Podcasts about Plautus

Dr. Hans Bork, a professor of Classics at Stanford, joins Lexie to discuss his formative experiences with Indo-European linguistics before Classics, the siloed nature of language study, which is typically categorized with literature rather than with its scientific and mathematical aspects, and humor in ancient Rome, particularly the works of Plautus and Cicero. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Twitter, Facebook & Instagram or visit our website www.theozymandiasproject.com! Learn more about Dr. Bork: https://classics.stanford.edu/people/hans-bork Check out his publications on Academia: https://stanford.academia.edu/HansBork Support us on Patreon: https://www.patreon.com/TheOzymandiasProject Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday.  Get exclusive bonus content (ad free episodes, early releases, and experimental content) on Patreon! Hosted on Acast. See acast.com/privacy for more information.

Next week, Scott and Mackenzie will be donning their togas alongside special guest Ryan Borochovitz, Co-Artistic Producer of Cup of Hemlock Theatre, as they delve into the world of Stephen Sondheim's musical comedy A Funny Thing Happened on the Way to the Forum. The trio will take a deep dive into the ancient Roman plays of playwright Plautus and examine how his works influenced Sondheim, Shevelove, and Gelbart. They'll also explore the profound impact of lead actor Zero Mostel's portrayal of Pseudolus had on the shaping of the musical. Plus, Ryan will share his controversial perspective on why Forum is his favourite Sondheim musical. All of this and tragedy tomorrow and comedy on next Friday's all new episode! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Latinets inflytande på den västerländska kulturen går inte att överskatta. Latinet var romarrikets lingua franca och ett verktyg för att styra imperiet. Latinet har format den europeiska civilisationen på djupet. Från religion, litteraturen och vetenskapen till juridiken och filosofin har latin påverkat hur vi tänker och uttrycker oss.Detta är det första av två avsnitt om Latinets utveckling. I podden Historia Nu samtalar programledaren Urban Lindstedt med Karin Westin Tikkanen som är journalist och docent i latin. Hon är aktuell med boken Latin – En handbok i odödlighet.Det indoeuropeiska latinet har sitt ursprung i Latium Vetus, en region i det nuvarande Italien. Det talades av latinarna, ett folk som bodde i stadsstater och delade en gemensam religion. Den äldsta kända latinska inskriptionen återfanns på Lapis Niger, en sten vid romerska forumet från år 500 fvt. Denna primitiva form av latin visar att romarna hade ett eget språk under en tid då de annars tros ha varit starkt påverkade av etruskisk kultur.Latinet spred sig i takt med romarrikets expansion och blev så småningom tal- och skriftspråk i stora delar av Medelhavsvärlden. Det användes i dagens Portugal, Spanien, Frankrike, Italien, delar av Belgien och Schweiz samt i Rumänien - områden där romanska språk nu talas. Språket nådde även England och Nordafrika.När romarriket var som störst år 117 sträckte det sig från Mesopotamien i öster till Iberiska halvön i väster, från Saharas öknar i syd till Brittiska öarna norr. Och med expansionen följde imperiets språk – latinet som förenade människor och användes för att sprida information över stora avstånd. När kristendomen etablerades fick språket ytterligare skjuts, i kyrkliga sammanhang, över ännu större områden.Den romerska litteraturen, som till stor del imiterade den grekiska, utvecklade sina egna unika drag. Den romerska komedin, med författare som Terentius och Plautus, var bland de tidigaste litterära formerna. Lyriken blomstrade med Lucretius och Catullus, medan Vergilius skapade episka verk som "Aeneiden". Prosan användes flitigt för historieskrivning, retorik och filosofi, med Cicero som en framstående figur.Bild: Kvinna med vaxbricka från fresk från Pompeji. Fotograferad av Joel Bellviure, Wikipedia, Public Domain.Musik: Rome av biggrez. Storyblocks Audio.Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

"Lupus est homo homini, non homo, quom qualis sit non novit." (O homem não é homem, mas um lobo, para um estranho).Esta frase surge na História nos dias em que Roma ainda vivia no período republicano. Sua autoria é atribuída a Plautus, dramaturgo que a incorporou em uma de suas peças. Posteriormente, no século XVII, o inglês Thomas Hobbes, sintetizou-a, para adequar a seu pensamento político/filosófico, ficando apenas como "homo homini lupus" (O homem é o lobo do homem).Uma natureza hostil e selvagem dominando um ser naturalmente bom, para que, uma vez corrompido, se torne numa fera que ataca, deixando atrás de si um rastro de destruição e morte. Esse conto é um convite à reflexão sobre essa máxima, que atravessa o tempo, de geração em geração, até chegar a nós.(Texto do autor)O Monstro é um conto surpreendente de Milagro Malavasi.Quem, afinal, é o predador? Quem é O MONSTRO?Você vai se surpreender do início ao fim. Da Introdução ao Epílogo.Espero que curtam, deixem seus comentários. Sempre bom para o canal.Produzido, editado e narrado por Carlos Eduardo ValenteCapa feita via IA por Fabrício Malavasi e trabalhada para esse conteúdo por Carlos Eduardo ValenteSe vc quiser apoiar esse projeto, acesse:https://apoia.se/carloseduardovalente Pode apoiar também através de um PIXcarlao50@gmail.com Inscreva-se em nosso canal do YouTube:https://youtube.com/c/CarlosEduardoValenteSeja membro deste canal e ganhe benefícios: https://www.youtube.com/channel/UCwJXedn6y5AKKKksevSa_Ug/join

In episode seven, we turn to some of the earliest surviving examples of Roman literature: the raucous, bawdy and sometimes bewildering world of Roman comedy. Plautus and Terence, who would go on to set the tone for centuries of playwrights (and school curricula), came from the margins of Roman society, writing primarily for plebeians and upsetting the conventions they simultaneously established. Plautus' ‘Menaechmi' is full of coinages, punning and madcap doubling. Terence's troubling ‘Hecyra' tells a much darker story of Roman sexual mores while destabilizing misogynistic stereotypes. Emily and Tom discuss how best to navigate these very early and enormously influential plays, and what they lend to Shakespeare, Sondheim and the modern sitcom.This is an extract from the episode. To listen in full and to our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsEmily Wilson is Professor of Classical Studies at the University of Pennsylvania and Thomas Jones is an editor at the London Review of Books.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

The complete audiobook is available for purchase at Audible.com: voicesoftoday.net/coe The Comedy of Errors By William Shakespeare Mistaken identity (which the Elizabethans called “Error”) is nearly always amusing, whether on the stage or in actual life. The Comedy of Errors is a play in which this situation is developed to the extreme of improbability – but we lose sight of this improbability in the roaring fun which results. Nowadays we should call a play of this type a farce, since most of the fun comes from situations which are improbable and the play depends on these for success, rather than on characterization or dialogue. Shakespeare's Comedy of Errors draws on a much older play, Menaechmi, written by the ancient Roman playwright Plautus (254–184 B.C.). A merchant of Syracuse has twin sons and buys twin servants for them. His wife, with one twin and one servant, is soon separated from him by a shipwreck, and comes to live in Ephesus. When grown, the other son and his slave start out to find their brothers, and the father, some years later, starts out in turn to find them. Once in Ephesus, an amusing series of errors begins. The wife takes the wrong twin for her husband, the master beats the wrong slave, the wrong son disowns his father, the twin at Ephesus is arrested instead of his brother, and the twin slave Dromio of Syracuse is claimed as a husband by a black kitchen girl of Ephesus. The situation gets more and more mixed, until at last the real identity of the strangers from Syracuse is established, and all ends happily. Featuring the voices of Susan Iannucci, Gary MacFadden, David Shears, Dara Brown, Blaise Doran, Aisling Gray, Claudia Anglade, Kendra Murray and P.J. Morgan

Or the Preacher might have talked about the tyranny of time—the way it seems to control our lives down to the millisecond. Plautus wrote about this. Bemoaning the stress caused by the latest device for keeping time, the Roman playwright said, “The gods confound the man who first found out how to distinguish…

For the final introduction to next year's full Close Readings programme, Emily Wilson, celebrated classicist and translator of Homer's Iliad and Odyssey, returns for a second season of Among the Ancients, to take on another twelve vital works of Greek and Roman literature with the LRB's Thomas Jones, loosely themed around ‘truth and lies' – from Aesop's Fables to Marcus Aurelius's Meditations.Authors covered: Hesiod, Aesop, Herodotus, Pindar, Plato, Lucian, Plautus, Terence, Lucan, Tacitus, Juvenal, Apuleius, Marcus Aurelius.First episode released on 24 January 2024, then on the 24th of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Emily, Tom and special guests including Amia Srinivasan; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

For the final introduction to next year's full Close Readings programme, Emily Wilson, celebrated classicist and translator of Homer's Iliad and Odyssey, returns for a second season of Among the Ancients, to take on another twelve vital works of Greek and Roman literature with the LRB's Thomas Jones, loosely themed around ‘truth and lies' – from Aesop's Fables to Marcus Aurelius's Meditations.Authors covered: Hesiod, Aesop, Herodotus, Pindar, Plato, Lucian, Plautus, Terence, Lucan, Tacitus, Juvenal, Apuleius, Marcus Aurelius.First episode released on 24 January 2024, then on the 24th of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Emily, Tom and special guests including Amia Srinivasan; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

Co-producers Tim Sneddon and Jeff Achtem explain how accessibility and the need for low-cost family festivals drove them to create the new Merribek Family Festival, walking listeners through their exciting program; Nina Sanadze, founder of  Collective Polyphony Festival, and artist Camille Perry from Collective Agitation explore the importance of giving a voice to different perspectives and diasporas; Dr Craig Cormick on his new book, ‘A Darker Shade of Moonlite: A Creative Biography', a retelling of history through the lens of the present, exploring the queerness of bushranger Captain Moonlite; Director Melanie Hillman on her all-female cast production, ‘A funny thing happened on the way to the forum', comically reimagining the 2000-year-old comedies of Roman playwright, Plautus

This week on The Literary Life Podcast our hosts, Angelina Stanford, Cindy Rollins, and Thomas Banks, continue discussing P. G. Wodehouse's Code of the Woosters together, covering chapters 5-9 today. They share some similarities in Wodehouse's work to Shakespearean and Roman comic characters. Some of these stock characters are the couple, the helpful servant, the unhelpful servant, the irritable old man, and more. Angelina shares her take on Wodehouse's ability to complicate the comedic form. Cindy makes a comparison between the ease created by habits in life and form in stories. Delighting in Wodehouse's skill to turn a phrase, our hosts share many humorous passages throughout this episode, so be sure to stay tuned to the end to catch it all. Find annotations for the slang, quotes, etc., for The Code of the Woosters here. To find out more about Thomas' summer class on G. K. Chesterton and sign up for that, go to houseofhumaneletters.com. To register for Cindy's summer discipleship session, visit morningtimeformoms.com. Commonplace Quotes: The gentleness and candour of Shakespeare's mind has impressed all his readers. But is impresses us still more the more we study the general tone of sixteenth-century literature. He is gloriously anomalous. C. S. Lewis He wrote to Sheran: What do you find to read these days? I simply can't cope with the American novel. The most ghastly things are published and sell a million copies, but good old Wodehouse will have none of them and sticks to English mystery stories. It absolutely beats me how people can read the stuff that is published now. I am reduced to English mystery stories and my own stuff. I was reading Blandings Castle again yesterday and was lost in admiration for the brilliance of the author. P. G. Wodehouse, as quoted by Frances Donaldson You notice that popular literature, the kind of stories that are read for relaxation, is always very highly conventionalized…Wodehouse is a popular writer, and the fact that he is a popular writer has a lot to do with his use of stock plots. Of course he doesn't take his own plots seriously; he makes fun of them by the way he uses them; but so did Plautus and Terence. Northrop Frye …when you go to his residence, the first thing you see is an enormous fireplace, and round it are carved in huge letters the words: TWO LOVERS BUILT THIS HOUSE. Her idea, I imagine. I can't believe Wells would have thought of that himself. P. G. Wodehouse, in a letter to William Townend Fashion's Phases by P. G. Wodehouse When first I whispered words of love,  When first you turned aside to hear,  The winged griffin flew above,  The mammoth gaily gamboll'd near;  I wore the latest thing in skins  Your dock-leaf dress had just been mended  And fastened-up with fishes fins –  The whole effect was really splendid.  Again – we wondered by the Nile,  In Egypt's far, forgotten land,  And we watched the festive crocodile  Devour papyrus from your hand.  Far off across the plain we saw  The trader urge his flying camel;  Bright shone the scarab belt he wore,  Clasped with a sphinx of rare enamel.  Again — on Trojan plains I knelt;  Alas! In vain I strove to speak  And tell you all the love I felt  In more or less Homeric Greek; Perhaps my helmet-strap was tight  And checked the thoughts I fain would utter,  Or else your robe of dreamy white  Bewildered me and made me stutter.  Once more we change the mise-en-scene;  The road curves across the hill;  Excitement makes you rather plain,  But on the whole I love you still,  As wreathed in veils and goggles blue,  And clad in mackintosh and leather,  Snug in our motor built for two  We skim the Brighton road together.  Books Mentioned: English Literature in the Sixteenth Century by C. S. Lewis P. G. Wodehouse, A Biography by Frances Donaldson The Educated Imagination by Northrop Frye Arabian Nights trans. by Burton Richard The Renaissance Studies in Art and Poetry by Walter Pater Unnatural Death by Dorothy Sayers Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy's own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

The Captivi and the Mostellaria

Welcome to the History of Latin literature told in beginner-friendly, easy Latin (historia litterarum Latinarum lingua Latina simplici narrata). Listen to the episodes in order to navigate through history and learn the Latin language (the difficulty of my spoken Latin increases progressively throughout the episodes). The same episodes with Latin subtitles are available on my YouTube channel. This is a Satura Lanx production.

Welcome to the History of Latin literature told in beginner-friendly, easy Latin (historia litterarum Latinarum lingua Latina simplici narrata). Listen to the episodes in order to navigate through history and learn the Latin language (the difficulty of my spoken Latin increases progressively throughout the episodes). The same episodes with Latin subtitles are available on my YouTube channel. This is a Satura Lanx production.

Communities that stay together – grow together.   You are already part of the Avenues community, now you can start your day with our Avenues community readings. We are all stronger when we listen and learn together.   Subscribe for daily inspiration in your inbox. https://www.avenuesrecovery.com/hammock-readings/   Recovery starts with intention. Let's start our day as a community. Join the Avenues daily readings together each morning, to start your day with inspiration and direction.   #dailymeditation #recovery https://youtu.be/hvSCqy4n-8U

