Terence
Author of The Comedies
About the Author
Terence was born in Carthage. As a boy, he was the slave of Terentius Lucanus, a Roman senator, who educated him and set him free. He was an intimate friend of the younger Scipio and of the elegant poet Laelius. They were the gilded youth of Rome, and Terence's plays were undoubtedly written for show more this inner circle, not for the vulgar crowd. They were adapted from Menander and other Greek writers of the New Comedy and, in the main, were written seriously on a high literary plane with careful handling of plot and character. The six comedies are all extant. (Bowker Author Biography) show less
Disambiguation Notice:
full name Publius Terentius Afer.
Image credit: Alleged portrait of Terence, from Codex Vaticanus Latinus 3868. Possibly copied from 3d century original.
Works by Terence
Terence, Volume I. The Woman of Andros. The Self-Tormentor. The Eunuch (Loeb Classical Library No. 22) (1912) 104 copies, 2 reviews
Comoediae: Andria, Heauton Timorumenos, Eunuchus, Phormio, Hecyra, Adelphoe (Oxford Classical Texts Series) (Latin Edition) (1926) 67 copies
Publii Terentii Afri comoediae 8 copies
P. Terenti Afri Comoediae 7 copies
P. Terenti Afri Comoediae 5 copies
Eunuco. Formión. La suegra (El Libro De Bolsillo - Bibliotecas Temáticas - Biblioteca De Clásicos De Grecia Y Roma) (2005) 5 copies
Komedies 4 copies
Comèdies 3 copies
P. Terenti Afri Comoediae 3 copies
P. Terentii Afri Comoediae 2 copies
Eunuchus 2 copies
Antīkā komēdija — Author — 2 copies
Världslitteraturen : de stora mästerverken. [7], Det antika dramat, II — Author — 2 copies
Terenzio. Le commedie. Vol. I 2 copies
Obras. La Andriana - El atormentado - El eunuco - Formión - La suegra - Los hermanos. (Biblioteca Clásica Gredos nº 368) (2016) 2 copies
Hauton Timorumenos, ed. J.H. Gray 2 copies
Comoediae; recognovervnt brevique adnotatione critica instrvxervnt Robert Kauer Vindobonensis 2 copies
Los hermanos. El eunuco. Formión 2 copies
P. Terenti Afri Comoediae 2 copies
Commoediae 2 copies
Eunuchus. Phormio 1 copy
Andria Kommentar [...] 1 copy
Comèdies, vol. 4 1 copy
Comèdies, vol. 3 1 copy
Comèdies, vol. 2 1 copy
Comèdies, vol. 1 1 copy
Os dois irmãos 1 copy
Comoediae. 1 copy
Comedias: La Adriana. El Eunuco. El Atormentador de sí mismo. Los hermanos. La suegra. Formión 1 copy
Comedias I 1 copy
P. Terenti Afri Comoediae 1 copy
It's only a play 1 copy
Héautontimoruménos - Le Phormion - Les Adelphes: HÉAUTONTIMOROUMENOS. LE PHORMION. LES ADELPHES (2014) 1 copy
Terentius Afer, Publius 1 copy
Comedies tome I 1 copy
Comedies tome II 1 copy
Comedies tomo III 1 copy
Terentius Delphini 1 copy
Térence : Comédies. 1 copy
The Comedies of Terence 1 copy
le commedie 1 copy
Le commedie, 1 1 copy
Le commedie, 2 1 copy
Le commedie (in italiano) 1 copy
Comedies (Commedie), 3 voll. 1 copy
Antike Komödien in drei Bänden - Aristophanes / Plautus / Terenz (Winkler Dünndruck Ausgabe) (1991) — Author — 1 copy
La ética de Platón 1 copy
Terence - Andria (The Girl from Andros): 'I am human and I think nothing of which is human is alien to me'' (2019) 1 copy, 1 review
Medieval Warfare 1 copy
Pigen fra Andros 1 copy
HADIM 1 copy
Selvplageren 1 copy
Associated Works
Lapham's Quarterly - Lines of Work: Volume IV, Number 2, Spring 2011 (2011) — Contributor — 32 copies, 2 reviews
Latijnse varia : bloemlezing uit de werken van een tiental Latijnse dichters en prozaschrijvers (1954) — Contributor — 4 copies
Tagged
Common Knowledge
- Canonical name
- Terentius Afer, Publius
- Legal name
- Terentius Afer, Publius
- Birthdate
- 0195 B.C.
