This book interprets the handling of costume in the plays of the ancient Greek comic playwright Aristophanes, using as evidence the surviving plays as well as vase-paintings and terracotta figurines. This book fills a gap in the study of ancient Greek drama, focusing on performance, gender, and the body.

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This book provides the most complete and definitive study of Roman comedy. Originally published in 1952. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Provides a comprehensive critical engagement with Roman comedy and its reception presented by leading international scholars in accessible and up-to-date chapters.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1909 edition. Excerpt: ...husband calls her a mulier odiosa (Haut. 1006) and asks her (1006-1008): ullam ego rem umquam in vita mea volui, quin tu in ea re mihi advorsatrix fueris, Sostrata? Of their son he says (1020-1021): nam tui similis est probe, nam illi nil vitist relictum, quin idem itidem sit tibi. Pollux, writing of the costume of women in Comedy, says (Onom. IV, 120): "H Si rSv vcW, Xivkt rj fivcrcrivr. 'EirucAipwy St, Xivkyj, upoaaarrij. TESTIMONY OF THE MINIATURES I have had access to twenty miniatures of Matronae and Mulieres--two from C, three from P, one from O, and the remaining fourteen from F. The one from O (of Nausistrata Mulier, Ph. 784) shows a long undergarment with long, flowing sleeves ornamented with a border.1 There are traces, too, of a border on the skirt. There is no mantle. In the remaining MSS. the representations of these three types of women show a long undergarment, sometimes the two sets of sleeves already so often described, less often the one set of sleeves, short and flowing.1 There is a mantle which follows the general lines of a pallium and not infrequently is so arranged as to pass over the head in folds.2 When the hair shows, it is commonly arranged with considerable care. 1 It will be remembered that this border is a characteristic feature of the miniatures in O. See p. 60, n. 2. These observations serve to confirm what Wieseler8 wrote more than half a century ago of the miniatures which he had examined: "In Betreff der Tracht der weiblichen Personen findet man im Allgemeinen eine Confusion, wie sie sich bei den mannlichen nicht in dem Grade zeigt." The only invariable distinction which I have been able to make between the costumes of Ancilla, Anus, Matrona, Mulier, and Uxor is that the Anus never has...

Excerpt from Costume in Roman Comedy It was originally my intention to consider the problem of masks along with that of costume. However, a mere summary of the literature of this question was hardly justifiable; on the other hand, it soon became evident that a thorough and independent investigation of the subject must be postponed, since the material involved is quite sufficient to form the basis of a separate mono graph. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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