By John Edwin Sandys
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Extra resources for A history of classical scholarship / Vol. 1
1; ‘one of the most original, lively, and attractive ﬁgures of ancient comedy’. 7 8 9 Kraemer 1927, 667. Kraemer 1927, 665. Rand 1932, 58–9. 10 However, by the time of Kraemer and Rand another critical reaction was already afoot. In fact, they were both writing in response to the strong condemnation expressed in Gilbert Norwood’s book-length study of Terence’s oeuvre, a condemnation that would become typical of scholarship from the second half of the century. 11 He provides a canonical narrative of the young poet’s progress from the Andria, ﬁne in its language but faulty in its construction, to that masterpiece of comedy and humanity, the Adelphoe.
Petersburg. Her legs are simultaneously covered and uncovered, pressed together and exposed; her right hand is raised in a gesture of fear or awestruck expectation, and her body is OUP CORRECTED PROOF – FINAL, 12/9/2016, SPi INTRODUCTION 27 either turning towards or away from the strange golden light that suffuses her bed. 39 If the viewer’s perspective is therefore written into the painting in sympathy with the role of the god, at least one viewer has been drawn into an excessively literal and horriﬁc recapitulation of Jupiter’s act.
CH. Yeah. AN. What advantage could you hope to get From that? CH. You have to ask? I would see her, hear her, be together With the girl I wanted to be with, Antipho. Antipho’s question picks up the earlier interchange about the eunuch’s ‘advantages’ (commodi), and Chaerea’s rogas? echoes his earlier rogitas? in response to OUP CORRECTED PROOF – FINAL, 12/9/2016, SPi 38 MIMETIC CONTAGION Parmeno’s confusion about why the eunuch was so lucky. Rogitas? had served to introduce his modiﬁed ﬁve lines of love; now rogas?