By John Edwin Sandys
Sir John Edwin Sandys (1844-1922) was once a number one Cambridge classicist and a Fellow of St. John's university. His most renowned paintings is that this three-volume background of Classical Scholarship, released among 1903 and 1908, which is still the single large-scale paintings at the topic to span the full interval from the 6th century BCE to the top of the 19th century. The historical past of classical stories used to be a favored subject in the course of the 19th century, relatively in Germany, yet Sandys sticks out for the bold scope of his paintings, even supposing a lot of it used to be in response to prior scholarship. His chronological account is subdivided via style and zone, with a few chapters dedicated to quite influential members. quantity 2 covers the interval from the Renaissance to the eighteenth century.
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Sir John Edwin Sandys (1844-1922) was once a number one Cambridge classicist and a Fellow of St. John's collage. His most renowned paintings is that this three-volume historical past of Classical Scholarship, released among 1903 and 1908, which is still the one large-scale paintings at the topic to span the total interval from the 6th century BCE to the tip of the 19th century.
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Additional info for A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands)
9 These games pose as being preparatory to the beginning of the play, but it is not hard to see that they are only kidding – that they are really part of the spell by which the play works its magic. A similar game opens the Asinaria, while Mercury, acting the prologue for Amphitruo, lays down the law about how the audience must behave. At Captiui 10–16, the prologue-speaker, after asking the audience if they get the plot so far, pretends that someone has said he doesn’t. The offending audience member is blamed for skulking at the back (like students in lectures) and is invited to come forward so that the speaker will not have to shout so loud (understanding has turned into simple hearing, and the play is suddenly being acted for the benefit – cf.
Perhaps this is more than just a play on grammatical structures. The Prologue might mean to imply that the slave is either lazy or lascivious . . 38 Reading Roman Comedy clue and playful messing which is so typical of the hysterically deliberate opening, setting up a series of more or less false trails throughout the prologue. The details of the exposed baby girl and her careful upbringing (educauit magna industria, 45) offer a broad hint that she will turn out to be freeborn and marriageable, although for most of the time the play is little concerned with this detail as other characters vicariously play out a much less respectable role for Casina; the formulaic quasi si esset ex se nata (‘as if she were her [Cleustrata’s] own’, 46) might be a false hint, since Casina turns out to be the daughter of the couple next door, not Cleustrata.
Franko argues that what we see in the play is the triumph of Roman moral values even in Aetolia. This adds a further layer to the interactions of inside and outside the play. Just as the gods are slaves (Am. 26–9). Konstan (1983) argues convincingly for the programmatic force of the pot. 36 Reading Roman Comedy will be about the proper movement of property between the generations – and it is that which was so sadly lacking in Euclio’s ancestry. But the Lar has not finished his story. It was he who made Euclio find the treasure, in order to enable the daughter’s marriage (25–7); it was he who caused the old man next door to ask for the girl’s hand, in order to nudge the young man who is her lover into action (31–3).