Terentius

This paper wants to demonstrate the not casual similarity between Plautus'Asinar-ia 205 and Terence's Andria 545 arguing for the possibility that Plautus'Asinaria 205 was interpolated. Diàbolo desidererebbe trascorrere un'altra notte d'amore con Filenio, figlia di Cleereta, la lena. Pur-troppo non ha abbastanza soldi per appagare il suo desiderio e dunque viene lasciato alla porta. La sua rabbia trova sfogo verbale, prima in un monologo e poi in dialogo con la stessa Cleereta: il tono lamentoso ed enfatico di Diàbolo è facilmente sopraffatto dalla logica utilitaristica della lenona. Ai vv. 204-207 Diàbolo le rimprovera incoerenza verbale: ora che lui non ha più un soldo, lei parla in modo ben diverso da allora quando le dava il denaro, diverso da allora quando cercava di raggirarlo con dolci e benevole parole. Di seguito si dà il testo di Leo 1895: aliam nunc mi orationem despoliato praedicas, longe aliam inquam praebes nunc atque olim quom dabam, 205 aliam atque olim quom illiciebas me ad te blande ac benedice. tum … Si tratta di una sezione di settenari trocaici; il v. 205 presenta qualche difficoltà di ordine metrico: se si accetta così come tràdito, bisogna ammettere due iati, certamente non frequenti in tr 7 (longe | aliam | inquam). Hurka (2010, 122) li giustifica su base contestuale, al fine cioè di isolare e dunque enfatizzare aliam. In alternativa, se non si ammette iato, il verso manca di un piede e si rende ne-cessario emendare: <linguam> praebes Vahlen (1882, 277), inquam <orationem> nunc Leo (1895, in app.), inquam <iniqua> praebes Danese (2004). Alcuni editori, invece, seguono Fleckeisen (1859) nell'espunzione del verso: questa drastica decisione, seguita per esempio da Ussing, Goe-tz/Loewe e Bertini, è giustificata anche sulla base della generale fattura del verso, una sorta di doppione esplicativo di 204. In effetti il v. 205 sembra non essere altro che un'aggiunta mal riuscita per rendere più esplicita l'opposizione fra presente e passato: se infatti si leggono i versi senza 205, mancherebbe, per così dire, un termine di opposizione: ora Cleereta si comporta male perché Diàbolo è ormai senza quat-trini (despoliatus), un tempo si comportava in ben altro modo … ma il perché, ovvero che Diàbolo un tempo era in grado di pagare, mancherebbe. Questa 'lacuna' si giustifica, però, nell'ottica argo-mentativa di Diàbolo, il cui scopo è di mettere in enfasi solo la prima delle due opposizioni, mentre costituisce nell'ottica di un generico copista/rieditore un ottimo stimolo di interpolazione. Scialbo

Peer-review. Articoli e note inviati per la pubblicazione alla rivista sono sottoposti -nella forma del doppio anonimato -a peer-review di due esperti, di cui uno almeno esterno al Comitato Scientifico o alla Direzione. Nel secondo fascicolo delle annate pari è pubblicato l'elenco dei revisori.

El teatro es un proceso de comunicación que tiene como objeto al ser humano en todos los sentidos; pero el individuo no sólo sirve para dar sentido al teatro, sino que es su condición de posibilidad: nace en el creador de la obra dramática; crece gracias a las personas que contribuyen a transformar la imaginación, la emoción, el pensamiento y las palabras en una realidad concreta; vive en el espectador que contempla lo que ocurre en escena. Sólo así se convierte la realidad en ficción y, al mismo tiempo, la ficción en verdad. Pero cuando suena el aplauso final, el teatro sigue su proceso vital en forma de un texto que espera a que, con el tiempo, un lector inicie un nuevo proceso de comunicación.
El teatro como texto y el teatro como espectáculo. Siempre corpóreo, siempre físico, sea en el espacio de una habitación, de una calle, de una plaza, del suelo, de un teatro… o en el pequeño espacio de un libro.
Por primera vez se reúnen y se estudian desde el punto de vista etimológico, filológico, lingüístico, dramático, cultural y literario las voces relativas al teatro romano: el dramaturgo, el actor, los artistas, el espectador, la escenografía, el edificio, el atrezo, el disfraz, los patrocinadores públicos y privados, la música y el baile presentes en el espectáculo, la expresión corporal y la gestualidad, los personajes y su universo dramático, el aplauso y el abucheo… En definitiva, este Diccionario abarca el teatro como recinto, como expresión cultural, como texto y como representación.