Mike Isaacson: Rome gets sacked ONE TIME, and that's all these people can talk about! [Theme song] Nazi SS UFOsLizards wearing human clothesHinduism's secret codesThese are nazi lies Race and IQ are in genesWarfare keeps the nation cleanWhiteness is an AIDS vaccineThese are nazi lies Hollow earth, white genocideMuslim's rampant femicideShooting suspects named Sam HydeHiter lived and no Jews died Army, navy, and the copsSecret service, special opsThey protect us, not sweatshopsThese are nazi lies Mike: Welcome to another episode of The Nazi Lies Podcast. Today we're talking with Edward Watts, professor of history and Alkaviadis Vassiliadis Endowed Chair in Byzantine Greek History at the University of California San Diego. He's here to talk to us about his book, The Eternal Decline and Fall of Rome: The History of a Dangerous Idea. The book is an extraordinary scholarly endeavor that managed to give a detailed and engaging history of 1700 years of Roman history in under 300 pages. Welcome to the podcast, Dr. Watts. Edward Watts: Thanks so much for having me. It's exciting to be here. Mike: All right. Now, you are one of the rare guests on our show whose book was actually directed at debunking Nazi lies. Tell us what you had in mind when you were writing this book. Edward: So the thing that prompted me to write this book was a recognition that the history of Rome, and in particular the legacy of Rome as it relates to the end of Roman history, was something that was being repeatedly misused across thousands of years to justify doing all sorts of violence and horrible things to people who really in the Roman context had very little to do with the decline of Rome, and in a post-Roman context, had nothing really to do with the challenges that people using the legacy of Rome wanted to try to address. And in particular, what prompted this was the recognition after 2016 of how stories about the classical past and the Roman past were being used on the far right and the sort of fascist fringe as a way of pointing to where they saw to be challenging dynamics and changes, critical changes, in the way that society was functioning. What was happening was people were doing things like using the story of the Gothic migrations in the 4th century AD to talk about the need to do radical things in our society related to immigration. And the discussions were just misusing the Roman past in really aggressive ways as kind of proof for radical ideas that didn't really relate to anything that happened in the past and I think are generally not things that people would be willing to accept in the present. And Rome provides a kind of argument when it's misunderstood,when Roman history is misunderstood, it provides a kind of argument that people are not familiar enough with to be able to refute, that might get people who think that a certain policy is aggressive or inhumane or unnecessary to think twice about whether that policy is something that is a response to a problem that people need to consider. And that's just wrong. It's a wrong way to use Roman history. It's a wrong way to use history altogether. And it's a rhetoric that really needs to be highlighted and pointed to so that people can see how insidious these kinds of comparisons can be. Mike: Okay, so your book discusses the idea of the decline and fall of the Roman Empire, which you say started before any such decline or fall in the late Republic. What was politics like in the Roman Empire before the myth of Rome's decline popped up? Edward: So this is an interesting question because the story of Roman decline actually shows up in some of the very earliest Roman literature that we have. So the very first sort of intact Latin texts that we have from the Roman period are things like the plays of Plautus. In one of the earlier plays of Plautus, he is already making fun of people for saying that Rome is in decline. And he's saying this at a time right after the Roman victory over Hannibal when there is no evidence that Rome is in decline at all. And yet we know that there are politicians who are pushing this idea that the victory over Hannibal has unleashed a kind of moral decline in Rome that is leading to the degeneration of Roman morals and Roman behaviors and Roman social structures in such a fashion that will disrupt the ability of Rome to continue. This is just not something that most people recognized to be true, but what we see when politicians in the third century and second century BC are saying things like this, they aren't particularly interested in describing an objective reality. What they're looking to do is insert ideas into popular discourse, so that people in the context of their society begin to think it might be possible that decline exists. So I think that when we look at Roman history before Roman literature, or before these pieces of Roman literature exist, we really are looking at much later reconstructions. But I think that it's fair to say that even in those reconstructions of stories about things like say, the sixth king of Rome, those stories too focus on how that particular regime was inducing a decline from the proper behaviors of Romans. So I think we could say that there is no before decline. Rome seems always to have been talking about these ideas of decline and worrying about the fact that their society was in decline, even when objectively you would look around and say there is no reason whatsoever that you should be thinking this. Mike: Okay. Now your book argues that this political framing helped politicians shape the politics of the Roman Empire in particular ways. So how did those who pushed this declensionist narrative change the Roman republic? Edward: So in the Roman republic, there are a few things that this narrative is used to do. In the second century, early second century BC, this narrative is used to attack opponents of a politician named Cato. What Cato tried to do was single out people who had been getting particularly wealthy because of the aftermath of Rome's victory in the Second Punic War over Hannibal and then its victories in the eastern Mediterranean against the Greek King, Philip V. And what Cato saw was that this wealth was something that profoundly destabilized society because now there were winners who were doing well economically in a way that the old money establishment couldn't match. And so what he's looking to do is to say that when you look around and you see prosperity of that level in the Roman state, this is a sign that things are actually bad. It's not a sign of things are good. It's a sign that things are deteriorating, and we need to take radical steps to prevent this. And the radical steps that Cato takes, and that he initially gets support for, involves very onerous taxes directed specifically against groups of people that he opposed. He also serves as the person who decides who gets to be in the Roman Senate, and he uses that position to kick out a lot of people on the basis simply of him deciding that they embody some kind of negative trajectory of the Roman State. And there's a reaction to this and Cato eventually is forced to kind of back away from this. As you move later in the second century, the narrative of decline becomes something that first is used to again justify financial policies, and then later, actual violence against officials who are seen as pushing too radical an agenda. And so this becomes a narrative that you can use to destabilize things. It doesn't matter if you're coming from what we would say is the right or the left, the kind of equal opportunity narrative that can be used to get people to question whether the structures in their society are legitimately in keeping with the way the society is supposed to function. Mike: Okay. So a lot of people have this misconception that Rome kind of snapped from being a republic to being governed by an emperor, but that's not really so. What was the imperial administration like and how did it change? Edward: The Roman republic was in many ways a very strong constitutional system that had a lot of things built into it to prevent one individual from taking over. Not only did it have a structure that was based on a kind of balance of power–and the description of that structure was something that influenced the Founding Fathers in the US to create the balances of power that we have–but in Rome, the administrative office that correlated to the presidency actually was a paired magistracy. So there were two consuls who governed together and could in theory check one another. What the decline narrative happened or allows to happen is that these structures begin to be questioned as illegitimate. And you get, starting in the later part of the second century and going all the way through the murder of Julius Caesar in 44 BC, a long set of discussions about how the Constitution is not functioning as it's supposed to, how the interests of everybody are not being represented by the representatives in the Senate and by the sorts of laws that are being put forward in assemblies. And you have a greater sense that there's an emergency, and an emergency that requires people to assent to an individual exercising more power than the structure really permits. And so this idea of decline heightens this sense of emergency and you have cycles every generation or so, where the sense of emergency gets greater and another constitutional structure snaps. Until eventually what you have is an individual in Julius Caesar, who is able to exercise complete and effective control over the direction of politics in the state. Mike: Okay. So for whatever reason, the assassination of Julius Caesar sticks strong in our cultural psyche, but reading your book it seems like assassinating emperors was kind of commonplace? Edward: It depends on the period. Yeah, there are definitely periods where the violent overthrow of emperors are somewhat common. I think with Caesar, what we have is the assassination. We're still when Caesar was assassinated in the final death throes of the Roman republic. And so it takes a while and a really brutal nearly 15-year-long sprawling Civil War for Rome to finally just accept that the republic as a governing structure is not really going to function in the way it had before. And the first emperor is Augustus. The first assassination actually occurs about 75 years after Augustus takes over. The first emperor that's assassinated is Caligula. Then you have moments of really profound peace and stability that are punctuated by these upheavals where, you know, in the year 68 the Emperor Nero commits suicide and this leads to a sprawling civil war in which four emperors take power in the course of a single year. Then things kind of calmed down. There's an assassination in 96, and no more assassinations for almost 100 years. And so you have these moments where the structures of the empire are very stable, but when they break, it breaks very seriously. It's very rare when an emperor is assassinated, that there's only one assassination and things kind of work out after that. And so generally, I think what this suggests is, if you have faith that the Imperial structure is working predictably, it's very, very hard to disrupt that. But if you have a sense that an emperor is not legitimate or is not in power or has taken power violently, there's a very serious risk that that emperor will in turn be overthrown violently, and something very serious could happen, even going so far as resulting in a civil war. Mike: Okay so one of the biggest myths surrounding the Roman Empire is that it fell in 476 AD, and that plunged Europe into the Dark Ages, but this isn't really so. What happened in 476 AD, and how did it become the legendary fall of Rome? Edward: Yes, so 476 AD is one of the greatest non-events in history. Because when we look at our history and our timeline for the fall of Rome, this is the date that stands out to us. But actually in 476, there's not a single person who seems to think that Rome fell on that day. What happens is in the middle part of the fifth century, the eastern empire and the western empire separated in 395. And in the middle part of the fifth century, the western empire has a very serious loss of territory and then a loss of stability within Italy. So that there are, in a sense, kingmakers who run the army and decide whether an emperor should be in power or not. And so you have a number of figurehead emperors, starting really in the 450s and going through 476, who are there, in a couple of cases at certain moments they do exercise real power, but much of the time they're subordinate to military commanders who don't want to be emperor, or in many cases are of barbarian descent and don't think they can make imperial power actually stick, and in 476, Odoacer who was one of these barbarian commanders overthrows an emperor in Italy and says, "We are not going to have an emperor in Italy anymore. Instead, I'm just going to serve as the agent of the eastern emperor in Italy." And for the next 50 years, there are barbarian agents–first Odoacer and then Theodoric–who serve in this constitutional way where they acknowledge the superiority and the authority of the emperor in Constantinople over Italy. And in practice, they're running Italy. But in principle, they are still affirming that they're part of the Roman Empire, the Roman senate is still meeting, Roman law is still used. It's a situation where only when the eastern empire decides that it wants to take Italy back, do you start getting these stories about well, Rome fell in 476 when these barbarians got rid of the last emperor and now it's our obligation to liberate Italians from this occupation by these barbarians. In 476, though, this is not what anyone in Constantinople or in Italy actually thought was going on. Mike: Okay. So both the east and the west of the Roman Empire eventually became Christian. How did this alter the myth of the declining Rome? Edward: So for much of Roman history, there is very much this idea that any problem that you have is a potential sign of the decline of Rome, and if you are particularly motivated, you can say that the problem requires radical solutions to prevent Rome from falling into crisis. But with Christianity, when the Roman Empire becomes Christian, there is no past that you can look back to say, "Well, we were better as a Christian empire in this time." When Constantine converts to Christianity, he's the first Christian emperor. And so it's very natural for opponents to be able to say, "Look, he made everything Christian and now things are going to hell ,and so Christianity is the problem." So what Christians instead say is what actually is going on here is we are creating a new and better Rome, a Rome where the approach to the divine is more sophisticated, it's more likely to work. And so for about 100 years, you have instead of a narrative decline, a narrative of progress where Christians are pushing a notion that by becoming Christian, the Empire is embarking on a new path that is better than it has ever been before. Not everybody accepts this. At the time of Constantine's conversion, probably 90% of the Emperor's still pagan so this would be a very strange argument to them. And by the time you get into the fifth century, you probably are in a majority Christian empire, but like a 50% majority, not like 90% majority. So there is a significant pushback against this. And in moments of crisis, and in particular after the Sack of Rome in 410, there is a very strong pagan reaction to this idea of Christian Roman progress. And Christians have to come up with evermore elaborate explanations for how what looks like decline in any kind of tangible sense that you would look at in the western empire is actually a form of progress. And the most notable production of that line of argument is Augustine's City of God, which says effectively, “Don't worry about this world. There's a better world, a Christian world that really you should be focusing on, and you're getting closer there. So the effect of what's going on in the Roman world doesn't really matter too much for you.” Mike: Okay. Now at one point, there were actually three different polities across Europe and Asia Minor all claiming the inheritance of the Roman Empire. How did this happen? Edward: There are different moments where you see different groups claiming the inheritance of Rome. In the Middle Ages, you have the rise of the Holy Roman Empire, which is a construction of Charlemagne and the papacy around the year 800. And the claim that they make is simply that there is the first empress of the Roman state who takes power all by herself in 797–this is the Empress Irene–and the claim Charlemagne makes as well that eliminates the legitimacy of the Roman Empire and Constantinople because there's no emperor. Therefore because there's no emperor, there's no empire and therefore we can just claim it. Another moment where you see this really become a source of significant conflict is during the Fourth Crusade when the Crusaders attack Constantinople and destroy the central administration of the eastern Roman Empire. After that point, you have the crusaders in Constantinople who claim that they are a Roman state. You have the remains of the Roman state that had been in Constantinople sort of re-consolidating around the city of Nicaea. You have a couple of other people who claim the inheritance of the Roman state inEpirus and Trebizond, and they all kind of fight with each other. And so ultimately, what you see is that the Roman Empire has this tremendous resonance across all of the space that was once Roman. So their empire at its greatest extent went from the Persian Gulf all the way to Scotland. And it went from Spain and the Atlantic coast of Morocco all the way down to the Red Sea. It's massive. And in a lot of those territories after Rome recedes, the legacy of Rome remains. So a lot of people who felt that they could claim the Roman legacy tried to do that, because it gave a kind of added seriousness and a more, a greater echo to these little places that are far away from the center of the world now, places like Britain or places like France or places like Northern Germany. And so you, in a sense, look like you're more important than you are if you can make a claim on the Roman imperial legacy. Mike: Okay. And so how do these would-be empires finally end up collapsing? Edward: So, each in their own way. In the case of the Holy Roman Empire, it actually lasts for very long time. It's created under Charlemagne in 800, and it lasts really until the time of Napoleon. And it collapses because it's sort of dissolved because in Germany there was a fear that Napoleon might actually use the hulk of the Holy Roman Empire and the title of Holy Roman Emperor to claim a kind of ecumenical authority that would go beyond just what he had as emperor of France. The crusader regime in Constantinople is actually reconquered by the Nicene regime in 1261. So the Crusaders take Constantinople in 1204, and then these Roman exiles who set up a kind of Roman Empire in exile in Nicaea reconquer in 1261. And they hold Constantinople for another 200 years until the Ottomans take it in 1453. The other sort of small Roman states are absorbed either by the state in Constantinople or by the Ottomans, but ultimately by the end of the 1460s, everything that had once been part of the Eastern Empire in the Middle Ages is under Ottoman control. Mike: Okay. And so despite all of the polities that could have contended for the inheritance of Rome collapsing, Rome's decline still played a large part in political considerations across what was formerly the Roman Empire but now as an instructive metaphor. How was the decline of the Roman Empire leveraged to influence politics leading into the modern era, and who were the big myth makers? Edward: Yeah, there's a couple of really important thinkers in this light. One is Montesquieu, the French thinker who uses a discussion of Roman history to launch into a much more wide and expansive and influential discussion of political philosophy that centers really on notions of representation and sets some of the groundwork for what actors in the American Revolution and French Revolution believed they were doing. Montesquieu is really, really important in understanding 18th-century political developments. And I think it's impossible really to understand what the American Revolution and the French Revolution thought they were doing without also looking at Montesquieu. But now I think the more influential figure in terms of shaping our ideas about what Roman history looked like and what Roman decline meant is Edward Gibbon. Gibbon is also an 18th-century thinker. When he started writing a history of Rome, he started writing in the 1770s when he believed that there was a firm and stable European political structure of monarchies that could work together and kind of peacefully move the continent forward. And while Gibbon is working on this, of course, you know, the American Revolution happens, and the French Revolution happens, and his whole structure that he was looking to defend and celebrate with his Roman history disappears. And so his Decline and Fall of the Roman Empire becomes a book that is extracted from its historical context. And it seems like it is an objective narrative of what happens. It's not objective at all. What Gibbon is trying to do is compare the failings of one large single imperial structure and the advantages of this kind of multipolar world where everyone is balanced and cooperative. But everybody forgets that that multipolar world even existed because the book comes out after it's gone. So what you have with Gibbon is a narrative that seems to be just an account of Roman history, and a very, very evocative one. I think most of the people now who have Gibbon's Decline and Fall of the Roman Empire on their shelf don't read it. But they know the title. They know the concept. This means that you have a ready-made metaphor for anything that's bothering you. You know, you can talk about the decline and fall of Rome. Just about everybody in the entire world knows that Rome declined and fell. And very few of them know much about why it happened or how it happened or how long it took. And so evoking the decline and fall of Rome allows you to kind of plug in anything, as my friend Hal Drake says, anything that's bothering you at a particular moment, you can plug in and say Rome fell because of X. And if you look at the last 50 years you can see lots and lots and lots of examples of X, lots of different things that bothered people that got plugged into the story of Rome fell because of whatever's bothering me that day. Mike: I am certainly guilty of having a copy of Gibbon on my bookshelf and not having read it. [laughs] So in talking about the modern appropriation of the memory of Rome, you of course talk about Fascist Italy. You reference Claudio Fogu, whom I absolutely love, check out his book The Historic Imaginary. How did Fascists wield the memory of the Roman Empire to justify their regime? Edward: Yeah, it's so, so seductive what is done in the city of Rome in particular. And there's a sense that I think is a very real sense that creating and uncovering and memorializing the imperial center of the Roman Empire makes real the experience of walking through it, and with the right kind of curation can make it feel like you're in a contemporary environment that's linked to that ancient past. And what Mussolini and his architects tried very very hard to do was create this, in a sense, almost Roman imperial Disneyland in the area between the Colosseum and the Capital line. So when we walk there, we see a kind of disembodied and excavated giant park with a large street down the middle running from the Colosseum along the length of the Roman Forum. But that was actually neighborhoods.  Before Mussolini, there were actual houses and shops and restaurants and people living there, and very, very long-standing communities that he removed with this idea that you were in a sense restoring the past and creating a future by removing the present. And I think that's a very good metaphor for what they were up to. What they were trying to do was create an affinity for the fascist present by uncovering this Roman past and getting rid of what they saw as disorder. And the disorder, of course, was real people living their lives in their houses. But the other thing that people, you know, when tourists visit this now, they don't know that history. They don't know that when they walk on the street alongside the Forum, they're actually walking on a street that is a 20th-century street created for Fascist military parades on the ruins of modern, early modern, and medieval houses. They just see this as a way to kind of commune with this Roman past. And the Fascists very much understood that aesthetic and how seductive that aesthetic was. Mike: Okay, so let's circle back to where we started with your motivation for the book. How are people invoking the fall of Rome now, and what are they getting wrong? Edward: I think that we see, again, this temptation to take what's bothering you and attaching it to Rome. And I think even if you just look over the last 50 years, you can almost trace the sorts of things people are anxious about in a modern context based on the things that are advanced for what possibly made Rome fall. So in the 70s and early 80s, there's lots of concern about environmental contamination and the effect that this is going to have on people's lives. And we get the story of Rome fell because of lead poisoning. I mean, it didn't. It's just ridiculous that you would think Rome fell because of lead poisoning when there is no moment that it fell, the place was active and survived for well over 1500 years when it was using lead pipes. There's no evidence whatsoever that this is true. In the 70s, Phyllis Schlafly would go around and say that Rome fell because of liberated women. I think that would be a very big surprise to a lot of Roman women that they were actually liberated, definitely in the 1970's way. In the 80s, and even into the 2010s, you have people like Ben Carson talking about Rome declining because of homosexuality or gay marriage. Again, that has nothing to do with the reality of Rome. There are other places where I think people come a little bit closer to at least talking about things that Romans might acknowledge existed in their society. So when you have Colin Murphy and others in the lead up to the Iraq War talking about the overextension of military power as a factor that can lead to the decline of Rome, yeah, I mean, Rome did have at various moments problems because it was overextended militarily. But most of the time it didn't. To say that the Romans were overextended militarily because they had a large empire ignores the fact that they had that large empire for almost 400 years without losing significant amounts of territory. So comparing Roman military overextension and US military overextension could be a useful exercise, but you have to adjust the comparison for scale. And you have to adjust the comparison to understand that there are political dynamics that mean that places that in the first century BC required military garrisons, in the third century did not. And so you're not overextended because you're in the same place for 400 years. At the beginning, you might need to have an extensive military presence in a place that later you won't. So I think that what we need to do when we think about the use of the legacy of Rome, is think very critically about the kinds of things that Rome can and can't teach us, and think very clearly about the difference between history repeating itself–which I think it doesn't–and history providing us with ideas that can help us understand the present. I think that's where history is particularly useful, and Roman history in particular is useful. Because it's so long, there are so many things that that society deals with, and there are so many things that it deals with successfully as well as fails to deal with capably. All of those things offer us lessons to think with, even if they don't offer us exact parallels. Mike: Okay, so we've talked a bunch about the fabricated history of Rome and the popular memory of Rome. What does the actual history of Rome and fears of Roman decline have to teach us about the present? Edward: I think the biggest thing that we can see is if somebody is claiming that a society is in profound decline and the normal structures of that society need to be suspended so the decline can be fixed, that is a big caution flag. What that means is somebody wants to do something that you otherwise would not agree to let them do. And the justification that they provide should be looked at quite critically, but it also should be considered that, even if they identify something that might or might not be true, the solution they're proposing is not something that you absolutely need to accept. Systems are very robust. Political systems and social systems are very robust and they can deal with crises and they can deal with changes. If someone is saying that our system needs to be suspended or ignored or cast to the side because of a crisis, the first step should be considering whether the crisis is real, and then considering whether it is in fact possible to deal with that crisis and not suspend the constitutional order, and not trample on people's rights, and not take away people's property, and not imprison people. Because in all of these cases that we see Roman politicians introduced this idea of decline to justify something radical, there are other ways to deal with the problem. And sometimes they incite such panic that Romans refuse or forget or just don't consider any alternative. That has really profound and dangerous consequences because the society that suspends normal orders and rights very likely is going to lose those rights and those normal procedures. Mike: All right. Well, Dr. Watts, thank you so much for coming on The Nazi Lies Podcast to talk about the myth of the Roman Empire. The book, again, is The Eternal Decline and Fall of Rome out from Oxford University Press. Thanks again, Dr. Watts. Edward: Thanks a lot. This was great. Mike: If you enjoyed what you heard and want to help pay our guests and transcriptionist, consider subscribing to our Patreon at patreon.com/nazilies or donating to our PayPal at paypal.me/nazilies or CashApp at $nazilies [Theme song]

Would you like to receive a daily, random quote by email from my Little Box of Quotes? https://constantine.name/lboq A long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are more than 1,000 quotes and the collection continues to grow. Hello, I'm Craig Constantine

Would you like to receive a daily, random quote by email from my Little Box of Quotes?https://constantine.name/lboqA long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are nearly 1,000 quotes and the collection continues to grow.My mission is creating better conversations to spread understanding and compassion. This podcast is a small part of what I do. Drop by https://constantine.name for my weekly email, podcasts, writing and more.

