Terence

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  • Amerasinghe, C. W. "The Part of the Slave in Terence's Drama." Greece and Rome XIX, No. 56 (June 1950): 62-72. (Contends that Terence continually rebelled against the dramatic convention of the wily slave and in so doing, sought "to liberate himself as an artist in such a way that he [could] make human action the significant result of character and situation rather than the mere sport of slaves.")
  • Arnott, Geoffrey. "Phormio Parasitvs: A Study in Dramatic Methods of Characterization." Greece & Rome XVII, No. 1 (April 1970): 32-57. (Study of Terence's characterization techniques, focusing on the eponymous character of Phormio.)
  • Ashmore, Sidney G. Introduction to P. Terenti Afri Comoediae: The Comedies of Terence, by Terence, translated by Sidney G. Ashmore, pp. 1-68. New York: Oxford University Press, 1910. (Introduction to various aspects and attributes of the Roman theater of Terence's time.)
  • Austin, James Curtiss. "The Significant Name in Terence." University of Illinois Studies in Language and Literature VII (1921): 401-532. (Explores Terence's choice of character names, asserting that the majority are "etymologically appropriate to their predicament" and "bear both type and individual significance.")
  • Beare, W. "Terence, an Original Dramatist in Rome." Hermathena, No. LXXI (May 1948): 64-82. (Analyzes Terence's adaptations of Greek plays in his comedies, concluding that it "is not Terence's borrowings but his originality which makes him so significant a figure.")
  • Bieber, Margaret. "The Roman Plays at the Time of the Republic." In her The History of the Greek and Roman Theater, pp. 147-60. Princeton: Princeton University Press, 1961. (Briefly discusses Terence in relation to Roman comedy, calling him "a refined, subtle, cultured, and morally eminent poet.")
  • Brothers, A. J. "The Construction of Terence's Heautontimorumenos." Classical Quarterly 30 (1980): 94-119. (Detailed discussion of Terence's style in The Self-Tormentor, focusing especially on plot construction.)
  • Carney, T. F. "Notes on the Hecyra of Terence." The Proceedings of the African Classical Associations 6 (1963): 16-23. (Addresses two issues in the play: the chronology of Philumena's pregnancy and the doubling of roles.)
  • Clifford, Helen Rees. "Dramatic Technique and the Originality of Terence." The Classical Journal XXVI, No. 8 (May 1931): 605-18. (Maintains that Terence's "technical ability is weak in comparison with that of his Greek prototypes… . The parts which he himself has created reveal weakness in characterization and aimlessness of movement.")
  • Earl, D. C. "Terence and Roman Politics." Historia XI (1962): 469-85. (Explores Terence's attitude toward Roman politics as seen in his plays and concludes that he was largely apolitical.)
  • Enk, P. J. "Terence as an Adapter of Greek Comedies." Mnemosyne, third series, XIII, No. II (1947): 81-93. (Evaluates Terence's modifications to Menander's play in The Brothers. Enk asserts that Terence improved upon his predecessor's dramatic technique.)
  • Flickinger, Roy C. "Terence and Menander." The Classical Journal XXVI, No. 9 (June 1931): 676-94. (Defends Terence against charges that his plays are inferior to their Menandrian models.)
  • Flicklinger, Roy C. "A Study of Terence's Prologues." Philological Quarterly VI, No. 3 (July 1927): 235-69. (Extensive study of Terence's prologues, noting that "each in turn admirably reflect the situation in which they were composed and the psychology of the playwright as it varied with the change of his fortunes from festival to festival.")
  • Flicklinger, Roy C. "On the Originality of Terence." Philological Quarterly VII, No. 2 (April 1928): 97-114. (Traces the degree to which Terence adhered to his original sources for each play and concludes that "his crowning achievement … was that his language never betrays this … but ever seems the spontaneous expression in choice Latin of the ideas which he sought to convey.")
