Eduard Fraenkel
Biographic Data
| ID | 3874976 |
|---|---|
| NAME | Eduard Fraenkel |
| GIVEN NAMES | Eduard |
| FAMILY NAME | Fraenkel |
| SIGNATURE | FRAENKEL E |
| AFFILIATIONS | Corpus Christi College |
| VERIFIED | No |
| TOTAL WORKS | 37 |
| TOTAL CITATIONS | 136 |
| AUTHOR COUNT | 33 |
| EDITOR COUNT | 4 |
| FIRST PUBLICATION YEAR | 1942 |
| LATEST PUBLICATION YEAR | 2006 |
| H-INDEX | 3 |
Expansion of Monologues
As we have seen, Plautus had no qualms about stopping in the middle of dialogues to insert extended jokes which interfere with the coherence of the context, but there were other more convenient places for his expansions as well. By using scenes or parts of scenes in which no dialogue took place at all or had not yet begun, he did not need to cut the artfully woven threads of dialogue at one point and then tie them together, however hastily, at an…
The Nature and Origins of the cantica
The investigations into contamination in the last chapter, like the earlier analysis of the monody in Bacch. 925–78, have shown that Plautus was occasionally able to insert into the context of an Attic comedy a single scene from a different play. As is well known, Terence still enjoyed this same freedom. This is clear from the statement in the prologue of Adelphoe about Scene ii.1. Terence will be considered here only in relation to the evidence …
Expansion of the Dialogue
The very characteristic passage Capt. 152–66 has already been accurately assessed by Leo in his note on 152; his cautious supposition ‘quae intercedunt Plautus addidisse videtur’ (‘Plautus seems to have added what comes in between’) will, I hope, be shown to be a certainty by the material assembled below from other plays. Admittedly the passage itself reveals its own origin. Nothing could be more Roman, more Plautine, than this content: the edend…
Addenda (Elementi Plautini in Plauto, 399-443)
Subject Textual Criticism Collection: Oxford Scholarship Online
Comparative Openings of Speeches
The basis of the invention here is clearly the play on ludi (‘games’); similar ones occur several times in Plautus, for example, Mil. 991: iam est ante aedis circus ubi sunt ludi faciundi mihi (‘Now there is before the house a circus arena where I must put on my games’), in a fragment of Cornicula (fr. 1 Leo): quid cessamus ludos facere? circus noster eccum adest (‘Why do we delay putting on our games? Here is our circus arena ready at hand’) and…
Mythological Material
Up to this point in our investigation we have considered mythology only as far as it occurred in certain forms of expression. Plautus’ treatment of mythological material is, however, of considerable intrinsic importance, not only in judging his artistic independence, but also in the picture one can and must gain of his own and, indirectly, of his public’s cultural level—this means the degree to which they have been hellenized. In the colourfully …
Glossary
Subject Textual Criticism Collection: Oxford Scholarship Online
Preface to the German Edition
Subject Textual Criticism Collection: Oxford Scholarship Online
Dedication
The Predominance of the Slave’s Role
Our examination of Plautus’ monologues led us to make some observations on form. Turning to content, we shall now look at a significant recurring motif which, though not restricted to the monologues, does mainly occur there—it has been touched on occasionally in the course of our investigations. We noted above (p. 159) that the monody which Caecilius adapted from a monologue in Menander’s The Necklace opens with an aphorism which is completely mi…
Preface to the English Translation
Subject Textual Criticism Collection: Oxford Scholarship Online
Preface to the Italian Edition
Subject Textual Criticism Collection: Oxford Scholarship Online
Transformation and IdentiWcation Motifs
Another set of references to mythical characters can be shown, like those discussed in the previous chapter, to be Plautine additions. Here again the evidence is the fact that the dramatic dialogue reaches beyond the sphere proper to bourgeois comedy, and that the allusion to those exalted figures of legend is linked to quite specific modes of thought peculiar to Plautus. In considering this, we will do well to leave aside the particular subject …
