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Terence's Selbstaussöhnung: Payback Time for the Self (Hautontimorumenus)

2004; Cambridge University Press; Volume: 33; Issue: 1-2 Linguagem: Inglês

10.1017/s0048671x00001120

2202-932X

John Henderson,

Renaissance and Early Modern Studies

There is no such thing as society. Thatch Friends and neighbours, that's where it's at friends and neighbours, that's a fact. Ornette Coleman (1970) All Terence's ½-doz. plays come complete with instructions on how to read them. They give you a fair idea, for a start, of what you're going to get yourself involved in. They always did, delivering audiences to the exponentially expanding Roman culture of the 160s BCE, delivering drama, and theatre culture, from that critical world-beating juncture in the history of the West to a constantly self-renewing, and ultimately perpetual, Graeco-Roman education, through language + learning: Prologue (§1). Before all, this is the play with the unpronounceable Greek handle. Just about its only Hellenism to survive processing into Terence's expertly screened Latinity. A word-and-a-half set to catch any lover of language—it made Baudelaire write a poem, just so he could list Hautontimoroumenos as a title in Fleurs du Mal: Je te frapperai sans colèrelet sans haine comme un boucher .… (For us, his line-and-a-half must be: Je suis de mon coeur le vampire .) The word-title is a paradigmatic slogan that roars— fortissimo —that complex internal relations between the person and the self feature as the semiotic-cum-problematic of this play. L'innommable —beyond Latinity to put into words, hence the compulsion to dramatise: Title (§2).