- Date of death
- 0159 B.C.
- Gender
- male
- Occupations
- dramatist
- Organizations
- Scipionic Circle
- Short biography
- Né à Carthage vers -190, Térence est réduit en esclavage alors qu'il est encore enfant. Aussi, son surnom d'Afer était-il celui qu'on donnait aux Africains. Il est ensuite vendu — ou donné — au sénateur romain Terentius. Grâce à son talent, à sa beauté et à sa flûte, qui impressionnent fortement son maître, il reçoit une éducation d'homme libre et est rapidement affranchi. Il fréquente dès lors la haute société et, pour les cercles érudits, écrit des comédies. Enfin, au cours de sa vie, il aura une fille qui épousera un chevalier romain.
Accueilli dans la haute société aristocratique, Térence est protégé par les Scipions, dont le cercle comprenait Scipion Émilien, Caius Laelius Sapiens, Lucius Furius Philus... Dès l'origine, des ragots contradictoires courent sur l'identité du véritable auteur des comédies de Térence. Pour ces cercles érudits et friands d'hellénisme, il écrit des pièces plus littéraires et moins axées sur la représentation, ce qui permet à certaines comédies d'êtres jouées plusieurs fois, contre les habitudes du théâtre romain. Cela lui vaut toutefois des difficultés, non seulement avec le public, lors des représentations, mais aussi avec la critique officielle et, en particulier, avec Luscius de Lanuvium, président du collegium poetarum, qui accablera Térence de ses récriminations.
Sa carrière est très brève. Après avoir présenté six comédies à Rome, il part, en -160, chercher en Grèce des sujets de pièces inédites : il traduit là, semble-t-il, 108 comédies de Ménandre. Mais à partir de l'année -159, quand il décide de rentrer de Grèce, nous ne savons plus rien de Térence. Sa vie semble s'interrompre à ce moment-là. Deux thèses ont été avancées :
Térence aurait fait naufrage en mer, dans la baie de Leucade ;
Térence, désespéré par la disparition de ses manuscrits, serait mort d'affliction, à Stymphale, en Arcadie.
Wikipedia - Nationality
- Roman Empire
- Birthplace
- Carthage, North Africa
- Places of residence
- Carthage, North Africa (now Tunisia, birth)
Rome, Roman Empire - Place of death
- Unknown - Stymphale, Grece?
- Map Location
- Tunisia
- Disambiguation notice
- full name Publius Terentius Afer.
Members
Reviews
I have Betty Radice’s translation. This is a prime example of what the Penguin Classics were doing back in the ‘60s. Just three or four one line notes per play, mostly on the original staging. The translation is in prose with most of the rhetoric stripped out. I suspect this may have altered the character of the plays somewhat, but there’s no denying the writing is lively and enjoyable. Perhaps not the best edition if you’re studying the plays, but great if you’re reading for show more fun.
I’ve read all the surviving European plays up to this point in time and I’ve noticed that each playwright adds some feature or another that we have retained in modern drama. At the start of Andria, instead of some god or whoever delivering the prologue and explaining the plot, Terence uses this to settle some literary scores and the opening scene is two characters engaging in actual expository dialogue. It’s clunky exposition by modern standards, but exposition it is. There are lots of features to the plays which seem old-fashioned now, like asides and monologues etc, but I got the feeling that with these Terence was breaking the fourth wall. Plautus always gave me the impression that there was no fourth wall. I sometimes got the sense that the characters were actual personalities trapped inside stock characters, rather than (with Plautus) stock characters waiting for an actor to bring them to life. These are the first plays which feel modern in some sense.
Terence’s structuring is excellent and all the plays are good, Phormio especially, with two exceptions. The Self-Tormentor is a total mess. Really quite shocking that anyone would have the gall to stage something like that. I have knocked off a rating star.