Αντικείμενο του συγκεκριμένου άρθρου αποτελεί ένας από τους τυπικά επαναλαμβανόμενους χαρακτήρες της Νέας Κωμωδίας και της Ρωμαϊκής fabula palliata, ο adulescens amans, του οποίου η δράση κινητροδοτείται από τον έρωτά του για μια mulier, όπως παρουσιάζεται στις palliatae του Τερεντίου. Η δραματική ταυτότητα του adulescens αποτελεί κοινό μοτίβο στους εκπροσώπους του είδους τόσο στο ελληνικό κωμικό θέατρο της μετακλασικής αρχαιότητας (Μένανδρος) όσο και στη ρωμαϊκή κωμωδία (Πλαύτος και Τερέντιος). Οι νεαροί ενσαρκώνουν τον ρόλο του άβουλου, απένταρου, σφόδρα ερωτευμένου νέου που δεν μπορεί να διεκδικήσει την αγαπημένη του και είναι έρμαιο των καταστάσεων και των άλλων χαρακτήρων που συχνά ορίζουν ως auctores την υπόθεση του έργου. Μακριά από τη γελοιοποίηση της οποίας τυγχάνουν άλλοι πάγιοι χαρακτήρες, όπως οι milites, οι adulescentes είναι μάλλον ευγενικά δομημένοι, αλλά δίχως ενδιαφέρον αποτυπωμένοι, και βιώνουν το δράμα τους μέσα στην κωμωδία παράγοντας έτσι το κωμικό αποτέλεσμα.

Όσον αφορά στη fabula palliata του Τερεντίου, η σημασία του adulescens στη δομή του δράματος ενισχύεται, καθώς υπάρχουν -με εξαίρεση την Hecyra- δύο adulescentes σε κάθε έργο. Έτσι, συναντούμε στην Andria τον ερωτευμένο με τη virgo και pseudo-meretrix Glycerium Pampilus και τον ερωτευμένο με τη virgo Philumena Charinus, στην Hecyra τον Pamphilus που αν και ερωτευμένος με τη meretrix Bacchis, νυμφεύεται τη virgo Philumena, στον Heauton timorumenos τον Clitipho που είναι ερωτευμένος με τη meretrix Bacchis, αλλά στο τέλος νυμφεύεται τη virgo filia Archonidi και τον Clinia που αγαπά και νυμφεύεται τη virgo Antiphila και που προκειμένου να εξαπατηθεί ο senex Chremes, προσποιείται ο ίδιος τον ερωτευμένο με τη meretrix Bacchis, στον Eunuchus τον Phaedria που αγαπά τη meretrix Thais και τον Chaerea που αγαπά τη virgo και pseudo-meretrix Pamphila, ενώ στο περιθώριο αυτών συναντούμε τους adulescentes Chremes και Antipho, στον Phormio τους adulescentes Antipho και Phaedria που είναι ερωτευμένοι με τη virgo Phanium και τη meretrix Pamphila αντίστοιχα, ενώ στοιχεία adulescens απαντούν και στον ένα από τους δύο senes του έργου, τον Chremes, και τέλος, στους Adelphoe τους αδελφούς adulescentes Aeschinus και Ctesipho που είναι ερωτευμένοι με τη virgo Pamphila και τη meretrix Bacchis αντίστοιχα, ενώ τέλος στοιχεία adulescens απαντούν και στον senex Micio αυτής της κωμωδίας. Έτσι, μέσα από την αναλυτικότερη προσέγγιση των κωμωδιών του Τερεντίου θα σχηματιστεί ένας χάρτης με τα βασικά και τα επί μέρους γνωρίσματα των αφελών ερωτευμένων νεαρών των κωμωδιών του ποιητή, και θα καταδειχθεί η ουσιαστική συμβολή του Τερεντίου στην εξέλιξη ενός χαρακτήρα ο οποίος κατά παράδοση θεωρείται αυστηρά τυποποιημένος.

