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111-580: On the Latin stage the prologue was often more elaborate than it was in Athens, and in the careful composition of the poems which Plautus prefixes to his plays we see what importance he gave to this portion of the entertainment; sometimes, as in the preface to the Rudens , Plautus rises to the height of his genius in his adroit and romantic prologues, usually placed in the mouths of persons who make no appearance in

222-572: A continual development over several centuries, the beginnings of formal Latin literature started with the regular performance of comedies and tragedies in Rome in 240 BC, one year after the conclusion of the First Punic War . These initial comedies and tragedies were adapted from Greek drama by Livius Andronicus , a Greek prisoner of war who had been brought to Rome as a slave in 272 BC. Andronicus translated Homer 's Odyssey into Latin using

333-432: A different relationship between actors and the space in which they performed and also between them and their audiences". Actors were thrust into much closer audience interaction. Because of this, a certain acting style became required that is more familiar to modern audiences. Because they would have been in such close proximity to the actors, ancient Roman audiences would have wanted attention and direct acknowledgement from

444-506: A farce in comparison. He addresses them as a reflection of Menander with some of Plautus' own contributions. Anderson argues there is unevenness in the poetry of Plautus that results in "incredulity and refusal of sympathy of the audience." The poetry of Menander and Plautus is best juxtaposed in their prologues. Robert B. Lloyd makes the point that "albeit the two prologues introduce plays whose plots are of essentially different types, they are almost identical in form..." He goes on to address

555-557: A logical unit. Latin can be used with conciseness, as in the works of Sallust and Tacitus . Or it can have wide, sweeping phrases, as in the works of Livy and the speeches of Cicero . Latin lacks poetic vocabulary that marks the Greek poetry. Some earlier Latin poets tried to make up for this deficiency by creating new compound words, as the Greeks had done. But Roman writers seldom invented words. Except in epic poetry, they tended to use

666-452: A long poem, De rerum natura . One of the most prolific writers of the period was Marcus Terentius Varro . Referred to as "the most learned of the Romans" by Quintillian , he wrote about a remarkable variety of subjects, from religion to poetry, but only his writings on agriculture and the Latin language are extant in their complete form. The emperor Augustus took a personal interest in

777-617: A play." One of the best examples of this method is the Plautine slave, a form that plays a major role in quite a few of Plautus' works. The "clever slave" in particular is a very strong character; he not only provides exposition and humor, but also often drives the plot in Plautus' plays. C. Stace argues that Plautus took the stock slave character from New Comedy in Greece and altered it for his own purposes. In New Comedy, he writes, "the slave

888-416: A respectable limit. All of these characters have the same goal, to be with a younger woman, but all go about it in different ways, as Plautus could not be too redundant with his characters despite their already obvious similarities. What they have in common is the ridicule with which their attempts are viewed, the imagery that suggests that they are motivated largely by animal passion, the childish behavior, and

999-503: A separate work, greatly influenced later poetic theories. It stated the basic rules of classical writing as the Romans understood and used them. After Virgil died, Horace was Rome's leading poet. The Latin elegy reached its highest development in the works of Tibullus , Propertius , and Ovid . Most of this poetry is concerned with love. Ovid wrote the Fasti , which describes Roman festivals and their legendary origins. Ovid's greatest work,

1110-435: A single manuscript dating to perhaps the 4th or 5th century AD. At some stage the plays in the P family were divided into two halves, one containing Amphitruo to Epidicus (omitting Bacchides ), and the other containing Bacchides and Menaechmi to Truculentus . The first eight plays are found in B, and the first three and part of Captivi are found in D. The last twelve plays are found in B, C, and D. In addition there

1221-411: A specific function of transition and clarification for the audience. A direct address made by one actor, the prologue acted as an appeal to the audience's attention and sympathy, providing historical context, a guide to themes of the play, and occasionally, a disclaimer. In this mode, a prologue, like any scripted performance, would exist as the text, the actor who speaks that text, and the presentation of

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1332-409: A temporary stage would have been built during specific festivals. Roman drama, specifically Plautine comedy, was acted out on stage during the ludi or festival games. In his discussion of the importance of the ludi Megalenses in early Roman theater, John Arthur Hanson says that this particular festival "provided more days for dramatic representations than any of the other regular festivals, and it

1443-479: A traditional Latin verse form called Saturnian meter . In 235 BC, Gnaeus Naevius , a Roman citizen, continued this tradition of producing dramas that were reworkings of Greek originals, or fabula palliata , and he expanded on this by producing a new type of drama, fabula praetexta , or tragedies based on Roman myths and history, starting in 222 BC. Later in life, Naevius composed an epic poem in Saturnian meter on

1554-655: A vivid picture of the public and private life among the Roman governing class. Cicero's works on oratory are our most valuable Latin sources for ancient theories on education and rhetoric. His philosophical works were the basis of moral philosophy during the Middle Ages. His speeches inspired many European political leaders and the founders of the United States. Julius Caesar and Sallust were significant historical writers of Cicero's time. Caesar wrote commentaries on