  • Frangoulidis, S. A. "The Soldier as a Storyteller in Terence's Eunuchus." Mnemosyne XLVII, No. 5 (November 1994): 586-95. (Discusses the two "boastful narratives" told by Thraso and contends that they have "an ironic appropriateness: they resemble the main narrative of the play, and thus point to the soldier's ultimate weakness.")
  • Frank, Tenney. "Terence's Contribution to Plot-Construction." American Journal of Philology XLIX, No. 4 (1928): 309-22. (Detailed examination of the ways in which Terence consciously structured his plots to suit his comic purposes.)
  • Godsey, Edith R. "Phormio the Magnificent." The Classical Weekly XXII, No. 9 (10 December 1928): 65-7. (Declares that with Phormio, "the type of the daring, clever, unscrupulous slave of the earlier comedies has been brought to fit culmination.")
  • Goldberg, Sander M. "The Dramatic Balance of Terence's Andria." Classica et Mediaevalia XXXIII (1981-82): 135-43. (Study of The Girl from Andros that supports Goldberg's thesis that Terence "is interested not so much in action nor even in individuals as in the relationships among a set of characters, and his artistic strength lies in his sensitive portrayal of people caught up in webs of conflicting obligations.")
  • Goldberg, Sander M. Understanding Terence. Princeton, N. J.: Princeton University Press, 1986, 231 p. (Proposes to approach Terence "through the Latin tradition of New Comedy and [focus] on his contribution to the Roman's literary development.")
  • Gomme, A. W. "Menander." In his Essays in Greek History and Literature, pp. 249-95. Oxford: Basil Blackwell, 1937. (Respected monograph that includes passing references to Terence and comparisons between his works and those of Menander.)
  • Grant, John N. "The Ending of Terence's Adelphoe and the Menandrian Original." American Journal of Philology 96, No. 1 (Spring 1975): 42-60. (Maintains that Demea's victory at the end of The Brothers "indicates that… his strictness is preferable to Micio's methods.")
  • Greenberg, Nathan A. "Success and Failure in the Adelphoe." Classical World 73, No. 4 (December 1979-January 1980): 221-36. (Discusses comic and farcical aspects of The Brothers and their effect on the interpretation of the theme of parental authority in the play.)
  • Harsh, Philip W. "A Study of Dramatic Technique as a Means of Appreciating the Originality of Terence." The Classical Weekly XXVIII, No. 21 (1 April 1935): 161-65. (Scrutinizes Terence's dramaturgy in an effort to achieve a balanced assessment of him as a playwright. Harsh concludes that he was neither a "clumsy and uninspired" writer, nor an "original genius.")
  • Henry, G. Kenneth G. "The Characters of Terence." Studies in Philology 12 (1915): 55-98. (Exploration of Terence's characterization techniques. Henry asserts that "the strength of Terence's characters lies in their unity and moderation. Nothing is overdrawn. Nothing is forced or twisted to bring the character within the limits of the scheme.")
  • Konstan, David. "Hecyra." In his Roman Comedy, pp. 130-41. Ithaca, N. Y.: Cornell University Press, 1983. (Discusses The Mother-in-Law as a problem play because it "challenges and confounds" the norms and conventions of Roman comedy.)
  • Konstan, David. "Love in Terence's Eunich: The Origins of Erotic Subjectivity." American Journal of Philology 107, No. 1 (Spring 1986): 369-93. (Suggests that "the tension between love and constraint or interest" in Terence's Eunich acts as "a harbinger as well as a moment in the history of love that found expression in the elegists of the Augustan principate, and, after another transformation, in the medieval tradition of courtly love.")
  • Laidlaw, W. A. The Prosody of Terence: A Relational Study. London: Oxford University Press, 1938. (A detailed, technical look at Terence's use of meter and accent in his prose.)
  • Levin, Richard. "The Double Plots of Terence." The Classical Journal 62, No. 1 (October 1966): 301-05. (Discusses Terence's dual plot mechanism and its influence on later drama.)
  • Lloyd-Jones, Hugh. "Terentian Technique in the Adelphi and the Eunichus." The Classical Quarterly LXVIII, No. 2 (November 1973): 279-84. (Defends The Brothers and The Eunich from charges of inconsistency and tampering with the ending of both plays to suit Roman taste.)
