Plautus Trinummus
EN Lat Orig
Prologue
Sequere hac me, gnata, ut munus fungaris tuom.
Sequor, sed finem fore quem dicam nescio.
Adest. em illaé sunt aedes, i intro nunciam.—
nunc, ne quis erret vostrum, paucis in viam
5 deducam, si quidem operam dare promittitis.
nunc igitur primum quaé ego sim et quae illaec siet,
huc quae abiit intro, dicam, si animum advortitis.
primum mihi Plautus nomen Luxuriae indidit;
tum hánc mihi gnatam esse voluit Inopiam.
10 sed ea huc quid introierit impulsu meo
accipite et date vocivas aures dum eloquor.
adulescens quidam est, quí in hisce habitat aedibus;
is rem paternam me adiutrice perdidit.
quoniam ei, qui me aleret, nil video esse relicui,
15 dedi ei meam gnatam, quicum aétatem exigat.
sed de argumento ne exspectetis fabulae:
senes qui huc venient, ei rem vobis aperient.
huic Graece nomen est Thensauro fabulae:
Philemo scripsit, Plautus vertit barbare,
20 nomen Trinummo fecit, nunc hoc vos rogat
ut liceat possidere hanc nomen fabulam.
tantum est. valete, adeste cum silentio.—
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Leo 1896
Leo, Weidmann, 1896 · 1896
The Editor

Friedrich Leo (1851–1914) was one of the greatest Latin scholars of the imperial German university system. Professor at Göttingen from 1889, he combined textual criticism with literary history to an unusual degree. His Geschichte der römischen Literatur (1913) was a landmark work, and his editions of Plautus (1895–1896) and Seneca's tragedies set new standards. Leo's Plautine scholarship was transformative: he was the first to systematically analyse Plautus's metrical practice, using it as a tool for detecting interpolations and establishing the text.

About This Edition

Leo's edition of Plautus, published by Weidmann in Berlin (2 vols., 1895–1896), represented a dramatic advance over previous editions. Leo was the first editor to take full account of the Ambrosian palimpsest (Codex Ambrosianus, 4th–5th century), the oldest witness to Plautus's text, which had been imperfectly read by earlier scholars. His text is characterised by rigorous metrical analysis and a willingness to identify passages he considered interpolated. W. M. Lindsay's OCT (1904–1905) drew heavily on Leo's work while sometimes differing on individual readings.

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