W Beare
Biographic Data
| ID | 1429560 |
|---|---|
| NAME | W Beare |
| GIVEN NAMES | W |
| FAMILY NAME | Beare |
| SIGNATURE | BEARE W |
| AFFILIATIONS | University of Bristol |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 46 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1926 |
| LATEST PUBLICATION YEAR | 1959 |
| H-INDEX | 3 |
Aristophanic Costume
In my second article on this subject I asked Professor Webster to clarify his previous statements. My article was shown to him before publication, and his reply will be found immediately following it. I will confine my remarks here to a single point, because it is simple and decisive. The only passage in ancient literature explicitly connecting the phallus with Old Comedy is Clouds 537 f. There Aristophanes says that his play does not wear ‘any s…
Aristophanic Costume Again
Professor Webster has replied briefly to my article on this subject, and has dealt elsewhere with the works of art. One point I will gladly concede. In referring (p. 69) the phlyakes-vases to ‘the fourth or third century’ I was quoting Pickard-Cambridge's words in Dithyramb , etc. (1927), p. 267. But in Dramatic Festivals (pub. 1953), Pickard-Cambridge, perhaps influenced by Trendall, speaks of the fourth century only
The Roman Stage. A Short History of Latin Drama in the Time of the Republic
Pollicis Ictus, the Saturnian, and Beowulf
Xopoy in The Plutus
In an interesting article entitled ‘ XOPOY in the Plutus ’ Mr. E. W. Handley questions the accuracy of some observations of mine on this subject, and complains of my ‘failure to state facts’. He quotes my remark that ‘the editors freely insert ( ) in the Plutus ; but, according to Weissinger (p. 51), the only example afforded by the MSS. is after 770; and here there is no lapse of time’. I added in a footnote that R inserts XOPOY after line 801, …
The Costume of the Actors in Aristophanic Comedy
It is generally believed that the actors of Aristophanic comedy wore phallic dress. For example Mr. James Laver ( Oxford Companion to the Theatre , p. 158) tells us that ‘in Old Comedy the actors all wore clothes grotesquely padded, and each was provided with an enormous phallus of red leather. The female characters too were padded, and over the padding wore the long chiton if they belonged to the upper classes, and the short one if they belonged…
The Element of Oyis in Theatrical Production a Reply to Professor Dale
M ANY readers will no doubt symphasize with the view expressed by Professor E. A. Dale (Phoenix 6[1952] 76) that according to the means provided and the taste of the director in different times and in different places, stage settings were designed and executed with various degrees of elaboration; he cannot understand Bywater's obstinacy in confining all effects to costume, when Sophocles is credited by Aristotle with the
The Roman Stage
The Roman Stage
The Roman Stage. A Short History of Latin Drama in the Time of the Republic
The Roman Stage
Slave Costume in New Comedy
The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q . xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says (p. 20) that ‘the Greek original of Sceparnio in the Rudens (429) certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx ( Rudens , ad loc.) thought seh…
When did Livius Andronicus come to Rome
I n the middle of September, 47 b.c. , Cicero obtained a copy of Atticus' recently published Liber Annalis , which he was consequently able to use in preparing his Brutus (46 b.c. ) and his Tusculans and De Senectute (44 b.c. ). Atticus himself had consulted Varro's works on questions of literary history (Schanz, p. 330). Cicero, reading his friend's work, found himself in the thick of a controversy about the beginnings of Latin literature
Masks on the Roman Stage
T he statement that masks were not introduced on the Roman stage until after the time of Terence is still repeated by editors (e.g. Menaechmi , Thoresby Jones, 1918, p. 19; Menaechmi , Moseley aria Hammond, 1933, p. 19) and has the support of Pauly Wissowa (Bieber, s.v. ‘Maske’, 1930) as well as Daremberg and Saglio (Navarre, s.v. histrio ); it may, in fact, be regarded as generally accepted. Yet so long ago as 1912 A. S. F. Gow ( J.R.S. ii. 65–7…
Side-Entrances and ΠEpiaktoi in the Hellenistic Theatre
The greatest confusion prevails among modern writers as to the use of the side-entrances in New Comedy and its Latin derivatives. The statements on this subject made by editors and others, whether confident or hesitating, differ widely from one another, and are seldom supported by any real consideration of the ancient evidence. In 1933 Professor Mary Johnston published a careful treatise, entitled Exits and Entrances in Roman Comedy (W. F. Humphr…
Recent Work on the Roman Theatre
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Plautus and his Public
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Sophocles, Electra , ll. 17–19