‘Contaminated’ Plays
As we looked at certain particular qualities of Plautus’ comedies, we felt compelled to trace the Roman playwright’s transformations, deletions, substitutions, and new creations along very varied paths. In the course of our investigations so far, it will have become apparent in what way we are to understand Maccus vortit barbare (‘Maccus turned it into Latin’), more clearly than by means of a mere paraphrase. In particular we found through our ex…
Plautus as a Poet
New Comedy speaks with a subdued voice about the deeper things in life and expresses its own essence in a reserved fashion. A modern ear often misinterprets this; foreign things are easily read into it, insignificant things become the main concern, the real emphasis is not grasped. A study like the present one cannot concern itself deeply with the atmosphere and the content of the Attic works, and yet we must refer to them. There is a danger that…
Animating the Inanimate
We have frequently observed that animation of dead objects or ones which have no independent existence is a significant part of the jokes which show evidence of being invented or at least heavily adapted by Plautus (see p. 41 f., 49, 86 f.). Although it would serve little purpose to provide a list of all the examples,1 we must highlight a few characteristic features, as we are dealing here with one of the favourite forms of Plautine humour, a for…
Title Pages
Implausibility in Conversations
After our consideration of the monologues, we now turn to a brief discussion of the occasions when dialogues are interrupted by a third character not seen by the speakers. Often there is only one eavesdropper—in this case we find short interpolated monologues; but just as often the main conversation can be interrupted by interchanges between two eavesdroppers. This custom of commenting on a dialogue on the stage itself is firmly entrenched and is…
Plautine Elements In Plautus
Eduard Fraenkel was one of the most influential classicists of the twentieth century. His Plautine Elements in Plautus (originally published in German in 1922) revolutionized the study of Roman comedy. It is still essential reading for students and scholars of Plautus. This translation makes it accessible to an English-speaking readership for the first time. All Latin and Greek is translated, thus making the work available to a wider audience con…
Aeschylus
The Dirae
This strange poem, preserved as part of the miscellaneous collection which Scaliger named Appendix Vergiliana, is interesting from more than one point of view. But if we want to understand it and form an idea of its background, we must first clear up some points of detail and also, where it is necessary, examine the readings of our text, based as it is on manuscripts whose quality is not all that we might wish. Since for this initial section a se…
Beobachtungen zu Aristophanes
Beobachtungen zu Aristophanes
Terence Heaut. 649-652
Two Poems of Catullus
The poem begins with a passionate cry. ‘To my aid, little poems, every one, all of you from everywhere, every single one of you, all!’ When Catullus says adeste, hendecasyllabi , he is not of course summoning representatives of one metrical genre only. Since by far the greater part of those short poems which now make up the first section of his book (I–LX) has as its metre the hendecasyllable ( phalaeceus ), he can readily use this name for his s…
Plautine Elements In Plautus
Eduard Fraenkel was one of the most influential classicists of the twentieth century. His Plautine Elements in Plautus (originally published in German in 1922) revolutionized the study of Roman comedy. It is still essential reading for students and scholars of Plautus. This translation makes it accessible to an English-speaking readership for the first time. All Latin and Greek is translated, thus making the work available to a wider audience con…
Some Aspects of the Structure of Aeneid vii
