Academic literature on the topic 'Terence Comedy'
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Journal articles on the topic "Terence Comedy"
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Fantham, Elaine. "Terence and the Familiarisation of Comedy." Ramus 33, no. 1-2 (2004): 20–34. http://dx.doi.org/10.1017/s0048671x00001107.
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Let me start by quoting a paragraph from a century old edition of Terence, which will serve as a reminder of changes in our background knowledge of both comedy and this particular comic playwright: Of the six extant Terentian comedies the Andria is the most pathetic, the Adelphoe in general more true to human nature than the rest, the Eunuchus the most varied and lively, with the largest number of interesting characters, and the Hecyra the one of least merit. All six are remarkable for the art with which the plot is unfolded through the natural sequence of incidents and play of motives. Striking effects, sharp contrasts and incongruities, which meet us in many plays of Plautus, are almost wholly absent. All is smooth, consistent and moderate, without any of the extravagance of exuberant humour or even creative fancy which characterizes the writing of the older poet. But Terence was essentially an imitative artist and his distinguishing feature was his artistic finish, a fact fully recognized by Horace (Epistle 2.1.59).There is plenty here to question, if not correct. What does it mean to call Adelphoe more true to human nature? What defines an ‘interesting character’? And do present day readers still find Hecyra the play of least merit? As for the art with which Terence’s plots are unfolded, we still cannot guess how much of this is his own contribution rather than derived from Menander (whose plays were still unknown when this edition was written). However, scholars have used both the evidence given by Terence in the prologues and his commentator Donatus to identify where he has himself innovated in his plots—removing the expository prologues to replace irony with suspense, introducing a second lover and slave into Andria, working a braggart soldier and his parasite into Eunuchus and inserting an abduction scene into the second act of Adelphoe. And yet it was Terence’s immediate predecessor Caecilius whom Varro, most learned of ancient critics, praised for his superior plots. Certainly Terence does not indulge in the extravagance of Plautus, but is this because he is ‘essentially an imitative artist’? On the other hand I would not challenge the editor’s evaluation of his scripts as ‘smooth, consistent and moderate’ or his praise for the playwright’s ‘artistic finish’. Instead I would ask if this is what we want, or ought to want from comedy.
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Meerhoff, Kees. "Commenter Térence au XVIe siècle:." Rhetorica 36, no. 4 (2018): 344–66. http://dx.doi.org/10.1525/rh.2018.36.4.344.
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Terence, celebrated author of six comedies, has been studied in many classrooms during Antiquity. A witness of this fact is the extensive commentary by Donatus. Among most fathers of the Church, Terence had a bad press. For Lactantius, the eloquence displayed in comedy is altogether pernicious. Augustine singles out a well-known passage from the Eunuch for censure on several occasions. In Renaissance education, nonetheless, Terence remained a prerequisite for mastering eloquence. Erasmus strongly recommended him to teachers of his age. Melanchthon's belief in Terence as a master of excellence in everyday Latin and a model of rhetorical skill was strengthened by his positive appraisal of Terence's moral intentions. In the theological philosophy he developed, ancient ethics acquired a prominent place. Disciples of the praæceptor Germaniæ published extensive commentaries on Terence's comedies. J. Willich carefully defined the moral issues of each individual scene in his surprisingly detailed analysis of Terence's comedies. His commentary (1550) enjoyed considerable fame.
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Anderson, William S. "The Invention of Sosia for Terence's First Comedy, The Andria." Ramus 33, no. 1-2 (2004): 10–19. http://dx.doi.org/10.1017/s0048671x00001090.
