Author: William S. Anderson
Product Code: 6781
ISBN: 978-0-86516-678-3
Publisher: Bolchazy-Carducci Publishers
Pages: 127
Availability: In stock
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This volume, intended for third- and fourth-year college and advanced high-school use, presents a selection of annotated passages in Latin from six plays by Terence: Andria, Heauton, Phormio, Hecyra, Eunuchus, and Adelphoe. The introduction discusses Terence's enrichment of the comic genre he inherited from the Greeks and the hallmarks of his second-century BC Latin and its grammar.

Terence's plays are not merely showcases for his superb Republican Latin style. They represent an obvious post-Plautine shift in the comedy Rome inherited from Greece. There is a new respect for the real human situations behind well-rehearsed comic plots, and questions prod the cultural norms that are depicted on stage.

Latin selections in this edition include sizeable passages from the beginnings, middles, and ends of all six of Terence's plays, giving the experience of the general structure of his comedy. Notes illuminate Terence's ingenuity in complicating plots, shifting sympathies, and manipulating character types. This Reader offers a memorable sample of Terence's comic art, a unique presence in Latin literature.

Special Features

  • Introduction that discusses Terence’s enrichment of the comic genre and the hallmarks of his Latin
  • 566 lines of Latin text from Terence’s Andria, 28–139; Heauton, 175–256; Phormio, 1–12, 884–989; Hecyra, 198–280; Eunuchus, 539–614; Adelphoe, 1–25, 787–881
  • Notes at the back
  • Bibliography
  • Appendix on Comic Meters in Terence
  • Complete Vocabulary


