Introduction, Erich Segal
I. Greek Antecedents
1. Euripidean Comedy, Bernard Knox
II. Menander
2. The Conventions of the Comic Stage and Their Exploitation By Menander, E. W. Handley
3. Marriage and Prostitution in Classical New Comedy, David Wiles
4. Love and Marriage in Greek New Comedy, P. G. McC. Brown
5. Tragic Space and Comic Timing in Menander's Dyskolos, N. J. Lowe
III. Plautus
6. Plautus and the Public Stage, Erich Gruen
7. Traditions of Theatrical Improvisation in Plautus: Some Considerations, Gregor Vogt-Spira
8. Plautus' Mastery of Comic Language, W. S. Anderson
9. The Menaechmi: Roman Comedy of Errors, Erich Segal
10. Crucially Funny, or Tranio on the Couch: The Servus Callidus and Jokes About Torture, Holt Parker
11. Aulularia: City-State and Individual, D. Konstan
12. The Art of Deceit: Pseudolus and the Nature of Reading, A. R. Sharrock
13. The Theatre of Plautus: Playing to the Audience, Timothy J. Moore
14. The Theatrical Significance of Duplication in Plautus' Amphitruo, Florence Dupont
15. Amphitruo, Bacchae, and Metatheatre, Niall Slater
IV. Terence
16. The Originality of Terence and His Greek Models, Walther Ludwig
17. The Dramatic Balance of Terence's Andria, Sander M. Goldberg
18. Terence's Hecyra: A Delicate Balance of Suspense and Dramatic Irony, Dwora Gilula
19. Problems of Adaptation in the Eunuchus of Terence, J. A. Barsby
20. The Intrigue of Terence's Self-Tormentor, J. C. B. Lowe
21. Phormio parasitus: A Study in Dramatic Methods of Characterization, W. Geoffrey Arnott