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In connection with the beginnings of the Andria, there have been anecdotes and scholarly theories ever since the time of Suetonius and his sources for the Life of Terence, and they intrigued Donatus in his commentary. Naturally, then, they have developed their own influence in the scholarly tradition. An anecdote recounted by Suetonius, who does not name his source, reports that when Terence delivered his play to the aediles of 166 BCE (who would be producing the comedy at the Megalensian Games), he was ordered (or invited, iussus) to read it first to Caecilius Statius (the current grand old man of Latin Comedy). It happened that Caecilius was dining when Terence appeared, dressed with no distinction and therefore earning the coolness of Caecilius. The old man treated him like a servant and had him seat himself on a stool next to his couch and start reading, so as to disturb his dining as little as possible. However, once Terence began reading his play, after only a few verses, he was invited up to Caecilius' couch and proceeded to read through the remainder of the play to the considerable admiration of his host. Now, scholars have had several things to say about this story. First and most commonly, they have pointed out that good evidence fixes the death of Caecilius in 168, roughly two years before the performance of the Andria; and accordingly this story has no factual substance. Good, there is no reason to try to combat facts: this interesting meeting of Caecilius and Terence never happened. However, we do not need to throw away the Suetonian story as useless trivia. The reason someone devised the story was evidently to bring the older generation of comic poetry into contact with the new and to voice its strong approval of its successor's first product, the Andria. Although Caecilius himself may never have known Terence, the plays of the two were linked by a common impresario, Lucius Ambivius Turpio. The didascaliae to all six plays of Terence credit him with being the producer, and in the so-called second prologue of the Hecyra Ambivius reports that he had troubles producing the plays of Caecilius, as he had recently had with Terence's.
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Watt, Caitlin. "Nugae Theatri." Erasmus Studies 38, no. 2 (October 5, 2018): 200–218. http://dx.doi.org/10.1163/18749275-03802002.
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Abstract This article examines Erasmus’ additions to the Adagia in 1533 drawn from comedic playwrights Plautus and Terence. Although Erasmus generally expressed a preference for Terence, Plautus is cited more frequently overall in the Adages and the 133 borrowings from Plautus in the 1533 additions drastically outnumber the 22 from Terence. While scholars have noted this numerical discrepancy, few have hazarded concerted attempts to explain it. This article analyzes the different Plautine and Terentian references in the additions of 1533 and reads them in the context of Erasmus’ other educational writings on classical literature and particularly on characters in comedy. Ultimately, two explanations for Erasmus’ apparent preference for Plautus in 1533 present themselves. First, Plautus presented memorable characters who illustrated the tension between eloquence and morality that characterized the debate in Erasmus’ time over comedy’s role in education. Second, Giambattista Pio’s 1500 edition of Plautus with commentary provided Erasmus with other motivations, such as the opportunity for textual criticism, to focus on Plautus.
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Moodie, Erin K. "Old Men and Metatheatre in Terence: Terence's Dramatic Competition." Ramus 38, no. 2 (2009): 145–73. http://dx.doi.org/10.1017/s0048671x00000564.
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Within the Terentian corpus thesenes(‘old men’) Simo (of theAndria) and Chremes (of theHeauton Timorumenos) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to theMercator), Plautinesenesdo not usually share in this awareness. This paper focuses on theAndria'sSimo and theHeauton'sChremes because—despite their unusual generic knowledge, which each man reveals in several metatheatrical remarks—they nevertheless misinterpret their slaves. Indeed, we shall see that both men's knowledge of the character type of the clever slave leads to their belief that they can control the slaves and see through their attempts at deception. However, in the end both men actually deceive themselves because their knowledge leads them to see deceptions where there are none—to interpret truth as a fiction contrived by their slaves. Interestingly, Simo and Chremes have something else in common: they both appear in plays whose prologues feature references to an unnamed opponent of Terence—themaleuolus uetus poeta(‘spiteful old poet’). This individual is alleged to have charged Terence with (1) mixing the plots of multiple Greek comedies together in the composition of his own plays, and (2) accepting the help of powerful friends in the writing of his comedies.
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McGinnis, James M. "Sedley’s Bellamira: Terence and Whig Comedy." Restoration: Studies in English Literary Culture, 1660-1700 37, no. 2 (2013): 21–35. http://dx.doi.org/10.1353/rst.2013.0018.
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Brown, P. G. McC. "Love and Marriage in Greek New Comedy." Classical Quarterly 43, no. 1 (May 1993): 189–205. http://dx.doi.org/10.1017/s0009838800044268.