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Review by: John Barsby, Bryn Mawr Classical Review - March 29, 2010
Bryn Mawr Classical Review Bryn Mawr Classical Review 2010.03.54 William S. Anderson, A Terence Reader: Selections from Six Plays. BC Latin Readers .   Mundelein, IL:  Bolchazy-Carducci, 2009.  Pp. xvii, 109.  ISBN 9780865166783.  $19.00 (pb).   Reviewed by John Barsby, University of Otago ( The Terence Reader is one of the latest in the Bolchazy-Carducci series of Latin Readers, intended as authoritative introductions for intermediate or advanced college Latin study. It contains an introduction, a list of suggested reading (at a fairly sophisticated level), selections from all six plays (amounting to nearly 600 lines of Latin altogether), a commentary of 49 pages, a brief appendix on metres, and a full vocabulary (in which all the long vowels are usefully marked with macrons). This is a handy little compilation by an experienced and highly respected scholar. The Introduction sets the plays of Terence briefly in their historical context. The distinction is made between Plautus and Terence that the former mocked the plots (and characters) of his Greek originals, whereas Terence "treat[ed] them with a certain amount of respect as real human situations" (p. x). In Terence the characters can be seen "painfully trying to find out who they are, and the pursuit of knowledge is more serious than humorous" (p. xiii). In the absence of a divine prologue, the audience shares the errors and anxieties of the characters, and Terence does not necessarily supply the traditional happy ending, so that a play may close "with something like grim irony rather than general thanksgiving" (p. xiv). There is a final section on Terence's Latin which warns students of problems that may arise from Terence's archaic spellings and refers to the simplicity and clarity of his style, not excluding the occasional rhetorical flourish. It actually says nothing about grammar, even though the sub-heading is "Orthography and Grammar". The six selections are carefully chosen to show different features of Terence's plays, indicated loosely by the heading given to each: "Starting the Plot", "Complications", "Vigorous Ending", "Misunderstandings", "Characterization", "Prologue and Ending". The Andria passage is the opening scene between Simo and his freedman Sosia (28-139), where the focus is on the expository technique, with the audience only gradually discovering the facts of the situation, and on the characterisation of Simo, the first of several fathers in Terence who have problems with their adolescent sons. The point that Simo has failed to communicate with his son directly is well made, but in some other respects Anderson offers a more negative interpretation of his character ("ignorant gratification", "irrational raptures", "egotistic pride", "more of his egotism", "selfish conclusion", "verbosity", "an unreliable narrator") than the reviewer would have chosen. Can Simo not alternatively be read as the well-meaning father, concerned for his son's welfare, willing to believe the best of him, hesitant to reproach him before he has established the facts, and willing to tell (against himself) the story of how he (Simo) has allowed himself to be deceived by second-hand reports? The selection from Heauton (175-256) takes in the scenes which follow the opening dialogue between the two fathers, namely the father-son conversation (Chremes-Clitipho) and the following dialogue between the two sons (Clitipho and Clinia). Anderson reasonably defines the object of this part of the play as to "fill us in on ... Clitipho and to develop a contrast between the fathers and sons and the girls that they love." He shrewdly emphasises that Chremes' decision not to reveal to Clinia his father's new found repentance of his harsh treatment of his son will lead to a lot of unnecessary painful deception, and identifies Chremes' attempt to discipline his son by reference to the salutary examples of others as another case of a father's failure to communicate directly. On the other hand, Anderson rather too easily disparages Chremes' argument (with reference to Clinia and his father) that fathers should be obeyed and that the goal of parental discipline is to safeguard the son's morals, by using such words as "inflexible", "awkward bias", "preaching" and "hypocritical". As Terence's other plays show, there are two sides to this question. Phormio comes next (third), even though it is traditionally Terence's fourth play. The chosen extract (884-989) is the excellent scene in which Phormio discomfits the two fathers, Demipho and Chremes, by his knowledge of the latter's bigamous affair in Lemnos, and the commentary brings out well the way in which Phormio manipulates his advantage. The problem with choosing a scene from late in the play is that the (in this case complicated) plot has to be explained to the student first: Anderson, perhaps unwisely, chooses to do this via Sulpicius Apollinaris' idiosyncratic periocha (wrongly labelled as lines 1-12 of the play), which only adds to the complexity. It might have been pointed out that the slapstick with which the scene ends, with blows traded and mouths unsuccessfully stopped, is a rare example in Terence. Hecyra is another interesting placing (fourth), since the play was written second and finally successfully performed fifth. The scene between Laches and his wife Sostrata (198-280) is well chosen to illustrate a further aspect of Terence's plays, namely his sympathetic treatment of wives. In Eunuchus the dialogue between the two young men Chaerea and Antipho (539-614) is concerned with yet another aspect, namely rape. Anderson duly condemns the perpetrator ("heedlessly rapes", "meant to shock us", "a moral eunuch", "sneaky rape", etc.) but does not offer any in depth discussion: Chaerea's exultation in his conquest is not the last word on the subject in the play, let alone in the rest of Terence. In Adelphoe the quarrel between the two fathers, Micio and Demea, and Demea's subsequent "conversion" monologue (787-881) are chosen to illustrate the conflict of personalities and educational philosophies; it would have been a bonus to have Demea's final speech to the two sons (986-95) added to establish his final position. The commentary is mainly concerned with paraphrase and interpretation of the text. Linguistic help is regularly offered to the student in passing, notably by the systematic identification of archaic and contracted