1665-432: A young man who is accidentally changed into a donkey. The story is filled with tales of love and witchcraft. Pagan Latin literature showed a final burst of vitality from the late 3rd century till the 5th centuries – Ammianus Marcellinus in history, Quintus Aurelius Symmachus in oratory, and Ausonius and Rutilius Claudius Namatianus in poetry. The Mosella by Ausonius demonstrated a modernism of feeling that indicates

1776-666: Is Sulpicia . In prose, Livy produced a history of the Roman people in 142 books. Only 35 survived, but they are a major source of information on Rome. From the death of Augustus in AD 14 until about 200, Roman authors emphasized style and tried new and startling ways of expression. During the reign of Nero from 54 to 68, the Stoic philosopher Seneca wrote a number of dialogues and letters on such moral themes as mercy and generosity. In his Natural Questions , Seneca analyzed earthquakes, floods, and storms. Seneca's tragedies greatly influenced

1887-523: Is a copycat of Greek New Comedy and that he makes no original contribution to playwriting. A single reading of the Miles Gloriosus leaves the reader with the notion that the names, place, and play are all Greek, but one must look beyond these superficial interpretations. W.S. Anderson would steer any reader away from the idea that Plautus' plays are somehow not his own or at least only his interpretation. Anderson says that, "Plautus homogenizes all

1998-478: Is evidence that antiwar feeling ran deep and persisted even after the war was approved." Owens contends that Plautus was attempting to match the complex mood of the Roman audience riding the victory of the Second Punic War but facing the beginning of a new conflict. For instance, the characters of the dutiful daughters and their father seem obsessed over the idea of officium , the duty one has to do what

2109-434: Is important to recognize is that of contaminatio , which refers to the mixing of elements of two or more source plays. Plautus, it seems, is quite open to this method of adaptation, and quite a few of his plots seem stitched together from different stories. One excellent example is his Bacchides and its supposed Greek predecessor, Menander's Dis Exapaton. The original Greek title translates as "The Man Deceiving Twice", yet

2220-449: Is in connection with these ludi that the most definite and secure literary evidence for the site of scenic games has come down to us". Because the ludi were religious in nature, it was appropriate for the Romans to set up this temporary stage close to the temple of the deity being celebrated. S.M. Goldberg notes that " ludi were generally held within the precinct of the particular god being honored." T. J. Moore notes that "seating in

2331-516: Is known about Titus Maccius Plautus's early life. It is believed that he was born in Sarsina , a small town in Emilia Romagna in northern Italy, around 254 BC. According to Morris Marples, Plautus worked as a stage-carpenter or scene-shifter in his early years. It is from this work, perhaps, that his love of the theater originated. His acting talent was eventually discovered; and he adopted

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2442-440: Is often not much more than a comedic turn, with the added purpose, perhaps, of exposition". This shows that there was precedent for this slave archetype, and obviously some of its old role continues in Plautus (the expository monologues, for instance). However, because Plautus found humor in slaves tricking their masters or comparing themselves to great heroes, he took the character a step further and created something distinct. Of

2553-401: Is right. Their speech is littered with words such as pietas and aequus , and they struggle to make their father fulfill his proper role. The stock parasite in this play, Gelasimus, has a patron-client relationship with this family and offers to do any job in order to make ends meet; Owens puts forward that Plautus is portraying the economic hardship many Roman citizens were experiencing due to

2664-474: Is that New Comedy, in comparison to Old Comedy, is "devoid of a serious political, social or intellectual content" and "could be performed in any number of social and political settings without risk of giving offense". The risk-taking for which Aristophanes is known is noticeably lacking in the New Comedy plays of Menander . Instead, there is much more of a focus on the home and the family unit—something that

2775-480: Is well known for his devotion to puns, especially when it comes to the names of his characters. In Miles Gloriosus , for instance, the female concubine's name, Philocomasium, translates to "lover of a good party"—which is quite apt when we learn about the tricks and wild ways of this prostitute. Plautus' characters—many of which seem to crop up in quite a few of his plays—also came from Greek stock, though they too received some Plautine innovations. Indeed, since Plautus

2886-525: The Metamorphoses weaves various myths into a fast-paced, fascinating story. Ovid was a witty writer who excelled in creating lively and passionate characters. The Metamorphoses was the best-known source of Greek and Roman mythology throughout the Middle Ages and the Renaissance. It inspired many poets, painters, and composers. One of the few female poets of ancient Rome whose work has survived

2997-515: The Middle Ages . Latin literature features the work of Roman authors, such as Cicero , Virgil , Ovid and Horace , but also includes the work of European writers after the fall of the Empire; from religious writers like Aquinas (1225–1274), to secular writers like Francis Bacon (1561–1626), Baruch Spinoza (1632–1677), and Isaac Newton (1642–1727). Although literature in Latin followed

3108-463: The New Comedy of Menander —in his leisure. His studies allowed him to produce his plays, which were released between c.  205 and 184 BC. Plautus attained such popularity that his name alone became a hallmark of theatrical success. Plautus's comedies are mostly adapted from Greek models for a Roman audience, and are often based directly on the works of the Greek playwrights. He reworked