The subject of this short paper is the stereotypical comic character of adulescens amans, as this character appears in all six comedies of Terence, the second of the two major poets of the Roman New Comedy. By examining the Terentian fabula palliata, there are many main elements and characteristics that emerge and set apart Terence from Plautus and the other previous comedians. Traditionally, an adulescens amans falls in love with a mulier and has to cope with many problems, since there are many hurdles that need to be surmounted before their union may be realized. Not least, the young man has to confront his father, a severe senex, who opposes his son’s marriage to the young maiden. In the Plautine tradition the adulescens usually adopts a rather passive attitude over things concerning him. But Terence’s difference and notable contribution to the tradition of Roman New Comedy is the fact that he makes the adulescens more energetic, active and vigorous by giving him a crucial role in the plot of the drama, that is by making him an auctor who has his own plan in the comedy.

Δημοσιευμένο ως: Σταματόπουλος, Παναγιώτης (2014), «Ο στερεοτυπικός χαρακτήρας του adulescens amans στις palliatae του Publius Terentius Afer», στο Πρακτικά 7ου Συνεδρίου Μεταπτυχιακών Φοιτητών & Υποψήφιων Διδακτόρων Τμήματος Φιλολογίας Ε.Κ.Π.Α. (16-18 Μαΐου 2013), τόμος Α’, 446-55, Αθήνα. [Αναδημοσιευμένο με τροποποιήσεις στο περιοδικό της Πανελλήνιας Ένωσης Φιλολόγων (Π.Ε.Φ.) "Φιλολογική" ως: Σταματόπουλος, Παναγιώτης (2015), «Ο στερεοτυπικός χαρακτήρας του adulescens amans (= ερωτευμένος νεανίας) στις κωμωδίες (palliatae) του Τερεντίου», "Φιλολογική", τεύχ. 131, 70-79, Αθήνα.]

In intere epoche della storia culturale d'Occidente è stato più famoso e letto di Plauto; ha avuto molto presto la ventura di diventare un testo scolastico; le sue commedie hanno continuato a circolare anche nel Medioevo e la sua pièce d'esordio è stata tradotta da uno dei padri della modernità, Niccolò Machiavelli. Ha inventato la polemica letteraria, usando il teatro per rintuz-zare le accuse che gli venivano rivolte e difendere le sue scelte poetiche. Ha introdotto la commedia di situazione, in cui l'intera vicenda ruota intorno alle reazioni dei vari personaggi di fronte a una circostanza in apparenza inesplicabile; ha usato le convenzioni del suo genere letterario per demo-lirle, diventando così suo malgrado l'assassino della commedia, che dopo di lui non poteva né tornare indietro né proseguire oltre lungo una strada della quale sembravano esaurite pressoché tutte le possibilità. Ha regalato al futuro un verso bellissimo, Homo sum: humani nil a me alienum puto, adottato da allora in avanti come divisa di ogni umanesimo. Eppure, nonostante tutto questo Terenzio è quasi assente dal panorama delle riscritture contemporanee del teatro antico e resta assai meno conosciuto e studiato di Plauto. I saggi raccolti in questo volume ne affrontano i testi da molteplici prospettive, mettendone in luce una serie di aspetti letterari, antropologici, culturali e contribuendo a restituire spessore ad una affascinante esperienza intellettuale.