Intro: Final Draft is conspiring against us, Beastie Boys' Adam Horowitz, Doris the dog loves the vet, Jim Croce, The Cure. Let Me Run This By You: storytelling, Risk Podcast, The MothInterview: We talk to the creator and producer of You're Being Ridiculous, Jeremy Owens, about offending people, porn, Samantha Irby, Roosevelt University, University of Arkansas, The URTAs, King Lear, Greg Vinkler, Barbara Gaines, Plautus' The Rope, P.F. Changs, Kyogen, Threepenny Opera, Steppenwolf, Brene Brown, Marianne Williamson.FULL TRANSCRIPT (unedited): 2 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand.3 (15s):At 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (34s):Yeah.1 (35s):It was one of these things where it's like, final draft will not let you restart your computer. I'm like, fuck you. Final draft. What did you ever do for me? Final draft writer, duet. They're all, they're all plotting against me,2 (47s):But what is, what is, what does final draft have to do with your camera working on this?1 (53s):So in order to, to be okay, the bottom line is I need a new computer. Okay. Let's start there second. Okay. That's the first level of problems. It's like the deepest level. And then we, if we go up a little bit into the level of problems, it is that final draft that I might camera in order to use my camera. Sometimes I have to restart my computer because it's so old. Right. So I need to restart,2 (1m 19s):You know, I want to do any one thing in the morning I got, are really rev my engine.1 (1m 26s):So like, I'm like, okay, well, in order to restart the computer, it's like not letting me restart it because final draft is this because probably final draft is so advanced and my computer is so Jack.2 (1m 39s):Totally. And that's how they get you mad. I feel like they all conspired to be like, okay, well let's make it. So this will work on this version. So then,1 (1m 49s):So anyway, I see you, you look great. I look like shit. So it's probably better my camera's up.2 (1m 57s):So a couple of things I keep forgetting to ask you on here, about how, how did it come to be that you were chatting in the parking lot with Adam Horowitz about your dogs, Volvo.1 (2m 12s):We never talked about that.2 (2m 14s):We did not.1 (2m 15s):Okay. So I rule up, so my dog, Doris, who everyone knows that listens to the podcast and by everyone, I mean, whoever listens to the podcast, you know what I mean? So hopefully it's growing and growing, listen and rate the podcast. Anyway, the point is I roll up to the vet, which I do oh about every other week, because my dog is a very high maintenance. And so she's just so she of course had an ear infection. Cause she has these huge ears that collect all this bacteria. So I roll up and there's an eye and because it's COVID and everything, you have to park outside and wait, but because it's LA all the windows are down and everyone's car and there's this dude sitting in his Kia has electric Kia.1 (2m 59s):Well,2 (2m 59s):My key.1 (3m 0s):Yeah, I know. I know. I did not recognize this human being. He looked like my husband, like fifties gray, maybe had glasses on.2 (3m 13s):Why would you like all our knowledge of them is when they were so, so young. Right,1 (3m 18s):Right. So young. And I like didn't, you know, keep up with the beast. So it was like, I had other things to do, you know? So I was doing other things. So I'm, I'm like trying to corral Doris out of the car. She's crazy. She's trying to get out. She loves the vet. The backdrop is my dog2 (3m 35s):Loves the,1 (3m 36s):Oh my God. She races towards the vet with a fury that is unmatched, loves it. I2 (3m 43s):Never once heard of this in my entire life. So1 (3m 45s):She's really, really excited about the bet. So she's an extra crazy. And I get her out of the carrier to let her sniff around in the parking lot. And I see this gentleman who is the interesting thing about him is that his leg is out the window. Like he's like resting his leg. And I'm like, well, that's kind of weird for like an older dude, but whatever, it's, it's LA like, you know2 (4m 8s):That sound's going to say, I imagine that kind of thing happens in LA.1 (4m 11s):Yeah. And plus he's probably weighed been waiting and waiting for his dog forever. And so, cause you, you have to wait out there, like they don't want you to leave in case they need you and blah, blah, blah, blah, blah. Okay, fine. So I, and I say, and he says, oh, a cute dog. And I'm like, oh, she's a pain in the ass. And then he's like, what's her name? And I'm like, oh, her name is Doris. And he's like, oh, that was my mom's name. And I was like, oh, that's interesting. And then we talked about the origin of Doris, cause it's from a Jim Croce song. And Jim Croce is someone, my husband adores the singer. The folks there yeah. Died when he was 29. Looked like he was about 60. When he died.2 (4m 47s):He was 29.1 (4m 49s):Yes. You know, he looks like David Abbott, Holly, if you ever look at me2 (4m 56s):Like a hole, I see it.1 (4m 59s):But just bringing it back to the old theater school. So, so yeah. And so he's like, we talked about Jim Croce and he's like, Jim Croce is the first person I remember dying. I had that album. And I said, yeah. And he said, that's in a Jim Croce song. And I said, yes, Leroy brown, Friday about a week ago, Leroy shooting dice. And at the end of the bar sat a girl named Doris and who that girl looked nice. And that's why we named Doris Doris. He was like, I don't remember Doris being in that song. So we get into that. Right. Okay. And then he's like, I'm like, oh, is your dog okay? And he's like, well, she, she, she got a cut on her neck and I'm like, oh shit. And I'm like, is that2 (5m 38s):A knife fight in a bar?1 (5m 39s):I was like, how did that happen? And he goes, I don't know. But like, you know, since I'm not a doctor, I figured I'd take, bring her to the vet. I'm like good plan, my friend, good plan. So he's like, I'm waiting for him and waiting for her. And I'm like, oh, okay. And then he said, what's wrong with your dog? And I said, oh my God, what? Isn't wrong with my dog? And I said, my dog has a dermatitis of the vulva and an ear infection. And he's like, wait, what? And I'm like, yes, she just she's out. She's got a lot of allergies because she's a friend. She and I did this to myself by getting a friendship. But like, yeah, she's got, and he said that his dog was really licking her butthole and he had dermatitis of the bottle. And I was like, it's the same I heard of my friend, Morgan has a Frenchie who has dermatitis of the butthole because all Frenchie owners talk about these things.1 (6m 26s):And he's like, oh, well, my dog has dermatitis of the bottle. I'm like, well, mine's got dermatitis of the Volvo. They both have, they both have like private parts itching. Right. And so then we started talking and we talked about a lot of things. Cause you have to wait forever. And then right. And so we talk and talk and talk and no clue who this person is. And he's like,2 (6m 47s):Did you say cut? There's something about that voice?1 (6m 52s):No.2 (6m 52s):No. Okay.1 (6m 54s):'cause he was kinda mumbly and also just looked so natural.2 (6m 60s):Aiming, sabotage.1 (7m 1s):No, not screaming and also not jumping around with his other two cohort. And then I just, I felt like, anyway, it just didn't cross my mind. And his shoelaces were untied. I don't know. It was like a real casual situation.2 (7m 15s):Yeah. Honestly, I would never assume somebody in a key is famous. That's my snobbery, but I wouldn't.1 (7m 21s):Yeah. I mean, I, it was a very, very, very nice camp, but it still, it was a key I said to you like, oh, that was her talking about cars. I mean, we talked about kids, cars, Manhattan. Then he said, I'm from it. I said, oh, I'm from Chicago. And he said, I'm from Manhattan. And I said, oh, I said, oh my God. I launched into this thing about how I could never live in New York because I was like to own like the most unhip like fat and ugly human and like, not in a bad way, but just like, kind of like I'm. So I just feel like, I didn't know what the fuck was going on ever in New York. Like, I didn't know which way to go, who to talk to, where to turn I was lost. And he's like, yeah. Do you know what I like about LA is like, nothing ever happens here.1 (8m 2s):That's not2 (8m 2s):True.1 (8m 3s):No. But I was like, what do you mean? He's like, I need to just like New York, like you have like a million things are always happening at any given time. Right?2 (8m 11s):Sure. It's a lot too. Like you have to do a lot of processing living in New York, you're taking your, you know, you're just taking in so much information1 (8m 19s):And that does not happen in LA and LA you're like sometimes starved for like,2 (8m 25s):Right.1 (8m 26s):But we talked about that. And then, and then by like end of conversation almost. I was like, oh, I'm Jen. I'm so sorry. And he was like, oh, I'm Adam. And I was like, okay, still, no, I had no2 (8m 40s):Adam common name,1 (8m 41s):Common name, whatever. And mom named Doris, whatever. Like, okay. And then we started talking, he said, his wife, what did he say? Oh, he bought a house in south custody. Anyway, all this stuff. He has a kid. And at the end I say, he was talking about what we, what we do. And I'm like, oh, I'm a, I'm a writer. And I'm like trying to write TV, but I also consult, I just started this business, but I wasn't, you know, I was a therapist and for felons and like, and then he got really into that. And then I said, oh, what are you doing? And he's like, oh, I was, I think he said I was in the I'm in the music business. I said, oh, that's cool. I thought he was like a producer, like maybe a classical composer or something. I don't know. That's where my mind went. And I'm like, oh, like, what do you do?1 (9m 22s):And then he said, I was in and I said, oh, what kind of music? He's like, I was in a rap trio. And I was like, wait a minute, a rap tree endorsed by this. By this time it was like, biting me. You know, it's like a whole, I'm like, oh, a rap trio. And I couldn't the only rap trio I could think of was run DMC. And I'm like, oh, he's not in that. You know, he's a white dude. There's no way. And I'm like, oh crap trio. And I was like, house of pain, Cypress hill. Like I couldn't get it together. And then I was like, and then it dawned on me. And I said, oh, and he said something, like I said, I don't remember how it came up. And he's like, oh, I'm Adam Horwitz. And I was like, oh, I was like, of course.1 (10m 2s):I said, oh my God. And then I didn't know what to say. So I just said, cause he just moved. He actually, he moved to south Pasadena, wait before I moved to Pasadena. But I said welcome to Pasadena.2 (10m 16s):Right. Because the minute, you know, it's a celebrity. It's like, it changes the ions. Wait. Yes.1 (10m 21s):Thank you. You welcome to you too.2 (10m 24s):So what I think is so interesting and must be so well, I don't know. I don't know if it's annoying or whatever it is, celebrities. You, they must have to always be in a process of deciding with when they're interacting with people, they don't know what are we going to do with this fact, like, do you know who I am? Do you not know who I am? If you know who I am, just, what does that mean? Is that why you're talking to me? And then, but he opened one of the first things you said that he said was that his mom's name was, I mean, I guess that's not unusual, but I was thinking to myself when you said that I was thinking, oh, was he hoping That would confirm not that his dad is famous.2 (11m 10s):His dad is1 (11m 10s):Trail horo. Israel.2 (11m 12s):Yeah. He's a kind of a terrible guy though.1 (11m 16s):I heard is there. I think they're both dead. I mean, from what I got, I don't know. I know he has a sister. I don't know. But like he seemed like the kind, yes, you're right. Like it must be so weird. And also I literally was so into my own world. It's like, so Los Angeles, like I, when I found out that he was, I was super excited because I wanted to say, oh, I saw you at the Metro in Chicago and stuff like that. But then I was like, oh, I can't. And so I got excited, but I also, it was literally like talking to your husband or my husband in that they're old people. Like I wanted to be more excited about the, the youthful version.2 (11m 56s):Right? You want it to be 19 year old, you eating Israel, horrible1 (12m 2s):Adam Harz and being like, let's go on a date or something. But that is not what I, that was not my inclination this time. And also his he's married to this amazing punk hero, Kathleen Hanna from bikini kill who I adore. And I know that, but I didn't bring that up either. But anyway, the point is we exchanged information because we were like, let's walk our dogs. His dog is Terry. It really hairy dog, little girl, dog named Terry. And I said, well, what kind of dog is Terry? And he goes, I don't know, very hairy. And I was like, okay, well, okay. So we may go on a dog-walking adventure. I have no idea, but lovely human, but just like soup. We are super middle age.1 (12m 43s):This is what the moral of this thing was actually not the celebrity. Part of it was the, what hit me the most Gina was the middle age in this of it all. So the other thing is like, nobody gives a shit now about the things that we give a shit about. So the BC boys, I was talking to my niece, she didn't know who that was. And so I was like, oh right. Meaning I still care who they are, but2 (13m 16s):Right. Yeah.1 (13m 17s):Time moves on timeframe.2 (13m 20s):Yeah. Periodically we have kids periodically, they'll come up to you and they'll be like, have you ever heard of this bay? Or like, my son was listening to something and I'm like, and I go, he goes, oh, I've got to play this song for you. It's this band. This is like obscure band or something like that. It was the cure. I go, are you kidding me, dude? I put white face makeup on and wore black and tried to hang my two years in junior high. I knew the cure is okay. So that was one thing. And the other thing was last time.1 (13m 52s):It super nice though. I got to say, if anybody cares, he was not a Dick head.2 (13m 56s):I care. Yeah. That's nice. I'm happy to hear that. But just one last thing about that whole, like being a celebrity, you're damned if you do, and you're damned if you don't, because on the one hand you, you could have somebody say, oh, it's like pretentious to not say who you are. And on the other hand, people would say, you know, you can't win. You can't, you1 (14m 14s):Can't win. That is the bottom line. Yeah. Yeah.2 (14m 17s):So the other thing was last time we talked, you said, oh, I want to save it for the podcast, but about showcase. So you were talking about getting your kids ready for showcase.1 (14m 28s):Okay. So here's the deal with that. So I, because of this podcast, I'm like, okay, is there a way to make a showcase? Not the shit show that I feel it was now, there may not be, it might be inherent in the thing. Okay. But so I'm teaching fourth year. I like, basically don't even, I don't know what I'm teaching at this point, but not even teaching anymore. I'm done. And my, my, my, my co-teacher took over, but I started noticing as I always do that, that, that the students are like, you know, crazy nervous about the showcase and also crazy nervous about agents and managers and all the things.1 (15m 9s):Now, there is no showcase in LA. There was only a quote meet and greet. There is no showcase in New York. There was only quote, a meet and greet. Look, it gets weirder in Chicago. There was a live showcase and a meet and greet. Now, I don't know what went down, but the bottom line is the ball has been dropped so many times about this showcase and about graduation and about launching that at this point, the ball is just dead in a heap deflated. Okay. So I said, okay, well, what can I do to make this fucking situation better? Because I know what it's like to be there and be like, oh my God, I'm falling behind. What if so then I'm like, okay, everybody, here's what we're going to do.1 (15m 52s):I am going to email everyone I know in LA and everywhere and say, come to this showcase and watch your digital link. They have a virtual showcase. But the problem with that is nobody. If nobody gets sees it, it doesn't matter. And so it was made in a form beans where it looked like spam. So it went to everybody's spam. So no casting directors and no agents got the fucking link. And I realized that because I told a student of mine, I said, listen, you want to be repped by this one agency, let's create a letter to them. Let's pitch them. And so then I get a call from the agent saying, we loved this letter.1 (16m 33s):Also, thank you for including, we didn't think there was a showcase.4 (16m 37s):Oh my gosh.1 (16m 39s):And I said, what's,2 (16m 41s):This has to do with just the fact that like, there's been all this administrative,1 (16m 45s):I think it's, COVID meets the problem with conservatories, which is that they do not think that launching their students is an important part part of their job. Right? Right. So it falls to nobody. And so the person in charge bless her heart is one marketing person that knows nothing. I don't believe about acting or the entertainment industry at all. There is no Jane alderman. There, there is no, at least. So I stepped in to be like the proxy, Jane alderman with another adjunct. And we were like, okay, well, how do we do this? So I am happy to say that after literally making maybe 43 phone calls, everyone has the link.1 (17m 26s):People are coming to the showcases. Now my thing is to do the meet and greet in LA to try to get people there because these, these kiddos are coming to LA, there is no showcase. I'm like, well, we, what are we doing? Like we have to have something like, so, and I also just, you know, and I know these kids, like these are my students. So like, I want to meet them. And then, so now I'm getting everyone I know to come to the meet, greet in the business and2 (17m 51s):The money thing. Like, they're like, oh, well we have, we can do it online. And so we don't have to pay for, to rent the space for,1 (17m 59s):So they wouldn't even tell me, they wouldn't even tell me. They didn't even want to give me the invite to the LA thing. I had to like fight to get the, I don't understand what is going on. But I was like, listen, all right,2 (18m 11s):DePaul, I'm going to tell you something right now in DePaul. You want to be well-regarded you want to be number one. You want to always talk about your, your alum or even not your alum. People who, who went and got kicked out about their great successes. And you don't, but you don't want to do anything to get there. And that is not how it works, how it works is you put a lot of energy and I'm not saying at the expense of teachers or whatever, but you put a lot of energy and effort into not just hyping your students, but hyping your school.2 (18m 51s):Like it should be that your school is saying, have we got a crew for you? Yeah.1 (18m 56s):And which is what I then stepped in and had to do and be like, these kids are dope. Come see this, look at this link and then come to the thing. And so all the casting and agents in Chicago are now coming. Thank God, because guess who, there was one person RSVP2 (19m 14s):Girl, and you need a bonus1 (19m 16s):Stroke. Here's what we're doing. So then I said, okay, because I'm always thinking, I'm like, okay, well, here's what I'm doing. I'm developing a launching curriculum, which I think I told you about, like, I'm developing a day, one BFA for day one of the fourth year. Here's what we're going to do to launch you. And it's not just about the showcase. It's about mentorship. It's about how can we hook you up with somebody that's in what you want to do? How can we do that? And I'm going to pitch it. I'm going to say, here you pay me $120,000. And I will sell you this program and, and hook you up with teachers and people. I know that can step in and do this with me. Like you like people in the business, like people who are on different coasts, like duh, and then we will.1 (19m 58s):So, and if you don't want to buy it, DePaul theater school, we're selling it to Northwestern or NYU or any anyone.2 (20m 4s):Well, I was going to ask, do you know, if other conservatories are doing showcases and doing,1 (20m 9s):And they are, and they are doing it and they are, they are doing it. I, from what I can see, Gina, they're doing it better. I don't know if it's, you know, how good it is. But I do know that like other showcases released their digital showcase because of the pandemic on actors, accessing and town and casting networks, which DePaul did not do. Oh2 (20m 30s):My God.1 (20m 32s):So here's, so that is not okay with me because I went there and I, I do care about it because of this podcast. I also know that these kids having watched them at, you know, 21 year olds, 22 year olds, max, they're busting their ass, just like you. And I we're busting our ass. Like, look, they're busting their ass more than we were, but you and I busted her ass too. And I feel like we didn't get what we needed from the launch process. And what, what will happen is no one will people and people stopped going to theater school. Is that what you want? Or do you want to upgrade like level?1 (21m 13s):Let me run this by. There's a lot of people I hate.2 (21m 24s):Exactly, exactly. Okay. So the thing I wanted to run by you is about storytelling. I signed up for this workshop in my town. We have a little community theater and they sometimes have little workshops and I did improv there one time. And actually by the way, doing improv there, I I'm, I still am terrified of it. And I still don't feel like I'm I do well, but add it. But I reduced my fear somewhat by just aging within, and then we had a performance and my whole family came and yeah, it was, yeah.1 (22m 3s):Why don't we talk about what2 (22m 5s):She like two years ago or three years ago, actually. Yeah. Three or maybe even four years ago now. But anyway, on Sunday I went to, they ha they had a workshop led by a storyteller from the moth and she taught us, you know, how to, so there was only five of us there. One person, only one person absolutely knew when he came in. Exactly what story he wanted to tell. The rest of us were like, I have certain things that are coming to mind. Of course my thing. And I said, I was, I just owned it from the beginning was I've written essays. And I've, you know, written a lot about my life.2 (22m 46s):And yet I somehow feel like I don't have a story to tell. And she said, that's so common. She was telling this great story about somebody. Cause she does corporate stuff too. She was telling the story about somebody in a workshop, in a corporate workshop who just kept saying, I just, I don't have a story. I don't have a story. The day goes on. And he goes, well, I might have something, my family and I fled Vietnam right before this. And she goes, yeah, that's a story. That's a, that's a story you could tell. Anyway, point being, we're putting these stories together and we're going to perform them on Friday.2 (23m 34s):And the I'll say there is something about the process of working on it. That has been, it's not exactly healing, cause this is not a, for me at all. It's something I'm telling a story about when I lived in that apartment on Lil and Libby got me this job at the bakery and while we were, and she was very assiduous about being to work on time. And1 (24m 9s):I remember the, was it the red hen? Oh, we shouldn't say it out loud.2 (24m 12s):I actually, I really don't remember the name. I think it might have been called great Plains. I don't know. Okay. I don't think it's there anymore. And one of the things that was our task was to deal with the mice that inevitably came into the, in the flour sacks and stuff like that in the back. And, but I never she'd said to me, we have to deal with the mice, but I somehow, I hadn't really, really thought that through. And the way we were meant to deal with the mice was hit them over the head with a shovel.1 (24m 47s):Oh. So, so murder of the mice2 (24m 50s):Were into the mice. And so my story is about watching this five foot tall, gorgeous little, just, I mean, she looks like a bird, this girl, woman now, but she was a girl. Then I'm just swinging the shovel over her head and bringing it down. And then just very like with, with zero expression, taking paper towels and picking it up and throw it in the trash, washing her hands and making it back to the register in time for the next customer who came in. And my point of it, of the story is that's. That was one of my most important lessons about the difference between being poor and being broke because I was broke, you know, and always looking for jobs and always working through school.2 (25m 35s):But if it came to smashing a mouse over the head with a shovel, I'm just going to quit that job and go find another job, selling clothes at express. But Libby did not have such luxuries. She had to take the jobs that she could get. And she had to guard them with her life because as even, even with the amount of time she worked, there was a period of time where she would tell me, like, I'm going to bed hungry a lot of nights. And I couldn't help her, you know, because I was broke. I just, I didn't have we bought ramen. I mean, we right. Like six days a week.2 (26m 16s):And so it's about that. And so there's something about, but, but the fact that it's about this epoch in my life yeah. Which I haven't really written that much about, I've written about my childhood and I've written about things that are more contemporary, but you have a lot of experience with storytelling. And I'm curious to know what role that has played in sort of, you know, for one thing, the ability to string together, kind of the, of your life into a cohesive narrative. If, if1 (26m 47s):That's2 (26m 47s):Something that has been helpful or if maybe you have healed in some way, maybe from your one person show,1 (26m 53s):I am Gina. What comes to mind? Like what first came to mind when you were talking about your experience with this storytelling thing? Is it, what, what is the coolest thing to me about storytelling? Like this live lit as we like to call it in Chicago, just because I, storytelling people think it's like, we started calling it live live because people thought it was like, you know, Renaissance fair storytelling. Right. We had like a cheese ball, it's it doesn't matter. It's storytelling. So storytelling, bridges the gap for me. And maybe you have acting and writing. So it is both performance and writing, which I think is brilliant. I think acting is for the birds.1 (27m 35s):Like I just do. I think acting is really hard. I'm not very good at it. Not because I'm not a good person, but that's what I'm saying. I'm not very good at it because I don't like it as much as I like telling a story. That's my story. That also has a performance aspect to it. And it heals the acting thing for me. So you are acting, you are acting, you're not like you in your kitchen, just like when we do a podcast where there's a part of us, that's acting, it's not, you know, it just is what it is. So I think that that is extremely healing. And what, I wonder if it's extremely healing for you, because I feel like in terms of the acting thing, I know that post-graduation from an acting conservatory, you talk about just completely shutting down, completely not shutting down to the acting part of yourself.1 (28m 25s):And I think like through your son and then through this podcast and through writing television and now through storytelling and like your dip into improv, you're, you're healing, the actor part of yourself.2 (28m 37s):That's right. That's right. It1 (28m 38s):Wouldn't surprise me. If you went on to do acting like started acting in plays and stuff. Again,2 (28m 44s):I'm not going to lie. I'm really thinking about it at this point in time. I still feel like it's a bridge too far, just because I have nobody to spell me at home. You know, I can't ask my husband to leave his job so I can go to a play. But at some point, I mean, you know, they're not going to be this age forever. At some point I will be able to do that. And I do have designs on doing that actually.1 (29m 8s):Yeah. And I think, and I think you, I think this storytelling is brilliant because I think the cool thing about storytelling, as well as like you could go to New York city and do them off one night. It's not a, it's not a commitment like the play. In fact, you could do the risk thing that I did in New York. Like the rest of the podcast is live performances in New York. So all this to say that I think storytelling is a fantastic way to heal the part of ourselves that wants to be a performer, but definitely doesn't want, is not ready to take all the trappings and bullshit. That is a professional acting career, which is garbage. Like I got to say, like I just tell my students is to like the part of the business, which is why this is so fraught because it's garbage.1 (29m 55s):That's why you don't like it. But that doesn't mean it's not worth it to you. If you can find a way to make it worth it to you, the competition, the rejection, the then go for it. But what if that is bothersome? And like, you don't want to deal, like what about live lit? Like what about improv? What if there's so many other things? And so like, wouldn't it have been awesome. Gina. If someone had come to us fourth year and been like, Hey, you know what, maybe you get really nervous and that panic attacks when you have to audition. But what about like writing this thing and telling your story on, you know, on a stage somewhere where you get to hold the piece of paper2 (30m 34s):Today on the podcast, we are talking to Jeremy Owen. Jeremy is a storyteller and the creator of a storytelling show called George being ridiculous, which is premiering ask Stephanie, I think tomorrow or the next day, check it out. Please enjoy our conversation with Jeremy Owens. Wow. Congratulations. Jeremy Owens. You survive theater school. I want to hear this fabulous story. I missed the beat.1 (31m 11s):Yeah. So Gina, miss the beginning. So I was just basically saying that everyone's rusty and it's really good. We're talking about this because also Gina's performing storytelling this weekend and we were just talking about rusty. It was, everyone was after two years of not doing live lit stuff. And then Jeremy tells me that he did a show and of course we can, you don't have to use names and all that, but like did a show and it went south and by south, he's going to tell us what that means. It really went south. So7 (31m 41s):It really, when up it's like so complicated. Okay. So I was doing a fundraiser first off. I was like, I there's no way, like, who wants to watch me talk on zoom? Like we're doing that all the time. Like who even cares? How can this benefit anyone? But it's a fundraiser. My sister-in-law asked me amazing. I love it. Amen. Let's go. Let's do it. So we're doing it. And I, okay. I was not as cautious. And as careful as I should have been the show, I mean, you done the show, you did a show. I don't know if I can talk about your story, but you like got your tooth knocked out. That's1 (32m 22s):Oh, I believe me. I did. I gave a blow job and my back lower fell out. Yeah.7 (32m 28s):That's a story2 (32m 28s):Story. I7 (32m 31s):Share that story, but That's good. That's the, but that's like kind of the fuel it's like, you don't know what's going to happen. Some things are like, you know, super lovey Dubby. Sometimes somebody tells a story about a blow job and their tooth gets knocked out. It's like not a big deal. Like this is the world we live in. But I mean, if you're doing a corporate fundraiser for someone and I just, Alex, if you're listening, I love you. I just was not clued in. And that's my fault. That's not her fault. It's my fault. I accept responsibility for all those things. This is my disclaimer for my, for my sister-in-law. I accept all the responsibility for that. I just should have been more cautious.7 (33m 11s):Right. So if you're up for doing show or tea, fall out from low jobs, it's not that maybe not the best for like a board. Like those are the stories that people,1 (33m 20s):I7 (33m 20s):Didn't know1 (33m 21s):It is. If I'm on the fucking board, I'd