3219-542: The Second Macedonian War , there was considerable debate beforehand about the course Rome should take in this conflict. But starting this war would not be an easy task considering those recent struggles with Carthage—many Romans were too tired of conflict to think of embarking on another campaign. As W. M. Owens writes in his article "Plautus' Stichus and the Political Crisis of 200 B.C.", "There

3330-494: The nomen "Maccius" (from Maccus, a clownish stock character in Atellan Farce ) and agnomen "Plautus" ("trampled flat", usually in reference to "flat-footed" but sometimes intending "flat-eared" like the ears of a hound). Tradition holds that he made enough money to go into the nautical business, but that the venture collapsed. He is then said to have worked as a manual laborer and to have studied Greek drama—particularly

3441-604: The pimp . It is not uncommon, too, for a character to scorn the gods, as seen in Poenulus and Rudens . Tolliver argues that drama both reflects and foreshadows social change . It is likely that there was already much skepticism about the gods in Plautus' era. Plautus did not make up or encourage irreverence to the gods, but reflected ideas of his time. The state controlled stage productions, and Plautus' plays would have been banned, had they been too risqué. The Second Punic War occurred from 218 to 201 BC; its central event

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3552-489: The Campus Martius. The lack of a permanent space was a key factor in Roman theater and Plautine stagecraft. In their introduction to the Miles Gloriosus, Hammond, Mack and Moskalew say that "the Romans were acquainted with the Greek stone theater, but, because they believed drama to be a demoralizing influence, they had a strong aversion to the erection of permanent theaters". This worry rings true when considering

3663-494: The Elder . Cato wrote the first Latin history of Rome and of other Italian cities. He was the first Roman statesman to put his political speeches in writing as a means of influencing public opinion. Early Latin literature ended with Gaius Lucilius , who created a new kind of poetry in his 30 books of Satires (2nd century BC). He wrote in an easy, conversational tone about books, food, friends, and current events. Traditionally,

3774-534: The Gallic and civil wars in a straightforward style to justify his actions as a general. He wrote descriptions of people and their motives. The birth of lyric poetry in Latin occurred during the same period. The lyrics of Catullus , whom the writer Aulus Gellius called "the most elegant of poets", are noted for their emotional intensity. Contemporary with Catullus, Lucretius expounded the Epicurean philosophy in

3885-487: The Greek texts to give them a flavour that would appeal to the local Roman audiences. They are the earliest surviving intact works in Latin literature. Plautus's epitaph read: postquam est mortem aptus Plautus, Comoedia luget, scaena deserta, dein risus, ludus iocusque et numeri innumeri simul omnes conlacrimarunt. Since Plautus is dead, Comedy mourns, The stage is deserted; then Laughter, Jest and Wit, And all Melody's countless numbers wept together. Only

3996-462: The Greeks had already written about. Even when they copied the Greeks, their translations were not straightforward replicas of the original Greek works. Only fragments of their plays have survived. Considerably more is known about early Latin comedy, as 26 Early Latin comedies are extant – 20 of which were written by Plautus ; the remaining six were written by Terence . These men modeled their comedies on Greek plays known as New Comedy , but treated

4107-414: The Plautine version has three tricks. V. Castellani commented that: Plautus' attack on the genre whose material he pirated was, as already stated, fourfold. He deconstructed many of the Greek plays' finely constructed plots; he reduced some, exaggerated others of the nicely drawn characters of Menander and of Menander's contemporaries and followers into caricatures; he substituted for or superimposed upon

4218-534: The Romans' interest in rhetoric, the art of speaking and persuading. Public speaking had great importance for educated Romans because most of them wanted successful political careers. When Rome was a republic , effective speaking often determined who would be elected or what bills would pass. After Rome became an empire , the ability to impress and persuade people by the spoken word lost much of its importance. But training in rhetoric continued to flourish and to affect styles of writing. A large part of rhetoric consists of

4329-466: The Romans, including Plautus, could easily understand and adopt for themselves later in history. One main theme of Greek New Comedy is the father–son relationship. For example, in Menander's Dis Exapaton there is a focus on the betrayal between age groups and friends. The father-son relationship is very strong and the son remains loyal to the father. The relationship is always a focus, even if it's not

4440-480: The ability to present a familiar idea in a striking new manner that attracts attention. Latin authors became masters of this art of variety. Latin is a highly inflected language, with many grammatical forms for various words. As a result, it can be used with a pithiness and brevity unknown in English. It lends itself to elaboration, because its tight syntax holds even the longest and most complex sentence together as

4551-425: The actors. Because there was no orchestra, there was no space separating the audience from the stage. The audience could stand directly in front of the elevated wooden platform. This gave them the opportunity to look at the actors from a much different perspective. They would have seen every detail of the actor and heard every word he said. The audience member would have wanted that actor to speak directly to them. It

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4662-492: The approximate 270 proper names in the surviving plays of Plautus, about 250 names are Greek. William M. Seaman proposes that these Greek names would have delivered a comic punch to the audience because of its basic understanding of the Greek language. This previous understanding of Greek language, Seaman suggests, comes from the "experience of Roman soldiers during the first and second Punic wars. Not only did men billeted in Greek areas have opportunity to learn sufficient Greek for

