George E. RoweJr. , Thomas Middleton and the New Comedy Tradition. Lincoln and London: University of Nebraska Press, 1979. ii + 240 pp. $16.95.

1981 ◽  
Vol 34 (1) ◽  
pp. 153-155
Author(s):  
Leo Salingar
Keyword(s):  
Thomas Middleton ◽  
New Comedy

Thomas Middleton and the New Comedy Tradition by George E. Rowe, Jr.

1980 ◽  
Vol 14 (3) ◽  
pp. 294-296
Author(s):  
Donald K. Anderson
Keyword(s):  
Thomas Middleton ◽  
New Comedy

Tipi da commedia? Personaggi e trame nel Corpus Lysiacum

2015 ◽  
Vol 33 (2) ◽  
pp. 109-133
Author(s):  
Elena Colla
Keyword(s):  
Everyday Life ◽  
Critical Data ◽  
New Comedy

Modern scholars have sometimes noticed in the Lysianic speeches some affinities with characters and plots of the (New) Comedy. Through a survey of the corpus, this paper resumes the critical data, adds some new elements of similarity, not only with Comedy, but generally with literature and suggests that Lysias usually worked in this way. If so, it could be preferable to suppose that the logographer took the cue not from comedy, but from everyday life; secondarily, that he sketched characters and plots starting from the particular (his client) to the general; finally, that these artistic elements were useful to jury's persuasion and not added to a following publication.

Some Thoughts on New Comedy and its Public

Pallas ◽  
1997 ◽  
Vol 47 (1) ◽  
pp. 185-200 ◽  
Author(s):  
Eric W. Handley
Keyword(s):  
New Comedy

Comedy and the Athenian Ideal

2018 ◽  
Author(s):  
David Konstan
Keyword(s):  
American Democracy ◽  
Intended Audience ◽  
The World ◽  
Hollywood Movies ◽  
Hellenistic World ◽  
City State ◽  
The City ◽  
New Comedy ◽  
A Performance

New Comedy was a Panhellenic phenomenon. It may be that a performance in Athens was still the acme of a comic playwright’s career, but Athens was no longer the exclusive venue of the genre. Yet Athens, or an idealized version of Athens, remained the setting or backdrop for New Comedy, whatever its provenance or intended audience. New Comedy was thus an important vehicle for the dissemination of the Athenian polis model throughout the Hellenistic world, and it was a factor in what has been termed ‘the great convergence’. The role of New Comedy in projecting an idealized image of the city-state may be compared to that of Hollywood movies in conveying a similarly romanticized, but not altogether false, conception of American democracy to populations around the world.

More Than Menander's Acolyte: Terence on Translation

Ramus ◽  
2004 ◽  
Vol 33 (1-2) ◽  
pp. 120-129 ◽  
Author(s):  
Siobhan McElduff
Keyword(s):  
Roman Law ◽  
Probable Reason ◽  
The Difference ◽  
New Comedy ◽  
Inheritance Laws

Michael Cronin once described translation as ‘what saves us from having to read the original’. To cite this statement at the start of any discussion of Terence is a little ironic given that critics have not infrequently used his comedies as an opaque glass through which, if only one squints hard enough, one can read the original Greek New Comedy. Noticeably, these lost originals usually live their imagined existences free from the dramatic flaws of Terence's adaptations. For example, Grant writes on the seeming abruptness of Micio's challenge to Demea at Adelphoe 829-31, that in the Greek original ‘the challenge would not have been as abrupt as it is in the Terentian adaptation. The probable reason for the abruptness is that Terence did not realize the difference between Attic and Roman law [on inheritance] in this respect.’ It is certainly possible that he is right, and that Terence omitted something in Menander which caused problems for the flow of his play. It is, however, also entirely possible that the original was similarly abrupt or that there was some other reason for the scene's choppiness than Terence's lamentable ignorance of the inheritance laws of Athens or his poor skills in translation.

Thomas Middleton at Oxford

1970 ◽  
Vol 65 (4) ◽  
pp. 734
Author(s):  
David George
Keyword(s):  
Thomas Middleton
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