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Additional info for Dancing in chains: The stylistic unity of the comoedia palliata (Papers and monographs of the American Academy in Rome)

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2) 176. 3° Fraenkel, EPP 223-241; on Naevius see Fraenkel, N 631. * 48 liacchides and the Mostellim. Therefore it is not surprising to find in Naevius' Triphallus (die title o f which may suggest a good deal, but certainly not a scrims callidus) the following passage (Com. 94-96 W [96-98 R 3 ] ) : umquani si quicquam filium resciuero argentum amoris causa sumpse inutuum, cxtemplo te illo ducam ubi non despuas. The words arc clearly those of a senex to his slave (as the threat of punishment in the last line shows) regarding his son (filium: 94).

The most notable stylistic feature of Naevius' lines is the repetition of various forms of alius at the beginning and after the diaeresis of each septenarius; Fraenkel 1 0 aptly compares the similar anaphora, this time with quanta, in Capt. 903-905: quanta pernis pestis ueniet, quanta labes larido, / 10 Fraenkel, N 630, to whom I am indebted for a number o f the remaining \ Plautine parallels. n Repetitions of alius forms are also found in Plautus: for example, Trin. 535-536, alii exsulatum abierunt, alii cmortui, / alii se suspendcrc.

Alii adnutat, alii adnictat, alium amat, alium tenet, alibi manus est occupata, alii pcrucllit pedem; anulum dat alii spectandum, a labris alium inuocat, cum alio cantat, at tamen alii suo dat digito litteras. A fragment from Antiphanes, a Middle-Comedy poet, describing a ball game, offers an interesting opportunity for comparing the style of a Greek and a R o m a n comic playwriglit as they deal with somewhat similar material (234 Kj: 1 J o^aipav Xapojv TC») FX&V STSOU; £/

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Dancing in chains: The stylistic unity of the comoedia palliata (Papers and monographs of the American Academy in Rome) by John Wright


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