4773-421: The audience and by its switch from senarii in the dialogue to iambic septenarii . The resulting shift of mood distracts and distorts our sense of passing time." The small stages had a significant effect on the stagecraft of ancient Roman theater. Because of this limited space, there was also limited movement. Greek theater allowed for grand gestures and extensive action to reach the audience members who were in

4884-560: The audience as well as the actor. The greatest playwrights of the day had quality facilities in which to present their work and, in a general sense, there was always enough public support to keep the theater running and successful. However, this was not the case in Rome during the time of the Republic, when Plautus wrote his plays. While there was public support for theater and people came to enjoy tragedy and comedy alike, no permanent theater existed in Rome until Pompey dedicated one in 55 BC in

4995-411: The audience". M. Leigh writes in his chapter on Plautus and Hannibal that "the Plautus who emerges from this investigation is one whose comedies persistently touch the rawest nerves in the audience for whom he writes". Later, coming off the heels of the conflict with Hannibal, Rome was preparing to embark on another military mission, this time in Greece. While they would eventually move on Philip V in

5106-486: The bosom of the family". Both authors, through their plays, reflect a patriarchal society in which the father-son relationship is essential to proper function and development of the household. It is no longer a political statement, as in Old Comedy, but a statement about household relations and proper behavior between a father and his son. But the attitudes on these relationships seem much different—a reflection of how

5217-554: The cost of war. With the repetition of responsibility to the desperation of the lower class, Plautus establishes himself firmly on the side of the average Roman citizen. While he makes no specific reference to the possible war with Greece or the previous war (that might be too dangerous), he does seem to push the message that the government should take care of its own people before attempting any other military actions. Greek New Comedy greatly differs from those plays of Aristophanes. The most notable difference, according to Dana F. Sutton,

5328-430: The current fashion of the court, and then addressed the audience. The Elizabethan prologue was unique in incorporating aspects of both classical and medieval traditions. In the classical tradition, the prologue conformed to one of four subgenres: the sustatikos , which recommends either the play or the poet; the epitimetikos , in which a curse is given against a rival, or thanks given to the audience; dramatikos , in which

5439-445: The dialogue of Plautus' plays. These verbs of motion or phrases can be taken as Plautine stage directions since no overt stage directions are apparent. Often, though, in these interchanges of characters, there occurs the need to move on to the next act. Plautus then might use what is known as a "cover monologue". About this S.M. Goldberg notes that, "it marks the passage of time less by its length than by its direct and immediate address to

5550-495: The different spaces of the stage are thematically charged. She states: Plautus' Casina employs these conventional tragic correlations between male/outside and female/inside, but then inverts them in order to establish an even more complex relationship among genre, gender and dramatic space. In the Casina , the struggle for control between men and women... is articulated by characters' efforts to control stage movement into and out of

5661-427: The elegance and Classicism of their style. Examples of these were Anthony Alsop and Vincent Bourne , who were noted for the ingenious way that they adapted their verse to describing details of life in the 18th century while never departing from the purity of Latin diction. One of the last to be noted for the quality of his Latin verse well into the 19th century was Walter Savage Landor . Much Latin writing reflects

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5772-476: The elegant humor of his models his own more vigorous, more simply ridiculous foolery in action, in statement, even in language. By exploring ideas about Roman loyalty, Greek deceit, and differences in ethnicity, "Plautus in a sense surpassed his model." He was not content to rest solely on a loyal adaptation that, while amusing, was not new or engaging for Rome. Plautus took what he found but again made sure to expand, subtract, and modify. He seems to have followed

5883-426: The end of classical literature as such. Writers who laid the foundations of Christian Latin literature during the 4th century and 5th century included the church fathers Augustine of Hippo , Jerome , and Ambrose , and the first great Christian poet, Prudentius . Some Latin writing by Christian women also survives: the prison diary of the martyr Perpetua of Carthage , and an account of a Christian pilgrimage by

5994-474: The epigram achieved the stinging quality still associated with it. Juvenal satirized vice. The historian Tacitus painted an unforgettably dark picture of the early empire in his Histories and Annals , both written in the early 2nd century. His contemporary Suetonius wrote biographies of the 12 Roman rulers from Julius Caesar through Domitian . The letters of Pliny the Younger described Roman life of

6105-651: The errors of P. A second manuscript tradition is represented by manuscripts of the Palatine family, so called because two of its most important manuscripts were once kept in the library of the Elector Palatine in Heidelberg in Germany. The archetype of this family is now lost but it can be reconstructed from various later manuscripts, some of them containing either only the first half or the second half of

6216-606: The first Punic War, in which he had fought. Other epic poets followed Naevius. Quintus Ennius wrote an historical epic, the Annals (soon after 200 BC), describing Roman history from the founding of Rome to his own time. He adopted the Greek dactylic hexameter, which became the standard verse form for Roman epics. He became well known for his tragic dramas. Successors in this field include Marcus Pacuvius and Lucius Accius . These three writers rarely used episodes from Roman history , but they wrote Latin versions of tragic themes that

6327-406: The first stage play in Latin was performed in Rome. Latin literature flourished for the next six centuries. The classical era of Latin literature can be roughly divided into several periods: Early Latin literature , The Golden Age , The Imperial Period and Late Antiquity . Latin was the language of the ancient Romans as well as being the lingua franca of Western and Central Europe throughout

