By Antony Augoustakis

A entire number of essays through top students within the box that tackle, in one quantity, a number of key concerns in studying Terence providing a close examine of Terence’s performs and situating them of their socio-historical context, in addition to documenting their reception via to provide day

• The first complete number of essays on Terence in English, through top students within the field
• Covers a number of themes, together with either conventional and sleek matters of gender, race, and reception
• Features a wide-ranging yet interconnected sequence of essays that provide new views in reading Terence
• Includes an creation discussing the lifetime of Terence, its impression on next stories of the poet, and the query of his ethnicity

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Additional resources for A Companion to Terence

Sample text

Here are five of his most salient modifications. First, in broad structural terms, Terence creates or amplifies double plots, in which we find sets of characters whose activities mirror each other’s. He is especially good at creating contrasting pairs of fathers, sons in love, and slaves. We find this “duality method” in all of Terence’s plays, though Hecyra shows it in attenuated form (Duckworth 1952: 184–90; Goldberg 1986). While in Andria one set of lovers is clearly subordinate to the other, Terence’s duality method typically generates parallel plots more than main plots and subplots.

However, the case for this has not been made out, and there are places where Donatus ascribes to “Terence” features of the plays that everyone would agree must derive from the Greek originals. Sometimes he refers to “Terence,” sometimes to “the poet,” and in most cases it is simply the qualities of the Latin text in front of him that he is assessing. ) Donatus occasionally quotes the Greek phrase that Terence was adapting, and some further short passages from the Greek originals are quoted by other ancient authors.

Eu. ” (ἀλλὰ τί ποιήσω) in Menander’s play; and Stobaeus quotes from Menander’s Eunuchos what are clearly the lines lying behind Parmeno’s advice at lines 76–8 of Terence’s play: si sapis, / neque praeter quam quas ipse amor molestias / habet addas, et illas quas habet recte feras (“If you’re sensible, you won’t add troubles to those that love already contains, and you’ll put up properly with those that it does contain”); Menander had written μὴ θεομάχει μηδὲ προσάγου τῷ πράγματι / χειμῶνας ἑτέρους, τοὺς δ’ ἀναγκαίους ϕέρε (“Don’t fight against the god, and don’t add further storms to the affair, but put up with those that it necessarily contains”).

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