J C B Lowe
Biographic Data
| ID | 1428752 |
|---|---|
| NAME | J C B Lowe |
| GIVEN NAMES | J C B |
| FAMILY NAME | Lowe |
| SIGNATURE | LOWE J C B |
| AFFILIATIONS | Bedford College, London |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 40 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1962 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 3 |
The Third Stage-house in Plautus and Terence
A. Frickenhaus argued that in Plautus’ Pseudolus and Stichus and Terence’s Heauton Timorumenos, Hecyra and Phormio the Latin dramatist was responsible for a third stage-house, whereas the Greek models of these plays had only two, the norm for New Comedy. Frickenhaus’ unjustly neglected arguments are here revived and reinforced. It is also argued that Plautus’ Cistellaria and Trinummus are further cases of the same phenomenon
The Lot-Drawing Scene of Plautus’ Casina
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Terence, Adelphoe: Problems of dramatic space and time
So far as we can judge from his one completely preserved play and extensive fragments of others, Menander carefully worked out the movements of his characters on and off stage, so as to give an appearance of realism, within certain conventions, and avoid inconsistencies that might distract the audience. Menander's observed practice confirms the famous anecdote, according to which he regarded the construction of a plot as of primary importance, ad…
Terence's Four-Speaker Scenes
IN THE NOW SUBSTANTIAL CORPUS OF MENANDER there are apparently no scenes involving more than three speaking characters, although mute extras are freely used (Gomme-Sandbach 1973: 16-19; Frost 1988: 2-3). The fragmentary nature of the texts makes it impossible to state categorically they contain no four-speaker scenes, but there is no indisputable example. Even less can we be certain Menander never wrote such scene, given we possess only small fra…
Aspects of Plautus' Originality in the Asinaria
That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly …
The Virgo Callida of Plautus, Persa
That the theme of trickery and deception plays an important part in the comedies of Plautus is obvious. Although by no means absent from the comedies of Menander and Terence, it is not nearly so prominent in them as in Plautus. One reason for this difference may be Plautus' choice of Greek models, but there are good grounds for believing that changes made by Plautus to his models also served to emphasize the theme. E. Fraenkel showed that Plautus…
Plautus Poenulus I 2
PLAUTUS POENULUS I 2 J. C. B. LOWE J. C. B. LOWE Institute of Classical Studies, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 35, Issue 1, December 1988, Pages 101–110, https://doi.org/10.1111/j.2041-5370.1988.tb00205.x Published: 12 March 2010
Cario – A Plautine Creation
CARIO – A PLAUTINE CREATION Get access J.C.B. Lowe J.C.B. Lowe London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 32, Issue 1, December 1985, Pages 83–84, https://doi.org/10.1111/j.2041-5370.1985.tb00168.x Published: 12 March 2010
The Cook Scene of Plautus' Pseudolus
H. Dohm has amply demonstrated how the cook of Plautus, Pseud. 790ff. exhibits characteristic features of the mageiros of Greek comedy. He has also argued, however, that this scene contains substantial Plautine expansion, comparable with that which has been recognised in the cook scene of the Aulularia . I wish to suggest that Dohm is largely right but that the Plautine expansion is even more extensive than he supposes. In 790–838 Plautus is prob…
Plautine Innovations in "Mostellaria" 529-857
Having scared his master Theopropides away from his own house by means of a fictitious ghost story, the slave Tranio is left alone on stage at 529. He speaks three lines of monologue before the moneylender Misargyrides enters, making clear his profession in his entrance lines with general remarks about the present slackness of business (532-535). Although he is otherwise unoccupied, Tranio does not notice Misargyrides as he is approaching but onl…
The Eunuchus: Terence and Menander
A vast amount has been written on the relationship between Terence's and Menander's Eunuchus . On some points a good measure of agreement has been reached, but much remains in dispute. In an important article W. Ludwig convincingly demonstrated the inner unity of Terence's plot, against earlier theories of large-scale ‘ contaminatio ’ The nature of the changes made by Terence in introducing two characters from Menander's Colax (30–3) is now fairl…
Notes on Menander
The Manuscript Evidence for Changes of Speaker in Aristophanes
The Manuscript Evidence for Changes of Speaker in Aristophanes
The Lot-Drawing Scene of Plautus’ Casina
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Aspects of Plautus' Originality in the Asinaria
That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly …
The Virgo Callida of Plautus, Persa
That the theme of trickery and deception plays an important part in the comedies of Plautus is obvious. Although by no means absent from the comedies of Menander and Terence, it is not nearly so prominent in them as in Plautus. One reason for this difference may be Plautus' choice of Greek models, but there are good grounds for believing that changes made by Plautus to his models also served to emphasize the theme. E. Fraenkel showed that Plautus…
