Abstract

The ancient Greeks and Romans often conceived works of art as inspiring them to direct imitation of what they saw represented. Such mimetic contagion is attested to throughout antiquity, yet its operation as a motif is most usefully analysed in the context of a particular historical moment: this volume takes Terence's Eunuch both as an exemplar of a persistent pattern of framing responses to art, and also as a case study of how mimetic contagion functions as a key to a particular literary work and a perspective on the cultural context in which it resides.