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P.Lund I 4, first published in 1935, contains lines from an unknown comedy, doubtfully attributed to Menander in the ed.pr.; P. Carlsb. inv. 50, published in 1977, preserves verses from a comedy possibly by Menander or Apollodorus of Carystus. According to my re-examination, the two fragments belong to the same bookroll. In this paper I will discuss this joint, together with a new reconstruction of the comedy scene preserved by P.Lund I 4 and some new readings. [ABSTRACT FROM AUTHOR]

Menander and Theophrastus offered an insight into contemporary 4th BC Greek society and illustrated comic figures who deviated from accepted standards of behavior through their oeuvres. This article will attempt to reevaluate their relationship and focus on the similarities and the differences between Menander’s comic characters through his most complete plays and Theophrastus’ Characters. While Theophrastus meticulously examines his characters according to their external vicious traits, he shares little interest from deeper motives. On the other hand, Menander seems to combine both external features and inner motives, in order to depict his character’s deviant dispositions. Therefore, I examine the way specific comic characters are portrayed by means of key words/phrases that occur in both Menander’s and Theophrastus’ texts. Thus, I will bring the two authors together, in order to find resemblances between their character-types and show more clearly ho they choose to study unrefined types, in a humorous and ethical perspective.

Of the 66 papyri that certainly preserve sections of Menander's comedies, 40 are fragments of bookrolls. Given the significant number of these items, an analysis of their bibliological aspects yields interesting data on the material characteristics of the author's transmission. The present paper will analyse the use of recto and verso in the surviving Menandrian papyri, with particular regard to the copies written on the back of documents. [ABSTRACT FROM AUTHOR]

In Menander's Epitrepontes , Charisios acknowledges his own faults and mistreatment of his wife Pamphile in an act 4 speech. During his confession, he repeats the verb δείκνυµι three times within six lines. In this article, I argue that such a verb has a double meaning. Charisios' explicit use of the verb conveys a 'revelation of character' as Charisios and the daimonion he invokes 'reveals' that he has erred in his actions. On a metatheatrical level between the audience and playwright, the verb also conveys the literal meaning of 'showing', as it nods to the playwright putting Charisios onstage (and thus 'showing' him) for the first time in this scene. This double meaning of δείκνυµι adds to the other metatheatrical moments in the play illuminated by other scholars and reveals in Menander a close attention to the power of absence and presence in his plays. [ABSTRACT FROM AUTHOR]

Maasiana Bernensia (I): Sul Dyskolos di Menandro Un’edizione delle note e congetture di Paul Maas al Dyskolos di Menandro, accompagnata da una contestualizzazione degli estratti delle sue lettere al collega e amico Willy Theiler (1958–1959) sulla storia editoriale del testo. Maasiana Bernensia (I): On Menander’s Dyskolos An edition of Paul Maas’s thoughts and conjectures on Menander’s Dyskolos, along with a contextualisation of relevant extracts from his letters to his colleague and friend Willy Theiler (1958–1959) about the editorial history of that text.

The first unmetrical word of Leonidas, AP 6.4 requires emendation, not explanation. On the basis of a variant in Lucian, a new textual suggestion is made. The paper explores metrical and intertextual criteria for explaining the passage, but rejects them in favour of emendation. [ABSTRACT FROM AUTHOR]

With the fourteen musical papyri that have been discovered in situ, all dating from the Roman period, the city of Oxyrhynchus, in Middle Egypt, constitutes the largest reservoir of ancient "scores" found up to now. By their fragmentary appearance, these papyri are often difficult to interpret and raise many questions, especially as to the interpretation of certain musical signs they contain. This article aims to open up new perspectives in the study of an enigmatic V-shaped melodic sign in the musical papyri of Menander (P.Oxy. LIII 3705). [ABSTRACT FROM AUTHOR]

Starting from a re-interpretation of the reading KEΡATAYΛEI at line 17 of P. Matr. inv. 44+119, this article compares the content of the Madrid mime papyrus with a famous scene of Menander's Theophoroumene which also relates to the performance of rituals connected with Phrygian cults. [ABSTRACT FROM AUTHOR]

This article identifies an ostracism joke in Menander's Samia (364–6) during a climactic scene in which the Athenian Demeas ejects the titular Chrysis from his house. The joke, uttered by a cook who is reacting to Chrysis' expulsion, plays on the usage of ὄστρακα —broken pieces of pottery—as ballots in the institution of ostracism. The article proposes that the joke references the final abolition of ostracism during Demetrius of Phalerum's reign and reveals Menander's support for the regime. [ABSTRACT FROM AUTHOR]