Hecyra est huic nomen fabulae. haec quom datast / nova, novom intervenit vitium et calamitas / ut neque spectari neque cognosci potuerit: / ita populu' studio stupidus in funambulo / animum occuparat. nunc haec planest pro nova, / et is qui scripsit hanc ob eam rem noluit / iterum referre ut iterum possit vendere. / alias cognostis eiu': quaeso hanc noscite.

1. La scena d'apertura della commedia terenziana è ben nota: si tratta di un dialogo fra due senes, Menedemo e Cremete; quest'ultimo osserva con un misto di curiosità e pena il suo vicino mentre senza risparmio e senza apparente motivo si impegna a «zappare, arare, trasportare qualcosa»; eppure Menedemo è ricco, la sua casa è piena di schiavi -così almeno risulta a Cremete -ed ha un'età, che il suo interlocutore congettura intorno ai sessant'anni, nella quale dovrebbe astenersi da quella fatica che sembra non interrompersi mai 1 .

Die Arbeit beschäftigt sich im weitesten Sinne mit dem Verhältnis zwischen einem Text, seinen Lesern und deren Kritikern. Ihr Gegenstand sind Anspielungen auf zeitgeschichtliche Ereignisse in antiken literarischen Texten und die Vermutungen, die die Verfasser antiker exegetischer Literatur darüber äußern. Ziel ist dabei - anders als in den meisten einschlägigen Untersuchungen - nicht die Präsentation neuer Interpretationen zu den klassischen Texten, sondern die Analyse der aus Antike und Spätantike überlieferten Anspielungsdeutungen. An diese wird die Frage gestellt, welche Absichten, Ziele und Verfahren die Exegeten den von ihnen kommentierten Dichtern unterstellten und auf welchem Wege sie selbst zu ihrer Interpretation gelangten. Der Vergleich der einzelnen Interpretationen läßt typische Denkweisen und Interpretationsmuster hervortreten, ermöglicht einen Einblick in den geistigen Hintergrund der antiken Kommentatoren und schafft damit erst die Basis für die Beurteilung ihrer auch heute immer wieder diskutierten Vorschläge.

This article proposes a new interpretation of the Ep. IX 12 of Pliny the Younger. In the middle of the text we find a reference to ll. 101-110 of Terence's Adelphoe, while the concluding sentence (et hominem esse te et hominis patrem) reveals the affinity with a similar expression , not identified so far, which was present in the texts of consolation (especially Seneca's Consolatio ad Marciam and Plutarch's Consolatio ad Apollonium, but originating from Teles). Pliny, through the mediation of the School of Rhetoric, recovers this sentence and transforms it into a real pedagogical project clearly derived from Terence.

Come per altri autori classici, Petrarca occupa una posizione privilegiata nella storia del testo di Terenzio: partendo da esemplari notevolmente più corretti di quelli circolanti all’epoca, portò a compimento una vera e propria edizione delle sei commedie e, grazie alla sua straordinaria conoscenza della tradizione terenziana, diffuse diversi paratesti scarsamente noti fino a quel momento. Questo articolo apporta alcuni dati relativi al perduto Terenzio petrarchesco del 1358, identifica nuovi mss. imparentati con quello, ed espone diversi elementi che consentano di progredire nella ricostruzione della filologia terenziana di Petrarca.

This paper aims to investigate the use of time-related features of talk in evoking (im)politeness in Roman Comedy. To this end, I use evidence from the scansion of the text to identify syllable shortenings and accumulations of heavy (slow-pacing) tokens, as well as rhythmical patterns within utterances pronounced in socially charged situations. Moreover, the (im)polite value is associated with the meticulously timed delivery of speech acts (e.g., mocking threats) with particular focus on the
culture-specific use of religious formulae. As a result, the paper tentatively presents some methods of recovering prosodic cues for verbal interaction, represented in the comedy text.

