Sannio

Grignolino d'Asti, Lagrein, Lacrima di Morro d'Alba, Falanghina di Sannio, Refosco (not your common or garden Refosco from any old bit of Friuli-Venezia Giulia, though – I'd prefer a Refosco del Peduncolo Rosso from the Lison Pramaggiore sub-DOC, if you don't mind).

Italian Lessons 2009

Grignolino d'Asti, Lagrein, Lacrima di Morro d'Alba, Falanghina di Sannio, Refosco (not your common or garden Refosco from any old bit of Friuli-Venezia Giulia, though – I'd prefer a Refosco del Peduncolo Rosso from the Lison Pramaggiore sub-DOC, if you don't mind).

Italian Lessons 2009

The Latin Sannio was changed by the Italians into (as Ainsworth explains) Zanni, as, in words like Smyrna and Sambuco, they change the

A History of Pantomime R. J. Broadbent

These are followed by the vast highland plain of the Sannio and by that of

The Catholic Encyclopedia, Volume 8: Infamy-Lapparent 1840-1916 1913

Sannio, how is this, that I hear you have been having some dispute or other with my master?

The Comedies of Terence Literally Translated into English Prose, with Notes Terence 1847

Rather than you should run the risk, Sannio, of getting or losing the whole, halve it.

The Comedies of Terence Literally Translated into English Prose, with Notes Terence 1847

Donatus remarks upon the readiness with which Sannio takes the appellation of

The Comedies of Terence Literally Translated into English Prose, with Notes Terence 1847

Even in the present day _Zanni_ is one of the names of Harlequin; and _Sannio_ in the Latin farces was a buffoon, who, according to the accounts of ancient writers, had a shaven head, and a dress patched together of gay parti - coloured pieces.

Lectures on Dramatic Art and Literature August Wilhelm Schlegel 1806

(observes Quadrio), from whence the Latins derived their _Sannio_.

A History of Pantomime R. J. Broadbent

Let us see what he might allege -- he might urge that Terence had acknowledged obligations to Menander on other occasions, and that on this he seemed rather studiously to disclaim it, pointing out Diphilus as his original -- he might insist that Syrus could only have been the slave of a Roman master, that Sannio corresponded exactly with our notions of a Roman pander, that Æschinus was the picture of a dissolute young patrician -- in short, that through the transparent veil of Grecian drapery it was easy to detect the sterner features of Roman manners and society; nay more, he might insist on the marriage of Micio at the close of the drama, as Neufchateau does upon the drunkenness of Guyomar, as alluding to some anecdote of the day, and at any rate as the admitted invention of Terence himself.

Blackwood's Edinburgh Magazine - Volume 55, No. 344, June, 1844 Various