Results by title

Lively and critically aware, T. H. M. Gellar-Goad’s A Commentary on Plautus’ Curculio is the new reference text on the play. Curculio follows the efforts of the title character to trick a sex-trafficker into handing over an enslaved woman to the young man infatuated with her instead of to the soldier who’s paid for her—and will turn out to be her long-lost brother. As Plautus’ shortest comedy, Curculio has proven to be a desirable text for university performances. The play exemplifies Plautus’ style, with a blend of erotic, deception, and recognition plotlines, plus a wide range of archetypal characters. Gellar-Goad’s commentary is the complete package, with introductions to themes, content, humor, meter, and syntax; notes on matters of performance, interpretation, and social history; and a text with aids to scansion and clarifying stage directions.

This up-to-date, authoritative commentary on the play will prove useful to directors and actors and will readily introduce students to the joys of Roman comedy.
 

Asses, asses, and more asses! This new edition of Plautus' rumbustious comedy provides the complete original Latin text, witty scholarly commentary, and an English translation that both complements and explicates Plautus' original style. John Henderson reveals this play as a key to Roman social relations centered on many kinds of slavery: to sex, money, and family structure; to masculinity and social standing; to senility and partying; and to jokes, lies, and idiocy. The translation remains faithful to Plautus' syllabic style for reading aloud, as well as to his humorous colloquialisms and wordplay, providing readers with a comfortable affinity to Plautus himself. An indispensable teaching and learning tool for the study of Roman New Comedy, this edition includes comprehensive commentary, useful indexes, and a pronunciation guide that will help readers of all levels understand and appreciate Plautus and his era.

The relationship between actors and spectators has been of perennial interest to playwrights. The Roman playwright Plautus (ca. 200 BCE) was particularly adept at manipulating this relationship. Plautus allowed his actors to acknowledge freely the illusion in which they were taking part, to elicit laughter through humorous asides and monologues, and simultaneously to flatter and tease the spectators.

These metatheatrical techniques are the focus of Timothy J. Moore's innovative study of the comedies of Plautus. The first part of the book examines Plautus' techniques in detail, while the second part explores how he used them in the plays Pseudolus, Amphitruo, Curculio, Truculentus, Casina, and Captivi. Moore shows that Plautus employed these dramatic devices not only to entertain his audience but also to satirize aspects of Roman society, such as shady business practices and extravagant spending on prostitutes, and to challenge his spectators' preconceptions about such issues as marriage and slavery. These findings forge new links between Roman comedy and the social and historical context of its performance.