forms, types of subjunctive clause and unusual case usages. Comment on style is sporadic with attention drawn chiefly to the occasional example of figures such as chiasmus. The metre of the particular scene is sometimes but not always indicated in the commentary, but there is no coherent explanation of the nature or effect of the different metres. We are not told, for example, that the opening scene of Andria is in iambic senarii or that this is the normal metre for spoken verse and particularly used for exposition, or that the Antipho-Chaerea scene in Eunuchus is divided into three by two changes of metre reflecting the degree of intensity of emotion. Examples of the three main metres are scanned (with stresses and elisions duly marked) in the appendix, but no further help is given with scansion; the Oxford Classical Text, which is used throughout, does systematically mark iambic shortening, but there is no explanation of this process. The advantage of an anthology of extracts from all of Terence's plays is that it enables a wider variety of aspects of his approach to be illustrated than would be possible in an abbreviated version of a single play (it seems to be decided that a total of c.600 Latin lines is the maximum for the series). But there is a disadvantage which is particularly acute for drama, which is that plays move forward, there are twists and turns in the plot, characters develop and in some cases see the errors of their ways. For the extracts to be properly understood, there need to be clear and judicious summaries of the before and after, and these are not always provided: the Eunuchus section, for example, ends simply with the statement "The rapist has further plans", which is more misleading than helpful. One result is that the interesting remarks in the introduction about characters painfully trying to find out who they are or plays closing with something like grim irony are not really substantiated in the volume. That said, the book has an interesting selection of passages and a commentary which should grasp the interest of students and will introduce them to important facets of Terence's work. It may even encourage them to go on to read whole plays and attain a greater appreciation of his dramatic art and his much praised humanity.
Review by: Sharon Kazmierski, The Classical Outlook - June 1, 2009
GOOD THINGS COME IN SMALL PACKAGES Bolchazy-Carducci has recently commenced launching the first titles in its Latin Reader series, a new collection of innovative high intermediate and advanced Latin readers, specifically designed for college-level study. Under the expert guidance of series editor Ronnie Ancona, Professor of Classics at Hunter College and The Graduate Center, City University of New York, these small, duodecimo-sized paperbacks are intended to introduce authors and genres to students in upper division undergraduate courses. Written by recognized experts, each book will include approximately 500-600 lines of authentic Latin text, accompanied by a thorough introduction, bibliography of suggested reading, annotated commentary, and full vocabulary. There are currently two volumes available, A Lucan Reader: Selections from Civil war (ISBN 978-0865166615) by Susanna Braund and A Terence Reader: Selections from Six Plays (978-0865166783) by William S. Anderson. According to the Bolchazy website, seventeen additional volumes are currently scheduled to be issued. Upcoming authors include Plautus, Sallust, Cicero, Sueconius, Tacitus, Vergil, Caesar, Martial, Apuleius, and Livy. Topics co be covered include Roman Women, Roman Verse Satire, Latin Epic, and Roman Army. Additional authors and themes are under consideration. The inaugural volume, A Lucan Reader, is an introduction to the Silver Age epic poem (often referred to as Pharsalia) retelling the events of the Civil War between Julius Caesar and Pompey. Rarely studied by third and fourth-year college Latin students, this reader provides the opportunity for advanced undergraduates to sample some difficult but fascinating Latin. Following a detailed and compelling introduction, Braund has selected high interest passages: the causes of the Civil war, Caesar at the Rubicon, the abandonment of Rome, the necromancy of Erichtho, Pompey's visitation by Julia's ghost, and Caesar in Troy. I have never read Lucan, bur now find myself intrigued. The second volume, A Terence Reader, released just this summer, is an introduction to Roman Comedy. Following a consistent format, Anderson's introduction provides essential background for students and a brief history of Roman Comedy. He then proceeds to explain what made Terence's plays unique, original and thought-provoking. Selections in this volume include excerpts from Andria, Heauton, Phormia, Hecyra, Eunuchus, and Adelphoe, followed by commentary to put the passages in context and provide grammatical assistance. There is also a helpful appendix, with information regarding comic meters. Fans of comedy will be happy to know that the next volume in the series, to be released later this year, will be A Plautus Reader: Selections from Eleven Plays (ISBN 978- 0-86516-694-2) by John Henderson. Given the size of these short readers, teachers and professors should find them useful when customizing a course. Professor Ancona notes that they are ideal for use in combination. I observe that they are inexpensive ($19.95) compared to many college textbooks. Instructors can feel free to mix and match authors and themes to suit their curriculum without causing too much damage to their students' bank accounts. Motivated readers of Latin can sample new authors and themes with expert guidance. Secondary school teachers may even wish to challenge their skilled Advanced Placement students after completing the exam, using some of these selections as a follow-up to the anticipated Caesar/Vergil syllabus. To discover more about this intriguing new collection, visit the BC Latin Readers website at http://www.bolchazy. com/readers/ where you can find out more about what will be included in each volume as well as read a short biography of each series author. To see Bolchazy's complete catalog, visit the main website at Questions may be directed to their customer service at You may also write their headquarters at Bolchazy-Carducci Publishers, Inc., 1570 Baskin Road, Mundelein, Illinois 60060, Tel, (800) 392- 6453, Fax: (847) 526-2867. -Sharon Kazmierski The Clearing House, Classical Outlook Fall 2009

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