6438-500: The focus of every action taken by the main characters. In Plautus, on the other hand, the focus is still on the relationship between father and son, but we see betrayal between the two men that wasn't seen in Menander. There is a focus on the proper conduct between a father and son that, apparently, was so important to Roman society at the time of Plautus. This becomes the main difference and, also, similarity between Menander and Plautus. They both address "situations that tend to develop in

6549-771: The geography of the stage and more importantly the play matched the geography of the city so that the audience would be well oriented to the locale of the play. Moore says that, "references to Roman locales must have been stunning for they are not merely references to things Roman, but the most blatant possible reminders that the production occurs in the city of Rome". So, Plautus seems to have choreographed his plays somewhat true-to-life. To do this, he needed his characters to exit and enter to or from whatever area their social standing would befit. Two scholars, V. J. Rosivach and N. E. Andrews, have made interesting observations about stagecraft in Plautus: V. J. Rosivach writes about identifying

6660-416: The gods. These references to the gods include a character comparing a mortal woman to a god, or saying he would rather be loved by a woman than by the gods. Pyrgopolynices from Miles Gloriosus (vs. 1265), in bragging about his long life, says he was born one day later than Jupiter. In Curculio , Phaedrome says "I am a god" when he first meets with Planesium. In Pseudolus , Jupiter is compared to Ballio

6771-515: The growth of tragic drama in Europe. His nephew Lucan wrote the Pharsalia (about 60), an epic poem describing the civil war between Caesar and Pompey . The Satyricon (about 60) by Petronius was the first picaresque Latin novel. Only fragments of the complete work survive. It describes the adventures of various low-class characters in absurd, extravagant, and dangerous situations, often in

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6882-877: The height of Latin literature has been assigned to the period from 81 BC to AD 17, although recent scholarship has questioned the assumptions that privileged the works of this period over both earlier and later works. This period is usually said to have begun with the first known speech of Cicero and ended with the death of Ovid . Cicero has traditionally been considered the master of Latin prose. The writing he produced from about 80 BC until his death in 43 BC exceeds that of any Latin author whose work survives in terms of quantity and variety of genre and subject matter, as well as possessing unsurpassed stylistic excellence. Cicero's many works can be divided into four groups: (1) letters, (2) rhetorical treatises, (3) philosophical works, and (4) orations. His letters provide detailed information about an important period in Roman history and offer

6993-429: The house. Andrews makes note of the fact that power struggle in the Casina is evident in the verbal comings and goings. The words of action and the way that they are said are important to stagecraft. The words denoting direction or action such as abeo ("I go off"), transeo ("I go over"), fores crepuerunt ("the doors creak"), or intus ("inside"), which signal any character's departure or entrance, are standard in

7104-419: The language as it is spoken. In ushering the audience from reality into the world of the play, the prologue straddles boundaries between audience, actors, characters, playwrights—basically, it creates a distinction between the imaginary space within the play and the outside world. Ben Jonson has often been noted as using the prologue to remind the audience of the complexities between themselves and all aspects of

7215-413: The last decade of the 3rd century BC. A. F. West believes that this is inserted commentary on the Second Punic War. In his article "On a Patriotic Passage in the Miles Gloriosus of Plautus", he states that the war "engrossed the Romans more than all other public interests combined". The passage seems intended to rile up the audience, beginning with hostis tibi adesse , or "the foe is near at hand". At

7326-708: The literary works produced during his years of power from 27 BC to AD 14. This period is sometimes called the Augustan Age of Latin Literature. Virgil published his pastoral Eclogues , the Georgics , and the Aeneid , an epic poem describing the events that led to the creation of Rome. Virgil told how the Trojan hero Aeneas became the ancestor of the Roman people. Virgil provided divine justification for Roman rule over

7437-462: The mouths of characters belonging to the lower social ranks, to whose language and position these varieties of humorous technique are most suitable," matched well with the stable of characters. In his article "The Intriguing Slave in Greek Comedy," Philip Harsh gives evidence to show that the clever slave is not an invention of Plautus. While previous critics such as A. W. Gomme believed that

7548-410: The performance. The actor reciting the prologue would appear dressed in black, a stark contrast to the elaborate costumes used during the play. The prologue removed his hat and wore no makeup. He may have carried a book, scroll, or placard displaying the title of the play. He was introduced by three short trumpet calls, on the third of which he entered and took a position downstage. He made three bows in

7659-520: The period. Quintilian composed the most complete work on ancient education that we possess. Important works from the 2nd century include the Attic Nights of Aulus Gellius , a collection of anecdotes and reports of literary discussions among his friends; and the letters of the orator Marcus Cornelius Fronto to Marcus Aurelius . The most famous work of the period was Metamorphoses , also called The Golden Ass , by Apuleius . This novel concerns

7770-412: The pilgrim Egeria . During the Renaissance there was a return to the Latin of classical times, called for this reason Neo-Latin . This purified language continued to be used as the lingua franca among the learned throughout Europe, with the great works of Descartes , Francis Bacon , and Baruch Spinoza all being composed in Latin. Among the last important books written primarily in Latin prose were