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Writing of Terence's Andria (‘The Girl from Andros’) in 1952, Duckworth said: ‘In the Andria the second love affair is unusual; Charinus’ love for a respectable girl whose virtue is still intact has been considered an anticipation of a more modern attitude towards love and sex. More frequently in Plautus and Terence the heroine, if of respectable parentage, has been violated before the opening of the drama (Aulularia, Adelphoe), or she is a foreigner, a courtesan, or a slave girl' (Duckworth (1952), p. 158). Perhaps in 1993 it does not seem quite so ‘modern’ that Charinus is not only in love with a respectable virgin but wishes to marry her.
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Ireland, Stanley, and E. Karakasis. "Terence and the Language of Roman Comedy." Classics Ireland 13 (2006): 115. http://dx.doi.org/10.2307/25528458.
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Teramura, Misha. "Black Comedy: Shakespeare, Terence, and Titus Andronicus." ELH 85, no. 4 (2018): 877–908. http://dx.doi.org/10.1353/elh.2018.0032.
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Manuwald, Gesine. "Roman Comedy." Brill Research Perspectives in Classical Poetry 1, no. 2 (April 22, 2020): 1–88. http://dx.doi.org/10.1163/25892649-12340002.
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Abstract This contribution provides an introduction to all varieties of ‘Roman comedy’, including primarily fabula palliata (‘new comedy’, as represented by Plautus and Terence) as well as fabula togata, fabula Atellana, mimus and pantomimus. It examines the major developments in the establishment of these dramatic genres, their main characteristics, the performance contexts for them in Republican Rome, and their reception. The presentation of the key facts is accompanied by a description of the influential turns and recent trends in scholarship on Roman comedy. The essay is designed for scholars, teachers and (graduate) students who have some familiarity with Roman literature and are looking for (further) orientation in the area of Roman comedy.
Dissertations / Theses on the topic "Terence Comedy"
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Karakasis, Evangelos. "Terence and the language of Roman comedy." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620973.
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Rich, Laura Brooke. "Language and power in Roman comedy." Thesis, [Austin, Tex. : University of Texas Libraries, 2009. http://hdl.handle.net/2152/ETD-UT-2009-05-157.
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Silva, Nahim Santos Carvalho. "Eunuchus de Terêncio: estudo e tradução." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-15032010-105944/.
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A presente dissertação consiste em um estudo e na tradução do Eunuchus de P. Terêncio Afer. A obra é a quarta comédia de Terêncio, representada em Roma no ano de 161 a.C., durante os Ludi Megalenses. O estudo divide-se em três partes: o contexto da obra, a sua estrutura e o ethos das personagens. Em relação ao contexto, são considerados o gênero da obra, os espetáculos cênicos, as origens do teatro latino e a biografia literária do autor. Para a análise da estrutura da obra, são examinadas separadamente as duas partes que a constituem: o prólogo e o enredo. O prólogo terenciano tem como peculiaridade o seu uso para a polêmica literária. O enredo organiza-se em duas bases: a suspensão do argumento e a dupla intriga. O ethos das personagens é o alvo principal deste estudo. Foram escolhidas seis personagens para a análise: Taís, Pítias, Pânfila, Fédria, Quérea e Parmenão. Nessa análise, procurou-se operar com dois tratamentos dados ao conceito de ethos: o primeiro, dentro do pensamento aristotélico, nos desdobramentos que o termo ganha na Retórica e na Poética; o segundo, situado no âmbito da Análise do Discurso Francesa, em um desenvolvimento feito por Dominique Maingueneau, ao recuperar, por via da pragmática, a noção de ethos da retórica.The present dissertation includes both a translation of Terence\'s play The Eunuch and a study on it. The play is Terence\'s fourth comedy and was staged in 161 BC, in Rome, during the Ludi Megalenses. The study has been divided into three parts: the context of the play, its structure and the ethos of the characters. Regarding the context, we considered the genre question, staging and stagecraft, latin theatre origins and the author\'s literary biography. The analysis of the structure has two parts, according to the division of the play itself into a prologue and the plot. Terence\'s prologues are peculiar in their aptness for literary polemics. The plot is organized on two main axes: line suspension and double intrigue. The characters\' ethe are the main target of this study. Six characters have been chosen for the analysis: Thais, Pythias, Pamphila, Phaedria, Chaerea, Parmeno. We approached the concept of ethos in two ways for this analysis: first, within aristotelian thought, and the way it unfolds in both the Rhetoric and the Poetics; second, within the French Discourse Analysis, following a development by Dominique Maingueneau, as he recovered, via his pragmatics, the rhetorical concept of ethos.
