Download Apuleius and Drama: The Ass on Stage (Oxford Classical by Regine May PDF

By Regine May

ISBN-10: 0199202923

ISBN-13: 9780199202928

Regine may well discusses using drama as an intertext within the paintings of the 2d century Latin writer Apuleius, who wrote the one entire extant Latin novel, the Metamorphoses, during which a tender guy is become a donkey via magic. Apuleius makes use of drama, particularly comedy, as a easy underlying texture, and invitations his readers to take advantage of their wisdom of up to date drama in reading the destiny of his protagonist and the usually comedian or tragic events within which he reveals himself. might employs an in depth research of the Latin textual content and unique comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive aspects of historical drama, in particular of comedy, so that it will clarify a few gains of the radical that have to date baffled Apuleian scholarship, together with the enigmatic finishing. All Latin and Greek has been translated into English.

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Cf. Jones (1991: 193), for the suggestion that even whole plays may have been performed during symposia. Cf. Hunter (2000) for the general preference of the time for Menander over Aristophanes. 18 Cf. Friedla¨nder (1919–21: app. 14) for evidence for continued performance of comedy in the 2nd cent. (app. 15 gives the equivalent evidence for tragedy). ). 20 Knowledge of Drama and Archaism re-performances of Menander, especially in Athens. 19 Epigraphical evidence from Greece, ranging from remote Kilikia20 to the festival at Thespiae in Boeotia, points to continued performance as well as new compositions of both comedies and tragedies.

1), the feeling of a tragic ending is on the whole neither ridiculed nor subverted. The problem of distinguishing between diVerent dramatic inXuences on the same text was debated in Apuleius’ time, and the contemporary intellectual e´lite seems to have argued about the relationship between comedy and mime. 6): ìåôa ôÆýôçí ™ ìÝóç ŒøìfiøäßÆ ŒÆd ºïØðeí ™ íÝÆ ðæeò ôß ðïôå ðÆæåߺçðôÆØ, m ŒÆôš Oºßªïí Kðd ôcí KŒ ìØìÞóåøò öغïôå÷íßÆí •ðåææýç, Kðßóôçóïí. e. ) Some authors are even credited with writing plays in both genres, for example Pliny the Younger’s contemporary Vergilius Romanus (cf.

Antoninus de eloquentia), where the text reads ‘sublimis Lucretius, mediocris Pacuvius’, and Warren, cited in van den Hout (1988), would like to read, ‘sublimis Lucretius, mediocris, Pacuvius ’ (‘Lucretius is sublime, Terence mediocre, Pacuvius verbose’); an unnecessary intrusion into the text, possibly inspired by a similar wording in Gell. 14. Only two passages in the whole of Fronto may be inspired by Terence: p. ’) may recall Ter. Ad. 331, Phorm. 470 (and Sall. Iug. 4, which is perhaps more likely to be Fronto’s immediate source; for Fronto’s admiration of Sallust cf.

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