7881-459: The play itself. Molière revived the Plautian prologue in the introduction to his Amphitryon . Racine introduced Piety as the speaker of a prologue which opened his choral tragedy of Esther . The tradition of the ancients vividly affected our own early dramatists. Not only was the mystery plays and miracles of the Middle Ages begun by a homily , but when the drama in its modern sense

7992-429: The plays as vehicles for his special exploitation. Against the spirit of the Greek original, he engineers events at the end... or alter[s] the situation to fit his expectations." Anderson's vehement reaction to the co-opting of Greek plays by Plautus seems to suggest that they are in no way like their originals were. It seems more likely that Plautus was just experimenting putting Roman ideas in Greek forms. One idea that

8103-502: The plays. The most important manuscript of this group is "B", of the 10th or early 11th century, now kept in the Vatican library. Manuscripts C and D also belong to this family. The lost original P, from which all these manuscripts were copied, is ascribed by Lindsay to the 8th or 9th century. Because of certain errors which both A and the P family have in common, it is thought that they are not completely independent, but are both copies of

8214-494: The plot of the play is explained; and mixtos, which contains all of these things. In the medieval tradition, expressions of morality and modesty are seen, as well as a meta-theatrical self-consciousness, and an unabashed awareness of the financial contract engaged upon by paid actors and playwrights, and a paying audience. Prologues have long been used in non-dramatic fiction, since at least the time of Geoffrey Chaucer 's Canterbury Tales , although Chaucer had prologues to many of

8325-438: The plots and wording of the originals freely. Plautus scattered songs throughout his plays and added to the humor with puns and wisecracks, as well as comic actions by the actors. Terence's plays were more austere in tone, dealing with domestic situations. His works provided the chief inspiration for French and English comedies of the 17th century AD. The prose of the period is best known through On Agriculture (160 BC) by Cato

8436-451: The purpose of everyday conversation, but they were also able to see plays in the foreign tongue." Having an audience with knowledge of the Greek language, whether limited or more expanded, allowed Plautus more freedom to use Greek references and words. Also, by using his many Greek references and showing that his plays were originally Greek, "It is possible that Plautus was in a way a teacher of Greek literature, myth, art and philosophy; so too

8547-479: The reversion to the love-language of their youth. In examining the female role designations of Plautus's plays, Z.M. Packman found that they are not as stable as their male counterparts: a senex will usually remain a senex for the duration of the play but designations like matrona , mulier , or uxor at times seem interchangeable. Most free adult women, married or widowed, appear in scene headings as mulier , simply translated as "woman". But in Plautus' Stichus

8658-449: The same path that Horace did, though Horace is much later, in that he is putting Roman ideas in Greek forms. He not only imitated the Greeks, but in fact distorted, cut up, and transformed the plays into something entirely Roman. In essence it is Greek theater colonized by Rome and its playwrights. In Ancient Greece during the time of New Comedy, from which Plautus drew so much of his inspiration, there were permanent theaters that catered to

8769-445: The side of the stage with both social status and geography. He says that, for example, "the house of the medicus lies offstage to the right. It would be in the forum or thereabouts that one would expect to find a medicus ." Moreover, he says that characters that oppose one another always have to exit in opposite directions. In a slightly different vein, N.E. Andrews discusses the spatial semantics of Plautus; she has observed that even

8880-423: The slave was "[a] truly comic character, the devisor of ingenious schemes, the controller of events, the commanding officer of his young master and friends, is a creation of Latin comedy," and that Greek dramatists such as Menander did not use slaves in such a way that Plautus later did, Harsh refutes these beliefs by giving concrete examples of instances where a clever slave appeared in Greek comedy. For instance, in

8991-460: The society in the forefront. The wooden stages on which Plautus' plays appeared were shallow and long with three openings in respect to the scene-house. The stages were significantly smaller than any Greek structure familiar to modern scholars. Because theater was not a priority during Plautus' time, the structures were built and dismantled within a day. Even more practically, they were dismantled quickly due to their potential as fire-hazards. Often

9102-513: The specific style of Plautus that differs so greatly from Menander. He says that the "verbosity of the Plautine prologues has often been commented upon and generally excused by the necessity of the Roman playwright to win his audience." However, in both Menander and Plautus, word play is essential to their comedy. Plautus might seem more verbose, but where he lacks in physical comedy he makes up for it with words, alliteration and paronomasia (punning). See also "jokes and wordplay" below. Plautus

9213-511: The stock characters of the pompous soldier and the desperate parasite that appeared in Plautine comedies. In disposing of highly complex individuals, Plautus was supplying his audience with what it wanted, since "the audience to whose tastes Plautus catered was not interested in the character play," but instead wanted the broad and accessible humor offered by stock set-ups. The humor Plautus offered, such as "puns, word plays, distortions of meaning, or other forms of verbal humor he usually puts them in

9324-408: The subject matter of Plautus' plays. The unreal becomes reality on stage in his work. T. J. Moore notes that, "all distinction between the play, production, and 'real life' has been obliterated [Plautus' play Curculio ]". A place where social norms were upended was inherently suspect. The aristocracy was afraid of the power of the theater. It was merely by their good graces and unlimited resources that