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Rossi, Gabriel. "Metateatralidades na Andria de Terêncio: tradução e estudo das ocorrências metateatrais na comédia." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-24042017-161650/.
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Este estudo objetiva estabelecer uma discussão acerca das referencias metateatrais e suas implicações na Andria, a primeira comédia de Terêncio, da qual também oferecemos uma tradução integral para a nossa língua. Quanto ao tratamento terenciano da fabula palliata, longe do que se pensava sobre seu suposto afastamento das técnicas empregadas pelos melhores comediógrafos do gênero, Terêncio se mostra autoconsciente de sua posição em uma tradição literária estabilizada e aceitou o desafio de se colocar na mesma posição renomada que Névio, Plauto e Ênio. Ao fazer isso, ele buscou criar uma comédia que não só não careceria de referencias metateatrais, mas que, ao contrário, daria continuidade ao metateatro plautino. Na Andria de Terêncio o vocabulário do engano, espécie de aceno para uma cena metateatral, alerta-nos para as peças dentro da comédia presentes ou vindouras e para o conhecimento que um personagem tem sobre as convenções cômicas. Plauto amiúde nos apresenta um personagem que reconhece sua existência como figura teatral em cena, mas, quando o velho Simão exibe seu conhecimento do personagem-tipo na peça Andria, podemos ver que ele falha ao enxergar enganos onde não há, interpretando a verdade como uma ficção elaborada por seus escravos, e falha na tarefa de reconhecer que ele pertence ao acervo de personagens da tradição da palliataThis study strives for a discussion about metatheatrical references and their implication in Terence\'s first comedy Andria, of which we also aim to furnish the complete translation to Portuguese. About the Terentian treatment of the fabula palliata, far away of what was thought about his supposed departing from techniques employed by the best playwrights of the genre, Terence is self-consciously aware of his place in an established literary tradition and faced the challenge of placing himself in the same renowned position of Naevius, Plautus and Ennius. In doing so, he tried to create a comedy that was not only not devoid of metatheatrical references, but, on the contrary, fond of the Plautine metatheatre. In Terences Andria the language of deception, a kind of an eye blink to a metatheatrical scene, alerts us to ongoing or further playswithin- a-play and to character\'s knowledge of comic conventions. Plautus usually presents a character who acknowledges his existence as a theatrical figure on stage, but when the old man Simo displays the knowledge of the character type in Andria, we are able to see that he fails to see deceptions where there are none, interpreting the truth as a fiction contrived by their slaves, and he also fails to recognize that he also belongs to the same stock types of palliata tradition.
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Bean, Joann Ruth MacLachlan. "From Thraso to Herod : Hrotsvitha meets the bragging soldier /." *McMaster only, 1999.
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Ponelis, Karlien. "Die invloed van die Plautiniese klug op die moderne klug." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52206.
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Thesis (MPhil)--Stellenbosch University, 2001.ENGLISH ABSTRACT: The present thesis deals with the impact of the ancient Greek farce on modem literature with specific reference to the play Kinkels innie Kabel (1971) by the contemporary Afrikaans author André P. Brink. This play is loosely based on Shakespeare's The Comedy of Errors, which in tum derives from Plautus' Menaechmi. Brink's play thus resonates with an entire European tradition. The relationship between the modem and the ancient farce is studied with reference to the concept of comedy. Comic effects, the difference between comedy and tragedy in respect of the handling of vital issues and the comic vision of the playwright are all taken into account. The analysis of the development of Athenian Old Comedy to the Roman Comedy refers to the contribution of Plautus and Terence to the continuation and revitalisation of Greek New Comedy. A comparison of these two playwrights reveals the characteristics of the farce and the difference between farce and comedy. The modem relevance of the farce is studied on the basis of Brink's text. For this purpose Plautus' original plot, the Shakespearian version and Brink's rendition are discussed and compared. On the basis of the similarities and differences in plot, caricaturisation, misidentifications, politics, fantasy, coincidence, irony, farcical violence, mechanical structure, temporal structure and linguistic register, the influence of the ancient farce on its modem counterpart is demonstrated. In addition to farce, Brink employs the classical devices of satire and parody to drive home his (political) message. Finally it is shown that the farcical in Plautus, Shakespeare and Brink serves a significant and serious thematic purpose.
