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The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–184 BCE, are the earliest Latin works to survive complete and are cornerstones of the European theatrical tradition from Shakespeare and Molière to modern times. This second volume of a new Loeb edition of all twenty-one of Plautus’s extant comedies presents Casina, Cistellaria, Curculio, Epidicus, and Menaechmi with freshly edited texts, lively modern translations, introductions, and ample explanatory notes.

This anthology contains English translations of four plays by one of the best practitioners of Roman comedy, Plautus. The plays Casina, Amphitryon, Captivi and Pseudolus provide an introduction to the world of Roman comedy. As with all Focus translations, the emphasis is on a handsomely produced, inexpensive, readable edition that is close to the original, with an extensive introduction, notes and appendices.

The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–184 BCE, are the earliest Latin works to survive complete and are cornerstones of the European theatrical tradition from Shakespeare and Molière to modern times. This second volume of a new Loeb edition of all twenty-one of Plautus’s extant comedies presents Casina, Cistellaria, Curculio, Epidicus, and Menaechmi with freshly edited texts, lively modern translations, introductions, and ample explanatory notes.

Plautus' Casina is a lively and well composed farce. The plot, which concerns the competition of a father and his son for the same girl and the various scurrilous tricks employed in the process, gives full scope to Plautus' inventiveness and richly comic language. The editors' aim is to establish the play as one of the liveliest of ancient comedies, and in their introduction and notes to make the reader continually aware of the conditions of an actual stage performance. They discuss the background and conventions of Roman comedy and by offering a complete metrical analysis they help the reader to appreciate the original musical structure of the play. The edition is intended primarily for use by students at school and university but will be of value to anyone interested in reading the play in the original.

This is the first volume dedicated to Plautus' perennially popular comedy Casina that analyses the play for a student audience and assumes no knowledge of Latin. It launches a much-needed new series of books, each discussing a comedy that survives from the ancient world. Four chapters highlight the play's historical context, themes, performance and reception, including its reflection of recent societal trends in marriage and property ownership by women after the Punic Wars, and its complex dynamics on stage. It is ideal for students, but helpful also for scholars wanting a brief introduction to the play. Casina pits a husband (Lysidamus) and wife (Cleostrata) against each other in a struggle for control of a 16-year-old slave named Casina. Cleostrata cleverly plots to frustrate the efforts of her lascivious elderly husband, staging a cross-dressing 'marriage' that culminates in his complete humiliation. The play provides rich insights into relationships within the Roman family. This volume analyses how Casina addresses such issues as women's status and property rights, the distribution of power within a Roman household, and sexual violence, all within a compellingly meta-comic framework from which Cleostrata emerges as a surprising comic hero. It also examines the play's enduring popularity and relevance.

This is the first volume dedicated to Plautus' perennially popular comedy Casina that analyses the play for a student audience and assumes no knowledge of Latin. It launches a much-needed new series of books, each discussing a comedy that survives from the ancient world. Four chapters highlight the play's historical context, themes, performance and reception, including its reflection of recent societal trends in marriage and property ownership by women after the Punic Wars, and its complex dynamics on stage. It is ideal for students, but helpful also for scholars wanting a brief introduction to the play. Casina pits a husband (Lysidamus) and wife (Cleostrata) against each other in a struggle for control of a 16-year-old slave named Casina. Cleostrata cleverly plots to frustrate the efforts of her lascivious elderly husband, staging a cross-dressing 'marriage' that culminates in his complete humiliation. The play provides rich insights into relationships within the Roman family. This volume analyses how Casina addresses such issues as women's status and property rights, the distribution of power within a Roman household, and sexual violence, all within a compellingly meta-comic framework from which Cleostrata emerges as a surprising comic hero. It also examines the play's enduring popularity and relevance.

Four essential classic plays with an introduction by the editorThe comedies of Plautus and Terence are all that survive to us of a great age of Roman comedy theatre. Collected here are four important plays that offer a unique insight into everyday life in ancient Rome, whilst maintaining a pivotal influence over the theatre of the present day. In The Haunted House the intrigues of a clever slave are played out in a virtuoso comic role; Plautus's Casina is a fast-moving romp through the sexual mores of the Roman upper classes; Terence's more sophisticated The Eunuch, and The Brothers are perhaps closer in sentiment to the attitudes of modern comedy and reflect situations with universal appeal. The volume is edited and introduced by J.Michael Walton, Professor of Drama at the University of Hull.

A digital copy of "Plautus: Casina" by Christenson. Download is immediately available upon purchase!

A New copy of "Plautus : The Darker Comedies : Bacchides, Casina, and Truculentus" by Plautus and James Ed. and Translator Tatum. Ships directly from Textbooks.com

The plays translated in this volume represent everything one would not expect either from the third-century B.C. playwright Plautus or from Roman comedy in general.A common theme in all three comedies is the triumph of women over men. In Truculentus, prostitutes snare all of the men in the play; in Bacchides, the victims include fathers and sons. In Casina, Plautus creates a fantasy that turns traditional social and sexual roles upside down. The plays' mordant, cynical treatment of the normal plots and casts of Roman comedy, their dark humor rooted in homosexuality, oedipal encounters, cruelty, larceny, and prostitution, and their pervasive lack of romance or sentimentality have alternately puzzled and offended the few audiences that have seen them since the Renaissance. Now these unusual plays have been rescued from obscurity in the best possible way―through performance. James Tatum's translations, revised from actual productions, demonstrate that these are among the most entertaining and theatrically effective of Plautus's comedies. The speakable, performable scripts, along with Tatum's introduction, notes, and critical essays summarizing his own experiences in producing them, make this a gold mine for troupes wishing to produce these classics on the contemporary stage as well as for students of classical drama.

A digital copy of "Plautus: Casina" by Christenson. Download is immediately available upon purchase!

A hand-inspected Used copy of "Comoediae, Volume I: Amphitruo, Asinaria, Aulularia, Bacchides, Captivi, Casina, Cistellaria, Curculio, Epidicus, Menaechmi, Mercator" by Titus Maccius Plautus, W. M. Ed. Lindsay and Plavti. Ships directly from Textbooks.com

What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure. Basing her interpretation on the workings of farce and naturalism in Plautine comedy, McCarthy finds a way to understand the plays' patchwork literary style as well as their protean social effects. Beyond this, she raises important questions about popular literature and performance not only on ancient Roman stages but in cultures far from Plautus' Rome. How and why do people identify with the fictional figures of social subordinates? How do stock characters, happy endings, and other conventions operate? How does comedy simultaneously upset and uphold social hierarchies? Scholars interested in Plautine theater will be rewarded by the detailed analyses of the plays, while those more broadly interested in social and cultural history will find much that is useful in McCarthy's new way of grasping the elusive ideological effects of comedy.