Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Macci Plauti Cantica (Urbino: QuattroVenti, 1995) derive from that work. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Except where otherwise noted, the text and scansion of the verses described in this database derive from the following sources: Plautus: Text and scansion of all verses included in Caesar Questa (ed.), T. Gratwicks suggestion that Erotium might be com- pared here to a tame bird nibbling on her clients nose, Plautus: Menaechmi (Cambridge, 1993), 158. 2, for the use of nasus as anatomical metaphor. This work was reproduced from the original artifact, and remains as true to the original work as possible. Adams, The Latin Sexual Vocabulary (Baltimore, 1982), 35 and n. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. The translators have paid more attention to stage directions than is usually given in translations, because they aim to show how these plays worked. Students in schools and colleges will benefit from short introductions to each play, to Roman stage conventions, to different types of Greek and Roman comedy, and there is a note on staging, with a diagram illustrating a typical Roman stage and further diagrams of the basic set for each play. Accuracy to the original has been thoroughly respected, but look at the humour in rendering Diphilius' play called Synapothnescontes as Three's a Shroud. All versions are exceedingly witty and versatile, in verse that ripples from one's lips, pulling all the punches of Plautus, the knockabout king of farce, and proving that the more polished Terence can be just as funny.
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