Tomas Drevikovsky
Biographic Data
| ID | 5628433 |
|---|---|
| NAME | Tomas Drevikovsky |
| GIVEN NAMES | Tomas |
| FAMILY NAME | Drevikovsky |
| SIGNATURE | DREVIKOVSKY T |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 70 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2006 |
| H-INDEX | 1 |
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
‘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…
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…
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
‘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…
Art (14 works) · Literature (14 works) · History (12 works) · Classical Antiquity Studies (11 works) · Computer Science (9 works) · Philosophy (9 works) · Linguistics (7 works) · Aesthetics (6 works) · Comedy (6 works) · Classical Philosophy and Thought (5 works)