Plautus


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Plautus

(Titus Maccius Plautus) (plô`təs), c.254–184 B.C., Roman writer of comedies, b. Umbria. His plays, adapted from those of Greek New Comedy, are popular and vigorous representations of middle-class and lower-class life. Written with a mastery of idiomatic spoken Latin and governed by a genius for situation and coarse humor, Plautus' comedies achieved a great reputation. Characteristic of his plays are the stock comic figures—the knavish, resourceful slave, the young lover and his mistress, the courtesan, the parasite, and the braggart soldier. His plots and characters have had great influence upon later literature, with adaptations and imitations by many writers, e.g., Molière, Corneille, Jonson, and Shakespeare. The chronological order for Plautus' plays is unknown; 21, more or less complete, survive: Amphitruo (Amphitryon), Asinaria, Aulularia, Bacchides, Captivi, Casina, Cistellaria, Curculio, Epidicus, Menaechmi, Mercator, Miles gloriosus, Mostellaria, Persa, Poenulus, Pseudolus, Rudens, Stichus, Trinummus, Truculentus, and Vidularia (in fragments).

Bibliography

See G. E. Duckworth, The Complete Roman Drama (1942) and other translations by P. Nixon (5 vol., rev. 1952–62) and J. Tatum (1983); study by E. Segal (1968).

Plautus

Titus Maccius . ?254--?184 bc, Roman comic dramatist. His 21 extant works, adapted from Greek plays, esp those by Menander, include Menaechmi (the basis of Shakespeare's The Comedy of Errors), Miles Gloriosus, Rudens, and Captivi
References in periodicals archive ?
But, as we know, this play has its roots in Plautus, an underfunded comic writer who knew his Roman working class audiences and gave them what they wanted, which was easy comic book comedies containing large dollops of eating, drinking and sex.
The following English translation of Plautus' Miles Gloriosus 2.2 forms part of an Honours' mini-dissertation in which I will focus on conceptual metaphor and the translation thereof.
(6) In the spirit of Prescott, I posit that Plautus wrote the script with care (whether he closely followed or altered this scene from his Greek model) and that Myrrhina's behavior in this scene can be understood in the context of her character, without resorting to the non-explanation of dramatic necessity.
Michael Fontaine's essays on Plautus and Terence are both excellent works of scholarship but will probably be less useful to those teaching Roman comedy in translation or investigating the pervasive influence of Roman comedy on its modern descendants.
Chapter Three examines Machiavelli's Clizia, and challenges the traditional view that it is a mediocre imitation of Plautus' Casina.
Carmen Bernal Laves' chapter on the role of parasites in Plautus is full of exemples, with the conclusions offering a very useful synthesis of the relevance of these characters in the plays.
In explaining how that learning shows itself, Burrow eschews "traditional source-study, of the kind that lists direct allusions" hunted down by "traditional source-hunters." He is aware, for example, that The Comedy of Errors is a melding of several plays by Plautus, but he isn't interested in these direct influences of story line or script.
Incidental music and choruses for Plautus's Mostellaria.
The topics include Dionysus' choice in Frogs and Aristophanes' parenetic pedigree, the reception of comedy in the ancient novel, Titus Andronicus as an illustration of the link between Roman comedy and Renaissance revenge drama, Lysistrata on Broadway, and Plautus' Menaechmi in English translation.
The Roman playwright Plautus is famous for his tendency to make up and change the meaning of words to create puns in Latin.
The artists' eclectic repertoire of sources ranges from Sextus Propertius and Plautus through Victor Hugo and Alfred Jarry to Jorge Luis Borges and Rene Daumal, from whose 1938 novel A Night of Serious Drinking they've borrowed the term ahyssology, the study of the abyss, applying it to their creative practice.