On Aeneid 7, 37, ‘Nunc age,’ Servius observes : ‘hinc est sequentis operis initium; ante dicta enim ex superioribus pendent.’ This is obviously correct. That ll. 37 ff. are to be regarded as the prelude to the whole second part of the Aeneid follows from the contents of these lines and also from the fact that the opening words ‘nunc age ... Erato’ are a quotation from the beginning of the second half of Apollonius's Argonautica (3, 1) εἰ δ ̓ ἄΥε …
The Dirae
This strange poem, preserved as part of the miscellaneous collection which Scaliger named Appendix Vergiliana, is interesting from more than one point of view. But if we want to understand it and form an idea of its background, we must first clear up some points of detail and also, where it is necessary, examine the readings of our text, based as it is on manuscripts whose quality is not all that we might wish. Since for this initial section a se…
Two Poems of Catullus
The poem begins with a passionate cry. ‘To my aid, little poems, every one, all of you from everywhere, every single one of you, all!’ When Catullus says adeste, hendecasyllabi , he is not of course summoning representatives of one metrical genre only. Since by far the greater part of those short poems which now make up the first section of his book (I–LX) has as its metre the hendecasyllable ( phalaeceus ), he can readily use this name for his s…
Vesper Adest (Catullus LXII)
Vesper adest: iuvenes, consurgite: Vesper Olympo expectata diu vix tandem lumina tollit. surgere iam tempus, iam pinguis linquere mensas: iam veniet virgo, iam dicetur hymenaeus. Hymen o Hymenaee, Hymen ades o Hymenaee ! Cernitis, innuptae, iuvenes ? consurgite contra: nimirum Oetaeos ostendit noctifer ignes. sic certest; viden ut perniciter exiluere ? non temere exiluere: canent quod vincere par est. Hymen o Hymenaee, Hymen ades o Hymenaee ! Non…
The Stars in the Prologue of the Rudens
Arcturus is a very suitable person to tell us the ὑποκεíμενα of the play. During the night preceding the action he has produced the storm which is to bring about the dénouement of the plot (11. 66 ff.): illorum navis longe in altum abscesserat. ego quoniam video virginem asportarier, tetuli ei auxilium et lenoni exitium simul: increpui hibernum et fluctus movi maritimos. nam Arcturus signum sum omnium acerrimum: vehemens sum exoriens, cum occido …
An Epodic Poem of Hipponax
The long expected volume xviii of the Oxyrhynchus Papyri is now in our hands. Besides important pieces of Callimachus, it contains many exciting fragments of early Greek poetry. Most of them were in a state of apparently hopeless mutilation, but have been triumphantly restored by the unsurpassed learning and inexhaustible patience of Mr. Lobel. The new treasures provide ample material for prolonged investigation. At present I only want to draw at…
The Stars in the Prologue of the Rudens
Arcturus is a very suitable person to tell us the ὑποκεíμενα of the play. During the night preceding the action he has produced the storm which is to bring about the dénouement of the plot (11. 66 ff.): illorum navis longe in altum abscesserat. ego quoniam video virginem asportarier, tetuli ei auxilium et lenoni exitium simul: increpui hibernum et fluctus movi maritimos. nam Arcturus signum sum omnium acerrimum: vehemens sum exoriens, cum occido …
Some Aspects of the Structure of Aeneid vii
On Aeneid 7, 37, ‘Nunc age,’ Servius observes : ‘hinc est sequentis operis initium; ante dicta enim ex superioribus pendent.’ This is obviously correct. That ll. 37 ff. are to be regarded as the prelude to the whole second part of the Aeneid follows from the contents of these lines and also from the fact that the opening words ‘nunc age ... Erato’ are a quotation from the beginning of the second half of Apollonius's Argonautica (3, 1) εἰ δ ̓ ἄΥε …
The Latin Studies of Hermann and Wilamowitz
A century ago, on the last day of 1848, there died Gottfried Hermann, the greatest classical scholar of his time. As a small token of homage to his memory some brief remarks on his contribution to the study of early Latin poetry may not be out of place here. Hermann, who owes his fame to his work on Greek poetry, had a knowledge of the language of Rome and an instinctive sense of its potentialities such as few scholars possessed. He spoke and wro…
Agamemnon
"Agamemnon" published on by null.
