Terence between late antiquity and the age of printing: illustration, commentary and performance

331 Pages·2015·7.77 MB·English

by  Torello-Hill

Terence between Late Antiquity and the Age of Printing
Metaforms
Studies in the Reception of
Classical Antiquity
Editors-in-Chief
Almut-Barbara Renger (Freie Universität Berlin)
Jon Solomon (University of Illinois at Urbana-Champaign)
John T. Hamilton (Harvard University)
Editorial Board
Kyriakos Demetriou (University of Cyprus)
Constanze Güthenke (Princeton University)
Miriam Leonard (University College London)
Mira Seo (University of Michigan)
VOLUME 4
The titles published in this series are listed at brill.com/srca
Terence between Late Antiquity
and the Age of Printing
Illustration, Commentary and Performance
Edited by
Andrew J. Turner
Giulia Torello-Hill
LEIDEN | BOSTON
Cover illustration: Artist unknown; illustration for Eunuchus 5.7 from the edition of Terence by
Jodocus Badius and Johannes Trechsel (Lyon, 1493). Collection of Christchurch Art Gallery Te Puna o
Waiwhetu. Woodcut 72/100. Presented by Gordon H. Brown, 30 October 1972.
This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering
Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities.
For more information, please see brill.com/brill-typeface.
issn 2212-9405
isbn ���-��-0�-28880-5 (hardback)
isbn ���-��-0�-28949-9 (e-book)

Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands.
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This book is printed on acid-free paper.
For Bernard Muir, with deep gratitude.
―A.J.T.
...

And for my children Valentina and Sofia, my strength and wisdom.
―G.T.-H.
∵

Contents
Preface ix
List of Abbreviations xi
List of Contributors xii
List of Figures xiv
1  Introduction 1
Andrew J. Turner and Giulia Torello-Hill
Part 1
Text and Images
2  Terence’s Comedies: Development, Transmission
and Transformation 15
Bernard J. Muir
3  Illustrating the Manuscripts of Terence 36
Beatrice Radden Keefe
4  Thais Walks the German Streets: Text, Gloss, and Illustration in
Neidhart’s 1486 German Edition of Terence’s Eunuchus 67
James H. Kim On Chong-Gossard
Part 2
Scholarship
5  Terence Quotations in Latin Grammarians: Shared and Distinguishing
Features 105
Salvatore Monda
6  Problems with the Terence Commentary Traditions: The Oedipus
Scholion in BnF, lat. 7899 138
Andrew J. Turner
viii contents
Part 3
Text and Performance
7   Donatus’ Commentary: The Reception of Terence’s Performance 181
Chrysanthi Demetriou
8   Ornatu prologi: Terence’s Prologues on the Stage/on the Page 200
Gianni Guastella
9   The Revival of Classical Roman Comedy in Renaissance Ferrara:
 From the Scriptorium to the Stage 219
Giulia Torello-Hill
Part 4
Readerships
10   Terence’s Audience and Readership in the Ninth to Eleventh
 Centuries 239
Claudia Villa
Bibliography 251
Index of Papyri and Manuscripts 276
Index of Ancient Sources 280
Index of Names and Subjects 288
Figures
Preface
This book investigates the Medieval and Early Renaissance reception of
Terence, combining the diverse but interrelated strands of textual criticism,
illustrative tradition, and performance. It grew out of a core of papers first
presented at the conference Text, Illustration, Revival: Ancient Drama from
Late Antiquity to 1550, which the two editors organised at the University of
Melbourne from 13 to 15 July, 2011. Turner was at that stage employed at the
University of Melbourne on the project The Transformations of Terence:
Ancient Drama, New Media, and Contemporary Reception, supported under
the Australian Research Council’s Discovery Projects funding scheme (proj-
ect number DP110101571, awarded to Bernard Muir and K.O. Chong-Gossard),
while Torello-Hill was a Research Fellow at the University of Queensland. We
received strong support for this conference, both financial and logistical, from
the Australasian Society for Classical Studies (ASCS), the Classical Association
of Victoria, and the University of Melbourne, and take this opportunity to
thank these bodies and the individuals concerned. In particular, we wish to
thank former ASCS President John Davidson, who personally attended the con-
ference, and from the University of Melbourne Andrew Jamieson of the School
of Historical and Philosophical Studies and Marcus Bunyan from the Faculty of
Arts, who designed our excellent web pages.
Despite the broad scope of this conference title, the majority of papers in
fact related specifically to aspects of the reception of Terence, and so after-
wards, when we first discussed publishing a collection of chapters, a decision
was made to focus on this one author and topic—nevertheless, we acknowl-
edge gratefully the participation in the conference of colleagues who pre-
sented on other classical authors. As well as chapters by both editors, we also
had contributions from Muir and Chong-Gossard, who had presented on their
research for The Transformations of Terence, and from our international guest
speakers Gianni Guastella and Chrysanthi Demetriou. By writing to prominent
researchers in this field to see if they would be interested in contributing, or
could recommend anyone else whose work could supplement the works we
already had, we eventually obtained the agreement of Beatrice Radden Keefe,
Salvatore Monda, and Claudia Villa to submit chapters. We then approached
Brill with a proposal, and were delighted when it was accepted by Metaforms
in September 2012.
In addition to our contributors, who have displayed great academic skills
and professionalism throughout, we have many institutions and individuals
x preface
to thank. Our editors at Brill, initially Caroline van Erp and over the crucial
last twelve months Tessel Jonquière and Pieter te Velde, have been enormously
helpful, and we gratefully acknowledge all their assistance and understand-
ing. We have benefitted greatly from a publication grant from the School of
Historical and Philosophical Studies (generously supported by the Head of
School, Trevor Burnard) and the Faculty of Arts at the University of Melbourne,
and would like to thank too the administrative staff there for their assistance.
In a work which is so dependent on images, we have relied heavily on the
goodwill and professionalism of libraries and librarians, and would like to
acknowledge gratefully the Bodleian Library (Oxford), the Bibliothèque natio-
nale de France, the Bibliothèque de l’Arsenal, and the Institut de Recherche et
d’Histoire des Textes (Paris), the Bibliothèque municipale de Tours, the Royal
Library (Copenhagen), the Universitäts- und Landesbibliothek (Darmstadt),
and the Bayerische Staatsbibliothek (Munich). Special thanks are due to the
Christchurch Fine Art Gallery and their librarian, Tim Jones, for arranging the
cover illustration for this volume.
We would like to express our deep gratitude to Bernard Muir. A prolific
publisher, both in traditional and digital format, and an acknowledged author-
ity on palaeography and manuscripts, he has consistently provided us with
answers to tricky questions, and with straightforward and accurate advice. He
has also been unstinting with his time in proof-reading and correcting errors,
both obvious and subtle, and this book is very much indebted both to his eru-
dition and his constant encouragement. At the University of Queensland, Gary
Ianziti has provided us with encouragement and the solace and inspiration of
conversations on various aspects of the Italian Renaissance.
Finally, we would like to thank our families and friends, who have been
enormously supportive throughout this lengthy process—quite simply we
would not have been able to complete this book without them.
G.T.-H.
A.T.