In many of his comedies, Menander puts on stage the figure of the mercenary soldier. A survey of extant plays confirms that these characters are no lawless brutes but sympathetic figures, good Athenian citizens who act according to the laws and social norms of the polis. Previous scholarship has interpreted Menander's characterization of soldiers as a stylistic innovation from the stock type of the braggart soldier. Instead, I argue that his comedies reflect Athenian popular perception of mercenary service. A comparison with the depiction of mercenaries in Isaeus' speeches confirms that Athenians did not look down on individuals who chose to serve abroad for money. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Theatre Criticism & Dramaturgy / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is the property of Journal of Theatre Criticism & Dramaturgy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of the Center Papyrological Studies (BCPS) is the property of Ain Shams University, Faculty of Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Greek comedy, especially New Comedy, contains many incidental descriptions of domestic interiors. This article argues that such descriptions constitute a valuable and overlooked source of evidence for historians of the classical Greek house; they are also of interest to literary critics in that they contribute to the thematic and conceptual meaning of the plays. The article presents and discusses all the surviving comic evidence for houses, including many previously neglected comic fragments, as well as a key scene from Menander's Samia which is more detailed than any other surviving literary depiction. [ABSTRACT FROM AUTHOR]

The contribution examines whether some early Christian thinkers, usually classified as "gnostics," were influenced in a special way by interpretations of the biblical account of creation in developing their particular doctrine (Cerinthus, Menander, Simon Magus, and Saturninus/Satornil). It turns out, however, that not only is there too little solid information about these thinkers, but the apparent specifics of interpretation are taken from contemporary Judaism. Only the distance between the supreme God and his helpers in creation seems to be more clearly accentuated than in many texts, but this may also be polemics of these Gnostics majority church opponents. [ABSTRACT FROM AUTHOR]

The Hieroglyphic History, written by Dimitrie Cantemir in 1705, is considered the first Romanian (historical) novel. Beyond the veil of allegory, the exotic topos and animal-related fantasy, the historical events between 1685-1705 are revealed through characteristic deciphering, which can represent valuable data for a historian. The work, first published in 1883, then in 1927 and 1957 in a few non-scientific editions, was finally republished in 1965 in a scientific edition elaborated by P.P. Panaitescu and Ion Verdeş. This particular 1965 edition is of very high historical value, but it also has a number of lacunae, especially in the field of theology. The editors don't reference certain biblical quotes, they hint at certain psychological ideas when mentioning quotes that are clearly extracted from the Bible, they ignore the biblical source, which was the very foundation of Cantemir's maxims, they overlook the study of certain toponyms with biblical origins (Euphrates, Tarshish, Babylon etc.) and don't realize that some of his ideas are of biblical origin (for example: the cyclical evolution of things, free will). Furthermore, they don't distinguish certain elements of Christian iconography from their biblical counterparts, leading to confusion (according to the editors, Saint Veronica's Veil is attributed to Magdalene!). For all this, attention, thoroughness, knowledge of biblical sources and familiarity with Romanian and European biblical tradition are required. An edition of The Hieroglyphic History which envelopes historical, philological, but also theological and, last but not least, philosophical notes and commentaries is expected in the future. [ABSTRACT FROM AUTHOR]

As Amartya Sen has rightly noticed (Sen 2005: 182), one of Buddhist main principles was attaching special importance to discussions and dialogue. This argumentative tradition, which is traceable in Buddhism from the very beginning, for example in the texts of the Sutta Pitaka or the so-called "Buddhist councils," especially the third of them in the time of Aśoka, who in his edicts advocated respect for dissenting views, finds its exemplification in the Milindapañha -- a Pāli Buddhist text, missing original version of which was probably written in Gāndhārī. The analysis of this text, taking into account a variety of possible influences in a multicultural environment of the region of its origin - Gandhāra and during its transmission, as well as the applied artistic means, will give us the opportunity to reconsider the crucial questions regarding the religious and ethnic identity of the Indo-Greek ruler and the attractiveness of Buddhism to the Greeks living in the region of Gandhāra in the second and first century BC. These questions, in a broader perspective, relate to the matters of the dialogue on its many levels: socio-political, intercultural, interpersonal and intrapersonal. Analysis of these levels enables us to notice the essence of the dialogue and its importance. [ABSTRACT FROM AUTHOR]

The notion of hamartia in Aristotle’s Poetics and his moral writings refers to harmful and yet unintentional acts committed in ignorance. In the Poetics it is considered as an important feature of the best type of tragic plot and the action of many tragic characters, while relevant instances are found in both tragedy and comedy. The aim of this paper is to examine hamartia in Herondas’ mimiambs, a literary genre that draws upon the tradition of genres such as the mime, iambic poetry and drama. It is argued that mimiambs 1 and 5 show an awareness of hamartia’s usages in Aristotle and in dramatic poetry. Yet in Herondas these usages are not fully developed. They contribute instead to the elucidation of specific aspects of the characters who emerge from the mimiambs. This demonstrates Herondas’ concern with ethical norms in a world of everyday experience and his multi-faceted use of earlier philosophical discourse and literary genres.