probably not get,7 (33m 24s):I know, same for me. I mean, we went to theater school and I've decided like, as that has passed me by that we're not the same as like Bob down the street who is like wildly offended by anything, you know, sexual or1 (33m 42s):Anything2 (33m 42s):You ever get used to that, by the way, I, I I'm always like, oh really? We have to do this thing where I have to pretend like I'm talking to my grandma. Like you're a full grown adult standing in front of me. What's that?1 (33m 53s):What's your story about, please tell me something amazing. Gross, please.7 (33m 56s):I didn't even get to my story. That's the thing. Okay. So It wasn't even me. I wish it were me. It was like six or seven people. And I think we got like three or four in. And so as they're happening, I'm like, oh wow. That person said, fuck, oh no, this person's talking about porn. Oh, wow. Like things that like, just don't register for me. Right. Because I guess theater school. It's like, none of that registers for me. I'm not offended by anything other than like racist, white assholes.7 (34m 38s):Anything else? It doesn't register me. I don't. I know. I just don't care. I'm not bothered. So2 (34m 45s):Charity though. I mean,1 (34m 47s):It was like, there was it like the nuns of like a sister.7 (34m 50s):Oh, I don't want to say there. I don't want to say their name. I'll tell you1 (34m 54s):What Sater7 (34m 56s):Well, they're like1 (34m 58s):Healthcare, charity. He doesn't want7 (35m 1s):. Yes. I mean, it's a great charity. They do wonderful things. It's awesome. Right. But they weren't ready for1 (35m 12s):Me. So what happened? It just went blank.7 (35m 15s):Like we're just plopping along and I'm like so excited. Cause it's like July 20, 20. I have only been like talking to my dog and my husband. Right. So this is happening and I'm listening to stories. I'm having a great time. This is like amazing loving life porn who cares, you know, whatever. And then all of a sudden it stops working. Like I don't see anything. And I'm like, oh my God, this is my brother-in-law. I was like running the tech. I'm like, oh no,1 (35m 44s):He thought it was a tech thing. Of course.7 (35m 46s):I was like, well, this happened to me. I was taking this class online this weekend and the internet I had and I was like, oh shit. Like in the middle of class, I'm like, great. So now they think I'm an asshole. I just left class early. So I'm just like, this is dead. Right. Then they come, my sister-in-law calls me and tells me what's happening. And they're all furious. And they just, instead of like a conversation or something, or like this is coming or we're so disappointed, it was just like, this is over now. Like just totally dead. The bad part about that is that none of us knew. And there was no communication with me. Other if it hadn't been my sister-in-law, I don't know if I would, I would still be here on my computer.7 (36m 31s):Probably.1 (36m 32s):That's hilarious right there. Like, are you there yet?7 (36m 36s):Hello? Hi. Hi. They just didn't communicate at1 (36m 40s):All.2 (36m 43s):We're like, really? I'm getting irritated about this. Listen to the story is like, I don't know any of the players, but I feel like, I feel like we're the people we're pretending people are pretending that they don't watch porn or that they don't swear or, you know, like, why do I have to do this? Pretending I just love unless there was children in the audience and maybe there were,7 (37m 4s):I don't think so. Like, you know, it's like, I had like friends who1 (37m 8s):I curated it. Where you did you7 (37m 10s):Find, I mean, it's all, basically this entire thing is my fault. But like1 (37m 15s):You, you found everybody.7 (37m 17s):I found everybody, I got everybody. This was like a great in my mind was this is like a greatest hits. This is like, awesome.1 (37m 24s):It's the one time I'm so grateful. I was not asked to do anything. Like7 (37m 29s):It was just so weird. And there's like, I don't know it. Yeah, it was. But again,1 (37m 37s):I do the story for the ages. I love it. All of a sudden, it just goes blank.7 (37m 41s):I'm in the home. This is a story I'm going to, I just went blank. I didn't know what to do. Everything was gone. Just talking about those things. It doesn't, I don't find that if, when I say porn, I'm not like, this is the butthole. Like it wasn't like, you know what?2 (37m 59s):I7 (37m 59s):Watched porn. Right. That's not offensive to me.1 (38m 5s):I'm not sure. I'm not sure. Yeah. Like Gina was saying like we're okay. So that went south. Like if did you feel I'm really concerned? Like, cause I would have probably had to check in somewhere because I would have been like, I curated this motherfucker and now I caused this whole fucking7 (38m 23s):I'm still like T like we have a show coming up in like a week at Steppenwolf. And I had one of the storytellers from that show sent me a is doing the show at Steppenwolf. And I like had a moment because his story is like, because of that. And because I'm like wildly triggered, I was like, Hey, maybe you could do this story about tennis or whatever. And he's like, do you need a PG story? Like what's going on? And then I was like, and then I re-read a story. And I was like, I do not his stories about sex.7 (39m 5s):I do not find this offensive. This is okay. I'm person totally traumatized. And then I had to go back and be like, oh God, remember that thing that happened in 2020, I'm just totally melted from that. And your story is great and everything's fine. I'm just having a moment. I'm going to calm down2 (39m 24s):And see what happens to me though. When I hear w whenever my antenna go up, whenever I hear like, oh, that's offensive to me. That just automatically means you're doing behavior that you feel really ashamed of. And so you want to shame me instead of just own the truth of whatever it is you're doing. This is exactly what happens on the Handmaid's tale. You know, it's all about the Bible, but then they're just like holding people down and raping them. So I just think it's a little bit of a soft sign for you've got trouble. If adults are saying that referencing the fact that there is porn is7 (39m 58s):Troublesome. Yeah.1 (40m 2s):Oh my God. I can just, okay. I would have been so traumatized. So I hear you. And I also think that, like, it's interesting, I've had a similar thing where like, on this podcast, I've mentioned my husband's job. I have mentioned. And so Gina and I always talk about, well, we will not always, but we've had to talk about this of like, what is the, and it's like a bigger thing in our society right. In the world. Like, where do I draw the line of like, can I stand behind this? I guess that's what it is. It's like, can I stand? If I'm called to the carpet, whoever God, the board, whoever, and say, stand behind this show. These words can.1 (40m 43s):And that's when, if I can stand behind it and I am willing to answer for it. And I'm like, I'm all in. If I feel like I'm wishy washy, then I feel like it's going to go south. And then I it's weird. It's a weird thing. It's like when to cut, when to not cut, now, you didn't have the ability I'm fucking lives to do7 (41m 6s):That. What1 (41m 7s):Happens in live television, right? When someone who goes bonkers or has a stroke, God forbid, or it's like, you don't know what to do. So live is a different thing. Like it's different with a podcast. We can cut. We can, but like a live show, whether zoom or on stage, there is this moment. So when I did my solo show, Samantha Irby, Sam Irby opened for me. Right. Ramus. Now wasn't famous then. But it was always a Reverend and a bad-ass right. But data story at my show and my uncle were there about SAC,7 (41m 38s):Right.1 (41m 38s):Eight leakage and fluids. And I was like, oh. And then I thought, oh, I wanted to run on stage and be like, ah, this is too much. But then I thought you invited this person. This is their jam. This7 (41m 54s):We love. Right.1 (41m 58s):What, what, okay, sit, sit, and just deal with it. And if my uncle and my uncle was really offended and like, fuck that. Okay. So, but it's hard to do. I was squirming. So you must've been squirming when you, when your, when your person called you and was like, cause you, you found these people. But I think sometimes we squirm, right? Sometimes we squirm,7 (42m 21s):Oh my God, I was dying. Cause it's like, I don't, I don't want to disappoint any of, either of you, this computer, this desk. And I just want to make everyone so happy all the time. And I don't want anyone upset with me or like, I don't want to cause any problems, nothing. I want you all happy.1 (42m 42s):And sometimes despite our best people, pleasing efforts, like shit goes south. Like that is the story of shit going south. Despite Being a good person, having gone to college, go to it, shit still goes south. So7 (42m 55s):I vote like1 (42m 58s):You're very active, like socially.2 (43m 2s):So let's, let's talk about you and your experiences. Did you go to DePaul?7 (43m 7s):I wish I had gone to DePaul, but I, from listening to this podcast, I get that. I don't know. I went to Roosevelt university for grad school.2 (43m 17s):Cool. Tell us everything. Tell us, like, when you decided you wanted to be an actor and when you decided you wanted to go to theater school, tell us everything.7 (43m 25s):Well, for me, I grew up in Arkansas. So I went to the university of Arkansas and I started out as like a journalism and a political science major. But then they, the department, the journalism department had us take a speech class. Like how does speak in theater class, you know, to get rid of your accent basically. Cause we're all Arkansans. We sound like, you know, we're in God, but the wind or whatever. So we took this class and I had growing up and like my small town, I always loved theater. I'd done community theater and the whole thing. So when I took that class and like, everyone in there is like, you know, so alive and so like interesting and like, like real, I was like, well, this is going to be a problem.7 (44m 17s):So then I, like, I signed up for, you know, the second semester of the class. And then I was like, oh, I'm gonna audition for these one acts. And then so slowly I just migrated into the theater department and completely dropped journalism, political science, all of it. And disappointed my parents ruined their lives, you know, the whole thing. So I didn't really understand, like by the, by the end of my time in undergrad, I was like, I don't really, it's like, you're young. It's like, I don't understand grad school. I don't know. But that seems to be thing that I, there was a grad program that had just started there, like, like near the end of my time there.7 (44m 59s):And I was like, I guess that's what I'm supposed to do. And so everyone told me to go to Chicago. I hadn't ever been to Chicago. I knew nothing about it. Never even visited, but I was like, okay. They're like funny people should go to Chicago. And I'm like, oh, I'm funny. So I guess that's where I'll go.1 (45m 15s):You are funny. So it's good. You went there.7 (45m 17s):Thanks. So, so I auditioned at IRDAs and did that whole thing. And then I got a call back from them and I, it was like weird. Like I thought there was going to be like some like bigger process or something. Like, am I going to, I was like, ready, you know, with like my other, like, do you want 16 bars? Do you need other other monologues? Like, well, what's the deal? And it was just kind of like a done thing. So I was like, Yeah, it's like at the callback, there was like, it was an IRDAs. And it's like, you'd go to the person's hotel room, which now seems really creepy what, with a couple other people.7 (45m 57s):And it just seemed like I liked the person who did the interview and I was like, they're in Chicago. This seems great. I2 (46m 7s):Like to act in a hotel room. I've never7 (46m 9s):Done. Like, the audition was in, like, I don't even know where it was like the ballroom. It was like, there was like a black box sort of like made up situation. So you audition and then like the next day or a few hours later, you get like a sheet with a little list of the schools that want to like talk to you or whatever. And we have been like through the ringer with my undergrad teacher and she's like, okay, you need to have, like, you had like your folder with your monologues. And like, if someone wanted a song, like your whole thing, it's like bootcamp and you're ready. So I'm like prepared for somebody to ask me to do anything. And I don't know, I got called back to like a lot of places, which I was like, oh my God, none of them asked me for anything.7 (46m 54s):Which maybe looking back, maybe that was like, not a great situation. I don't know what that means.2 (46m 60s):They were just the, and the call back. They were just meeting you. Right. They were just wanting to know if you were like,7 (47m 4s):Yeah, I guess1 (47m 6s):You're acting probably wow. Like really? They probably would have if they were on the fence, but that probably wasn't that they probably wanted to do what, you know, they, they, a chemistry breed or whatever the fuck they call it. Right.7 (47m 18s):Yeah. I guess. But this meaning with the person at Roosevelt, it's like, she was nice. It was great. It felt good. So I was like, all right, maybe that's where I'm going. And I knew I wanted to get Chicago. So like, that was, that was the deal.2 (47m 36s):It's an undergrad. You were not thinking this at all. I'm guessing you don't come from a performing family or you, you weren't doing this in high school.7 (47m 44s):Oh my God. Well, there was like the junior play or whatever that like pays for the prom, you know, like that kind of a situation. But otherwise, like I did community theater and I'm from a town of like 10,000 people. So there wasn't like really a community theater. I did Annie and Mike, I don't know, 10th grade or something.1 (48m 3s):Amazing.7 (48m 4s):Really upset. I couldn't be Annie. I was like a Senator. And like the apple salesman. I was like that guy I'm like running around doing whatever anybody wanted me to do.1 (48m 20s):Funny. That's why he could do a lot funny.2 (48m 23s):Yeah. Interchangeable. Okay. So day one, you're at Roosevelt. Is this the education that you thought you were going to get7 (48m 32s):Funny? You should ask. So this, when I went, which was, this was 2000 yes. 2000. So it was their first year of their MFA program.1 (48m 44s):Oh shit.7 (48m 46s):Oh shit is right. They accepted 30 people take that in verse1 (48m 54s):307 (48m 55s):MFA. Oh yeah.1 (48m 57s):It's too many people that just like five.7 (49m 0s):Thank you. I think that if I'm being kind, I think they accepted a huge amount of people thinking that, you know, with everything going on that like maybe 10, which is still too many would accept. So there were 30 of us. So we're there on the first day. And I'm just like, this seems , I don't know anything about what this experience is supposed to be, but 30 people that's like, that's like an entire MFA program, you know, that's like three years of people or more So immediately.7 (49m 44s):I was just like,1 (49m 45s):Hmm,7 (49m 47s):This doesn't seem right. But you know, I was like 24. So I'm like so happy to be there. I'm living in my friend's base. My friend's mom's basement until I find an apartment just like, you know, desperate twenties times. So immediately. I was like, I, this is hi. All right.1 (50m 11s):I think I should get off this rollercoaster right now, but it's already going, right?7 (50m 16s):Yeah, totally. I just like was on. And because I didn't have like necessarily the support of my parents where this entire thing, I was like, fight or flight. Like I will do this. If I have to hang on to the side of the building and sleep like that, or like, whatever it is, I'm gonna do this. So I did it.2 (50m 49s):And is it a typical curriculum, voice and speech and movement and all that stuff?7 (50m 54s):Yeah. I was sort of surprised by all of it. The program that I did in undergrad, I felt, I don't know. I guess everyone in undergrad, if you're doing theater stuff there, you think that like, what you're doing is like enough and great. And that's how everything's going to go. So to spend like three hours a day in a movement class, suddenly when you're like, God damn it, let me do a monologue or a scene or sing a song. Like let me work. You know, I understand that that is also work and it's fundamental, but it was really shocking to me.1 (51m 37s):You know, what's interesting is like, and you're not the first person that I've, I felt this, that we've had on the show is like, what I would eat. Like you should have maybe gone right to second city and just done that call that five-year conservatives And gotten the fuck out, but it's not accredited. It's not like a real university that would probably make your parents even more like unhappy. And so, but like you needed like a professional program, like there's conservatory training for actors and then there's professional programs. And I wish I had done, so. Okay. But you're in this. How long was the Roosevelt MFA program?7 (52m 15s):Three years. Oh,1 (52m 16s):Fuck. Right.2 (52m 18s):And was it the thing where you can't perform the first year, but then you do and you're in the casting pool with VFS.7 (52m 26s):Yeah, I, we couldn't perform in the first year though, at the end of the first semester, they opened up an audition to be an intern at Chicago Shakespeare, which was like super exciting. So I auditioned and then I was doing the second semester, I got to be an intern and be on stage and do king Lear, Chicago, Shakespeare. I mean, I was like, you know, a dude, a homeless person running around. Oh, we got it. Yeah. So then I was like, oh no, this is great. I'm like with like these amazing people that I don't know who they are yet, but I will.7 (53m 9s):And there, those people are amazing2 (53m 12s):In that7 (53m 13s):Greg VIN CLER.1 (53m 15s):Oh yeah. was Barbara Gaines directing7 (53m 18s):Barbara Gaines director.1 (53m 20s):Yeah. She's amazing. She's she's famous for, for me, for my one audition I had there, she yawned during my whole model to be fair, but to be fair, it was really boring. Like, it was really boring. She was basically doing what I wish I could have done. It was boring. My shit was boring. She was like this. Can't see. But yeah, she was rude, but apropos I sucked anyway. Okay. So you were, you got to work at shakes and so you were like, okay, but did you make friends? What was the vibe like? BFA was the BFA program established at that time?7 (54m 2s):I think so. Oh, and that part. Okay. Like whatever I'll say about Roosevelt, which I don't have, I don't know necessarily great things to say about the program. It doesn't even exist anymore, PS, by the way. But the BFA program, the program for undergrads, I thought that was like, excellent. Like, I was like happy for those kids. Like that seemed like good. And they were having a good time, but for us it was just, I don't know. It just felt kind of sad and different.2 (54m 26s):So your parents were psyched about the idea of you being a journalist. That's what they thought you were going to.7 (54m 32s):I think the imaginary plan was that I would, or what I sold them at the time was I'm gonna get this journalism degree and then I'm gonna go to law school.1 (54m 43s):Oh,2 (54m 45s):Right. That's everybody's, catch-all hilarious.7 (54m 48s):So that's what I'm going to do. But then I was like, but these plays, these people, it's really the people that are purchased more fun.2 (54m 57s):I actually got dressed so many people in for exactly that reason. It's just something that's like tribal feeling that you don't know that you don't have it until you find it. And then you go, oh my God.7 (55m 8s):Yeah. It was really, it was really all encompassing. I was like, well, I can't not be with these people.2 (55m 15s):What kind of shows did you do there at Roosevelt?7 (55m 18s):I all right. So, so there was that first year experience. And then I don't know. I let's see, I did my last year.1 (55m 30s):Yeah. It just sticks out in your brain7 (55m 33s):Threepenny opera. And then there was this weird Asian adoptation of the rope by whatever old Greek guy,2 (55m 47s):Asian adaptation.7 (55m 48s):So here's one of the weird things about the program. So there were a couple of classes that made zero sense that we were taking as actors. One was, we all had to take a stage management management course. I don't know. Did you guys have to know1 (56m 5s):I7 (56m 5s):Was like1 (56m 5s):Crew, but I don't even know. No.7 (56m 8s):Well, yeah, like working on a cruise, like that's normal, but in an entire semester demo devoted to stage management just seems kind of rude.2 (56m 18s):It sounds like they needed stage managers for their shows1 (56m 22s):Teachers. Yeah.7 (56m 25s):And then there is a professor there who white lady who loved Asian theater. And so, yeah. Pause for that1 (56m 37s):PF chains of, she was trying to be the PF Chang's PF J7 (56m 44s):God lover. I mean, yes. I'm interested in Asian theater too, but everyone was required as part of the MFA program to take an Asian theater class. So, which is interesting. I'm not knocking like any of that, but the PA I don't know the possibility of me being in an Asian.2 (57m 7s):Yeah. Like what's the really,1 (57m 11s):It just sounds like she had a thing for her thing was Asian theater and she wanted everyone else's thing.7 (57m 16s):Total your thing. She had studied in, I don't know, Japan, I think, and had done this whole program and it was like her, she may even have like a PhD on it. I don't really know, but that was her thing and good for her. Awesome.1 (57m 31s):Why are you teaching? But it's7 (57m 33s):Not practical. Yeah. It just seems like weird. So the play I did, I did the, the rope, which is like a Greek play. Never2 (57m 42s):Heard of it.1 (57m 43s):I wish you had done the rain anyway.7 (57m 48s):So she translated the play into a Kyogen style thing, which is a very specific Asian theater style play. Not only that, not only that, but like, I have always been openly unapologetically sort of who I am, which means, hello, I'm a homosexual and it's clear and I'm not like afraid of that as an actor or a person. So I played the, yeah, get ready. I played the, I don't want to call it like the evil sister, but I played like the villain in the play, which was like an older, which type woman in the play.7 (58m 40s):And that was supposed to be hilarious.1 (58m 48s):That's really where we're headed in the arts. I'm also saying the arts in the logs shit went down. Not that7 (58m 56s):Some weird shipments out. Yeah. So it's like thinking about that now you would like wants to like light all of Chicago on fire. Right? Correct. But at the time, this I guess was like, cool, cool. And inventive to make the one gay guy that you were Sure was gay play a woman Asian drag. Oh my gosh. The whole thing is like Asian themed rides. and the whole thing I don't, I can't say for sure, but I don't think1 (59m 39s):So. What the fuck?7 (59m 42s):So just a bunch of white people running around and kimonos speaking in a very like, you know, meter to style Asian thing. And I'm a woman also.2 (59m 53s):I wish we had a video. I really want to watch this play. I mean, just like for a snippet, because you know, when you think of yourself and how seriously you took a role when you were young and you and you, and you just in your mind's eye, even if there's no video and you just imagine, like, what does this actually look like? And that's always looks funny, no matter what or sad. If it's a comedy, it looks sad. And if it's True. So that was one. Did you have any roles that you liked?7 (1h 0m 29s):I mean, kind of, well, there was like a, a directing project that one of my friends did. It was like a Steve Martin one act. And I was like, yeah, right. Like it was like a legit play that was like funny and good. And I had like the lead and I was like, it was like us, like a straight man that I was playing. And I like felt excited because it felt like I was like reaching. I'm not reaching, but you know what I mean? You're like, oh, this is a play. I'm like, yeah. I was like, do a thing. And I like am working for this goal to do. And I felt like I was successful in it and it felt good.7 (1h 1m 9s):But like, that was probably the one, even in my thesis role, which was like, I was like a random chorus person in Threepenny opera, literally it's my third year. I'm like, Hmm. I have to write 30 pages now on yeah. That's, it's like that.1 (1h 1m 27s):The thing like that, I just, and maybe you guys could chime in. And in terms of the curriculum, there doesn't seem to be an actual curriculum for these programs. Like now that I'm teaching, I'm like, wait, what, what is the7 (1h 1m 42s):Tactical?1 (1h 1m 43s):And what is the piece of paper that you can point to, to say, this is the mission of these three years for these MFA actors. There is no plan. What is the plan? That's what I feel about a lot of this is, and it's still to this day in, in conservatories, what is the fucking plan? Because there doesn't seem to be one and there's not a plan. We shouldn't be charging dollars to these people. I just, I, it should be, then it should be camp, a freak out where we go when we, I don't know. Anyway. So2 (1h 2m 15s):I mean, honestly, like it's, it needs to be treated a little bit more like a school and pass fail, right?7 (1h 2m 23s):Yeah. Like the goal it's like, if you're a journalist, like, can you do these things? Can you write a bituaries? Can you write a news story? Can you do the, you know what I mean? So it's like, when I leave this place, am I going to be able to get a job? And I know that like, everyone's like, theater's like, oh gosh, you're never going to work or whatever, but that, it's just not true. It's like, everything is the same. There are basic skills. Do you have them,1 (1h 2m 50s):There are milestones to meet along the way. And if you, I mean, anyway, I it's just, the more we interview folks, the more I'm like, oh, this whole higher ed situation, fine arts needs a whole overhaul. I don't know what it's going to take, but we'll probably be extinct on the planet before it happened. So I just feel like maybe that's the way it's going to go and okay. But like, okay, so you graduate, you then are like, okay, I have this MFA. Then what happens to you7 (1h 3m 21s):By the end of the program? I was really like, I don't know. I feel like it kind of, it kind of broke me because things like that were happening, which in a way is like, I mean, at the time we didn't have the language for like, you know, playing an Asian woman in a play, like it's offensive. And it's like, not furthering me. It's racist. It's not furthering me as an actor. I'm not going to leave here and like run around and Komodo and place for the rest of my life. It just kind of broke me. And a lot of the, I would say some of the teachers, the whole situation just didn't make me feel good.7 (1h 4m 4s):So at the end, I was like, you know what, maybe? Hm. I don't know. I need, I needed a break from that whole world. I mean, I did audition for awhile, but the shortest while1 (1h 4m 21s):How short,7 (1h 4m 26s):Maybe it was a couple years1 (1h 4m 28s):Because we have Gina's trajectory and mine, mine too. Like I stopped after I stopped after three.7 (1h 4m 35s):Yeah. I was probably three years. Like slowly, just petered out. I mean, I got to the point where I'm like going. So I went on a few theater auditions in the beginning and then I had an agent and I would go on these, like on camera calls. And I would just be like, oh my God, I'm in this giant room with a hundred people that are dressed and look just like me. This is the most pressing thing. Like, I just was like, I can't, this isn't, this doesn't feel good either.2 (1h 5m 6s):I want to hear how eventually, how we get to storytelling. But before we do, I just, I didn't want to leave the whole Roosevelt thing without, I don't think I've really asked anybody this before, but you're not the first person who basically says to us, like, I'm gay. They didn't know what to do with me in theater school. Right.7 (1h 5m 30s):So2 (1h 5m 32s):I don't know if this is a question or a comment or what, or like just a prompt for discussion, but what is the barrier there? I mean, it seems like what you're saying about this role that you got cast, it's like, you're gay. So you'd like to wear drag. Is that what the thinking was?7 (1h 5m 47s):I don't know. For me, it's two things. It's like, there's the gay thing for sure. But also I'm funny. So if you're in a serious theater program, please understand I'm doing some heavy air quotes because every theater program thinks they're a serious theater program. They really do not know what to do with people who are fitting into the definition of serious. And so I think yes, there is like me, the stereotypical gay person or whatever, if I am so there's that person, but that's usually a funny person.7 (1h 6m 28s):And so then they don't like it totally. This is serious. We're doing real serious work here. How can this work?1 (1h 6m 38s):It makes that, that makes me, it makes sense. And it also makes me so angry, just Raging, also like fucking pick different motherfucking material. You've that fits your mother fucking class. You dumb fucks. That is what we're supposed to be doing is picking material that highlight our students and help them grow in a way and not the pick different place.7 (1h 7m 3s):Well, that's really where in that and the whole situation, I feel like that's, that's what sort of killed me is that there wasn't a place for me. No one cared to create one and you are, I already felt like I don't fit here. I don't belong. And so it's just like that slowly, just really like sinks in. So you've got that going on. You've got your there with 30 actors and it was kind of, honestly, it was sort of like easy to just like hide, you know, unless I'm being called to play the Asian lady on the play. So it's just like a kind of just was like, eh,1 (1h 7m 43s):Yeah, you gave up. But they gave up on at first.7 (1h 7m 48s):It is honestly,1 (1h 7m 50s):We give up when people give up on us first, especially as young people.2 (1h 7m 53s):That's true. That's true. So you're in audition rooms after school. You're, you're feeling like this is depressing. There's 5,000 mess and we all look the same. How, how did, how did you evolve from that to what you're currently doing, which I'm going to go on a limb and say is fulfilling to you artistically fulfilling to you what you're doing?7 (1h 8m 13s):I would say yes. Okay. How did that happen? I mean, after, you know, just deciding I'm not going to go on these calls anymore. I just, like, I was like, okay, then I'll, I'm working in a restaurant. So that's what I'm, I'm gonna work in. I work in restaurants now. That's what I do. And I did that for a while. And then I was just like, okay, but wow, this can't be it. Like, even if you, as an actor, like whatever level you achieve as an actor, I think there's always that part of you. Who's like, yeah, but like, can I talk somewhere?7 (1h 8m 54s):And people just like to listen to me or just let me tell, you know, just get really enthusiastic with storytelling at a party. Or like, whatever. I, I didn't know about the moth or a storytelling or any of that stuff. I really was just like this theater experience, grad school was so bad for me. And I'm too afraid to go to second city to do improv because I had sat through, you know, the first year of friends doing that. And I was like, well, I'm not doing this terrifying. So I thought, Hey, what if I get some actors together?7 (1h 9m 37s):And we will write monologues, which is how I thought of it at the beginning, it'll be like loosely based on a theme and we'll do a monologue show. I think I had just seen Nora Ephron's play love loss and what I wore. And so there's all these women on stage telling this like, story. And I was like, oh my God, I'm not a playwright. I can never like, make this happen necessarily. But like, if there are people on a stage and then they're just like one by one, like telling a story based on a theme, like, oh my gosh, this is revolutionary. I've just invented this whole new thing. So that is sort of where I started.1 (1h 10m 14s):When was that? I

