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Terence's Hecyra raises social, literary and theatrical issues of great interest to modern students of Roman comedy and, indeed, of Roman culture more broadly. The play pays strikingly close attention to the domestic problems of women and experiments boldly with traditional comic forms, not only in its creation of anticipatory suspense, but through its variations on traditional situations and roles and its metatheatrical qualities. In addition, Terence's response in his prologues to the play's two putative failures is important, if tendentious, evidence for the mechanics of theatrical…mehr

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Produktbeschreibung
Terence's Hecyra raises social, literary and theatrical issues of great interest to modern students of Roman comedy and, indeed, of Roman culture more broadly. The play pays strikingly close attention to the domestic problems of women and experiments boldly with traditional comic forms, not only in its creation of anticipatory suspense, but through its variations on traditional situations and roles and its metatheatrical qualities. In addition, Terence's response in his prologues to the play's two putative failures is important, if tendentious, evidence for the mechanics of theatrical performance in the second century, especially the conjunction of theatrical and gladiatorial shows. This edition opens the play's many interpretive challenges to wider scrutiny while remaining attentive to the linguistic needs of students at all levels.

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Autorenporträt
Terence (Publius Terentius Afer; c. 190-159 BC) was a Roman playwright. He is believed to have been a Carthaginian slave educated and freed by his Roman master. Six of his plays, all based on works of the Greek new comedy, have survived: Andria (166 BC), Hecyra (165 BC), Heauton Timoroumenos (163 BC), Eunuchus (161 BC), Phormio (161 BC), and Adelphi (160 BC). They show Terence's comedy to be more original and subtle with thoughtful characterization and a graceful style. His plotting and characterization influenced many Renaissance playwrights, amongst them Molière and Shakespeare. In his own day Terence was always overshadowed by Plautus, who produced more topical and less refined comedies. Julius Caesar criticized Terence's plays for lacking the true comic spirit. The playwright's later prologues sharply answer these attacks and also complain of the fickleness of the public, which was developing a preference for circuses and gladiatorial combats.