By Regine May
Regine could 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, within which a tender guy is became a donkey by way of magic. Apuleius makes use of drama, specifically comedy, as a easy 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 events during which he unearths himself. may perhaps employs a detailed learn of the Latin textual content and particular comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive factors of old drama, particularly of comedy, so as to clarify a few positive factors of the unconventional that have up to now baffled Apuleian scholarship, together with the enigmatic finishing. All Latin and Greek has been translated into English.
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Extra info for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)
149). His instructions are often lists of names of the veteres poetae with brief characterizations of the author’s style, compare p. , or p. ); fabulae togatae and Atellanae are more to his taste for their verbal experimentations. 91 86 Terence’s name occurs only in a conjecture p. 133 (in the Letter to M. 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,
48 Caputo (1959: 22, and plate 49, Wg. 83). ), cf. 21). ) suggests a hilarotragoedia such as Rhinthon’s plays as the source, but since he wrote it has been shown that the phlyax vases rather represent comedy than hilarotragoedia. Cf. Ch. 5 below. Knowledge of Drama and Archaism 25 beardless Wghters, they argue, are most unusual for New Comedy (as well as for tragedy, which is portrayed in the Wfth bay through actors wearing high coturni and onkos-masks). The fact that no other scene portrayed can be interpreted as comedy except this one very much indicates that Middle Comedy or mythological travesty (if this interpretation is correct) is the Sabrathan idea of comedy, and in Apuleius’ novel mythological travesty will also be shown to be an important feature.
4; Tert. Spect. 7; Nat. ; Novat. Spect. 7; Aug. Civ. 8; Claud. ); On imperial tragedy performances cf. ). ); Weismann (1972: 46)). , 1616, 1637, 1870, 4555, 5417, 8564, 8581 mention the name Menedemerumenus, perhaps a calque of Menedemus and Heautontimoroumenos—Jocelyn (1988: 60 n. ). ) seems to mention performances of Plautus’ Amphitruo (Nat. 33). For evidence for the performance of Atellanae in Apuleius’ time: Steinmetz (1982: 347) (cf. above n. 6). 26 On the problem of reconstructing a performance programme for lack of evidence cf.
Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs) by Regine May