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The Terentian mode in English comedy...

McGinnis, James Marion.

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The Terentian mode in English comedy, 1687--1778.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The Terentian mode in English comedy, 1687--1778./
作者:	McGinnis, James Marion.
面頁冊數:	417 p.
附註:	Adviser: Cynthia Wall.
Contained By:	Dissertation Abstracts International67-06A.
標題:	Literature, Classical. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3220522
ISBN:	9780542736629

The Terentian mode in English comedy, 1687--1778.
McGinnis, James Marion.

The Terentian mode in English comedy, 1687--1778. - 417 p.

Adviser: Cynthia Wall.

Thesis (Ph.D.)--University of Virginia, 2006.

Critics of English literature rarely make a distinction between Plautus and Terence in their discussions of the two chief classical models for English comedy, but in fact, the two worked in very different comic modes. Discoveries of lost plays and fragments of Menander in the twentieth century have helped scholars of classical literature confirm what many readers have long suspected: that while Terence was faithful to the spirit of Menander, Plautus departed from his sources in Greek New Comedy to create a distinct form. The result was a mix of satire and farce; in his characterization, Plautus conformed to Aristotle's dictum that comedy depicts people as "worse...than in actual life." Terence, whose chief source, Menander, appeared a generation after Aristotle, took a more sympathetic view, depicting people "as they are."

ISBN: 9780542736629Subjects--Topical Terms:

1017779
Literature, Classical.

The Terentian mode in English comedy, 1687--1778.
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502 $a Thesis (Ph.D.)--University of Virginia, 2006.
520 $a Critics of English literature rarely make a distinction between Plautus and Terence in their discussions of the two chief classical models for English comedy, but in fact, the two worked in very different comic modes. Discoveries of lost plays and fragments of Menander in the twentieth century have helped scholars of classical literature confirm what many readers have long suspected: that while Terence was faithful to the spirit of Menander, Plautus departed from his sources in Greek New Comedy to create a distinct form. The result was a mix of satire and farce; in his characterization, Plautus conformed to Aristotle's dictum that comedy depicts people as "worse...than in actual life." Terence, whose chief source, Menander, appeared a generation after Aristotle, took a more sympathetic view, depicting people "as they are."
520 $a Classicist George Duckworth noted that, near the end of the seventeenth century, Terence replaced Plautus as the chief classical model for English comedy. This shift in models has received little attention in the criticism of English literature, but it is at least partly responsible for the profound changes that take place in English comedy in the late 1680s and the 1690s.
520 $a The change of models was, in part, politically motivated. In the epilogue to his 1687 comedy, Bellamira, an adaptation of Terence's Eunuchus, Sir Charles Sedley proposed Terentian comedy as an alternative to the Tory satires of the early 1680s, which were written in the tradition of Ben Jonson's Plautine "comical satire." A year later, Thomas Shadwell adapted Terence's Adelphoe as The Squire of Alsatia to make a case for Whig political principles. Shadwell's success spawned numerous imitators, including Richard Steele. In The Conscious Lovers, based on Andria, Steele found Terentian comedy a suitable vehicle for expressing his view of human nature: while Plautus presented the world according to Hobbes, each character pursuing pleasure or self-glorification, Terence portrayed humans as the naturally social creatures depicted in Whiggish philosophers from Shaftesbury to Adam Smith. Henry Fielding, whose political and ethical views are in the same Whig tradition, adapted Terentian comedy to the novel in Tom Jones.
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