  • Ludwig, Walther. "The Originality of Terence and His Greek Models." Greek, Roman, and Byzantine Studies 9, No. 1 (Spring 1968): 169-82. (Explores Terence's handling of Menander's plays in adapting them, defending his standing as a "creative poet.")
  • Mattingly, Harold B. "The Terentian Didascaliae." Athenaeum XXXVII, Nos. I-II (1959): 148-73. (A detailed examination of Terence's didascaliae (official records of performances) with the aim of seeing what they tell us about Terence's life and career.)
  • McGarrity, Terry. "Reputation vs. Reality in Terence's Hecyra." Classical Journal 76, No. 1 (October/November 1980): 149-56. (Discusses the gap between expectations set up by the plot of The Mother-in-Law and actual performance in Terence's comedy.)
  • McGarrity, Terry. "Thematic Unity in Terence's Andria." Transactions of the American Philological Association 108 (1978): 103-14. (Explores the continuity of theme in The Girl from Andros, arguing that Terence's two additions to Menander's basic plot "develop and support" his theme.)
  • Norwood, Gilbert. The Art of Terence. Oxford: Basil Blackwell, 1923, 156 p. (Influential study that praises Terence for his "splendid principle of accepting the traditional framework" of comedy "and evolving from it a thoroughly serious, permanently interesting, type of drama.")
  • Pepe, George M. "The Last Scene of Terence's Eunuchus." The Classical World 65, No. 5 (January 1972): 141-45. (Examines the disconcerting conclusion of The Eunuch in which Thais, Phaedria, and Thraso agree to continue their love triangle. Pepe describes the last scene as "a vignette of cynical realism.")
  • Philippides, Katerina. "Terence's Eunuchus: Elements of the Marriage Ritual in the Rape Scene." Mnemosyne XLVIII, No. 3 (June 1995): 272-84. (Investigates the incorporation of the marriage ceremony in the scene in The Eunuch in which Chaerea rapes Pamphila. Philippides contends that the violence of Chaerea's action is "significantly mitigated since the rape becomes part of the ritual of the wedding ceremony.")
  • Post, L. A. "The Art of Terence." The Classical Weekly XXIII, No. 16 (3 March 1930): 121-28. (Declares that "Terence is not concerned with truth. He writes plays, not to present the life of man as he sees it, but as a frame for the sententious remarks which he had the art to remodel to suit the Roman taste.")
  • Riedel, Ernest. "The Dramatic Structure of Terence's Phormio." The Classical Weekly XI, No. 4 (22 October 1917): 25-8. (Carefully looks at the setting and the entrances and exits of all the characters in Phormio. Riedel observes that "every character, at least every more important one, after he has been introduced, is never lost sight of. … We always know where each one is and what he is doing, so that, in reality, the scene of action is no longer the fronts of three houses, but the entire city.")
  • Robbins, Edwin W. Dramatic Characterization in Printed Commentaries on Terence 1473-1600. Urbana: University of Illinois Press, 1951, 122 p. (Explores the influence of Terence's comedies on the development of sixteenth-century drama, especially with respect to characterization.)
  • Saylor, Charles F. "The Theme of Planlessness in Terence's Eunichus." Transactions of the American Philological Association 105 (1975): 297-311. (Focuses on The Eunich as a critique of "the planning and calculation prevalent in New Comedy and its Roman offspring.")
  • Segal, Erich, and Moulton, Carroll. "Contortor Legum: The Hero of the Phormio." Rheinisches Museum für Philologie 121, Nos. 3-4 (1978): 276-88. (Explores Phormio as a parody of the law.)
  • Wright, John. "Terence." In his Dancing in Chains: The Stylistic Unity of the Comoedia Palliata, pp. 127-51. Papers and Monographs of the American Academy in Rome, Vol. XXV. Rome: American Academy in Rome, 1974. (Asserts that Terence rejected the traditions of Roman comedy in order to forge his own, individualistic style.)

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Terence (Drama Criticism)
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