Boetius, a 6th-century Christian philosopher, helped keep alive the classic tradition in post-Roman Italy. The liberal arts flourished at Ravenna under Theodoricand the Gothic kings surrounded themselves with masters of rhetoric and of grammar. Italians who were interested in theology gravitated towards Paris.
Historical context[ edit ] The historical context within which Plautus wrote can be seen, to some extent, in his comments on contemporary events and persons. Plautus was a popular comedic playwright while Roman theatre was still in its infancy and still largely undeveloped.
At the same time, the Roman Republic was expanding in power and influence. Any character in his plays could be compared to a god.
Whether to honour a character or to mock him, these references were demeaning to the gods. These references to the gods include a character comparing a mortal woman to a god, or saying he would rather be loved by a woman than by the gods.
Pyrgopolynices from Miles Gloriosus vs. In Pseudolus Reflection over trifles for dramatic, Jupiter is compared to Ballio the pimp. It is not uncommon, too, for a character to scorn the gods, as seen in Poenulus and Rudens. However, when a character scorns a god, it is usually a character of low standing, such as a pimp.
Plautus perhaps does this to demoralize the characters. Young men, meant to represent the upper social class, often belittle the gods in their remarks. Parasites, pimps, and courtesans often praise the gods with scant ceremony. Tolliver argues that drama both reflects and foreshadows social change.
Plautus did not make up or encourage irreverence to the gods, but reflected ideas of his time. Leigh has devoted an extensive chapter about Plautus and Hannibal in his book, Comedy and the Rise of Rome. He says that "the plays themselves contain occasional references to the fact that the state is at arms West believes that this is inserted commentary on the Second Punic War.
In his article "On a Patriotic Passage in the Miles Gloriosus of Plautus", he states that the war "engrossed the Romans more than all other public interests combined".
Therefore, it is reasonable to say that Plautus, according to P. Harvey, was "willing to insert [into his plays] highly specific allusions comprehensible to the audience".
Leigh writes in his chapter on Plautus and Hannibal that "the Plautus who emerges from this investigation is one whose comedies persistently touch the rawest nerves in the audience for whom he writes".
While they would eventually move on Philip V in the Second Macedonian Warthere was considerable debate beforehand about the course Rome should take in this conflict. In the article "Bellum Philippicum: Bickerman writes that "the causes of the fateful war Their speech is littered with words such as pietas and aequus, and they struggle to make their father fulfill his proper role.
While he makes no specific reference to the possible war with Greece or the previous war that might be too dangeroushe does seem to push the message that the government should take care of its own people before attempting any other military actions.
The ancient Greek playwright who best embodies Old Comedy is Aristophanes. Comedy and theater were means for the political commentary of the time—the public conscience. For example, he names his two main characters "Philocleon" and "Bdelycleon", which mean "pro-Cleon" and "anti-Cleon", respectively.
Cleon was a major political figure of the time, and through these characters, Aristophanes freely criticizes the actions of this prominent politician in public.
This, of course, means Old Comedy was more controversial; Aristophanes even underwent persecution for his depiction of Athens in the now-fragmentary The Babylonians. Unlike Aristophanes, Plautus avoided discussion of current events in a narrow sense of the term in his comedies.
The most notable difference, according to Dana F. Sutton, is that New Comedy, in comparison to Old Comedy, is "devoid of a serious political, social or intellectual content" and "could be performed in any number of social and political settings without risk of giving offense".
Instead, there is much more of a focus on the home and the family unit—something that the Romans, including Plautus, could easily understand and adopt for themselves later in history.
Father—son relationships[ edit ] One main theme of Greek New Comedy is the father—son relationship. The father-son relationship is very strong and the son remains loyal to the father.
There is a focus on the proper conduct between a father and son that, apparently, was so important to Roman society at the time of Plautus.Dramatic irony is when the reader understands the implication and meaning of a situation while the character does not ().
As a female, the dramatic irony in Trifles is humorous because it revolves around how much better the women of the story are at finding clues, as they put value on the small discrepancies/5(1). Dramatic irony is when the reader understands the implication and meaning of a situation while the character does not ().
As a female, the dramatic irony in Trifles is humorous because it revolves around how much better the women of the story are at finding clues, /5(1). her first dramatic play, Trifles, "women are used to worrying over trifles"18 when the women in fact start putting the evidence together proving why Minnie murdered her Psychological Domestic Violence against Woman as Reflected in Susan.
Two of the sonatas on this disc possess special merit. The Opus 81 in F sharp minor because of its Beethoven-influenced dramatic starkness; Opus because it exhibits (especially in its slow music) the paternity of manner that was to have such a powerful influence on Chopin.
Hale says “women are used to worrying over trifles.” The men repeatedly dismiss things as beneath their notice if they are things such as the canning jars of fruit that are, in their opinions, women’s concerns.
The Feminist Movement - Throughout the history of mankind, there has always been a common belief that women exist inferior to men. The Bible demonstrates that God made the first woman Eve from the rib of Adam and God “[does] not permit a woman to teach or to exercise authority over a man; rather, she is to remain quiet” (1 Timothy ).