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 one whole extant Latin novel, the Metamorphoses, within which a tender guy is become a donkey through magic. Apuleius makes use of drama, specially comedy, as a simple underlying texture, and invitations his readers to take advantage of their wisdom of latest drama in studying the destiny of his protagonist and the usually comedian or tragic events within which he unearths himself. may well employs an in depth learn of the Latin textual content and specified comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive factors of historic drama, specially of comedy, to be able to clarify a few gains 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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Extra resources for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)
The general populace could watch tragic performances (either whole plays, or excerpts), whilst reading the plays was an option for the intellectual e´lite. 6 New Comedy is also known to second-century authors. The comic stock character of the parasite, for example, is used by Plutarch in How to Tell a Flatterer from a Friend. Lucian, and later Alciphron, create a renaissance of the parasite,7 and it is clear that they take their inspiration from Greek comedy, a genre with stock types already Wve hundred years old.
71 On these and other authors of the second century: Steinmetz (1982: 121–373). g. in the protreptic part of his De Deo Socratis, cf. ) in Harrison, Hilton and Hunink (2001). ). On archaism cf. Deufert (2002: 200); Holford-Strevens (2003: 354–63) (who calls it ‘mannerism’). ) arguments for the Hadrianic period. ) points out; it should rather be applied to the nineteen or so additional plays that Varro wanted to include in the list of genuine plays on stylistic grounds. Still, the term fabulae Varronianae is so commonly used for the twenty-one plays that it will also be employed here to denote the twenty-one extant plays, since Varro characterized them as the ones which are by general agreement genuinely Plautine.
G. —For the problem of Lucian Dem. Enc. 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.
Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs) by Regine May