03887nam 2200709 450 991045644110332120200520144314.01-281-99756-097866119975641-4426-7117-310.3138/9781442671171(CKB)2420000000003838(EBL)3254951(SSID)ssj0000289625(PQKBManifestationID)11238112(PQKBTitleCode)TC0000289625(PQKBWorkID)10404029(PQKB)11064768(CaBNvSL)slc00215959 (MiAaPQ)EBC3254951(MiAaPQ)EBC4671214(DE-B1597)464199(OCoLC)944178497(DE-B1597)9781442671171(Au-PeEL)EBL4671214(CaPaEBR)ebr11256932(CaONFJC)MIL199756(OCoLC)431554549(EXLCZ)99242000000000383820160922h19931993 uy 0engur|n|---|||||txtccrBarbarian play Plautus' Roman comedy /William S. AndersonToronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,1993.©19931 online resource (195 p.)The Robson Classical LecturesDescription based upon print version of record.0-8020-7941-5 Includes bibliographical references and index.Frontmatter -- Contents -- Foreword -- Preface -- 1. Plautus and the Deconstruction of Menander -- 2. si-amicus Diphilo aut Philemoni es: Plautus’ Exploitation of Other Writers and Features of the Greek Comic Tradition -- 3. Plautus’ Plotting: The Lover Upstaged -- 4. Heroic Badness (malitia): Plautus’ Characters and Themes -- 5. Words, Numbers, Movement: Plautus' Mastery of Comic Language, Metre, and Staging -- 6. Plautus and His Audience: The Roman Connection -- Notes -- Bibliography -- Index In this volume William S. Anderson sets Plautus, who wrote Rome's earliest surviving poetry, in his rightful place among the Greek and Roman writers of what we know as New Comedy (fourth to second centuries).Anderson begins by defining major innovations that Plautus made on inherited Greek New Comedy (Menander, Philemon, and Diphilus), transforming it from romantic domestic drama to a celebration of rollicking family anarchy. He shows how Plautus diminished the traditional importance of love and replaced it with a new major theme: 'heroic badness,' especially embodied in the rogue slave (ancestor of the impudent servant, valet, or maid). Anderson then examines the unique verbal texture of Plautus' drama and demonstrates his revolt against realism, his drive to have his characters defy everyday circumstances and pit their intrepid linguistic wit against social order, their Roman extravagant impudence against Greek self-control. Finally, Anderson explores the special form of metatheatre that we admire in Plautus, by which he undermines the assumptions of his Greek `models' and replaces them with a new, confident Roman comedy.Robson classical lectures.Latin drama (Comedy)Greek influencesLatin drama (Comedy)History and criticismLITERARY CRITICISM / Ancient & ClassicalbisacshElectronic books.Latin drama (Comedy)Greek influences.Latin drama (Comedy)History and criticism.LITERARY CRITICISM / Ancient & Classical.872.01Anderson William S.164152MiAaPQMiAaPQMiAaPQBOOK9910456441103321Barbarian play1117123UNINA