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What pleasures did Plautus’ heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure.

First critical edition of Burmeister's newly discovered Aulularia.Joannes Burmeister of Lüneburg (1576-1638) was among the greatest Neo-Latin poets of the German Baroque.His masterpieces, now mostly lost, are Christian 'inversions' of the Classical Roman comedies of Plautus.

This chapter examines plays dominated by an impressive but ridiculous central character: the braggart soldier of Miles Gloriosus, the miser of Aulularia, and the pimp of Pseudolus. These central characters, initially secure or powerful, must be overthrown for a happy resolution. Together, they provide an opportunity to study masculinity as a function of class, as each feels his masculinity is threatened on account of his own class standing – the soldier is a foreigner, the miser is poor, and the pimp is hated by all – and each is upended by individuals of an even more socially disadvantaged class (women, slaves, and prostitutes). The audience delights in seeing arrogant men humbled by their social inferiors.

La scelta del sintagma aggettivale teliger risulta pregnante, in quanto \"indizio\" prolettico dei segmenti successivi, tutti focalizzati su perni semanticoconcettuali relativi al \"dardo\" spiculum (544), sagittis (545), telo (547), arcum (549), sagittam (550) e soprattutto in funzione della richiesta cui è finalizzata l'invocazione al dio: ut amare possit Hercules in cui referente oggettuale è l'orante stessa (seil, me), come del resto dimostra l'esortativa-ottativa amare discat coniugem (555) che peraltro conferma l'attendibilità della lezione tradita coniugem di E rispetto a coniuges di A. Ancora una volta dunque l'analisi stilistica, linguistica e filologica si rivela estremamente utile alla individuazione e fecalizzazione di determinati nuclei tematici che, pur essendo contestualizzati in generi letterari assolutamente diversi come quello comico, tragico, epico da noi esaminati, sub specie suasoriae, vengono comunque approfonditi, nel tentativo di ricostruire non solo il testo presente, nel nostro caso la preghiera, ma anche quello assente, relativo cioè all'interiorità dell'autore, al suo inconscio; anche sulla base della decodificazione degli elementi che con Jakobson definiamo \"subliminali,\"73 sottesi a quelli fonetici e sintattici, e in relazione alle scelte semantiche operate dall'autore.

No detailed description available for \"Giambattista Della Porta, Dramatist\".

This chapter provides an overview of the medieval reception of Plautus's Aulularia in the anonymous play Querolus and in the Aulularia by Vitalis Blesensis, and the extent of adaptation that characterizes these works. Major alterations to the Plautine play appear in the changes made to the original materials, the deletion or elision of scenes deemed unnecessary, their replacement by new scenes, and finally, a thematic shift toward issues philosophically and morally relevant to each period.

This chapter contains sections titled: Theatrical Space Menander and Tragedy Husband and Wife Fathers and Daughters Mothers and Daughters Conclusion Recommended Further Reading