By Regine May
Regine may possibly discusses using drama as an intertext within the paintings of the second century Latin writer Apuleius, who wrote the single whole extant Latin novel, the Metamorphoses, within which a tender guy is became a donkey by way of magic. Apuleius makes use of drama, specifically comedy, as a simple underlying texture, and invitations his readers to take advantage of their wisdom of up to date drama in analyzing the destiny of his protagonist and the usually comedian or tragic occasions within which he reveals himself. may well employs an in depth research of the Latin textual content and exact comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive aspects of historic drama, specially of comedy, that allows you to clarify a few good points of the radical that have thus far baffled Apuleian scholarship, together with the enigmatic finishing. All Latin and Greek has been translated into English.
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Additional info for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)
27 cf. Ghiron-Bistagne (1976: 300), against whom cf. ). Jones (1993: 46) sees a link between 2nd-cent. archaism and the resurfacing of information about dramatic performances. 4 Cf. Kokolakis (1961) for the primarily tragic allusions in Lucian (with further literature) and Seeck (1990). Lucian mentions inter alia that people learned much of Euripides by heart, cf. JTr. 1. For evidence of Lucian having seen performances cf. g. Salt. 27, Gall. 26, Pisc. — A comparable study of Lucian’s use of comedy (although much less marked) seems to be still a desiderandum.
82 ‘While Fronto did not create this antiquarian movement, it was he who reduced it to a system and [ . . ] it was the Frontonian school which Wrst made it creative and productive’;83 he developed and systematized the new archaizing movement, with its interest in the poetae veteres, the early Latin poets. Plautus becomes one of Fronto’s favourites, but he also likes other comic authors, as well as fabulae togatae (comedies with Roman content) and Atellanae. His preference for the veteres is entirely based on their provision of archaic diction.
Pp. , where he discusses Plautine words. 89 Steinmetz (1982), 174. Fronto’s stress on rhetoric: Marache (1952: 128–37); the right word: ibid. 39–151. Latin purity: Sandy (1997: 21). 90 Cf. the authorities for word formation p. 160: ‘Accius, Plautus, Sallustius saepenumero, etiam raro Tullius’ (‘Accius, Plautus, Sallust very often, even occasionally Cicero . ’). On Fronto’s recommendation of veteres to Hadrian cf. ). ), or exradicitus (‘utterly and completely’, p. 14). Cf. ) for a critical discussion: it is primarily Plautine words and the occasional expression which Wnd their way into Fronto’s style.