Αντικείμενο του συγκεκριμένου άρθρου αποτελεί ένας από τους τυπικά επαναλαμβανόμενους χαρακτήρες της Νέας Κωμωδίας και της Ρωμαϊκής fabula palliata, ο adulescens amans, του οποίου η δράση κινητροδοτείται από τον έρωτά του για μια mulier, όπως παρουσιάζεται στις palliatae του Τερεντίου. Η δραματική ταυτότητα του adulescens αποτελεί κοινό μοτίβο στους εκπροσώπους του είδους τόσο στο ελληνικό κωμικό θέατρο της μετακλασικής αρχαιότητας (Μένανδρος) όσο και στη ρωμαϊκή κωμωδία (Πλαύτος και Τερέντιος). Οι νεαροί ενσαρκώνουν τον ρόλο του άβουλου, απένταρου, σφόδρα ερωτευμένου νέου που δεν μπορεί να διεκδικήσει την αγαπημένη του και είναι έρμαιο των καταστάσεων και των άλλων χαρακτήρων που συχνά ορίζουν ως auctores την υπόθεση του έργου. Μακριά από τη γελοιοποίηση της οποίας τυγχάνουν άλλοι πάγιοι χαρακτήρες, όπως οι milites, οι adulescentes είναι μάλλον ευγενικά δομημένοι, αλλά δίχως ενδιαφέρον αποτυπωμένοι, και βιώνουν το δράμα τους μέσα στην κωμωδία παράγοντας έτσι το κωμικό αποτέλεσμα.

Όσον αφορά στη fabula palliata του Τερεντίου, η σημασία του adulescens στη δομή του δράματος ενισχύεται, καθώς υπάρχουν -με εξαίρεση την Hecyra- δύο adulescentes σε κάθε έργο. Έτσι, συναντούμε στην Andria τον ερωτευμένο με τη virgo και pseudo-meretrix Glycerium Pampilus και τον ερωτευμένο με τη virgo Philumena Charinus, στην Hecyra τον Pamphilus που αν και ερωτευμένος με τη meretrix Bacchis, νυμφεύεται τη virgo Philumena, στον Heauton timorumenos τον Clitipho που είναι ερωτευμένος με τη meretrix Bacchis, αλλά στο τέλος νυμφεύεται τη virgo filia Archonidi και τον Clinia που αγαπά και νυμφεύεται τη virgo Antiphila και που προκειμένου να εξαπατηθεί ο senex Chremes, προσποιείται ο ίδιος τον ερωτευμένο με τη meretrix Bacchis, στον Eunuchus τον Phaedria που αγαπά τη meretrix Thais και τον Chaerea που αγαπά τη virgo και pseudo-meretrix Pamphila, ενώ στο περιθώριο αυτών συναντούμε τους adulescentes Chremes και Antipho, στον Phormio τους adulescentes Antipho και Phaedria που είναι ερωτευμένοι με τη virgo Phanium και τη meretrix Pamphila αντίστοιχα, ενώ στοιχεία adulescens απαντούν και στον ένα από τους δύο senes του έργου, τον Chremes, και τέλος, στους Adelphoe τους αδελφούς adulescentes Aeschinus και Ctesipho που είναι ερωτευμένοι με τη virgo Pamphila και τη meretrix Bacchis αντίστοιχα, ενώ τέλος στοιχεία adulescens απαντούν και στον senex Micio αυτής της κωμωδίας. Έτσι, μέσα από την αναλυτικότερη προσέγγιση των κωμωδιών του Τερεντίου θα σχηματιστεί ένας χάρτης με τα βασικά και τα επί μέρους γνωρίσματα των αφελών ερωτευμένων νεαρών των κωμωδιών του ποιητή, και θα καταδειχθεί η ουσιαστική συμβολή του Τερεντίου στην εξέλιξη ενός χαρακτήρα ο οποίος κατά παράδοση θεωρείται αυστηρά τυποποιημένος.