Communities that stay together – grow together.  You are already part of the Avenues community, now you can start your day with our Avenues community readings. We are all stronger when we listen and learn together.  Subscribe for daily inspiration in your inbox https://www.avenuesrecovery.com/hammock-readings/  Recovery starts with intention. Let's start our day as a community. Join the Avenues daily readings together each morning, to start your day with inspiration and direction.#dailymeditation #recoveryhttps://youtu.be/1Iv603v5J_s

The ancient Roman comedies of Plautus have inspired playwrights from Shakespeare to Sondheim. But they've also been seen as grim reminders of the oftentimes horrifying world of ancient Rome, where violence and slavery were commonplace. Dr. Amy Richlin joins us to talk about her book Slave Theater in the Roman Republic, which explores how Plautus's plays gave voice to enslaved persons during this era.

and that they might see that they themselves are beasts; as they are through the fall, and the corruption of nature, being born like the wild ass's colt, stupid, senseless, and without understanding of spiritual things; nay, more brutish than the beasts themselves, than the horse and the mule that have no understanding, Psa_32:9; "mulo inscitior", as is Plautus's (u) phrase; see Psa_49:12, Isa_1:3; this is now made manifest to the people of God by the word and Spirit; is seen, known, and acknowledged by them, Psa_73:21; and the wicked themselves will see, know, and own what beasts they are and have been, at the day of judgment; how they have lived and died like beasts; how like brute beasts they have corrupted themselves in things they knew naturally; and that as natural brute beasts, made to be taken and destroyed, spoke evil of things they understood not, and perished in their own corruption, Jud_1:10, 2Pe_2:12; and that they have been beasts to themselves, as Jarchi renders and interprets it; made beasts of themselves by their brutish gratifications; have been cruel to themselves, ruining and destroying their own souls; or among themselves, and to one another, "homo lupus homini"; hence wicked men are compared to lions, foxes, evening wolves, vipers, and the like. So Mr. Broughton renders it, "how they are beasts, they to themselves."