AFRIKAANSE OPSOMMING: Hierdie verhandeling handel oor die impak van 'n antieke Griekse komedievorm, die klug, op moderne werke en denke. A.P. Brink se verhoogstuk Kinkels innie Kabel (1971) is 'n vrye verwerking van William Shakespeare se The Comedy of Errors. Laasgenoemde werk is weer op sy beurt gebaseer op Plautus se Menaechmi. In sy verwerking van Plautus en Shakespeare laat A.P. Brink die hele Europese tradisie deurklink. Die verhouding tussen die moderne klug en die antieke klug word bestudeer deur te fokus op die term komedie: die verhouding daarvan met lag en hoe die komedie van die tragedie verskil ten opsigte van die hantering van lewensproblematiek en komiese visie van die komedieskrywer, maak deel uit van hierdie bespreking. Die komedie se herkoms en ontwikkeling vanaf die Ou Komedie tot die Romeinse Komedie, val ook onder die soeklig. In aansluiting hiermee word Plautus en Terentius bespreek as twee komedieskrywers wat 'n rol gespeel het in die oorlewering en verlewendiging van die Griekse Nuwe Komedie. Hierdie twee skrywers word ook met mekaar vergelyk sodat die eienskappe van die klug geïllustreer word, en hoe dit in wese verskil van komedie. Die relevansie van die klug in moderne denke word bestudeer aan die hand van Brink se teks. In hierdie verband word daar 'n uiteensetting gegee van die oorspronklike Plautiniese verhaal, die Shakespeariaanse weergawe en die Brinkiaanse teks. Aan die hand van die ooreenkomste en verskille in intrige, karikaturisering, identiteitsvergissings, politiek, die fantasie-element, toeval, ironie, klugtige geweld, die meganiese struktuur, die tydstruktuur en taalregister word die invloed van die antieke klug op die moderne klug geïllustreer. Benewens die klug word Brink se werk ook verder beïnvloed deur twee klassieke middele, met name satire en parodie. Hiermee bring Brink sy (politieke) boodskap tuis. Ten slotte word die dieperliggende temas in Plautus, Shakespeare en Brink se werk bespreek deur aan te toon dat die werk nie net om die klugtige gaan nie, maar ook die meer ernstige.
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Enomoto, Keiko. "Plaute et Térence en France aux XVIe et XVIIe siècles." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040021.
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Aux XVIe et XVIIe siècles, Plaute et Térence furent considérés comme les maîtres de la langue latine, et surtout comme ceux de la comédie. Ils furent cependant évalués et hiérarchisés en fonction d’une conception tout à fait spécifique, qui ne correspondait pas toujours à leurs propres comédies. Les deux auteurs possédaient en effet un statut préconstruit, incontesté, qui les maintenait pourtant dans une image imprécise. Afin d’éclaircir leur statut au XVIIe siècle, nous examinons leur place dans les programmes et la pratique théâtrale scolaires, au sein des différents cadres d’enseignement. Nous étudions également leur présence dans l’art de la traduction, car les versions françaises de Plaute et de Térence qui jalonnent les XVIe et XVIIe siècles contribuèrent non seulement à la naissance d’une théorie de la traduction, mais aussi à une réflexion sur l’art dramatique et la naissance de la « comédie française ». Nous questionnons enfin ce que ces deux dramaturges représentent, et ce qu’être jugé digne de leur succéder pouvait signifier. Enfin, nous tentons de savoir comment Molière a réussi, aux yeux de ses contemporains et successeurs, à synthétiser et à surpasser les qualités de Plaute et de Térence jusqu’à se substituer à eux dans leur rôle de référence. On espère, par cette analyse des multiples enjeux liés aux deux dramaturges latins, apporter une nouvelle contribution aux études sur le XVIIe siècleIn the 16th and 17th centuries, Plautus and Terence were regarded as the masters of the Latin language, and above all as the masters of comedy. They were, however, judged and rated according to a very specific concept, not always consistent with their own comedies. The two authors enjoyed a preconceived and undisputed status which, however, maintained them inside a vague image. In order to cast light on their status in the 17th century, this thesis examines their place in curriculums and theatre practice in schools, within different teaching contexts. Their presence in the art of translation is reviewed, as the French versions of Plautus and Terence that punctuate the 16th and 17th centuries contributed not only to the emergence of a theory of translation, but also to a reflection on dramatic art and to the birth of the “comédie française”. The thesis then looks at what those two playwrights represent and what it might have meant to be considered their worthy successor. Finally, an investigation of how Molière managed, in the eyes of his peers and successors, to combine and surpass the qualities of Plautus and Terence to even take their place as a standard is undertaken. With the thesis, it is intended to make a new contribution to the 17th century, through this analysis of the multiple issues related to the two Latin playwrights
