The beating is bad; but the dinner is good: Whose are you now? Please re-enter recipient e-mail address es. More interesting is the use Dryden makes of an exchange between Mercury and Sosia in Plautus: The name field is required.
(PDF) Re-writing a Myth: Dryden’s Amphitryon and its Sources | Elena Rossi Linguanti –
Alcmena is convinced that her ardent passion will guide her to recognize her husband, and she actually draws close to the real Amphitryon;17 but immediately afterwards, she changes her amphitruon, seeing that her husband despisingly rejects her, whereas Jupiter as Amphitryon attracts her by presenting himself as the defender of her honour. William Paterson, Ferroni, Giulio, ed.
The beating is bad; but the dinner is good: All quotations and translations from Plautus are taken from Plautus, ed. Edizioni Plus,pp.
Molière’s Amphitryon, sources and technique; a critical summary (Book, ) 
Finding libraries that hold this item Write a review Rate this item: Loeb Classical Press, Some wmphitryon of WorldCat will not be available. Thou dost clearly come with thy feet, not thy tunic.
Add a review and share your thoughts with other readers. In the same way Mercury, who is compelled by Jupiter to assume the appearance of Sosia, finds himself in an mo,ière more ambiguous tension, and repeatedly complains about his degradation.
The inclusion of the first act has a fairly important effect on the structure of the play. In Plautus, it is the meeting between Sosia and Mercury disguised as Sosia that occupies the opening position: Oh dear, I object, naturally. In the discussion between Sosia and Mercury disguised as Sosia, while the god has at his disposal the persuasiveness of physical aggression, the servant, faced with his double, needs to prove his existence and uses rational argumentation.
For example, we hear the servant confessing his fear: Your rating has been recorded.
Molière’s Amphitryon, sources and technique; a critical summary …
Even though the temporary impasse of Jupiter and the humiliation and degradation of Mercury are reabsorbed in the rest of the play, it is clear that the gods do not entirely control relationships: Above all, what becomes essential in Dryden is that the self-confidence of disseertation divine becomes disturbed during contact with mankind.
Non edepol volo profecto.
The E-mail Address es field is required. In the monologue of the servant preceding the second meeting between Sosia and Mercury, the decision to try to enter the house and face up to his adversary is based on a closely reasoned argument, in which Sosia solves the contradiction between being beaten if he goes in and remaining hungry if he stays out: Jupiter, the author of the deception, finds himself in difficulty in his meeting with Alcmena and Phaedra, and his pretended personality becomes a double-edged weapon, which turns against him.
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Dryden’s Amphitryon and its Sources. Upon the whole matter, my final resolution is, to take the good and the bad as they come together 4.
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