A discussion with the cast and production team about Artform's production of  A discussion with the cast and production team about Artform's production of A Funny Thing Happened on the Way to the Forum at the Broadway Studios Theatre in SE London.A Funny Thing Happened on the Way to the Forum is a musical with music and lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart.Inspired by the farces of the ancient Roman playwright Plautus (254–184 BC), specifically Pseudolus, Miles Gloriosus, and Mostellaria, the musical tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The plot displays many classic elements of farce, including puns, the slamming of doors, cases of mistaken identity (frequently involving characters disguising themselves as one another), and satirical comments on social class. The title derives from a line often used by vaudeville comedians to begin a story: "A funny thing happened on the way to the theater".Ever wondered what goes into putting on a show? Find out as we have a discussion with the cast and production team about Artform's theatre productions.www.Artform.org.uk the Broadway Studios Theatre in SE London.Artform.org.uk

If the idlers of the streets chalked caricature on the walls, we can not be surprised to discover that Pompeian artists delighted in the comic and burlesque. Comic scenes from the plays of Terence and Plautus, with the names of the characters written over them, have been found, as well as a large number of burlesque scenes, in which dwarfs, deformed people, Pigmies, beasts, and birds are engaged in the ordinary labors of men.   This short story is sponsored by our friends at 5amily.com

Episode 72 The Situation in Spain prior to the Renaissance period with a summary of developments in the Roman and Medieval periods in Spain. The merging of religious and secular theatre at the end of the medieval period. The ‘autos' and how it developed out of liturgical drama and the only surviving example ‘The Play of the Three Kings'. From the 12th Century ‘Pamphylus in Love'. The Spanish version of the cycle play. The poetic dialogue and its influence on theatre. The religious plays of Juan Ruiz The use of rustic language for comedy in 15th century plays. The beginning of the Spanish renaissance with the plays of Gomez Manrique. Inigo de Mendoza spanning the medieval and the renaissance. Fernando de Rojas and the influential play ‘Celestina'. Juan del Encina and his three-stage career, which ended by producing some of the earliest plays of the renaissance in Spain. The religious and pastoral plays of Lucas Fernandez.  Bartolome de Torres Naharro who mixed Plautus with his real-life experiences as a soldier and churchman in his comic and satiric plays. Support the podcast at: www.thehistoryofeuropentheatre.com www.ko-fi.com/thoetp www.patreon.com/thoetp This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

"Antipho, a wealthy and jovial old gentleman of Athens, has two daughters, Pilumena and Pamphila. They are married to two brothers, Epignomus and Pamphilus, who, having run through their property in the company of idlers and Parasites, have, with the view of retrieving their fortunes, taken to merchandize [overseas trade]." The brothers have, in fact, been gone so long trying to regain their riches that Antipho is getting ready to marry off the daughters again. Will the brothers arrive back in time to save their marriages and get rid of their Parasites? Genre(s): Comedy Titus Maccius Plautus (254 BCE - 184 BCE) --- Support this podcast: https://anchor.fm/3daudiobooks0/support

The ancient Roman comedies of Plautus have inspired playwrights from Shakespeare to Sondheim. But they've also been seen as grim reminders of the oftentimes horrifying world of ancient Rome, where violence and slavery were commonplace. Dr. Amy Richlin joins Mike Lueger to talk about her book Slave Theater in the Roman Republic, which explores how Plautus's plays gave voice to enslaved persons during this era.

“If you see your fellow Israelite's ox or sheep straying, do not ignore it but be sure to take it back to its owner. If they do not live near you or if you do not know who owns it, take it home with you and keep it until they come looking for it. Then give it back” (Deuteronomy 22:1-2). We are back in Deuteronomy. Some time ago, I started working through this book, reflecting on a small portion of each chapter. Thanksgiving weekend prompted us to do some different things, but now, let's return to finish what we started. Last Monday, as Helena and I were taking our morning walk, a stranger stopped us asking if we had a cigarette. Having been informed that we did not, he asked which bus would give him and his bike a free ride down the mountain. We gave him some possibilities, uncertain of our information, never having needed this service. Later that same day, as I was walking down Mohawk Road, a lady came out of the bus stop shelter asking which bus would take her to a certain destination. Not understanding where she wanted to go, I declined to help her; graciously, I think. As I walked on, I thought, ‘two in one day': total strangers interrupting me to ask for things I didn't have: cigarettes and information. But then I began to wonder about the graciousness of my responses. My words may have been gracious, but my heart didn't feel very gracious. In fact, I felt both were interruptions. What right did they have to interrupt me? Its not that I had better things to do, but well, what right did these people have asking me for these things? But the Holy Spirit was testing the motives of my heart and found them wanting! If I had sat down for one minute with that lady in the bus stop shelter, I am sure that my phone would have found the answer she needed. And today, we come to Deuteronomy 22: “If you see your fellow Israelite's ox or sheep straying, do not ignore it but be sure to take it back to its owner. If they do not live near you or if you do not know who owns it, take it home with you and keep it until they come looking for it. Then give it back.” This is an application of the second great commandment, “Love your neighbour as yourself” (Mark 12:31). My experiences may have been somewhat different, but close enough. My time is my own, why should I give it to others? That is the way I am wired. But Jesus wants to rewire me. Reading this text, I remembered the old ditty from the school playground, Finders, Keepers, Losers, Weepers. A Google search revealed that the first written record of this idea dates all the way back to 200 BC by the Greek playwright Plautus. Could it be that Jesus and the apostles knew of this dictum and countered it? Consider what Paul wrote, “Therefore if you have any encouragement from being united with Christ…in humility value others above yourselves, not looking to your own interests but each of you to the interests of the others” (cf. Philippians 2:1-4). I wonder if anyone challenged our school ground values. I do not remember. It seems that the school yard ditty still finds as much resonance in my heart as Jesus' counter move. The words of Psalm 19 lead us to better ways, “Keep your servant also from willful sins; may they not rule over me...May these words of my mouth and this meditation of my heart be pleasing in your sight, Lord, my Rock and my Redeemer” (13-14).

When women owe their ultimate obedience to men, who will avenge their broken hearts? In this episode,  women in ancient Rome take matters into their own hands when their husbands' attentions wander a little too far.    Researched, written, and produced by Corinne Wieben, featuring the voice talents of Kiernan Angley and Jack Krause, with original music by Purple Planet.    EnchantedPodcast.net   Facebook/enchantedpodcast   Instagram/enchantedpodcast   Twitter/enchantedpod  Support the show

With Seneca out of the way, Tigellinus brings down the other prefect, Rufus. To strengthen his relationship with Nero, he increases his paranoia about the two men Nero had recently exiled for being threats to his power - Plautus and Sulla. Poppaea, not happy with Nero just divorcing Octavia, makes sure she gets rid of her forever. The post Nero #16 – Your Filthy Little Mouth appeared first on Life Of The Caesars.

This is our first episode where we change format to inventing our own cocktails instead of scouring teh intarwebs to find something . . . usually to no avail.Here we talk about the comedians who have inspired us over the years. We're old, so think Aristophanes, or Plautus, or that one guy who made us laugh at campfires during the Civil War . . . . OK, we're not that old. Think more: George Carlin, Steve Martin, and Bill Hicks all the way up to Dave Chappelle, Sarah Silverman, Patton Oswalt, and John Mulaney.Tom's "Wild and Crazy Guy" Drink Recipe:2 oz Whiskey2 oz Tequila2 oz Lemon Juice2 oz Triple SecGenerous splash of Seltzer WaterReferences, Topics, and Comedians Include (In Order of Mention [sort of]):The Festrunk Brothers sketches (Steve Martin and Dan Aykroyd)The Psycho Killer (Cocktail from our Episode 6)Steve MartinImitatio DefinitionGeorge CarlinBill Hicks (It's All Just a Ride bit from 1992)Ron WhiteEddie MurphyHenny YoungmanDave ChappelleDoug StanhopeRichard PryorSarah SilvermanNorm McDonaldPatton OswaltJim CarreyJim Carrey E! News Interview (Where he is a giant asshole and not profound at all.)Jim and Andy Documentary (Netflix)Brian CranstonJohn MulaneyTom Jones "If I Only Knew" (Bryan referenced this.)Contact Info:Hate-mail, questions or topic ideas for the show, hit us up on twitter at @BCBoozecast or email us at bcboozecast@gmail.com. Bryan can be reached on twitter @RussianLitGuy.  Tom can be reached on twitter @Intelligiant2.Find more of Bryan at:https://thinkingoutcloud.org/Find Tom as Donnie Kruger at:https://www.youtube.com/channel/UC_oaVG9YC-lZ9Lao50t-hzw

Plautus steps away from the city and from Rome, or rather Greece, in Rudens. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. "Plautus' Rudens (“The Rope”) – 2003". Wp.Stolaf.Edu, https://wp.stolaf.edu/classics/st-olaf-ancient-plays/rudens/. Accessed 23 Apr 2021. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

What language is that? To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. Wikipedia contributors. "Poenulus." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 21 Feb. 2021. Web. 25 Mar. 2021. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Is the house haunted? Find out in Plautus's Mostellaria. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. "Plautus' Mostellaria (“The Haunted House”) – 2008 – Classics". Wp.Stolaf.Edu,https://wp.stolaf.edu/classics/st-olaf-ancient-plays/mostellaria/. Accessed 9 Mar 2021. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. Wikipedia contributors. "Mostellaria." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 25 Oct. 2020. Web. 9 Mar. 2021. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Merchants buy and sell and get in a pickle in Plautus's Mercator. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. Wikipedia contributors. "Mercator (play)." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 20 Feb. 2021. Web. 24 Feb. 2021. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

If one Menaechmus is good, then two must be better! To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Frangoulidis, Stavros. "Plautus, Menaechmi: Twin Helping Twin." Dictynna. Revue de poétique latine 15 (2018). Parker, Douglass, translator. “Double Bind [Plautus's Menaechmi].” Five Comedies, Hackett Publishing Company, Inc., 1999, pp. 99-184. “Plautus' Menaechmi (“The Twins Named Menaechmus”) – 2007.” Wp.Stolaf.Edu, https://wp.stolaf.edu/classics/st-olaf-ancient-plays/menaechmi/. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Gilbert and Sullivan wish they'd come up with plots as complicated as the one in Plautus's Epidicus. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Wheeler, Arthur. “The Plot of Epidicus.'” The American Journal of Philology, vol. 38, no. 3, 1917, pp. 237–264. JSTOR, https://www.jstor.org/stable/pdf/289424.pdf. Accessed 31 Jan. 2021. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

In today's episode, we cover the shortest of Plautus's surviving plays. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. "Plautus' Curculio – 2016". St. Olaf College, https://wp.stolaf.edu/classics/curculio-2016/ Accessed 19 Jan 2021. Papaioannou, Sophia. “What's in a Name? The Real Identity of Palinurus in Plautus' ‘Curculio.'” The Classical Journal, vol. 104, no. 2, 2008, pp. 111–122. JSTOR, www.jstor.org/stable/27750226. Accessed 20 Jan. 2021. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. Wikipedia contributors. "A Funny Thing Happened on the Way to the Forum." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 15 Dec. 2020. Web. 21 Jan. 2021. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Episode 37 Terence had a short life and left only six complete comic plays, but he moved the genre on from Plautus and other earlier dramatists. The story of his beginnings as a slave and how he came to Rome The circles he moved in and how he got support from the Practician class and Caecilius Statius the best known comic dramatist of the day. A short word on the history of Caecilius Statius and Ambitious Turpio, producer and actor. Contemporary criticisms of Terence and his use of Greek comedies A brief review of the six surviving plays. The untimely death of Terence and his legacy This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Plautus tries his hand at grand opera in Captivi. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Episode 36 The influence of Plautus and other Roman playwrights has long been understood, but what are those influences and how did the Roman plays come to the attention of Rennaisance playwrights? How manuscripts survived after antiquity and were rediscovered in the early Renaissance. The growth of secular drama in Italy and the role of Duke Ercole d'Este in Ferrara Terence Vs Plautus as the Roman plays became known and appreciated in northern Europe. How early English plays used the Roman models and how the growing education system in Elizabethan England used Latin plays. The influence of Plautus on Shakespeare and similarities in settings, characters and plots. Ben Johnson's debt to Plautus This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Episode 35 The Menaechmus Brothers is taken from a Greek new comedy original and via this version by Plautus was used by later dramatists, most notably Shakespeare. In the first half of this episode I summaries the plot that features identical twins and gets quite complicated and confusing for all concerned. I then discuss the weaknesses in the play and it's more cynical outlook than seen in other plays by Plautus. A look at he naming of stock characters and some thoughts on the problematic female characters is followed by a look at the influence of the Saturnalia festival on the play. The theme of the identical twins is strong in the play and supported by other semantical elements in the structure and the Roman ideas of industria and voluptas. If you would like to support the podcast please find us at: http://www.patreon.com/ (www.Patreon.com) or http://www.ko-fi.com/ (www.ko-fi.com).   Follow us on Twitter and Facebook @THOETP This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Euclio gives Shylock a run for his money in the realm of miserly characters in Plautus's Aulularia. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Minar, Edwin L. “The Lost Ending of Plautus' ‘Aulularia.'” The Classical Journal, vol. 42, no. 5, 1947, pp. 271–275. JSTOR, www.jstor.org/stable/3292069. Accessed 23 Dec. 2020. "Plautus' Aulularia (“The Pot Of Gold”) – 2009 – Classics". Wp.Stolaf.Edu, https://wp.stolaf.edu/classics/st-olaf-ancient-plays/aulularia/. Accessed 24 Dec 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Episode 34 In this eisode we take a detailed look at Casina by Plautus. It's a tale of two men who try to use their slaves in a plot marry the young Casina by proxy. It has a prologue of particular interest. The usual stock characters are there, but for once the women come out strongly as they take control of the situation and thwart the plans in comic style. The play prompts a look at the role of the head of the household, the 'pater families' in Rome and as some suggestions that there is some social commentary on recent events concerning some recent behaviour of the Bacchic cult. If you would like to support the podcast please find us at: http://www.patreon.com/ (www.Patreon.com) or www.ko-fi.com Follow us on Twitter and Facebook @THOETP This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Episode 33 The life and time of Plautus, the first Roman Playwright from whom we have surviving works. After a hard start he became the most popular of the Roman playwrights churning out comedy after comedy. This episode looks at his life story and playwriting career. Then there is a brief summary of his six most significant plays and a discussion of the role of the courtesan character in the plays, including how this reflects the reality of life for women and prostitutes in Roman society. A note on the lack of political commentary in the plays leads on to a look at how the prologue was used and to conclude I look at the legacy of Plautus in the way his plays have been used as source material for many later adaptations. To support the podcast please find us on: www.patreon.com www.ko-fi.com This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

This play isn't about donkeys, but it is the one with the donkeys. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Hough, John Newbold. “The Structure of the Asinaria.” The American Journal of Philology, vol. 58, no. 1, 1937, pp. 19–37. JSTOR, www.jstor.org/stable/290159. Accessed 13 Dec. 2020. Konstan, David. “Plot and Theme in Plautus' Asinaria.” The Classical Journal, vol. 73, no. 3, 1978, pp. 215–221. JSTOR, www.jstor.org/stable/3296688. Accessed 10 Dec. 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Plautus dips into mythology in Amphitruo. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

It's more than comedy tonight in this week’s Sondheim @ 90 Roundtable, as Michael Weber is joined by Anika Chapin (Goodspeed Musicals artistic associate and a NYC-based dramaturg and writer), Ross Lehman ("A Funny Thing Happened on the Way to the Forum" at the Goodman as well as Broadway's St. James Theatre) and Linda Madonia (music director for Porchlight Music Theatre's "A Funny Thing...," "A Chorus Line," "A Gentleman's Guide to Love & Murder") to discuss Sondheim's "A Funny Thing Happened on the Way to the Forum." Forum is a musical with music and lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart inspired by the farces of the ancient Roman playwright Plautus (251–183 BC). Join Porchlight Music Theatre for something familiar, something peculiar, something for everyone: Sondheim @ 90! Edited by Daniel De León New episodes every Saturday at 7pm CT! Video premieres available on YouTube and Facebook.

"It's ironic that Forum delivered such a show-stopping standard in the first five minutes since it has been confirmed by composer-lyricist Stephen Sondheim that his show's songs were meant to give audiences a respite from laughing, as had songs in the theatre of Plautus. While Sondheim is repeatedly critical of Forum's score in his book of annotated lyrics, Finishing the Hat, it has considerable charm, most notably Everybody Ought to Have a Maid, a paean to feminine domestic help, replete with built-in encores."https://en.wikipedia.org/wiki/A_Funny_Thing_Happened_on_the_Way_to_the_Forumhttps://en.wikipedia.org/wiki/A_Funny_Thing_Happened_on_the_Way_to_the_Forum_(film)https://www.imdb.com/title/tt0060438/https://en.wikipedia.org/wiki/Pseudolushttps://en.wikipedia.org/wiki/Burt_Shevelovehttps://en.wikipedia.org/wiki/Larry_Gelbarthttps://www.mtishows.com.au/a-funny-thing-happened-on-the-way-to-the-forumhttps://www.rottentomatoes.com/m/funny_thing_happened_on_the_way_to_the_forumhttps://en.wikipedia.org/wiki/Zero_MostelLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanon.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Support this show http://supporter.acast.com/musicals-taught-me-everything-i-know. See acast.com/privacy for privacy and opt-out information.