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

NA28 and UBS5 identify the source of Paul's statement in 1 Cor 15:33 as Menander, Thais , although NA28 puts a question mark after " Thais." One can, however, demonstrate that the proverb originally came from Euripides. Consequently, future critical editions of the New Testament should include Euripides in the margin along with Menander and should probably make reference also to the mass of proverbs that were shared orally or in writing in the culture of antiquity. One can read 1 Cor 15:33 as a text of Euripides, Menander, or as an expression of the common wisdom of antiquity. [ABSTRACT FROM AUTHOR]

This article aims to explore the meanings of temporal structures in Aristophanic comedy, in order to shed light on the ideology of Attic old comedy as a literary genre. The timelines of the comic plot are investigated through an in-depth analysis of the final kōmos, where the protagonist’s success is normally highlighted by forms of sexual and emotional fulfilment that remain a basic feature of the comic genre from Aristophanes to this day. The analysis of Aristophanes’ ‘gamic’ endings is carried out by contrast with the marriage plot of Attic new comedy. The ideology of the nea, which Menander’s comedies allow to follow in detail, is defined and promoted by a falsely linear temporality: the young man’s progress towards his marriage conceals the iterative circularity of individual existential paths, intended to secure the reproduction of an immutable social order. On the contrary, the timeline of Aristophanes’ plots entails an authentically linear temporality, despite the apparently regressive traits of the protagonist’s accomplishments. In fact, the dramatic action involves a radical transformation, rooted in the heroes’ initial disempowerment and leading to a permanent, wish-fulfilling utopia. It is, however, a timeline all of its own, since the utopian future reached in the comic finale has the paradoxical features of a ‘future-past’: it involves not so much the restoration of a lost bliss, as the finally unrestrained experience ot existential options previously discarded by the sheer action of the reality principle. [ABSTRACT FROM AUTHOR]

Research objective: to provide the comments and translation of some fragments of Byzantine’s historian Menander Protector, which described the embassies from the Avars’ to Byzantine Empire. To analyze the Romans representation of the Avars as well as to define some factors that shaped these concepts. Research materials: Menander was one of the first early-medieval historian who described the appearance of the Avars in the European territories, their relations with the other peoples of the Dnieper, Black Sea and the Danube regions as well as diplomatic relations with Byzantine Empire. From Menander’s evidence we can get information about the Avars who posed a serious threat to the Empire. Research results and novelty: This publication allows to looking at the nomads from the Romans’ point of view, discovering subjective sides of this representation, which were caused by incomprehension of foreign culture and specific diplomacy. The fragments of Menander’s work are important to further research of the Byzantine Empire’s history, of the Avars and inter-civilization relation in the early Middle Ages.

The article offers the (re)edition of five tables of parts (1/12, 1/13, 1/14, 1/15, 1/16), contained in P.Oxy. XXXIII 2656, the famous codex of Menander's Misoumenos (ed. pr.: Turner 1965) and only partially (table of 1/13) edited so far (cf. Turner 1965, 18–19). The palaeographical and content-related analysis of the tables, turn out to be fundamental for a better understanding of the codex's chronology and context. [ABSTRACT FROM AUTHOR]

Through analysis of Ter. An. 606, this paper contributes to the discussion of Terence's approach to his Greek models. [ABSTRACT FROM AUTHOR]

The article is about Byzantine’s historian Menander the Guardian (Protector) and his age. The book of Early Byzantine’s author Menander Protectorisa very important source for researching the relationship between Byzantine Empire and barbarians. However, this work preserved not hole, but only in fragments (excerpts) Menander wrote about last period of emperor Justinian I and the reign of Justine II and Tiberius I (558-582). Menander described relationship between Avars, Turks and others barbarians in the South and East Europe. Contacts with Byzantine Empire were the most important preferences for barbarians in 6th centuries. Because of Menander, we have our opinions about nomadic barbarians and their life, tradition and true motivations about relationship with Byzantine. [ABSTRACT FROM AUTHOR]

The article offers information on Papyrus Oxyrhynchus 6 (P. Oxy. 6), which is a fragment of the Acts of Paul and Thecla, written in Greek, and was discovered by Grenfell and Hunt in 1897 in Oxyrhynchus, Egypt, and was first published in 1908. The fragment was dated by its editors to the first century AD on palaeographical grounds. In 1968, Turner edited a 62-line fragment of Menander's Karchedonios.

