices."
The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction to and reference work for the unified study of ancient comedy. From its birth in Greece to its end in Rome, from its Hellenistic to its Imperial receptions, no topic is neglected. The 41 essays offer cutting-edge guides through comedy's immense terrain.