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Sur la scène tragique, à Athènes, comme sur la scène comique, à Rome, des Phéniciens et des Puniques jouent un rôle dans une large mesure conforme aux stéréotypes de l’altérité, mais aussi plus subtil en rapport avec la notion de parenté qui complexifie le portrait. En définitive, tragédies et comédies puisent à la fois dans le contexte immédiat, fait de conflits ou de compétitions, et dans le réservoir de traditions mythologiques qui, à travers la figure de Cadmos, tissent des liens entre Phéniciens et Grecs. On the tragic stage, in Athens, as on the comic stage, in Rome, Phoenicians and Carthaginians play a role which conforms to a great extent to the stereotypes of otherness, but is also more subtle as regards the notion of kinship which makes the portrait more complex. All in all, tragedies and comedies draw both from their immediate context, characterized by conflicts and rivalries, and from the reservoir of mythological traditions that, through the figure of Cadmos, weave links between Phoenicians and Greeks.

Although Renaissance scholars generally agree that Della Porta was the finest comic playwright of his generation in Italy, no detailed analysis of these plays and of their considerable influence outside Italy has previously appeared. One of the most famous men of his time in the field of scientific investigation, Della Porta wrote plays for relaxation and, on occasion, to camouflage controversial aspects of his scientific research from the Inquisitions. Today his works in science are largely forgotten and his right to fame rests on the plays. This book brings together the available facts of Della Porta's rich and often mysterious life and closely examines his dramatic works as part of the Italian literary scene in late Renaissance. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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.

Sur la scène tragique, à Athènes, comme sur la scène comique, à Rome, des Phéniciens et des Puniques jouent un rôle dans une large mesure conforme aux stéréotypes de l’altérité, mais aussi plus subtil en rapport avec la notion de parenté qui complexifie le portrait. En définitive, tragédies et comédies puisent à la fois dans le contexte immédiat, fait de conflits ou de compétitions, et dans le réservoir de traditions mythologiques qui, à travers la figure de Cadmos, tissent des liens entre Phéniciens et Grecs.

Plautus's career as a playwright (c. 207–184 bce ) spans precisely the period that witnessed the largest surge in the growth of Roman power abroad. The vast majority of his audience would have been comprised of citizen‐soldiers, veterans, and their families. Militarism, soldiering, and the dehumanization of the conquered “other,” among them Greeks and Carthaginians, are common themes in the plays, most likely reflecting Plautus's militarized audience's attitudes and preoccupations.

Plautine drama was intimately linked to the religious context in which the plays were performed. By its inclusion in religious festivals (ludi), the performance of Roman drama was temporally and spatially proximate to the performance of public religious rituals. Plautus capitalized on this proximity by including frequent parodic references in his plays to Roman religious performances and attitudes. Plautus's Poenulus (“The Little Punic”) serves as a case study for how the parodic citation of religious ritual can give structure and meaning to a play as well as comment on the processes and politics of religious expression at Rome. Through the character of Hanno, who embodies both Roman and Carthaginian traits, Plautus comments on the complexities of adopting foreign cults at Rome, which in turn has bearing on Roman attitudes regarding the imperialist expansion of Roman power throughout the Mediterranean during the second century bce .

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This chapter focuses on the images of the actor and the audience in Plautus's comedy. Since Plautine scripts are the only contemporary evidence for the performances, accounts from other epochs of the Greek and Roman world must supplement our knowledge. In the plays, references to performing artists and spectators are found in the prologues and epilogues, as well as within the plot, often in the plays‐within‐the‐play so typical of Plautine comedy. This chapter examines references to the names, gender, and social status of the artists and the public in Roman society, as well as to the art of acting and the audience's expectations. Through the Plautine lens, the modern public receives a selective image of Roman stagecraft, which proves to be relevant not only to potential performances but also to the interpretation and edition of the transmitted texts.

Characters in Rudens, Cistellaria, and Poenulus employ a range of metadramatic strategies aimed at overcoming those who oppose comic ideals. In Rudens, Arcturus and Trachalio undertake metadramatic initiatives to facilitate a merry resolution of the play, while Labrax and Gripus advance their own profit‐oriented schemes that delay the happy end. In Cistellaria, the lover Alcesimarchus initiates a metadramatic plan to regain possession of his mistress Selenium from her foster mother Melaenis. The happy resolution becomes possible when Melaenis abandons her false narrative and returns the girl to her biological parents. In Poenulus, the trickster slave concocts two complementary metadramatic schemes to bring about his master's happiness. These metadramatic devices can either delay or expedite the “happy ending” typical of romance. Through the workings of providence, which aids those who promote New Comedy ideals to the disadvantage of those who oppose them, romance eventually triumphs on stage.

This chapter contains sections titled: Sources and Bibliography The Causes of and Pretext for the Conflict The Opposing Armies The Siege of Carthage: The Time of the Consuls The Siege of Carthage: The Time of Scipio Aemilianus The Consequences of the Taking of Carthage Assessment