Nugae Theatri

IF 0.4 0 MEDIEVAL & RENAISSANCE STUDIES
C. Watt
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引用次数: 0

Abstract

This article examines Erasmus’ additions to the Adagia in 1533 drawn from comedic playwrights Plautus and Terence. Although Erasmus generally expressed a preference for Terence, Plautus is cited more frequently overall in the Adages and the 133 borrowings from Plautus in the 1533 additions drastically outnumber the 22 from Terence. While scholars have noted this numerical discrepancy, few have hazarded concerted attempts to explain it. This article analyzes the different Plautine and Terentian references in the additions of 1533 and reads them in the context of Erasmus’ other educational writings on classical literature and particularly on characters in comedy. Ultimately, two explanations for Erasmus’ apparent preference for Plautus in 1533 present themselves. First, Plautus presented memorable characters who illustrated the tension between eloquence and morality that characterized the debate in Erasmus’ time over comedy’s role in education. Second, Giambattista Pio’s 1500 edition of Plautus with commentary provided Erasmus with other motivations, such as the opportunity for textual criticism, to focus on Plautus.
Nugae剧院
本文考察了伊拉斯谟在1533年对阿达贾的补充,这些补充来自喜剧剧作家普劳图斯和特伦斯。尽管伊拉斯谟普遍表示倾向于特伦斯,但普劳图斯在Adages中的引用频率更高,1533年新增的133笔借款远远超过了特伦斯的22笔借款。虽然学者们注意到了这种数字上的差异,但很少有人冒险共同尝试来解释它。本文分析了1533年增补部分中不同的普莱廷和特伦提安参考文献,并将其放在伊拉斯谟其他关于古典文学,特别是喜剧人物的教育著作的背景下阅读。最终,伊拉斯谟在1533年明显偏爱普劳图的两种解释出现了。首先,普劳图斯展现了令人难忘的人物形象,他们展示了雄辩与道德之间的紧张关系,这是伊拉斯谟时代关于喜剧在教育中的作用的辩论的特点。其次,詹巴蒂斯塔·皮奥1500年版的《普劳图》带有评论,为伊拉斯谟提供了其他动机,例如文本批评的机会,以关注普劳图。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Erasmus Studies
Erasmus Studies MEDIEVAL & RENAISSANCE STUDIES-
CiteScore
0.40
自引率
0.00%
发文量
12
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