By Michael Fontaine
Plautus, Rome's earliest extant poet, was once acclaimed via historic critics mainly for his mastery of language and his felicitous jokes; and but nowa days particularly little awareness has been dedicated to elucidating those components absolutely. In humorous phrases in Plautine Comedy, Michael Fontaine reassesses many of the premises and nature of Plautus' comedies. blending textual and literary feedback, Fontaine argues that lots of Plautus' jokes and puns have been misunderstood already in antiquity, and that with them the names and identities of a few standard characters have been misconceived. crucial to his research are problems with Plautine language, sort, psychology, coherence of characterization, and irony. by means of reading the comedian's tendency to make up and misuse phrases, Fontaine sheds new mild at the shut connection among Greek and Roman comedy. substantial awareness can be paid to Plautus' viewers and to the visible components in his performs. the result's a reappraisal that would problem many got perspectives of Plautus, positioning him as a poet writing within the Hellenistic culture for a educated and complex viewers. All quotations from Latin, Greek, and different international languages are translated. broad indices, together with a "pundex," facilitate ease of reference one of several jokes and performs on phrases mentioned within the textual content.
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Extra info for Funny Words in Plautine Comedy
46. Augusta Gregory, Our Irish Theatre (New York: Capricorn Books, 1965; for 1913), 2–3. 47. Two such ballads, he believed, were Mangan’s “Dark Rosaleen” and “O’Hussey’s Ode to the Maguire,” the latter an adaptation from the Gaelic of O’Hussey, the last hereditary bard of the Maguires, who laments the fate of his outcast warrior-chief, Hugh Maguire. In his bardic forefathers 23 Although he had often expressed his appreciation of peasant verse-makers, he made it clear in the Preface that the collection was compiled “not at all for Irish peasants” but “for the small beginning of that educated and national public, which is our greatest need and perhaps our vainest hope” (BIV1 xxvii).
D. Joyce” (1886), he described Joyce as “essentially a bard” among contemporary Irish poets, one who “sought to give us whole men, apart from all that limits,” and expressed his desire to be identiﬁed not with the coterie poets but with the “bardic class” that runs from Homer to Burns, Scott, and Joyce, poets “who sing of the universal emotions, our loves and angers, our delight in stories and heroes, our delight in things beautiful and gallant” (UP1 105). In his introduction to Fairy and Folk Tales of the Irish Peasantry (1888), he described with awe how Carolan, “the last of the Irish bards, slept on a rath, and ever after the fairy tunes ran in his head, and made him the great man he was” (P&I 12).
38. Yeats inscribed his presentation copy (private) of The Book of the Rhymers’ Club to Lady Gregory, “This little work was put together at my suggestion. I suggested it because I wanted to have copies of Dowsons poems. ” The inscription is reproduced in facsimile in Sotheby’s Catalogue of Valuable Autograph Letters, Literary Manuscripts and Historical Documents (July 23/24, 1979), lot 404, p. 289. bardic forefathers 17 not marry—there were reasons—she would never marry; but in words that had no conventional ring she asked for my friendship” (Mem 46).