This paper deals with the characterization and dramatic function of some personae in Menander's Misoumenos. More specifically, the presentation of Thrasonides as a miles amatorius can be supported by a comparison with the behaviour of Charisios in Epitr. 879-900. The portrait of Thrasonides as the reverse of the traditional comic type presents some echoes of the final lament of the Sophoclean Herakles (Tr. 1058-1075). Simultaneously, the pallake Krateia clearly subverts the submission to the soldier who bought her, as a comparison with Ajax's Tecmessa may highlight. Finally, Chrysis should not be identified with Krateia's nurse, especially on account of her name; the role of the nurse might be attributed to Simiche. [ABSTRACT FROM AUTHOR]

Five suggestions for the text of Menander's Sikyonioi: read φιλανθρωπῶν at line 85; ὡς ἂν at line 171 has a paratragic flavour, which supports Arnott's expunction of ὦ at the beginning of line 169; retain the paradosis at line 265 and postulate an aposiopesis (ἀλλά σοι τις - οὐ γάρ;); the uncommon asyndeton ἀνίστ[ατο, | ἐβάδιζε suggests the alternative reconstruction ἀνίστ[ασο". | ἐβάδιζε at lines 269-270; read ἀλλ' ἄπε[ιμι νῦν at line 271. [ABSTRACT FROM AUTHOR]

It is suggested that Procopius was to some extent familiar with verses from the comedies of Menander. One line in Procopius, De bellis 3.9.5 is an unrecognized almost complete citation of Menander, Georgos fr. 5. [ABSTRACT FROM AUTHOR]

This article asks how the New Comedy of Menander might have influenced Paul's theological rhetoric in 1 Cor 5-15. An intertextual reading of Paul's letter against the backdrop of Menander's Samia reveals a number of shared topics, ethical concerns and dramatic characteristics. Paul's citation of Menander's Thais in 1 Cor 15.33 is part of this larger strategy to frame the struggles in Corinth within the ambit of Greek household 'situation comedy'. Like Menander, Paul hybridises tragic and comic motifs throughout his epistle, inflecting the comedy of the Christ narrative with tragic examples of human misapprehension in this plea for ecclesial reconciliation. [ABSTRACT FROM AUTHOR]

A unique lexical recall, placed in an unusual scenario, makes it likely that Dionysius of Halicarnassus, comparing the Asian oratory to a prostitute trying to expel the legitimate wife living in her same house, has in mind Smikrines' speech to his daughter in the Epitrepontes, in which the same situation is prefigured: it is the first documented reference to a comedy of Menander in Dionysius' rhetorical work. [ABSTRACT FROM AUTHOR]

