The Effect of Exchanging of Family Roles and it's Social Comic Effects in Plautus' "Asinaria"Plautus' Asinaria is full of variations more than any other play, as well as sudden transformations of plot, mixing in the same character traits, and irrationally motivated actions in events. Thus, this play can be said that it is a farce that turns into an incoherent comedy, whether because of neglect or reformulation by Plautus, and this is not befitting Plautus' status and the theatrical traditions in which he worked.Plautus has excelled through his play in drawing characters who play the roles of each other, showing the wife and mother controlling her husband and her son, in a way that is not appropriate for women. It is different from the obedient and submissive woman, and this was laughable, for depicting the comic role of a woman, playing the role of a man is a parody characterised by exaggeration and distortion of usual behaviours and normal roles. This causes sarcasm and ridicule of the role played by women, contrary to the stereotype that they should be. As for the husband and father, in exchange for the enjoyment of his wife's financial resources, he admits that he has relinquished his powers as a man in his family to her. As a result, he has relinquished his position, losing his dignity, becoming as nothing in the family, and has had no control on his wife's life or even the evaluation
Rhetorical Analogies for love's Description in Plutarch' Dialogue on Love (Ἐρωτικὸς)Plutarch spoke in "Dialogue on Love" (Ἐρωτικὸς) about love stories, using a number of wonderful Analogies that helped to clarify the meaning. He did not always use the direct method of description, but he used indirect description and rhetorical Analogies that illustrate his ability to highlight his idea, and His scientific information, so he has a wonderful ability to employ Analogies serving the concept that he wanted to show, Such as the necessity of normal love, that will be with women, not abnormal love with boys, and he always praises normal love relations between men and women, which are not based on physical enjoyment, but soul's love. It is clear from his essay's end that he defended the marriage based on love not age and other considerations, when he spoke about the marriage of Baccon and Isemendora. Plutarch used various rhetorical images to show that women are good lovers, because they can make true love with men, which must be reciprocated, indicating to attraction between them, and what happens if there is an imbalance in this relationship. Likewise, Plutarch used analogies to support his opinion and vision about natural and straight love with women, refuting abnormal love that depends on interest through a large number of rhetorical analogies.
The conflict between Man and Time: An Analytical Study for the Ninety-seventh satire "Sexagesis" of Varro' Saturae MenippeaeThe conflict Between Man and Time is an eternal conflict in which Time often defeats man, Because Human can't complet his life without Time, but Time passes without Human. Many literary and philosophical writings have dealt with this conflict, and I have tried through this study of the satire (Sexagesis) by Marcus Terentius Varro to explain his vision of Time and its relationship with man, and how Time affected the satire's hero, and what changes he listed to clarify the past time has become now, and reasons that prompted Varro to using time in comparison.Varro presents through this satire"Man's conflict with Time" as he embodied through the old man's character the features of the past and the present. Moreover, he explains the inevitability time's victory and of its Human's oppression.Varro was constantly caring about Rome's past, he was always nostalgic for the past, and he compared it with the current state in which Rome was. Therefore, we can consider his writings in the Roman past as an attempt to put Roman culture equal for Greek culture, and his return back with his writings, especially in this satire, is evidence the position of Rome that he whould like to see at his time.
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