At the other end of the scale is The Eunuch. I’m going to stick my neck out and suggest this is a masterpiece and a classic for all time. Excellent construction and pacing. Some scenes comic, some shocking. It takes a very conventional Greco-Roman plot, spins it, transcends it, and manages to say something about the human condition. All the characters are compromised in some way, whether it be morally, socially etc etc. Some of these compromises are imposed by living in a society riven by enormous social problems like slavery and oligarchy, but all the main characters compromise themselves in some way, and are thus become morally low. The whole comedy is a kind of inverse tragedy. I would suggest that the main character is Pamphila, who appears only once on stage and never speaks a word. Abducted as a toddler, repeatedly bought and sold as a slave, used by the one woman she should have been able to trust, raped, and finally married to her rapist as no-one else will have her. She’s basically the tragic figure that suffers, not because of her own flaws, but because of the flaws of those around her. Hilarious. show less
I’ve read all the surviving European plays up to this point in time and I’ve noticed that each playwright adds some feature or another that we have retained in modern drama. At the start of Andria, instead of some god or whoever delivering the prologue and explaining the plot, Terence uses this to settle some literary scores and the opening scene is two characters engaging in actual expository dialogue. It’s clunky exposition by modern standards, but exposition it is. There are lots of features to the plays which seem old-fashioned now, like asides and monologues etc, but I got the feeling that with these Terence was breaking the fourth wall. Plautus always gave me the impression that there was no fourth wall. I sometimes got the sense that the characters were actual personalities trapped inside stock characters, rather than (with Plautus) stock characters waiting for an actor to bring them to life. These are the first plays which feel modern in some sense.
Terence’s structuring is excellent and all the plays are good, Phormio especially, with two exceptions. The Self-Tormentor is a total mess. Really quite shocking that anyone would have the gall to stage something like that. I have knocked off a rating star.
At the other end of the scale is The Eunuch. I’m going to stick my neck out and suggest this is a masterpiece and a classic for all time. Excellent construction and pacing. Some scenes comic, some shocking. It takes a very conventional Greco-Roman plot, spins it, transcends it, and manages to say something about the human condition. All the characters are compromised in some way, whether it be morally, socially etc etc. Some of these compromises are imposed by living in a society riven by enormous social problems like slavery and oligarchy, but all the main characters compromise themselves in some way, and are thus become morally low. The whole comedy is a kind of inverse tragedy. I would suggest that the main character is Pamphila, who appears only once on stage and never speaks a word. Abducted as a toddler, repeatedly bought and sold as a slave, used by the one woman she should have been able to trust, raped, and finally married to her rapist as no-one else will have her. She’s basically the tragic figure that suffers, not because of her own flaws, but because of the flaws of those around her. Hilarious. show less
Though there are other plays in this volume, the one I chose was "The Mother-in-Law." It was a play in which the families are neighbors, the son of one family is married to the daughter of the other family. While the son is absent on a trip to oversee some supplies on a ship, his new wife flees to her home and will not come out.
The son has confessed to his servant that he has never had marital relations with her, yet when the play opens she is in her own home giving birth 7 months after show more their wedding.
Though we never see her, we see each mother-in-law blaming herself for what has transpired. And their husbands heap more blame on their wives until the wives turn it back to the husbands.
The son returns, he hears from his mother that his wife has had a son, and more words and back-and-forths ensue between the fathers of both families. Finally, a ring that the son has worn for 9 months, since he came home late one night, is found to be the ring that the young wife and mother wore for many years. It was taken off of her finger during an assault (in this translation) in a back alley one night.
For this modern reader, I was appalled by the misogyny, the cover-up the young wife has to go through regarding her pregnancy, and of course her rape that resulted in a pregnancy. I salute the scholars who are able to read and translate these plays, and I hope that new compendiums and translations make it easier to absorb. show less
The son has confessed to his servant that he has never had marital relations with her, yet when the play opens she is in her own home giving birth 7 months after show more their wedding.
Though we never see her, we see each mother-in-law blaming herself for what has transpired. And their husbands heap more blame on their wives until the wives turn it back to the husbands.
The son returns, he hears from his mother that his wife has had a son, and more words and back-and-forths ensue between the fathers of both families. Finally, a ring that the son has worn for 9 months, since he came home late one night, is found to be the ring that the young wife and mother wore for many years. It was taken off of her finger during an assault (in this translation) in a back alley one night.
For this modern reader, I was appalled by the misogyny, the cover-up the young wife has to go through regarding her pregnancy, and of course her rape that resulted in a pregnancy. I salute the scholars who are able to read and translate these plays, and I hope that new compendiums and translations make it easier to absorb. show less
What to say? The play is not that bad; to a modern reader, the characters may seem a bit wooden and stereotypical, but that's not so odd for a Roman play. The text, however, is not so good. It's extremely dry and the editorial choices and notes are showing the editions age badly. Cambridge, it's time to update!
Terence - Andria (The Girl from Andros): 'I am human and I think nothing of which is human is alien to me'' by Terence
Pretty funny premise, but something more could have been made of this.
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