The subject of this short paper is the stereotypical comic character of adulescens amans, as this character appears in all six comedies of Terence, the second of the two major poets of the Roman New Comedy. By examining the Terentian fabula palliata, there are many main elements and characteristics that emerge and set apart Terence from Plautus and the other previous comedians. Traditionally, an adulescens amans falls in love with a mulier and has to cope with many problems, since there are many hurdles that need to be surmounted before their union may be realized. Not least, the young man has to confront his father, a severe senex, who opposes his son’s marriage to the young maiden. In the Plautine tradition the adulescens usually adopts a rather passive attitude over things concerning him. But Terence’s difference and notable contribution to the tradition of Roman New Comedy is the fact that he makes the adulescens more energetic, active and vigorous by giving him a crucial role in the plot of the drama, that is by making him an auctor who has his own plan in the comedy.

Δημοσιευμένο ως: Σταματόπουλος, Παναγιώτης (2014), «Ο στερεοτυπικός χαρακτήρας του adulescens amans στις palliatae του Publius Terentius Afer», στο Πρακτικά 7ου Συνεδρίου Μεταπτυχιακών Φοιτητών & Υποψήφιων Διδακτόρων Τμήματος Φιλολογίας Ε.Κ.Π.Α. (16-18 Μαΐου 2013), τόμος Α’, 446-55, Αθήνα. [Αναδημοσιευμένο με τροποποιήσεις στο περιοδικό της Πανελλήνιας Ένωσης Φιλολόγων (Π.Ε.Φ.) "Φιλολογική" ως: Σταματόπουλος, Παναγιώτης (2015), «Ο στερεοτυπικός χαρακτήρας του adulescens amans (= ερωτευμένος νεανίας) στις κωμωδίες (palliatae) του Τερεντίου», "Φιλολογική", τεύχ. 131, 70-79, Αθήνα.]

Recent years have seen an increase in sociolinguistic studies of the Latin language devoted to aspects and forms of politeness as part of general linguistic behaviour, and considerable progress has been made overall. One area, albeit central to the notion of politeness, has been conspicuously neglected so far, and this area is best summarised by the term ‘apologies’. This paper aims to remedy this situation and to provide a first extensive case study, based on the textual corpus of Terence.

The purpose of my paper is to illustrate the different female typologies which feature in the theatre of the mime of the Late Roman Republic, and especially in the plays of the famous mimographer Decimus Laberius, as these are exemplified in his extant fragments. I discuss important aspects and stereotypical features of this realistic comic form and I demonstrate the artistic sophistication of this sub-theatrical genre, the literary force of which, often irreverent and unkind towards women, enables the audience to think, through the medium of laughter, about topical and socially relevant issues.

TERENZIO, Le Commedie, edizione critica a cura di Franco Ranzato, traduzione italiana di Raffaele Cantarella, vol. 1: Andria e Heautontimorumenos (<< Classici greci e 1atini », 20), Milano, Istituto Editoria1e Italiano, s.d. (ma 1971), pp. 332. L. 6.000.

Un noto aneddoto su Elio Donato narrato da Gerolamo (in eccl. 1.9), in cui il maestro cita un verso del prologo dell’Eunuchus terenziano alla stregua di un proverbio, e un contemporaneo passo dell’Ars di Diomede grammatico (I 400.1 Keil) documentano l’uso frammentario del poeta comico e il passaggio di testi dalla tradizione grammaticale all’interno del repertorio gnomico. L’articolo contestualizza le due testimonianze e segue il vario utilizzo del verso come sententia in vari ambiti letterari a partire dal nostro Cinquecento, mostrando il completo assorbimento del testo in contesti argomentativi più vari (dagli atti del Concilio di Trento alle dispute rinascimentali sulla poesia epica, dai repertori di lessico alla critica letteraria settecentesca) e analizzandone di volta in volta  modalità di riuso e applicazione.

This paper aims at showing the importance of early Latin theatre with respect to the Roman view of forms of monocratic power such as monarchy and tyranny. While Plautus provides us with fundamentally neutral or positive examples of tyrants and kings, other playwrights of the third and second centuries BC such as Naevius, Terentius, Pacu-vius and Accius propose a multifaceted image of these figures, indicating the ambivalent position of kings and tyrants in the Roman collective imagination of that period.