9435-456: The tales, rather than one at the front of the book. The Museum of Eterna's Novel by the Argentine writer Macedonio Fernandez has over 50 prologues by the author. Their style varies between metaphysical, humoristic, psychological, discussions about the art of the novel, etc. Plautus Titus Maccius Plautus ( / ˈ p l ɔː t ə s / , PLAW -təs ; c. 254 – 184 BC)

9546-424: The temporary theaters where Plautus' plays were first performed was often insufficient for all those who wished to see the play, that the primary criterion for determining who was to stand and who could sit was social status". This is not to say that the lower classes did not see the plays; but they probably had to stand while watching. Plays were performed in public, for the public, with the most prominent members of

9657-423: The text where there appears to have been in a hole or lacuna in the parchment) that the original P manuscript was copied from an earlier manuscript with 19, 20 or 21 lines to the page, in other words it was a book very similar to A, which has 19 lines to the page, and probably it was about the same age. However, the order of plays in A is slightly different from that in the P family of manuscripts. The headings at

9768-442: The time, the general Scipio Africanus wanted to confront Hannibal, a plan "strongly favored by the plebs". Plautus apparently pushes for the plan to be approved by the senate, working his audience up with the thought of an enemy in close proximity and a call to outmaneuver him. Therefore, it is reasonable to say that Plautus, according to P. B. Harvey, was "willing to insert [into his plays] highly specific allusions comprehensible to

9879-587: The titles and various fragments of these plays have survived. The oldest manuscript of Plautus is a palimpsest , known as the Ambrosian palimpsest (A), since it is kept in the Ambrosian Library in Milan . It is thought to date to the 5th century, but it was not discovered until 1815. This manuscript is only partly legible, since the parchment was cleaned and a copy of the books of Kings and Chronicles

9990-458: The top of the scenes in A, containing character names, which were written in red ink, have been totally washed away, and those in the P family seem to be based on guesswork and so were also probably missing in an ancestor of the lost P codex. For this reason the names of some of the minor characters are not known. The historical context within which Plautus wrote can be seen, to some extent, in his comments on contemporary events and persons. Plautus

10101-471: The two young women are referred to as sorores , later mulieres , and then matronae , all of which have different meanings and connotations. Although there are these discrepancies, Packman tries to give a pattern to the female role designations of Plautus. Mulier is typically given to a woman of citizen class and of marriageable age or who has already been married. Unmarried citizen-class girls, regardless of sexual experience, were designated virgo . Ancilla

10212-402: The very back of the theater. However the Romans would have had to depend more on their voices than large physicality. There was not an orchestra available as there was for the Greeks and this is reflected in the notable lack of a chorus in Roman drama. The replacement character that acts as the chorus would in Greek drama is often called the "prologue". Goldberg says that "these changes fostered

10323-518: The works of Swedenborg (d. 1772), Linnaeus (d. 1778), Euler (d. 1783), Gauss (d. 1855), and Isaac Newton (d. 1727), and Latin remains a necessary skill for modern readers of great early modern works of linguistics, literature, and philosophy. Several of the leading English poets wrote in Latin as well as English. Milton's 1645 Poems are one example, but there were also Thomas Campion , George Herbert and Milton's colleague Andrew Marvell . Some indeed wrote chiefly in Latin and were valued for

10434-405: The works of Athenaeus, Alciphron, and Lucian there are deceptions that involve the aid of a slave, and in Menander's Dis Exapaton there was an elaborate deception executed by a clever slave that Plautus mirrors in his Bacchides . Evidence of clever slaves also appears in Menander's Thalis , Hypobolimaios , and from the papyrus fragment of his Perinthia . Harsh acknowledges that Gomme's statement

10545-774: The world of petty crime. Epic poems included the Argonautica of Gaius Valerius Flaccus , following the story of Jason and the Argonauts in their quest for the Golden Fleece, the Thebaid of Statius , following the conflict of Oedipus's sons and the Seven Against Thebes, and the Punica of Silius Italicus , following the Second Punic War and the invasions of Hannibal into Italy. At the hands of Martial ,

10656-522: The world. Although Virgil died before he could put the finishing touches on his poem, it was soon regarded as the greatest work of Latin literature. Virgil's friend Horace wrote Epodes , Odes , Satires , and Epistles . The perfection of the Odes in content, form, and style has charmed readers for hundreds of years. The Satires and Epistles discuss ethical and literary problems in an urbane, witty manner. Horace's Art of Poetry , probably published as

10767-417: The worlds of Menander and Plautus differed. There are differences not just in how the father–son relationship is presented, but also in the way in which Menander and Plautus write their poetry. William S. Anderson discusses the believability of Menander versus the believability of Plautus and, in essence, says that Plautus' plays are much less believable than those plays of Menander because they seem to be such

10878-450: Was Hannibal's invasion of Italy. M. Leigh has devoted an extensive chapter about Plautus and Hannibal in his 2004 book, Comedy and the Rise of Rome . He says that "the plays themselves contain occasional references to the fact that the state is at arms...". One good example is a piece of verse from the Miles Gloriosus, the composition date of which is not clear but which is often placed in

