The servus currens in Terence or the transformation of a comical sequence
From the perspective of Faure Ribreau (2012, pp.115-116), the persona of servus is defined from a set of traditional motifs and scenes that make up his code. This means that the bonus servus and the callidus servus do not represent opposite figures of the persona, but a single persona because a slav...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2020
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| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/phaos/article/view/12179 |
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| Summary: | From the perspective of Faure Ribreau (2012, pp.115-116), the persona of servus is defined from a set of traditional motifs and scenes that make up his code. This means that the bonus servus and the callidus servus do not represent opposite figures of the persona, but a single persona because a slave is bonus or callidus by virtue of his situation. In other words, the scenic journey of a servus is marked by the multiple variations that the typical motifs of the persona suffer, promoted by their situation and their action in intrigue. Now, within the routines that describe the actions of a slave on stage is located the servus currens. Terencio uses it in seven passages: Andria (338 ss.), Phormio (179 ss, 841 ss.), Adelphoe (299 ss.) and Hecyra (431-443; 799-807; 808-815). On this occasion we will therefore address these passages with the aim of analyzing the particularities that the motif displays in each comedy and thus define the Terencian originality |
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| ISSN: | 1676-3076 |