Books on the topic "Terence Comedy"
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Terence and the language of Roman comedy. Cambridge, U.K: Cambridge University Press, 2005.
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Terence. Scenes from the Andria Of Terence. Edited by F. W. Cornish. Whitefish, Montana: Kessinger Publishing, 2007.
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Terence. Scenes from the Andria of Terence. Edited by F. W. Cornish. Whitefish, Montana: Kessinger Publishing, 2007.
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The lost late antique illustrated Terence. Città del Vaticano: Biblioteca apostolica Vaticana, 2006.
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1927-, Anderson William Scovil, ed. A Terence reader: Selections from six plays. Mundelein, Ill: Bolchazy-Carducci, 2009.
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Damen, Mark L. The comedy of Diphilus Sinopeus in Plautus, Terence, and Athenaeus. Ann Arbor, Mich: UMI, 1999.
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Reading Roman comedy: Poetics and playfulness in Plautus and Terence. Cambridge: Cambridge University Press, 2009.
Find full textBook chapters on the topic "Terence Comedy"
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Brown, Peter. "Terence and Greek New Comedy." In A companion to Terence, 15–32. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118301975.ch1.
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Franko, George Fredric. "Terence and the Traditions of Roman New Comedy." In A companion to Terence, 33–51. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118301975.ch2.
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"Terence:." In The Death of Comedy, 220–38. Harvard University Press, 2009. http://dx.doi.org/10.2307/j.ctv1q3z2c0.15.
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"Comedy at Rome." In Terence: Andria. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350020665.ch-001.
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"VIII. THE DEATH OF COMEDY." In Understanding Terence, 203–20. Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400857968.203.
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"Introduction." In Terence: Phormio, edited by Robert Maltby, 1–28. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9780856686061.003.0001.
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This chapter begins with the life of the Roman playwright named Terence, who was born a Carthaginian slave but was freed by his Roman master, senator Terentius Lucanus, due to his brains and good looks. It explores Terence's plays, which were all adaptations into Latin of Greek New Comedy called fabulae palliatae or 'plays in Greek dress'. It also looks at the cultural climate in Rome when Terence's plays were produced in the 160s BC, noting certain changes in Rome from Plautus' day. The chapter focuses on Terence's play Phormio, which was adapted from a Greek original called Epidikazomenos (The Claimant) by Apollodorus of Carystus. It cites differences between Phormio and Epidikazomenos, emphasizing on Terence's non-dramatic prologue in his play.
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"Terence, Plautus and thepalliata." In Terence and the Language of Roman Comedy, 150–203. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511482267.010.
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"Terence, Plautus and thetogata." In Terence and the Language of Roman Comedy, 204–33. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511482267.011.
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"Terence, Plautus and theatellana." In Terence and the Language of Roman Comedy, 234–46. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511482267.012.
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Goldberg, Sander. "Comedy and society from Menander to Terence." In The Cambridge Companion to Greek and Roman Theatre, 124–38. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521834568.008.
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