10989-465: Was a Roman playwright of the Old Latin period. His comedies are the earliest Latin literary works to have survived in their entirety. He wrote Palliata comoedia , the genre devised by Livius Andronicus , the innovator of Latin literature. The word Plautine / ˈ p l ɔː t aɪ n / ( PLAW -tyne ) refers to both Plautus's own works and works similar to or influenced by his. Not much

11100-550: Was a part of the thrill of the performance, as it is to this day. Plautus' range of characters was created through his use of various techniques, but probably the most important is his use of stock characters and situations in his various plays. He incorporates the same stock characters constantly, especially when the character type is amusing to the audience. As Walter Juniper wrote, "Everything, including artistic characterization and consistency of characterization, were sacrificed to humor, and character portrayal remained only where it

11211-478: Was a popular comedic playwright while Roman theatre was still in its infancy and still largely undeveloped. At the same time, the Roman Republic was expanding in power and influence. Plautus was sometimes accused of teaching the public indifference and mockery of the gods. Any character in his plays could be compared to a god. Whether to honour a character or to mock him, these references were demeaning to

11322-467: Was adapting these plays it would be difficult not to have the same kinds of characters—roles such as slaves, concubines, soldiers, and old men. By working with the characters that were already there but injecting his own creativity, as J. C. B. Lowe wrote in his article "Aspects of Plautus' Originality in the Asinaria", "Plautus could substantially modify the characterization, and thus the whole emphasis of

11433-415: Was he teaching something of the nature of Greek words to people, who, like himself, had recently come into closer contact with that foreign tongue and all its riches." At the time of Plautus, Rome was expanding, and having much success in Greece. W.S. Anderson has commented that Plautus "is using and abusing Greek comedy to imply the superiority of Rome, in all its crude vitality, over the Greek world, which

11544-417: Was inaugurated in the reign of Elizabeth, the prologue came with it, directly adapted from the practice of Euripides and Terence . Sackville, Lord Buckhurst , prepared a sort of prologue in the dumb show for his Gorboduc of 1562; and he also wrote a famous Induction , which is, practically, a prologue, to a miscellany of short romantic epics by diverse hands. Prologues of Renaissance drama often served

11655-558: Was necessary for the success of the plot and humor to have a persona who stayed in character, and where the persona by his portrayal contributed to humor." For example, in Miles Gloriosus , the titular "braggart soldier" Pyrgopolynices only shows his vain and immodest side in the first act, while the parasite Artotrogus exaggerates Pyrgopolynices' achievements, creating more and more ludicrous claims that Pyrgopolynices agrees to without question. These two are perfect examples of

11766-477: Was now the political dependent of Rome, whose effete comic plots helped explain why the Greeks proved inadequate in the real world of the third and second centuries, in which the Romans exercised mastery". Plautus was known for the use of Greek style in his plays, as part of the tradition of the variation on a theme. This has been a point of contention among modern scholars. One argument states that Plautus writes with originality and creativity—the other, that Plautus

11877-596: Was once a fragmentary manuscript called the Codex Turnebi (T), which was used by a French scholar called Turnèbe in the 16th century. Although this manuscript is now lost, some readings from it were preserved by Turnèbe himself, and others were recorded in the margins of a 16th-century edition discovered by Lindsay in the Bodleian Library in Oxford. There are certain indications (for example, small gaps in

11988-683: Was perfect for achieving a humorous response and the traits of the character worked well for driving the plot forward. Another important Plautine stock character, discussed by K.C. Ryder, is the senex amator . A senex amator is classified as an old man who contracts a passion for a young girl and who, in varying degrees, attempts to satisfy this passion. In Plautus these men are Demaenetus ( Asinaria ), Philoxenus and Nicobulus ( Bacchides ), Demipho ( Cistellaria ), Lysidamus ( Casina ), Demipho ( Mercator ), and Antipho ( Stichus ). Periplectomenos ( Miles Gloriosus ) and Daemones ( Rudens ) are regarded as senes lepidi because they usually keep their feelings within

12099-426: Was probably made before the discovery of many of the papyri that we now have. While it was not necessarily a Roman invention, Plautus did develop his own style of depicting the clever slave. With larger, more active roles, more verbal exaggeration and exuberance, the slave was moved by Plautus further into the front of the action. Because of the inversion of order created by a devious or witty slave, this stock character

12210-533: Was the term used for female household slaves, with Anus reserved for the elderly household slaves. A young woman who is unwed due to social status is usually referred to as meretrix or "courtesan". A lena , or adoptive mother, may be a woman who owns these girls. Latin literature Latin literature includes the essays, histories, poems, plays, and other writings written in the Latin language. The beginning of formal Latin literature dates to 240 BC, when

12321-399: Was written on top. Parts of the text are completely missing (for example, nothing survives of Amphitruo , Asinaria , Aulularia , or of the first 475 lines of Bacchides ), and other parts are barely legible. The most legible parts of A are found in the plays Persa , Poenulus , Pseudolus , and Stichus . Despite its fragmentary state, this palimpsest has proved very valuable in correcting

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