Terence Sentence Examples

The plots of Plautus also are more varied than those of Terence.

He is also appealed to, with Plautus and Ennius, as a master of his art in one of the prologues of Terence.

The titles of most of them, like those of Plautus, and unlike those of Caecilius and Terence, are Latin, not Greek.

As a dramatist he worked more in the spirit of Plautus than of Ennius, Pacuvius, Accius or Terence; but the great Umbrian humorist is separated from his older contemporary, not only by his breadth of comic power, but by his general attitude of moral and political indifference.

Virgil, Statius, Terence, Juvenal, Horace, Persius and Lucan are specially named as entering into a course of training which was rendered more stimulating by a free use of open discussion.

If Terence was born in 185, he published his six plays between the ages of eighteen and twenty-five.

Terence's earliest play was the Andria, exhibited in 166 B.C. A pretty, but perhaps apocryphal, story is told of his having read the play, before its exhibition, to Caecilius (who, after the death of Plautus, ranked as the foremost comic poet), and of the generous admiration of it manifested by Caecilius.

After bringing out these plays Terence sailed from Greek parts, either to escape from the suspicion of publishing the works of others as his own, or from the desire to obtain a more intimate knowledge of that Greek life which had hitherto been known to him only in literature and which it was his professed aim to reproduce in his comedies.

From this voyage Terence never returned.

No writer in any literature, who has contented himself with so limited a function, has gained so great a reputation as Terence.

Plautus, though, like Terence, he takes the first sketch of his plots, scenes and characters, from the Attic stage, is yet a true representative of his time, a genuine Italian, writing before the genius of Italy had learned the restraints of Greek art.

Terence was by birth an African, and was thus perhaps a fitter medium of connexion between the genius of Greece and that of Italy than if he had been a pure Greek or a pure Italian; just as in modern times the Jewish type of genius is sometimes found more detached from national peculiarities, and thus more capable of reproducing a cosmopolitan type of character than the genius of men belonging to other races.

The prologues to Terence's plays are of high interest.

Terence justifies this practice by that of the older poets, Naevius, Plautus, Ennius, whose careless freedom he follows in preference to the "obscura diligentia" of his detractor.

But the gossip, not discouraged by Terence, lived and throve; it crops up in Cicero and Quintilian, and the ascription of the plays to Scipio had the honour to be accepted by Montaigne and rejected by Diderot.

A consequence of this change of circumstances was that comedy was no longer national in character and sentiment, but had become imitative and artistic. The life which Terence represents is that of the well-to-do citizen class whose interests are commonplace, but whose modes of thought and speech are refined, humane and intelligent.

Julius Caesar's lines on Terence, the "dimidiatus Menander," while they complain of lack of comic power, characterize him as "puri sermonis amator."

Horace, so depreciatory in general of the older literature, shows his appreciation of Terence by the frequent reproduction in his Satires and Odes of his language and his philosophy of life.

His works were studied and _learned by heart by the great Latin writers of the Renaissance, such as Erasmus and Melanchthon; and Casaubon, in his anxiety that his son should write a pure Latin style, inculcates on him the constant study of Terence.

Sainte-Beuve calls Terence the bond of union between Roman urbanity and the Atticism of the Greeks, and adds that it was in the r 7th century, when French literature was most truly Attic, that he was most appreciated.

The chief manuscript of Terence is the famous Codex Bembinus, of the 4th or 5th century, in the Vatican.

Among critical estimates of Terence may be mentioned Sainte-Beuve's in Nouveaux lundis (3rd and 10th of August 1863), and Mommsen's in the History of Rome, book iv., chapter xiii.

Terence was translated into English verse by George Colman (2765).

The one complete survival of the generation after the death of Ennius, the comedy of P. Terentius Afer or Terence (c. 185-159), exemplifies the gain in literary accomplishment and the loss in literary freedom.

Terence has nothing Roman or Italian except his pure and idiomatic Latinity.

By looking at them together we understand how much the comedy of Terence was able to do to refine and humanize the manners of Rome, but at the same time what a solvent it was of the discipline and ideas of the old republic. What makes Terence an important witness of the culture of his time is that he wrote from the centre of the Scipionic circle, in which what was most humane and liberal in Roman statesmanship was combined with the appreciation of what was most vital in the Greek thought and literature of the time.

The comedies of Terence may therefore be held to give some indication of the tastes of Scipio, Laelius and their friends in their youth.

Although the artistic product of the first period of Latin literature which has reached us in a complete shape is limited to the comedies of Plautus and Terence, the influence may most appropriately be taken as marking the end of one period and the beginning of another.

The hexameter no longer, as in Lucilius, moves awkwardly as if in fetters, but, like the language of Terence, of Catullus in his lighter pieces, of Cicero in his letters to Atticus, adapts itself to the everyday intercourse of life.

Somewhat later are the commentators on Terence and Horace, Helenius Acro and Pomponius Porphyrio.

The tradition was continued in the 4th century by Nonius Marcellus and C. Marius Victorinus, both Africans; Aelius Donatus, the grammarian and commentator on Terence and Virgil, Flavius Sosipater Charisius and Diomedes, and Servius, the author of a valuable commentary on Virgil.

Had he been a "semi-Graecus," like Ennius and Pacuvius, or of humble origin, like Plautus, Terence or Accius, he would scarcely have ventured, at a time when the senatorial power was strongly in the ascendant, to revive the role which had proved disastrous to Naevius; nor would he have had the intimate knowledge of the political and social life of his day which fitted him to be its painter.