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Flos Delibatus Populi Suadaeque Medulla
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Flos Delibatus Populi Suadaeque Medulla
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Sophocles, Electra , ll. 17–19
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Plautus and his Public
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
Recent Work on the Roman Theatre
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
Side-Entrances and ΠEpiaktoi in the Hellenistic Theatre
The greatest confusion prevails among modern writers as to the use of the side-entrances in New Comedy and its Latin derivatives. The statements on this subject made by editors and others, whether confident or hesitating, differ widely from one another, and are seldom supported by any real consideration of the ancient evidence. In 1933 Professor Mary Johnston published a careful treatise, entitled Exits and Entrances in Roman Comedy (W. F. Humphr…
Masks on the Roman Stage
T he statement that masks were not introduced on the Roman stage until after the time of Terence is still repeated by editors (e.g. Menaechmi , Thoresby Jones, 1918, p. 19; Menaechmi , Moseley aria Hammond, 1933, p. 19) and has the support of Pauly Wissowa (Bieber, s.v. ‘Maske’, 1930) as well as Daremberg and Saglio (Navarre, s.v. histrio ); it may, in fact, be regarded as generally accepted. Yet so long ago as 1912 A. S. F. Gow ( J.R.S. ii. 65–7…
When did Livius Andronicus come to Rome
I n the middle of September, 47 b.c. , Cicero obtained a copy of Atticus' recently published Liber Annalis , which he was consequently able to use in preparing his Brutus (46 b.c. ) and his Tusculans and De Senectute (44 b.c. ). Atticus himself had consulted Varro's works on questions of literary history (Schanz, p. 330). Cicero, reading his friend's work, found himself in the thick of a controversy about the beginnings of Latin literature
Slave Costume in New Comedy
The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q . xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says (p. 20) that ‘the Greek original of Sceparnio in the Rudens (429) certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx ( Rudens , ad loc.) thought seh…
The Roman Stage
The Roman Stage
The Roman Stage. A Short History of Latin Drama in the Time of the Republic
The Element of Oyis in Theatrical Production a Reply to Professor Dale
M ANY readers will no doubt symphasize with the view expressed by Professor E. A. Dale (Phoenix 6[1952] 76) that according to the means provided and the taste of the director in different times and in different places, stage settings were designed and executed with various degrees of elaboration; he cannot understand Bywater's obstinacy in confining all effects to costume, when Sophocles is credited by Aristotle with the
The Roman Stage
The Costume of the Actors in Aristophanic Comedy
It is generally believed that the actors of Aristophanic comedy wore phallic dress. For example Mr. James Laver ( Oxford Companion to the Theatre , p. 158) tells us that ‘in Old Comedy the actors all wore clothes grotesquely padded, and each was provided with an enormous phallus of red leather. The female characters too were padded, and over the padding wore the long chiton if they belonged to the upper classes, and the short one if they belonged…
Pollicis Ictus, the Saturnian, and Beowulf
Xopoy in The Plutus
In an interesting article entitled ‘ XOPOY in the Plutus ’ Mr. E. W. Handley questions the accuracy of some observations of mine on this subject, and complains of my ‘failure to state facts’. He quotes my remark that ‘the editors freely insert ( ) in the Plutus ; but, according to Weissinger (p. 51), the only example afforded by the MSS. is after 770; and here there is no lapse of time’. I added in a footnote that R inserts XOPOY after line 801, …
The Roman Stage. A Short History of Latin Drama in the Time of the Republic
Aristophanic Costume Again
Professor Webster has replied briefly to my article on this subject, and has dealt elsewhere with the works of art. One point I will gladly concede. In referring (p. 69) the phlyakes-vases to ‘the fourth or third century’ I was quoting Pickard-Cambridge's words in Dithyramb , etc. (1927), p. 267. But in Dramatic Festivals (pub. 1953), Pickard-Cambridge, perhaps influenced by Trendall, speaks of the fourth century only
Aristophanic Costume
In my second article on this subject I asked Professor Webster to clarify his previous statements. My article was shown to him before publication, and his reply will be found immediately following it. I will confine my remarks here to a single point, because it is simple and decisive. The only passage in ancient literature explicitly connecting the phallus with Old Comedy is Clouds 537 f. There Aristophanes says that his play does not wear ‘any s…
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