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Updated: June 6, 2025
Political Neutrality The compilers were still more decidedly prohibited from naming any living person in terms either of praise or censure, as well as from any captious allusion to the circumstances of the times. In the whole repertory of the Plautine and post-Plautine comedy, there is not, so far as we know, matter for a single action of damages.
The Plautine style of composing had taken root among the Roman bourgeoisie; the comedies of Terence encountered the liveliest opposition from the public, which found their "insipid language," their "feeble style," intolerable.
The Plautine pieces are pervaded by the significant antagonism of the tavern to the house; everywhere wives are visited with abuse, to the delight of all husbands temporarily emancipated and not quite sure of an amiable salutation at home. The comedies of Terence are pervaded by a conception not more moral, but doubtless more becoming, of the feminine nature and of married life.
The Plautine dialogue beyond doubt departed very frequently from its models; Terence boasts of the verbal adherence of his imitations to the originals, by which however we are not to understand a verbal translation in our sense.
The Plautine pieces are pervaded by the significant antagonism of the tavern to the house; everywhere wives are visited with abuse, to the delight of all husbands temporarily emancipated and not quite sure of an amiable salutation at home. The comedies of Terence are pervaded by a conception not more moral, but doubtless more becoming, of the feminine nature and of married life.
All the Plautine plays belong to the Palliatae, i.e. those of which the entire surroundings are Greek, the name being taken from the Pallium or Greek cloak worn by the actors. There was, however, in the Italian towns a species of comedy founded on Greek models but national in dress, manners, and tone, known as Comoedia Togata, of which Titinius was the greatest master.
The Plautine style of composing had taken root among the Roman bourgeoisie; the comedies of Terence encountered the liveliest opposition from the public, which found their "insipid language," their "feeble style," intolerable.
The time may yet come when Randolph's reputation, based upon his other works the Jealous Lovers, a Plautine comedy, clever, but preposterous in more ways than one, the Muses' Looking Glass, a perfectly undramatic morality of humours, and the poems, generally witty, occasionally graceful, and more than occasionally improper will be enhanced by the recognition of the fact that he came nearer than any other writer to reconciling a kind of pastoral with the temper of the English stage.
The lazy Plautine hostelry, the very unconstrained but very charming damsels with the hosts duly corresponding, the sabre-rattling troopers, the menial world painted with an altogether peculiar humour, whose heaven is the cellar, and whose fate is the lash, have disappeared in Terence or at any rate undergone improvement.
While the latter had been in the previous period supplanted by the more tasteful but in point of comic vigour far inferior Terence, Roscius and Varro, or in other words the theatre and philology, co-operated to procure for him a resurrection similar to that which Shakespeare experienced at the hands of Garrick and Johnson; but even Plautus had to suffer from the degenerate susceptibility and the impatient haste of an audience spoilt by the short and slovenly farces, so that the managers found themselves compelled to excuse the length of the Plautine comedies and even perhaps to make omissions and alterations.
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