The Riley translation gets in the way of Plautus's Truculentus. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Duckworth, George E. “The Unnamed Characters in the Plays of Plautus.” Classical Philology, vol. 33, no. 3, 1938, pp. 267–282. JSTOR, www.jstor.org/stable/265359. Accessed 17 Nov. 2020. "Plautus: Truculentus". Thelatinlibrary.Com, https://www.thelatinlibrary.com/plautus/truculentus.shtml. Accessed 18 Nov 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. Wikipedia contributors. "Truculentus." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 15 Jan. 2020. Web. 15 Nov. 2020. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Despite the title, there are more than three pieces of money in this play. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Remember everything I told you about Roman Comedy's use of stock characters? Well, you can forget everything I told you about Roman Comedy's use of stock characters. In Persa, Plautus breaks that form. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Conlon, Joseph Matthew. Persa: Introduction and Commentary. 2016. Princeton University, PhD dissertation. Available at: https://dataspace.princeton.edu/bitstream/88435/dsp01q524jr177/1/Conlon_princeton_0181D_11622.pdf Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

It's episode 100! But nothing exciting happening here. Instead it's a really weird play. Not Plautus's finest. And not one that aged well. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

We'll talk about tragedy tomorrow and comedy tonight. Okay, we'll really talk about tragedy next week and comedy today. Yes, this is the source for Sondheim's Pseudolus, and if you already know A Funny Thing Happened on the Way to the Forum, this play should have a familiar feel to you. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 06 Sep 2020. Christenson, David M.. "Pseudolus". The Literary Encyclopedia. First published 20 April 2009 [https://www.litencyc.com/php/sworks.php?rec=true&UID=21417, accessed 20 September 2020.] “Plautus's Pseudolus". Cornell College, https://www.cornellcollege.edu/classical_studies/comedy/pseudolus.htm. Accessed 20 Sep 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. “Plautus's Pseudolus – 2001". St. Olaf College, https://wp.stolaf.edu/classics/st-olaf-ancient-plays/newpseudolus/. Accessed 20 Sep 2020. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Henry Thomas Riley describes the plot of today's play as "extremely meagre". I think you'll see why. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 06 Sep 2020. Owens, William M. "Plautus' Stichus and the Political Crisis of 200 BC." American Journal of Philology 121.3 (2000): 385-407. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

You may know Miles Gloriosus as the braggart soldier in A Funny Thing Happened on the Way to the Forum. This play is the source material for that character. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. References Berg, Deena, translator. “Major Blowhard [Plautus's Miles Gloriosus].” Five Comedies, Hackett Publishing Company, Inc., 1999, pp. 1-98. Brotherton, Blanche. “The Plot of the Miles Gloriosus.” Transactions and Proceedings of the American Philological Association, vol. 55, 1924, pp. 128-136. JSTOR, www.jstor.org/stable/283012. Accessed 22 Aug. 2020. "Miles Gloriosus". Encyclopædia Britannica, 1998, https://www.britannica.com/art/Miles-Gloriosus. "Plautus' Miles Gloriosus (“The Braggart Soldier”) – 1999 – Classics". Wp.Stolaf.Edu, https://wp.stolaf.edu/classics/st-olaf-ancient-plays/miles-gloriosus1999/. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Welcome to Roman Comedy! We don't know much about Plautus, including the dates of many of his plays. Cistellaria, or the Casket Play, might be the oldest. Or it might not. But it's as good of a place to start as any, so that's where we'll start. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. References Cartwright, Mark. "Plautus." Ancient History Encyclopedia. Ancient History Encyclopedia, 04 Jan 2016. Web. 14 Aug 2020. Riley, Henry T., translator. The Complete Works of Titus Maccius Plautus. Delphi Classics, 2016. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

When you're searching for something new to watch on Netflix, Amazon Prime, Hulu or even Shudder, search no further: subscribe to Man Bites Film. We bring you a comedic conversation about movies streaming on the main services. Our twisted humor is brought to you by William Phoenix, the man that taps his way into your heart one pun at a time, with his obsession of Harry Potter and Marvel; then the film snob of the group, Luis Lacau, that will bleed his film heart out for Kubrick and Lord of the Rings, but nothing else; finally our host with not the most, Branden Lacau. He's the ringmaster to our circus or the driver of the dumpster fire, keeping us on track, but will always stop to weeb out on AnimeA Funny Thing Happened on the Way to the Forum is a musical with music and lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart.Inspired by the farces of the ancient Roman playwright Plautus (251–183 BC), specifically Pseudolus, Miles Gloriosus, and Mostellaria, the musical tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The plot displays many classic elements of farce, including puns, the slamming of doors, cases of mistaken identity (frequently involving characters disguising themselves as one another), and satirical comments on social class. The title derives from a line often used by vaudeville comedians to begin a story: "A funny thing happened on the way to the theater".The musical's original 1962 Broadway run won several Tony Awards, including Best Musical and Best Author (Musical). A Funny Thing has enjoyed several Broadway and West End revivals and was made into a successful film starring the original lead of the stage musical, Zero Mostel.Join our Man Bites Media Family every Friday as we bring you 5 films each week and the latest movie news.www.ManBitesFilm.com#Comedy #Horror #Netflixmovies #Amazonprime #Hulumovies #Luislacau #Manbitesmedia #Manbitesfilm #Brandenlacau #williamphoenix #Hulu #Shudder #Netflixoriginal #Hulu #Scifi #Comedies #Dramaseries #mbm #podcast #fandom #nerds #geeks #moviesreview #anime #miamireviews #newyorkmovies #Orlandomovies #castlevania #thegoodplace #theresuersdownunder

When you're searching for something new to watch on Netflix, Amazon Prime, Hulu or even Shudder, search no further: subscribe to Man Bites Film. We bring you a comedic conversation about movies streaming on the main services. Our twisted humor is brought to you by William Phoenix, the man that taps his way into your heart one pun at a time, with his obsession of Harry Potter and Marvel; then the film snob of the group, Luis Lacau, that will bleed his film heart out for Kubrick and Lord of the Rings, but nothing else; finally our host with not the most, Branden Lacau. He's the ringmaster to our circus or the driver of the dumpster fire, keeping us on track, but will always stop to weeb out on AnimeA Funny Thing Happened on the Way to the Forum is a musical with music and lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart.Inspired by the farces of the ancient Roman playwright Plautus (251–183 BC), specifically Pseudolus, Miles Gloriosus, and Mostellaria, the musical tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The plot displays many classic elements of farce, including puns, the slamming of doors, cases of mistaken identity (frequently involving characters disguising themselves as one another), and satirical comments on social class. The title derives from a line often used by vaudeville comedians to begin a story: "A funny thing happened on the way to the theater".The musical's original 1962 Broadway run won several Tony Awards, including Best Musical and Best Author (Musical). A Funny Thing has enjoyed several Broadway and West End revivals and was made into a successful film starring the original lead of the stage musical, Zero Mostel.Join our Man Bites Media Family every Friday as we bring you 5 films each week and the latest movie news.www.ManBitesFilm.com#Comedy #Horror #Netflixmovies #Amazonprime #Hulumovies #Luislacau #Manbitesmedia #Manbitesfilm #Brandenlacau #williamphoenix #Hulu #Shudder #Netflixoriginal #Hulu #Scifi #Comedies #Dramaseries #mbm #podcast #fandom #nerds #geeks #moviesreview #anime #miamireviews #newyorkmovies #Orlandomovies #castlevania #thegoodplace #theresuersdownunder

"Something for everyone!" Our hosts discuss Sondheim's first solo Broadway creation "A Funny Thing Happened on the Way to the Forum," based on Plautus' Pseudolus. Sam was featured in the ensemble of this show during his high school days and later finished out his college performing career as Pseudolus. Amanda was the assistant music director! The two chat about Nathan Lane, Sam's vocal snafu during his closing weekend, and the future of musical comedy in an uncertain world. For the foreseeable future, Buzzed Broadway will come to our listeners ad-free as we stand in solidarity with the Black Lives Matter Movement. Each week, Amanda and Sam will highlight an organization committed to closing the gap of racial inequality in America. This week, Buzzed Broadway is pleased to highlight the Black Voters Matter Fund. As a social welfare organization, Black Voters Matter is dedicated to expanding Black voter engagement and increasing progressive power. Their goals range from increasing voter registration and turnout, advocating to expand voter rights and accessibility, and developing organizational infrastructure in communities where little to none exists. At blackvotersmatterfund.org, you can join the project to become an advocate for civic engagement. You’ll support organizing work and electoral campaigns related to upsetting the systemic racism in our nation’s government. You can also donate monetarily at blackvotersmatterfund.org/donate or visit the link in our Instagram bio: @buzzedbroadwaypodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Something a little lighter to cheer everyone up this month - in this story, a young man throws a wild party, not realising his father has come home from a foreign business trip early, and a clever slave comes up with a novel idea for keeping the father out of the house... We're all going through a rough time at the minute, one way or another, so rather than something scary or sad, I've gone for a bit of comic relief with this one! This story has been adapted from Plautus, Mostellaria, 446-531.

You probably know where Shakespeare got the ideas for his plays. The Histories come from Holinshed’s Chronicles. Caesar and other Roman plays depend on Plutarch’s Lives. The Comedy of Errors comes from Plautus’s Menaechmi. Troilus and Cressida borrows from the Illiad. The Winter’s Tale repackages Robert Greene’s Pandosto. But what if we told you that a number of his plays draw inspiration from folktales, versions of which exist not only in England, but all over the world? Charlotte Artese’s new book, Shakespeare and the Folktale, anthologizes some of the folktales that made their way into Shakespeare’s plays. For example, Lear includes elements of a story sometimes called “Love Like Salt,” part of a larger tradition of Cinderella stories. The Merchant of Venice plays out much like a Chilean folktale called “White Onion.” Wacky tales of twins predate not only Shakespeare, but also Plautus. We talk to Artese about some of these stories and about how she became interested in folklore’s influence on Shakespeare (it involves Led Zeppelin). She is Chair of the English Department at Agnes Scott College in Atlanta. Shakespeare and the Folktale was published by Princeton University Press in 2019. Artese is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast. Published February 18, 2020. © Folger Shakespeare Library. All rights reserved. This podcast episode, “The Strangest Tale That Ever I Heard,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer.  We had technical helped from Andrew Feliciano at Voice Trax West in Studio City, California, and Kevin Rinker at public radio station WABE in Atlanta, Georgia.

Salve, amice! This is Litterae Latinae Simplices, a podcast in easy Latin about Latin literature. If you want to start enjoying some authentic Latin literature today, click on this link!: https://pages.saturalanx.eu/catullus-... You will receive immediately a 3-tiered version of CATULLUS' "Carmen III", and within a few days a video-lesson I prepared on the same poem, which is entirely in Latin and imagined for beginner learners like you. In proximum!

Salve, amice! This is Litterae Latinae Simplices, a podcast in easy Latin about Latin literature. If you want to start enjoying some authentic Latin literature today, click on this link!: https://pages.saturalanx.eu/catullus-... You will receive immediately a 3-tiered version of CATULLUS' "Carmen III", and within a few days a video-lesson I prepared on the same poem, which is entirely in Latin and imagined for beginner learners like you. In proximum!

The motivational quote shared is by Plautus. "Patience is the best remedy for every trouble" 

Twitter: Seth4Nerds Contact@historyuncensoredpod.com Facebook: Uncensored Podcast Network A few things before we start.   Trouble with sources   Digging deep   It’s no fun being a slave. And it’s not just the work  But knowing that you’re a slave and that nothing can change it.  Slave character in Plautus, Amphitryo c. 200 B.C.1   I also want to really emphasize slavery as a theory and practice, these will be important concepts to understanding slavery as we continue down the path. Some of these concepts will probably be hard to listen to, I get that. These concepts the difficult, the morbid, the disgusting facts are a part of history and life today. I will be getting to modern slavery at a much later time, but this stroll down history lane has an endpoint. We will finish the history of slavery and talk about slave theory in modern times and I want every listener to be prepared for the bombs I will drop and how they might affect your life and the way you think about how modern society is run. The topics that are on this show I have tried to pick because I want you as well as myself to better understand the incessant problems we face today. Such as Slavery, Climate crisis, the Constitution, Male privilege, Western Ideological Privilege etc.    Slavery is an economic and social problem, it is often written by the slaver. It is sometimes very difficult to get proper evidence on what it may have been like to be a slave or part of the slave system because of this.    The one thing to remember is that slaves were people, I will be discussing them as property quite frequently. Know that in my heart of hearts I do not mean this an injustice and only do it for historical decorum. Slaves were people and they had dreams and aspirations. They felt, betrayal, love, spite, hatred, happiness and every other emotion. There are still slaves today, there are still people with no visceral rights within their own society. That is the reason I do this, so we can remember their stories and try and understand the gruesome nature of human consciousness and it’s needed for power and subversion. The same story has played out millions of times in history, to better understand today we need a realistic comprehension of the atrocities committed yesterday.   When I say one slave society was better than another because of x, understand that no slave society was good. The literal owning of human property is appalling to a degree that should require no explanation. I hope that you as a listener follow me down this path of knowledge and understand that I do so out of as pure of heart and mind as possible. What I say hurts me sometimes, it hurts to talk about this shit.    Know I will also be talking quite extensively in an episode of women's rights in Rome and what that meant for the future of women in western society. That talk is for a future date, for now, let us instead focus on the brutal reality that was ancient Rome for a non-manumitted slave.   Roman Slavery: A Study of Roman Society and Its Dependence on  Slaves   Andrew Burks   Little is known about the origins of slavery in Rome. However, it was common in ancient societies to keep slaves.  The likely origin of Rome as a small village, or collection of villages, lends itself easily to early slavery. It would not have been uncommon for even a small village to maintain a few slaves; captured from another local village or perhaps bought through trade.  However, there are a few references to slavery before the third century BC, and those speak of small-scale slavery. Only the extremely rich could afford these slaves, and even then, they could only afford a few slaves.     In 225 B.C., there were an estimated 600,000 slaves in Roman Italy, but only 194 years later that number grew to approximately two million.  This included growth from 15% to  35% of the total population.3  These numbers reveal the extent of the institution of slavery in Roman society.  In a study of Roman tombstones, nearly three times --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/seth-michels66/support

“Are you a god? Would you create me new?” New episode! In episode #14, why won’t anyone let Antipholus in? We’re discussing Shakespeare’s lightest, tightest play: The Comedy of Errors. Wander through the town square of Ephesus at your leisure. But perhaps don't accept any gifts from strangers.... You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. The Patreon campaign is up and running, with bonus Sonnet episodes! We also have a Spotify playlist, which will be updated as we work through the plays. Key links below. You can also visit the bibliography page here, which is a work in progress. Links mentioned: Plautus, Menaechmi Harold Bloom, The Invention of the Human (1998) 1988 TV network promo from Australia’s Channel Nine: “Still the One” Syphilis: the “French disease” Audio: The Comedy of Errors, produced as part of the Caedmon Shakespeare (1962), with Finlay Currie (Aegeon), Alec McCowen (Antipholus of Syracuse), John Moffatt (Antipholus of Ephesus) and Mary Miller (Luciana) The Comedy of Errors, produced as part of the Arkangel Shakespeare, with David Tennant (Antipholus of Syracuse), Jason O’Mara (Dromio of Ephesus), and Alan Cox (Dromio of Syracuse) The Comedy of Errors, Oregon Shakespeare Festival, 1950, with Patricia Norman (Courtesan) and unknown actors (Antipholus of Syracuse, Dromio of Syracuse, Adriana, Luciana) The Comedy of Errors (1983), produced for the BBC by Shaun Sutton, directed by James Cellan Jones, with Michael Kitchen (Antipholus of Ephesus), Roger Daltrey (Dromio of Ephesus), Suzanne Bertish (Adriana), Joanne Pearce (Luciana), Wendy Hiller (Aemilia), David Kelly (Balthazar) Music: The Boys from Syracuse (1963 cast) with Cathryn Damon singing “Oh, Diogenes!” The Boys from Syracuse (1997 cast): “Sing for your Supper” ballet The Twins ballet “Let Antipholus In!” (finale from Act I) Stephen Storace, Gli Equivoci (The Misunderstandings), opera after Shakespeare’s The Comedy of Errors (1786) with libretto by Lorenzo Da Ponte

GET OFF MY LAWN!!!!! Why Our Elders Always Dump On Young People!!! “From 600 to 300 BC, texts of the ancient Greeks complain of children becoming tyrants, contradicting their parents and wolfing down the best treats at the table. The comedies of Plautus, a Roman playwright who died in 185 BC, often feature a disappointing son with a taste for prostitutes. “In the plays, ancient versions of sitcoms, there is a debate about whether fathers should be strict or indulgent toward the moral failings of their sons,” writes Richard Saller, professor of history and classics at Stanford University.”-Jason Feifer ( My BOOK)⁣ ⁣ I Am Shy Tony Rodgers & Mi'chaela Harrison ⁣ ⁣ ( BUSINESS LINKS)⁣ ⁣ https://linktr.ee/tonyrod_gers Sources: Why Older People Have Always Trashed Young People https://medium.com/s/youthnow/why-older-people-have-always-trashed-young-people-8f918529009a People have always whinged about young adults http://www.bbc.com/capital/story/20171003-proof-that-people-have-always-complained-about-young-adults Generation Z https://mobile.twitter.com/mckinsey/status/1076553112922611712 Older Americans Are More Millennial Than Millennials https://www.theatlantic.com/business/archive/2017/05/old-millennials/528192/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/tonyrod-gers/message

Dr. Wolfgang de Melo is a Professor at the University of Oxford (Oxford, UK) in Classics and Linguistics. His research interests include Plautus and the language of Roman comedy, and Varro’s De lingua Latina (our first large-scale grammar of Latin). The blog post for this episode can be found at prof-talks.com.

Federico Tedeschi returns to the podcast to discuss Plautus, Roman drama, and a little farce. The new season is here! A Funny Thing Happened on the Way to the Forum is the first Broadway musical that Stephen Sondheim was (finally) able to write both lyrics and music. Comedy Tonight is the most famous song from the show. On this episode Federico and Kyle discuss whether it holds up, if it's actually funny, and the differences between the original and the revivals.

