Plautus Truculentus
EN Lat Orig
Prologue
Perparvam partem postulat Plautus loci
de vestris magnis atque amoenis moenibus,
Athenas quo sine architectis conferat.
quid nunc? daturin estis an non? adnuont.
5 scio rém quidem urbis me ablaturum sine mora;
quid si de vostro quippiam orem? abnuont.
eu hercle in vobis resident mores pristini,
ad denegandum ut celeri lingua utamini.
sed hoc agamus quá huc ventumst gratia.
10 Athenis mutabo ita ut hoc est proscaenium
tantisper dum transigimus hanc comoediam.
hic habitat mulier, nomen cui est Phronesium;
haec huius saecli mores in se possidet:
numquam ab amatore suo postulat id quod datumst,
15 sed relicuom dat operam ne sit relicuom,
poscendo atque auferendo, ut mos est mulierum;
nam omnes id faciunt, cum se amari intellegunt.
ea se peperisse puerum simulat militi,
quo citius rem ab eo averrat cum pulvisculo.
20 quid multa? †stuic superet muliere
hiscum anima ad eum habenti erce teritur.
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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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