The Eunuchus: Terence and Menander
A vast amount has been written on the relationship between Terence's and Menander's Eunuchus . On some points a good measure of agreement has been reached, but much remains in dispute. In an important article W. Ludwig convincingly demonstrated the inner unity of Terence's plot, against earlier theories of large-scale ‘ contaminatio ’ The nature of the changes made by Terence in introducing two characters from Menander's Colax (30–3) is now fairl…
Terence's Four-Speaker Scenes
IN THE NOW SUBSTANTIAL CORPUS OF MENANDER there are apparently no scenes involving more than three speaking characters, although mute extras are freely used (Gomme-Sandbach 1973: 16-19; Frost 1988: 2-3). The fragmentary nature of the texts makes it impossible to state categorically they contain no four-speaker scenes, but there is no indisputable example. Even less can we be certain Menander never wrote such scene, given we possess only small fra…
The Manuscript Evidence for Changes of Speaker in Aristophanes
Notes on Menander
The Eunuchus: Terence and Menander
A vast amount has been written on the relationship between Terence's and Menander's Eunuchus . On some points a good measure of agreement has been reached, but much remains in dispute. In an important article W. Ludwig convincingly demonstrated the inner unity of Terence's plot, against earlier theories of large-scale ‘ contaminatio ’ The nature of the changes made by Terence in introducing two characters from Menander's Colax (30–3) is now fairl…
Cario – A Plautine Creation
CARIO – A PLAUTINE CREATION Get access J.C.B. Lowe J.C.B. Lowe London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 32, Issue 1, December 1985, Pages 83–84, https://doi.org/10.1111/j.2041-5370.1985.tb00168.x Published: 12 March 2010
The Cook Scene of Plautus' Pseudolus
H. Dohm has amply demonstrated how the cook of Plautus, Pseud. 790ff. exhibits characteristic features of the mageiros of Greek comedy. He has also argued, however, that this scene contains substantial Plautine expansion, comparable with that which has been recognised in the cook scene of the Aulularia . I wish to suggest that Dohm is largely right but that the Plautine expansion is even more extensive than he supposes. In 790–838 Plautus is prob…
Plautine Innovations in "Mostellaria" 529-857
Having scared his master Theopropides away from his own house by means of a fictitious ghost story, the slave Tranio is left alone on stage at 529. He speaks three lines of monologue before the moneylender Misargyrides enters, making clear his profession in his entrance lines with general remarks about the present slackness of business (532-535). Although he is otherwise unoccupied, Tranio does not notice Misargyrides as he is approaching but onl…
Plautus Poenulus I 2
PLAUTUS POENULUS I 2 J. C. B. LOWE J. C. B. LOWE Institute of Classical Studies, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 35, Issue 1, December 1988, Pages 101–110, https://doi.org/10.1111/j.2041-5370.1988.tb00205.x Published: 12 March 2010
The Virgo Callida of Plautus, Persa
That the theme of trickery and deception plays an important part in the comedies of Plautus is obvious. Although by no means absent from the comedies of Menander and Terence, it is not nearly so prominent in them as in Plautus. One reason for this difference may be Plautus' choice of Greek models, but there are good grounds for believing that changes made by Plautus to his models also served to emphasize the theme. E. Fraenkel showed that Plautus…
Aspects of Plautus' Originality in the Asinaria
That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly …
Terence's Four-Speaker Scenes
IN THE NOW SUBSTANTIAL CORPUS OF MENANDER there are apparently no scenes involving more than three speaking characters, although mute extras are freely used (Gomme-Sandbach 1973: 16-19; Frost 1988: 2-3). The fragmentary nature of the texts makes it impossible to state categorically they contain no four-speaker scenes, but there is no indisputable example. Even less can we be certain Menander never wrote such scene, given we possess only small fra…
Terence, Adelphoe: Problems of dramatic space and time
So far as we can judge from his one completely preserved play and extensive fragments of others, Menander carefully worked out the movements of his characters on and off stage, so as to give an appearance of realism, within certain conventions, and avoid inconsistencies that might distract the audience. Menander's observed practice confirms the famous anecdote, according to which he regarded the construction of a plot as of primary importance, ad…
The Lot-Drawing Scene of Plautus’ Casina
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Third Stage-house in Plautus and Terence
A. Frickenhaus argued that in Plautus’ Pseudolus and Stichus and Terence’s Heauton Timorumenos, Hecyra and Phormio the Latin dramatist was responsible for a third stage-house, whereas the Greek models of these plays had only two, the norm for New Comedy. Frickenhaus’ unjustly neglected arguments are here revived and reinforced. It is also argued that Plautus’ Cistellaria and Trinummus are further cases of the same phenomenon
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