笨笨口语四步法Ben's Four Steps第一步：音节分解第二步：逐个单词第三步：连读分解第四步：一气呵成Don't be such a stick-in-the-mud!  别这么死脑筋! NO.1音节分解（多音节词详细分解，方便读音与记忆）无 NO.2逐个单词（标准美音慢速朗读，讲解拼读、音标、词法、语法）Don't不要be such如此的a stick棍子in在...里面the mud泥土  拼读与音标拼读st辅音组合/st/浊化为/sd/例词：stick（单音节）棍子stop（单音节）停止student（stu-dent）学生station（sta-tion）车站 词法与语法无 NO.3连读分解（连读略读，全面分解，真正说出一口流利美式英语）连读such a→such asu chastick-in→stick-insti gin略读Don't be→Don't beDon be NO.4一气呵成（慢速朗读，反复收听，大声模仿，脱口而出)Don't be / such a / stick-in-the-mud!  别这么死脑筋! 英英解释单词学英语思维（既然是英英解释，不再提供中文翻译）stick-in-the-mud：顽固守旧者;墨守成规者 If you describe someone as a stick-in-the-mud, you disapprove of them because they do not like doing anything that is new or fun.  中午想吃啥？” —— “随便吧。”　　“有时间看电影吗？” —— “改天吧。”　　“这里发生什么事儿啦？” —— “不知道呀，我只是不明真相的吃瓜群众。”　　“怎么了你？” —— “真是把我给气炸了！　　想给这些常用的口头禅来次华丽大变身吗？　　不再说“改天”，我们用“rain check”。　　不再是“吃瓜群众”，我们只是“onlooker”。　　快来一起学学这十大中文口头禅的“英文真身”吧，瞬间提高你的英语表达能力！　　▼ 1、随便　　Whatever　　“whatever”原意为“不管怎样，无论什么”。当你想结束话题停止争吵，或者想表示什么都行，不怎么在意时就可以说“whatever”。但是有调查显示，“whatever”是美国人最反感的口头禅，使用的时候也要小心谨慎哦。　　例句：　　A： Hey， let's go to the cinema tonight. Or what about the museum？（嘿，今晚一起去电影院吧，或者去博物馆？）　　B： Yeah， whatever.（随便吧。）　　▼ 2、你真是3分钟热度　　3-minute passion　　“passion”意为激情、热情，这个短语非常容易记忆，和中文意思也完全符合。　　例句：　　A： I would like to learn piano therefore I will need to buy one.（我想学钢琴，所以我要去买把琴。）　　B： Oh， I suggest that you think carefully before you buy one as you are always a ‘3-minute passion' person.（我建议你考虑清楚，因为你总是3分钟热度。）▼ 3、改天吧　　Rain check　　“改天吧”经常出现在懒人或大忙人的口中，相当于英语中的“rain check”。该短语来源于美国的棒球文化，如果球赛进行时天公不作美，骤然倾盆大雨不得不暂停，观众可领“雨票”，或用原票存根作为“雨票”（rain check），球赛改期举行时可凭之入场。　　后来，这短语就不局限在体育赛事方面了，保留了原义运用到生活中，就变成了“改天吧”。　　例句：　　A：How about a cup of coffee？ （去喝杯咖啡？）　　B：Rain check.（改天吧。）　　▼4、看着办吧　　play it by ear　　及时行乐的人经常会将“看着办吧”挂在嘴边，英语的说法是“play it by ear”。为啥会和耳朵有关呢？　　这句短语原是音乐用语，指某人仅凭听过的记忆就可弹奏乐曲。由此意引申出来后，“play by ear”强调事件的“即兴”成分，没有计划、依据当时情况而行事（to let things go as they may），很有“边走边看吧，走着瞧”的味道。　　例句：　　A：What are you doing tonight？ （你今晚有什么安排？）　　B：Oh， I don't know...I'll just play it by ear.（不知道唉，没啥安排，看着办吧）　▼5、你也太土了吧！　　What a stick-in-the-mud！　　那些走在流行尖端的人儿们，经常会说”你太out了！“，想来句高大上的吗？何不试试“stick in the mud”。　　就字面意而言，“stick in the mud”指“陷入泥潭”。它最早出现于18世纪，当时用来形容“四轮马车陷到淤泥里”，那是一种怎样的局面——推也推不出，拉又拉不动，只能陷在泥中不能自拔。随着时间的推移，“stick-in-the-mud”现在常用来形容思想保守、墨守陈规、不愿尝试新事物的人。　　例句：      Don't be such a stick-in-the-mud!        别这么死脑筋!　　▼6、今儿个真高兴　　pleased as punch　　作为一个高冷的“punch”（打孔机），它怎么跟得瑟联系起来啦？其实此非彼也，本短语中的“punch”源于英国传统滑稽木偶剧《Punch and Judy》，在剧中，Punch和Judy是一对夫妻，他俩常常关系不合，经常大打出手。　　丈夫Punch性情古怪，喜欢策划各种阴谋诡计。若阴谋得逞，他就会到处炫耀自己。于是就有了“pleased as punch”这种说法，表示“非常高兴、非常得瑟”。　　例句：　　He is pleased as punch because he won the competition！　　（他今儿个真得瑟，因为他得冠了。）　▼7、真是白费力气　　to beat a dead horse　　“To beat a dead horse”出自古罗马戏剧，在喜剧大师Plautus的剧作里，主人公狠命抽打一匹已经死掉了的马，希望能把“它”抽活，继续为主人托货物。可是，马都已经死掉了，除非有起死回生的能力，否则就是“白费力气，枉做无用功”。　　例句：　　A：Dad， are you sure we can't get a new computer？ （爸爸，你真的决定我们不再添新电脑了吗？）　　B：Son， we talked about this and the decision was ‘no'. You are beating a dead horse.“（孩子，这事儿我们已经谈过了，答案是‘不添'。不要再白费口舌了。）　　▼8、都是套路　　to fall into one's trap/setup　　“trap”和“setup”作为名词的时候意为“陷阱”，即“套路”。当陷入人家设的套路里了，可以说“fall into one's trap/setup”。如果你要给人家设套，就可以说“play games/tricks with somebody”，把某人给“玩儿了”。　　例句：　　Don't buy his words. You will fall into his trap.（别信他的话，都是套路。）　▼9、吃瓜群众　　onlooker/spectator　　“我们都是不明真相的吃瓜群众”，“吃瓜群众”这个词用来形容围观某事物、事件的人们。在英文中，“onlooker/spectator”意为旁观者、观众。坐在场边以看客的心态看事情的发展，哪里热闹就往哪儿看，就是“吃瓜群众”的典型特征啦。　　例句：　　Don't drag me into this. I am just an innocent onlooker.（不要拖我下水。我只是个不明真相的吃瓜群众。）　　▼10、真把我给气炸了　　to get someone's goat　　据推测，该短语与羊有关，但却源于赛马。早年，驯马师在比赛前，常把山羊置于性情暴躁的种马厩中，据说可以安抚烈马。不过，卑劣的赌徒为了赢得“马彩”，会对未下赌注的马匹做手脚，偷偷把山羊牵走。所以，“to get someone‘s goat”原指“把山羊从马的身边牵走，惹马生怒”，随着时间的推移，就成了“惹人愤怒”了。　　例句：　　You've carried it too far. That really gets my goat！（你做得太过分了，真是把我给气炸了。）　　大家都学会了吗？　　当下次再用这些口头禅的时候，就可以把今天学的知识派上用场咯~

Blind mice, wise men, Hanson - Good things come in threes, and this is no exception!   In our third episode we talk Easter, Plautus milk, conspiracy theories and mental health.

Plautus (c. 254-184 BCE) was a prolific comedy writer. His late play, The Rope, captures the dizzying changes sweeping Rome after the Second Punic War. Episode 43 Quiz: http://literatureandhistory.com/index.php/episode-43-quiz Episode 43 Transcription: http://literatureandhistory.com/index.php/episode-043-on-the-move Episode 43 Song: "Let's Write a Romantic Comedy" https://www.youtube.com/watch?v=JsrdUFmhiUI Bonus Content: http://literatureandhistory.com/index.php/bonus-content Patreon: https://www.patreon.com/literatureandhistory

REFLECTION QUOTES “I walk around feeling a sort of existential guilt all the time….” ~Julia Louis-Dreyfus, American actress, comedian and producer “Guilt is anger directed at ourselves—at what we did or did not do. Resentment is anger directed at others—at what they did or did not do.” ~Peter McWilliams (1949-2000), American author “Guilt is cancer. Guilt will confine you, torture you, destroy you…. It's a thief.” ~Dave Grohl, musician, best known for Nirvana and the Foo Fighters “No work or love will flourish out of guilt, fear, or hollowness of heart…” ~Alan Watts, (1915-1973), British philosopher “Nothing is more wretched than the mind of a man conscious of guilt.” ~Plautus (254-184 BC), Roman playwright “Our huffing and puffing to impress God, our scrambling for brownie points, our thrashing about trying to fix ourselves while hiding our pettiness and wallowing in guilt are nauseating to God and are a flat out denial of the gospel of grace.” ~Brennan Manning (1934-2013), American author “…the essence of sin is man substituting himself for God, while the essence of salvation is God substituting himself for man. Man asserts himself against God and puts himself where only God deserves to be; God sacrifices himself for man and puts himself where only man deserves to be.” ~John Stott (1921-2011), English Christian leader, one of Time magazine's 100 most influential people (2005) “You may pile up your sins till they rise like a dark mountain, and then multiply them by ten thousand for those you cannot think of; and after you have tried to enumerate all the sins you have ever committed, just let me bring one verse in, and that mountain will melt away: ‘The blood of Jesus Christ, His Son, cleanseth us from ALL sin.'” ~D.L. Moody (1837-1899), American preacher and founder of Northfield Mount Hermon School SERMON PASSAGE Mark 14:32-42 (ESV) 32 And they went to a place called Gethsemane. And [Jesus] said to his disciples, “Sit here while I pray.” 33 And he took with him Peter and James and John, and began to be greatly distressed and troubled. 34 And he said to them, “My soul is very sorrowful, even to death. Remain here and watch.” 35 And going a little farther, he fell on the ground and prayed that, if it were possible, the hour might pass from him. 36 And he said, “Abba, Father, all things are possible for you. Remove this cup from me. Yet not what I will, but what you will.” 37 And he came and found them sleeping, and he said to Peter, “Simon, are you asleep? Could you not watch one hour? 38 Watch and pray that you may not enter into temptation. The spirit indeed is willing, but the flesh is weak.” 39 And again he went away and prayed, saying the same words. 40 And again he came and found them sleeping, for their eyes were very heavy, and they did not know what to answer him. 41 And he came the third time and said to them, “Are you still sleeping and taking your rest? It is enough; the hour has come. The Son of Man is betrayed into the hands of sinners. 42 Rise, let us be going; see, my betrayer is at hand.”

What do the ancient Romans tell us about Plautus? ––– Thomas Vallaurius edition of Plautus PDF: https://ia801203.us.archive.org/32/items/bub_gb_ar3hP7mB9xEC/bub_gb_ar3hP7mB9xEC.pdf ; Colloquia Plautina PDF: https://vivariumnovum.it/edizioni/libri/dominio-pubblico/Rossaeus%20-%20Colloquia%20Plautina%20viginti.pdf

Comic plays are the earliest complete literary texts we have from Rome, and the comedies of the mid-Republican poet Plautus have been enormously influential on European drama. In this lecture we look at what Plautus takes from Greek New Comedy, what is especially Roman about his plays, and how he plays with convention in the Pseudolus. Copyright 2013 La Trobe University, all rights reserved. Contact for permissions.

Comic plays are the earliest complete literary texts we have from Rome, and the comedies of the mid-Republican poet Plautus have been enormously influential on European drama. In this lecture we look at what Plautus takes from Greek New Comedy, what is especially Roman about his plays, and how he plays with convention in the Pseudolus. Copyright 2013 La Trobe University, all rights reserved. Contact for permissions.

Rome's growing power in the Mediterranean during the mid-Republic (4th to 2nd centuries BCE) gave it wealth, luxury goods and access to new cultures. This lecture will investigate the history of the mid-Republic and how this affected early Roman literature, particularly the comic drama of Plautus. Copyright 2013 La Trobe University, all rights reserved. Contact for permissions.

Rome's growing power in the Mediterranean during the mid-Republic (4th to 2nd centuries BCE) gave it wealth, luxury goods and access to new cultures. This lecture will investigate the history of the mid-Republic and how this affected early Roman literature, particularly the comic drama of Plautus. Copyright 2013 La Trobe University, all rights reserved. Contact for permissions.

In theaters and classrooms around the world, audiences and students experience the stories and emotions behind plays penned thousands of years ago by writers like Euripidies, Plautus, and Terence. But how do these modern encounters compare with original performances, and how are scholars even able to determine what it might have been like to view one of these plays in its original setting? Timothy Moore, professor and chair of classics at Washington University in St. Louis, describes the historical context of Greek tragedies and shares his own research into the music of ancient Roman comedies.

This episode continues our series examining the impact Christianity had on history & culture. Today we consider how the Faith impacted the world's view of Charity & Compassion.Early Christians quickly gained a reputation for their concern for the poor & disenfranchised. Unlike paganism with its acceptance of fate & the Greco-Roman enforcement of social classes, the Gospel viewed all human beings as created in God's image & of equal value. Having its roots firmly in Judaism, Christianity considered justice to include a healthy dose of mercy & compassion. The Law of Moses regulated the treatment of slaves so they retained their dignity. It required the corners of fields be left unharvested so the poor could glean. And it required an annual tithe to be set aside specially for the poor & needy. All of this was unheard of in the pagan world.Building on this base of Jewish charity was the teaching of Jesus in Matthew 25 who said that taking care of the hungry, the sick & prisoners was a kindness shown to none other than Himself.The parable of the Good Samaritan was one of the favorites of the Faith & shaped the Church's mindset toward the needy.In the mid 3rd C, Tertullian in North Africa records that Christians had a common fund to which they voluntarily contributed. No strong-arm fundraising was needed; believers were glad to add coins to the box whenever they could. This fund supported widows, the disabled, orphans, the sick & prisoners jailed for their faith. It was also on occasion used to bury the poor & to purchase a slave's freedom.All of this stands in marked contrast with the Greco-Roman attitude toward the poor. They practiced what was known as liberalitas. This was assistance a wealthy benefactor showed to a someone in need, with an eye to their repaying the favor someday, somehow. In Roman society, the upper classes rose in status by having lots & lots of clients who supported you. They shouted your name when cued to do so at some public event. The louder your name was shouted, the more supporters you had & so the more prestige you garnered. So a wealthy Roman would help someone who was needy only if that person could go on to add his voice to his support base. It wasn't genuine charity; it was buying support. I'll help you today, if you shout my name tomorrow real loud and get all your family & friends to do the same. The motive was selfish.Charity just for the sake of helping someone in need was officially considered by both the Greeks & Romans as being weak & counter-productive. Someone who'd fallen onto hard times & couldn't rescue himself was pathetic, not worthy of concern. And who knows; their poverty or illness might be the work of the gods, punishment for some foul sin. So don't alleviate their suffering or you might incur the wrath of the fickle deities who controlled the fate of mere mortals.I just said that charity wasn't officially allowed in pagan society for these reasons. But history tells us while Paganism didn't practice it, some pagans occasionally did. Almost all cases we know of where people reached out to help others in need was when some catastrophe like an earthquake struck of fire swept a city. Then the suffering was so widespread & in everyone's face people couldn't avoid helping in some way. But generally, in day to day life, all giving to the needy had a self-serving end.Christians didn't practice the selfish liberalitas of the Romans. They practiced caritas – compassionate caring. There was no thought of what one was going to get out of such care. It was done simply because the person receiving the help needed it. The motive was to glorify God.Believers were moved by the words of 1 John 4:10–11 – “In this is love, not that we loved God, but that He loved us and sent His Son to be the propitiation for our sins. Beloved, if God so loved us, we also ought to love one another.”They remembered what Paul had written in Philippians 2:4 – “Let each of you look out not only for his own interests, but also for the interests of others.”In the 5th C, Cyril, bishop of Jerusalem, sold the treasures & ornaments of the church to provide relief for starving people and in the 10th C, the bishop of Winchester sold all the gold & silver vessels of the cathedral to relieve the poor during a harsh famine. He justified his actions saying, “There is no reason the temple of God should abound in riches when the living temples of the Holy Spirit starve.” Historian Christopher Dawson recorded that nearly every local church had an official list of widows & the needy they supported and the sums given by those with means was substantial.Christians didn't just keep their charity to themselves; they met the needs of those outside the church as well. Both the Didache & the 2nd C letter called the Shepherd of Hermas called believers to meet the needs of all those who had genuine need. Providing such charity turned into risky business. By the 3rd C Christians had gained a reputation for their selfless love and this attracted even more to them. So 2 Emperors forbade prisoners from receiving outside help – which was a death sentence since their food came from what family & friends provided. Though it was against the law, Christians continued taking care of prisoners. Thankfully, few jailors enforced the Emperors' edicts since they didn't want their prisoners dying.The charity of the early Christians flowed from the wider sense of compassion Jesus had consistently demonstrated throughout His life. The Gospels regularly comment on how Jesus was moved with compassion and reached out to take care of poor & needy souls. Since being a disciple meant being just like their Rabbi, the Christians sought to install compassion as one of their key virtues.Yet as with charity, in paganism, compassion was not esteemed. The formative Greek thinker Plato said that a poor man, & especially a slave, who was no longer able to work because of sickness or age ought to be left to die. The famous Greek physician Aesculapius refused treatment to patients he deemed not worthy of surviving. The Roman philosopher Plautus said, “You do a beggar bad service by giving him food and drink; you lose what you give and prolong his life for more misery.”In the 5th C BC, the Greek historian Thucydides [thoo-sid-a-dees] reported when a massive plague struck Athens during the Peloponnesian War, unaffected Athenians fled, leaving the sick behind to tend themselves. In the mid-4th C AD, the Emperor Julian the Apostate, who, as his name implies, hated Christians, couldn't help but give them grudging respect that they alone stayed to tend the sick when a plague struck the Empire. He wrote, “The impious Galileans (his word for Christians, whom he called impious because they refused to worship the pagan gods) These impious Galileans relieve both their own poor and ours. It is shameful that ours should be so destitute of our assistance.”Of course, we need only look back a few episodes to be reminded of the shocking lack of compassion Roman society had when we consider the popularity of the gladiatorial games. Compassion runs thin when life is cheap.The compassion & charity of Christians stood out all the more when it was seen against the backdrop of a brutal Roman culture. Jesus had said, “Greater love has no one than this; that he lay down his life for his friends.” Christians sought to demonstrate that love in the streets & byways of the Empire. And it had a profound effect in drawing people to faith in Christ.The story of Pachomius is just one of many examples.  Pachomius was a pagan soldier in Emperor Constantine's army. He watched while Christians brought food to his fellow soldiers afflicted with famine & disease & was profoundly moved.  When he learned they were motivated by a religion called Christianity he became curious to understand a doctrine that inspired them to such love & generosity. So he began to study the faith and was soon a convert. Something similar to that was duplicated tens of thousands of times all across the Empire.Pachomius and others were moved by the compassionate acts of the Christians because Greco-Roman culture just didn't see the hungry, sick, and dying as worthy of assis­tance. The worth of a human being was determined by external & acci­dental circumstances in proportion to the position one held in the community or state. A human being only had value as a citizen, but very few people qualified as citizens. So the sick, poor, & lower classes like slaves, artisans, & other manual workers for whom the Christians had compassion, weren't citizens in the eyes of freemen. Non-citizens were defined as having no purpose and so not worthy to be helped when their lives were in jeopardy. In their dire condition they received no food or physical protection.So it's understandable why Christianity spread most rapidly in the early centuries among, can you guess who? Yeah – the poor & needy, among slaves & the disenfranchised. That's why it came under the scrutiny of officials & scorn of the elite. Now, to be sure, there were both highly placed believers as well as some of the ancient world's most intelligent & erudite. But generally, officials feared that Christianity would rally the lower classes to rebel while the unbelieving elite shunned it as a religion for the pathetic.They were wrong then. They're wrong still. In truth, today's liberalism is but a secularized version of Christian charity & compassion. But without the God who declares life sacred, liberalism's commitment to compassion will be traded in for paganism's utilitarianism. A process already well under way.