The paper detects the events of the collation of the famous codex “Bembinus” of Terence (now Vat. lat. 3226) made by Angelo Poliziano in 1491 on the margins of an incunabulum conserved in Florence (BNC, BR 97) and acquired by Pier Vettori after his death. The use of this collation by Vettori to recover variants of the ancient ms. emerges clearly in his printed works and in the margins of his books now in Munich. In particular, further evidence of the interest of Vettori has been identified in his unpublished notes (now BSB, Clm 805), which are illustrated in detail. The study contributes to shed light on the fortune of Bembine in the sixteenth century and on the history of Terentian textual criticism.

Non sono numerose probabilmente le letterature nelle quali il genere principale è rappresentato dal dramma, nella letteratura ungherese, per esempio, il genere predominante è quello lirico. Affiancato, alla fine del XX secolo, dalla prosa, come è stato dimostrato dal successo mondiale postumo del romanziere Sándor Márai e dal premio Nobel vinto nel 2002 dallo scrittore, anche egli di prosa, Imre Kertész. Parla per sé che l'autore di teatro ungherese che senza dubbio ha riscosso il maggior successo in tutto il mondo, lo scrittore del romanzo I ragazzi di via Pál, Ferenc Molnár (1878-1952, pur avendo i propri lavori continuamente sui palcoscenici ungheresi, con la sua attività teatrale non ha mai esercitato una particolare influenza sui posteri e i suoi lavori non sono neanche oggetto di studi letterari.

This 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 Terence’s Andria the language of deception, a kind of an eye blink to a metatheatrical scene, alerts us to ongoing or further plays- within-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.

El mito de dánae en el curioso impertinente: terencio, tiziano y cervantes La novela de El curioso impertinente, intercalada en la primera parte del Quijote, ha sido objeto de una gran atención y curiosidad críticas, hecho irónico si se tiene en cuenta que precisamente el tema de la curiositas es esencial para su interpretación. Como es bien sabido, el Quijote de 1615 pone en boca de Sansón Carrasco uno de los problemas al que podría enfrentarse el lector de la época: «una de las tachas que ponen a la tal historia... no por mala ni por mal razonada, sino por no ser de aquel lugar, ni tiene que ver con la historia de su merced del señor don Quijote» (II, 3, p. 652). Mientras que Sansón Carrasco aviva la curiosidad del lector al preguntarse por qué la novela se encuentra en tal lugar, ya el cura, que había leído la historia a sus compañeros en la venta, había admitido que «quiero leerla, por curiosidad siquiera: quizá tendrá alguna de gusto» (I, 32, p. 375). El cura entonces muestra una doble curiosidad, una por lo que se narra y otra por encontrar en la novela algo que alimente su curiosidad, o sea algo de interés. A todas estas curiosidades hay que añadir la impertinente curiosidad del personaje de Anselmo, dentro de la novela, el cual quiere saber si su esposa le puede ser infiel, y además, demostrando aún mayor curiosidad, quiere que sea su mejor amigo, Lotario, el que haga tal prueba de fidelidad.

Padova. Sono rigorosamente vietati la riproduzione, la traduzione, l'adattamento, anche parziale o per estratti, per qualsiasi uso e con qualsiasi mezzo effettuati, compresi la copia fotostatica, il microfilm, la memorizzazione elettronica, ecc., senza la preventiva autorizzazione scritta della Editrice Antenore S.r.l.

Among the editions of Terence’s works published in the first decades of the printing press, those of Vindelinus de Spira are the ones which show a greater philological disposition, and, no doubt, the ones which offer the best text. These editions depend on the Terence’s text reconstructed by Petrarch: IGI 9408, to be precise, comes down from a previous textual stage to which was fixed in 1358 and answers as well to some of the criteria advocated by Petrarch in his Vita Terrentii; IGI 9409, for its part, depends —partially— on the text of 1358 and shows traces of having suffered some influence by another exemplar of Petrarch. The presence of the Vita Terrentii in the printed transmission of Terence is but one more sample of the validity of the Terence’s philology by Petrarch throughout those years.