But, notwithstanding the attempt to introduce an alien element into the Roman language, which proved incompatible with its natural genius, and his own failure to attain the idiomatic purity of Naevius, Plautus or Terence, the fragments of his dramas are sufficient to prove the service which he rendered to the formation of the literary language of Rome as well as to the culture and character of his contemporaries.

But the authors whom he quotes most frequently are Virgil, and, next to him, Terence, Cicero, Plautus; then Lucan, Horace, Juvenal, Sallust, Statius, Ovid, Livy and Persius.

Priscian's three short treatises dedicated to Symmachus are on weights and measures, the metres of Terence, and some rhetorical elements (exercises translated from the Hpoyvµvaaµara of Hermogenes).

In the same century the monastery of Gandersheim, south of Hanover, was the retreat of the learned nun Hroswitha, who celebrated the exploits of Otho in leonine hexameters, and composed in prose six moral and religious plays in imitation of Terence.

The Latin poets to be studied include Virgil, Lucan, Statius, Ovid's Metamorphoses, and (with certain limitations) Horace, Juvenal and Persius, as well as Plautus, Terence and the tragedies of Seneca; the prose authors recommended are Cicero, Livy and Sallust.

An educational aim is also apparent in his editions of Terence and of Seneca, while his Latin translations made his contemporaries more familiar with Greek poetry and prose, and his Paraphrase promoted a better understanding of the Greek Testament.

At the grammar school of Stratford-on-Avon, about 1671-1677, Shakespeare presumably studied Terence, Horace, Ovid and the Bucolics of Baptista Mantuanus (1502).

Some critics also maintain that his hand is to be recognized in several series of small blocks done about the same date or somewhat later for Bergmann and other printers of Basel, some of them being illustrations to Terence (which were never printed), some to the romance of the Ritter vom Turm, and some to the Narrenschiff of Sebastian Brandt.

Seneca was chosen as the model of tragedy; Plautus and Terence supplied the groundwork of comedy.

Laos and F ra (Davus, Geta) were common as names of slaves in Attic comedy and in the adaptations of Plautus and Terence.

They generally chose the plays of Terence as models, yet their life is conventional and their types are not Portuguese but Roman-Italian.

If the statement in the life of Terence by Suetonius is correct and the reading sound, Caecilius's judgment was so esteemed that he was ordered to hear Terence's Andria (exhibited 166 B.C.) read and to pronounce an opinion upon it.

Caecilius holds a place between Plautus and Terence in his treatment of the Greek originals; he did not, like Plautus, confound things Greek and Roman, nor, like Terence, eliminate everything that could not be romanized.

He also published editions of Virgil (1785), Plautus (1788) and Terence (1797).

There is also a free self hypnosis course written by Terence.

Former Gloucester Wagon Works employe Terence Lamb, from Cheltenham, died on 19 January this year from the asbestos cancer mesothelioma.

He was also the father of the late Terence Cuneo, the distinguished British Artist whose career bore a startling resemblance to his own.

Terence j fairly impressive handling a tort bill.

That the passion which she inspired in him was tender, pure and fitted to raise to a higher level a nature which in some 1 The Journal for 1755 records that during that year, besides writing and translating a great deal in Latin and French, he had read, amongst other works, Cicero's Epistolae ad familiares, his Brutus, all his Orations, his dialogues De amicitia and De senectute, Terence (twice), and Pliny's Epistles.

The consequence of the latter was sometimes to subject them to a servitude worse than death, as is seen in the plays of Plautus and Terence, which, as is well known, depict Greek, not Roman, manners.

His comedy, like that of Plautus, seems to have been rather a free adaptation of his originals than a rude copy of them, as those of Livius probably were, or an artistic copy like those of Terence.

Giovanni (1513-1556), born in Candia, translator of Terence's Andria and Eunuchus, of Cicero's In Verrem, and of Virgil's Aeneid, viii.

Range rover is assembled terence j fairly impressive handling a tort bill.

One study that does support such a link was presented at the 2002 annual meeting of the American Psychiatric Association by Stanford University researchers Connie Strong and Terence Ketter.

They revamped the show and added several new, younger cast members including singing sensation Kylie Minogue and hunky Jason Donovan, the son of well-known Australian actor Terence Donovan.

If you want to be on a reality TV show, get an edge on your competition by following the advice of Terence Noonan, Emmy award winning television producer and co-author of the book Starring You!

Producer Terence Noonan discovered the sisters when he ordered cupcakes from the bakery and realized that their story would make for a great reality TV show.

We may miss the finer insight into human nature and the delicate touch in drawing character which Terence presents to us in his reproductions of Menander, but there is wonderful life and vigour and considerable variety in the Plautine embodiments of these different types.

The whole aim of Terence was to present a faithful copy of the life, manners, modes of thought and expression which had been drawn from reality a century before his time by the writers of the New Comedy of Athens.

The extraordinary result obtained by Terence is that, while he has left no trace in any of his comedies of one sketching from the life by which he was surrounded, there is perhaps no more truthful, natural and delicate delineator of human nature, in its ordinary and more level moods, within the whole range of classical literature.

Though without claims to creative originality, Terence must have had not only critical genius, to enable him fully to appreciate and identify himself with his originals, but artistic genius of a high and pure type.

Yet Terence had no affinity by birth either with the Greek race or with the people of Latium.