ENGLISH As the only surviving representative of New Comedy, Menander offers an interesting case-study of how ancient perceptions of genre definition, qualification and categorization may be subjected to ongoing renegotiation, but also how this ever-changing appreciation influences our understanding of the evolution of Comedy, both in Greece and in Rome. More specifically, with the discovery of Menander the genre of Ancient Comedy acquired a third area, ‘New’ Comedy – a ‘Newness’ originally perceived chronologically, but in recent decades, increasingly in terms of poetics. From a different perspective, the fortune of the Menander discovery (and the lack of other extant texts from New Comedy authors) resulted to the (uncritical) designation of Menander as representative par excellence of New Comedy, a designation that most recent research, however, has come to disprove. Roman Comedy was likewise appreciated, to a considerable degree, in comparison to Menander; and within the very genre of Roman Comedy, more or less close observance of Menander’s ‘archetypal’ plays served as criterion for the characterization of Plautus as more ‘Roman’ and appealing, while Terence, famously described by Caesar as ‘half-Menander’ – itself a characterization open to both a positive and a negative interpretation – turned off the Roman audiences because of his alleged closeness to the Menandrian comic language. Performance theory, however, and the acknowledgement of the decidedly oral (namely, largely improvised) character of Plautine plays, have dissociated the appreciation of Roman Comedy from the Menandrian model. This, in turn, has led to a new appreciation of Menander as the exception rather than the mainstream voice of New Comedy. GERMAN Der einzige überlieferte Vertreter der Neuen Komödie, Menander, bietet eine interessante Fallstudie dazu, wie alte Wahrnehmungen von Genre-Definition, Qualifizierung und Kategorisierung einer ständigen Neuaushandlung unterzogen werden, aber auch, wie diese sich verändernde Wertschätzung unser Verständnis von der Entwicklung der Komödie in Griechenland und Rom beeinflusst. Genauer gesagt, mit der Entdeckung von Menander wurde dem Genre der antiken Komödie ein dritter Bereich hinzugefügt, die ‚Neue‘ Komödie – eine „Neuheit“, die ursprünglich chronologisch, aber in den letzten Jahrzehnten immer mehr poetologisch wahrgenommen wird. Anders betrachtet, führte der Zufall der Entdeckung des Menander (und das Fehlen anderer Texte von Autoren der Neuen Komödie) dazu, dass Menander (unkritisch) als Vertreter par excellence der Neuen Komödie angesehen wurde – eine Bezeichnung, die die jüngere Forschung jedoch widerlegt hat. Die Römische Komödie wurde ebenfalls in erheblichem Maße an Menander gemessen; innerhalb der Römischen Komödie diente die mehr oder weniger starke Ausrichtung an Menanders „archetypische‘ Theaterstücke als Kriterium dafür, Plautus als eher „römisch“ und ansprechend zu beschreiben, während Terenz, den Caesar einen „halben Menander“ genannt hatte – eine Charakterisierung, die gleichermaßen für eine positive wie negative Interpretation offen ist – vom römischen Publikum gerade wegen seiner Nähe zur komischen Sprache Menanders abgelehnt wurde. Mittlerweile hat die Performance-Theorie und die Einschätzung des oralen (nämlich weitgehend improvisierten) Charakters der plautinischen Stücke jedoch die Bewertung der Römischen Komödie vom Modell des Menander unabhängig gemacht. Dies wiederum hat zu einer neuen Wertschätzung Menanders als die Ausnahme, nicht als die Mainstream-Stimme der Neuen Komödie geführt.

In this paper, I explore the extent of Plautus' originality in the Bacchides by elucidating two of the comedy's most vexed critical problems: the number of tricks in the Greek and Latin plays, and Chrysalus' reference to a duplexfacinus in vv. 640-641. Through a close, metatheatrical reading of the text, I propose a new explanation of these conundrums which, in turn, evinces the competitive stance Plautus' comedy takes up towards its original. The Bacchides' clever slave, I argue, vies with his Greek Doppelgänger in a meta-textual agon of deception that self-referentially alludes to the dynamics of translation. [ABSTRACT FROM AUTHOR]

Adopting the object-biographical approach, this paper discusses a previously unpublished statue from a private collection in Genoa. The statue is a modern (seventeenth- to eighteenth-century) pastiche assembled from tw o ancient sculptures: the head is a second-century AD replica of the well-known portrait of Menander, w hile the body is a fragm ent of a naked statue of an athlete. It is possible, the paper argues, to relate the peculiar arrangement of the statue to the modern in ¬ terpretation of the portrait of Menander as Pompey and to identify the statue as a 'lo s t' Menander portrait sold in Rome by the antique dealer Jándolo. [ABSTRACT FROM AUTHOR]

This study asks what the importance of law is in the construction of the plot of Menander's Dyskolos and Aspis. Law is here assigned three functions: The legal conflict that underlies these dramas, firstly, creates a constructed and hence comic initial situation as starting point. This initial situtation, secondly, determines the possible behaviour of the comic characters and leads to the comic actions of the plays. Thirdly, the law links the world of the stage to the world of the spectators. To demonstrate these three functions within the comedies, the two plays are presented and analysed with respect to their legal conflict. The findings are summarised and in conclusion a more general consideration of the role of law in Menander's comedies is presented, with reference also to a fabula incerta (P. Cairensis 43227). This general review is intended to illuminate both the poet's working method and the connection of New Comedy to its own times. [ABSTRACT FROM AUTHOR]

As shown by Green, the new Brindisi mosaic represents a scene of Menander's Samia. However, Demeas is not entreating Chrysis, but expelling her, as in a Mytilene mosaic, in a Louvre relief and a wall-painting from Pompeii. No entreaty scene was in Menander's Samia. The Naples relief represents probably Chrysis' escape from Nikeratos' house in the fourth act of the play. [ABSTRACT FROM AUTHOR]

A recently-discovered mosaic in Brindisi contains what is undoubtedly a comic scene. Although badly damaged, it can be shown to have presented what was understood in antiquity as the key moment of Menander's Sarnia, and it demands our reconsideration of the plot of that fragmentary play. [ABSTRACT FROM AUTHOR]