Aeschylus
Aeschylus
The Culex
It would be a waste of our time if in this lecture we concerned ourselves solely with the old question whether or no it was Virgil who wrote the Culex. More than enough has been written on this subject to guide those who know an argument when they see it. I should, of course, fail in my duty if I concealed my personal view on the problem of the authorship, and I shall, perhaps, be able to add to the discussion a point or two of my own. But I also…
Catching Birds
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The Giants in the Poem of Naevius
When we examine recent discussions about this fragment from the first book of the Bellum Poenicum (19 Morel, 44–6 Warmington, 7 Marmorale), we find an agreement such as otherwise is rare in classical studies. In many countries many scholars, old and young, have adopted Hermann Fränkel's view ( Hermes LXX, 1935, 59 ff.) that the passage was inspired by certain sculptures which Naevius had seen at the temple of Zeus Olympios at Acragas. But whereas…
Vesper Adest (Catullus LXII)
Vesper adest: iuvenes, consurgite: Vesper Olympo expectata diu vix tandem lumina tollit. surgere iam tempus, iam pinguis linquere mensas: iam veniet virgo, iam dicetur hymenaeus. Hymen o Hymenaee, Hymen ades o Hymenaee ! Cernitis, innuptae, iuvenes ? consurgite contra: nimirum Oetaeos ostendit noctifer ignes. sic certest; viden ut perniciter exiluere ? non temere exiluere: canent quod vincere par est. Hymen o Hymenaee, Hymen ades o Hymenaee ! Non…
Some Notes on Cicero's Letters to Trebatius
Few scholars in our time have striven so unceasingly and so effectively as Hugh Last has done to emphasize the essential aspects of the res Romana and of its impact on the history of our civilization. So it was inevitable that he should have reminded us time and again of our debt to the man who, though not one of the greatest Romans, was to become, together with Virgil, the most influential of all, Cicero. It seems fitting therefore that when I j…
Terence Heaut. 649-652
Two Poems of Catullus
The poem begins with a passionate cry. ‘To my aid, little poems, every one, all of you from everywhere, every single one of you, all!’ When Catullus says adeste, hendecasyllabi , he is not of course summoning representatives of one metrical genre only. Since by far the greater part of those short poems which now make up the first section of his book (I–LX) has as its metre the hendecasyllable ( phalaeceus ), he can readily use this name for his s…
Beobachtungen zu Aristophanes
Beobachtungen zu Aristophanes
The Dirae
This strange poem, preserved as part of the miscellaneous collection which Scaliger named Appendix Vergiliana, is interesting from more than one point of view. But if we want to understand it and form an idea of its background, we must first clear up some points of detail and also, where it is necessary, examine the readings of our text, based as it is on manuscripts whose quality is not all that we might wish. Since for this initial section a se…
Aeschylus
Expansion of Monologues
As we have seen, Plautus had no qualms about stopping in the middle of dialogues to insert extended jokes which interfere with the coherence of the context, but there were other more convenient places for his expansions as well. By using scenes or parts of scenes in which no dialogue took place at all or had not yet begun, he did not need to cut the artfully woven threads of dialogue at one point and then tie them together, however hastily, at an…
The Nature and Origins of the cantica
The investigations into contamination in the last chapter, like the earlier analysis of the monody in Bacch. 925–78, have shown that Plautus was occasionally able to insert into the context of an Attic comedy a single scene from a different play. As is well known, Terence still enjoyed this same freedom. This is clear from the statement in the prologue of Adelphoe about Scene ii.1. Terence will be considered here only in relation to the evidence …
Expansion of the Dialogue
The very characteristic passage Capt. 152–66 has already been accurately assessed by Leo in his note on 152; his cautious supposition ‘quae intercedunt Plautus addidisse videtur’ (‘Plautus seems to have added what comes in between’) will, I hope, be shown to be a certainty by the material assembled below from other plays. Admittedly the passage itself reveals its own origin. Nothing could be more Roman, more Plautine, than this content: the edend…
Addenda (Elementi Plautini in Plauto, 399-443)
Subject Textual Criticism Collection: Oxford Scholarship Online
Comparative Openings of Speeches
The basis of the invention here is clearly the play on ludi (‘games’); similar ones occur several times in Plautus, for example, Mil. 991: iam est ante aedis circus ubi sunt ludi faciundi mihi (‘Now there is before the house a circus arena where I must put on my games’), in a fragment of Cornicula (fr. 1 Leo): quid cessamus ludos facere? circus noster eccum adest (‘Why do we delay putting on our games? Here is our circus arena ready at hand’) and…
Mythological Material
Up to this point in our investigation we have considered mythology only as far as it occurred in certain forms of expression. Plautus’ treatment of mythological material is, however, of considerable intrinsic importance, not only in judging his artistic independence, but also in the picture one can and must gain of his own and, indirectly, of his public’s cultural level—this means the degree to which they have been hellenized. In the colourfully …
Glossary
Subject Textual Criticism Collection: Oxford Scholarship Online
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