Various scholars have suggested that a version of what we now know as commentarii recentiores to Terence is the work of Remigius of Auxerre. The present study examines the two witnesses that have given rise to such attribution and, on the other hand, a series of Remigian glosses with relevant information about Terence’s text but absent from the later exegetics. Without constituting definitive proof, the data provided speak against the very existence of a Terentian commentary composed by Remigius.

Diversos autores han sugerido que una versión de lo que ahora conocemos como commentarii recentiores a Terencio es obra de Remigio de Auxerre. En el presente estudio se examinan los dos testimonios que han dado pie a tal atribución y, de otro lado, una serie de glosas remigianas con información relevante sobre el texto de Terencio pero ausentes de la exegética posterior. Sin que constituyan una prueba definitiva, los datos aportados hablan en contra de la existencia misma de un comentario terenciano compuesto por Remigio.

The entire corpus of medieval scholarship on Terence’s biography is marred by the mistake, already in Orosius’ work, which consists in taking the comedy playwright for the senator Terentius Culleo. Petrarch notices and corrects this mistake after a detailed and thoroughly philological research of which he gives an account in De viris illustribus and Vita Terrentii. Petrarch’s pioneering place in this though has been questioned as Landolfo Colonna seems to have addressed the same issue in his Breviarium historiarum. However, Landolfo only copies word for word Vincent of Beauvais’ Speculum historiale’s chapter on Terence, where the mistake is not corrected but it is also reproduced explicitly somewhere else in the encyclopedia.

This article examines Hrotsvit of Gandersheim’s perceptions of her own authorship and especially how she responded to the literary conventions of her time. An analysis of her prologues reveals that the Saxon canoness was anxious not to disappoint her critics. For instance, in the cases where she dispenses with the source of an auctor or distances herself from the auctoritas of a model, Hrotsvit apologizes to her audience. Traditionally, her justifications have been interpreted as pure captatio benevolentiae. In this article, another approach is proposed: Hrotsvit’s departure from the auctores is contextualized in her overarching project of “rewriting” Terence.

Medievalists and Renaissance specialists contribute to this compelling volume examining how and why the classics of Greek and Latin culture were taught in various Western European curricula (including in England, Scotland, France,Germany, and Italy) from the tenth to the sixteenth centuries. By analysing some of the commentaries, glosses, and paraphrases of these classics that were deployed in medieval and Renaissance classrooms, and by offering greater insight into premodern pedagogic practice, the chapters here emphasize the ‘pragmatic’ aspects of humanist study. The volume proposes that the classics continued to be studied in the medieval and Renaissance periods not simply for their cultural or ‘ornamental’ value, but also for utilitarian reasons, for ‘life lessons’. Because the volume goes beyond analysing the educational manuals surviving from the premodern period and attempts to elucidate the teaching methodology of the premodern period, it provides a nuanced insight into the formation of the premodern individual. The volume will therefore be of great interest to scholars and students interested in medieval and Renaissance history in general, as well as those interested in the history of educational theory and practice, or in the premodern reception of classical literature.

20 Chapters

Los estudios dedicados a la búsqueda de las huellas de la oralidad en lo escrito se han afanado en rastrear y describir fenómenos característicos de la inmediatez comunicativa en diferentes épocas y tradiciones discursivas. El trabajo que presento aquí se decanta por el concepto de 'oralidad elaborada' para dar cuenta del diferente perfil concepcional que asumen las estrategias de oralización en la literatura. Trato de definir este concepto y de ejemplificarlo a partir de dos traducciones decimonónicas de Los Cautivos de Plauto, analizando diferentes estrategias sintáctico-discursivas que considero muy representativas de este tipo de oralidad y tratando de establecer las similitudes y las divergencias entre las dos versiones.