Yet these few, mostly rather technical points should by no means distract from the great merits of this commentary and its two appendices ('Philomena's pregnancy'; 'Greek analogues', especially Menander's Epitrepontes). Its learned and informative, yet concise and lucid, notes are reliable on all aspects of Terentian style, rhetoric, performance and stage business, including, among other things, keen attention to psychological detail (e.g. 447n.; 634n.; 735n.), the interplay of metrical shifts and dramatic action (e.g. p. 25 n. 74; 134n.), modes of delivery (148n.), dramatic technique (e.g. 83n.; 98n.; 196n.; 274-80n.; 361-414n.), grammar (e.g. 313n.; 629n.), semantics (e.g. 321n.) and literary allusions (e.g. 620-1n.). Apart from Q., notable omissions from the bibliography are: R. Raffaelli, Ricerche sui versi lunghi di Plauto e di Terenzio (1982) and other works by the same author, especially on the manuscript tradition of Terence; N. Strobel, Männliche Perspektiveweibliche Identität. Frauenbilder und Rollenkonzeptionen in den Komödien des Terenz (2004); J. Velaza, La historia del texto de Terencio en la antigüedad (2007). K. Büchner, Das Theater des Terenz (1974) is cited, for example p. 204 n. 3 (mistakenly as 'Büchner 1972'), but not listed in the bibliography. G. had no chance to consult A. Augoustakis, A. Traill (edd.), A Companion to Terence (2013), which contains an interesting chapter on Hecyra by O. Knorr.