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

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 whole extant Latin novel, the Metamorphoses, during which a tender guy is became a donkey by way of magic. Apuleius makes use of drama, particularly 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 customarily comedian or tragic events within which he reveals himself. could employs a detailed examine of the Latin textual content and distinct comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory gains of historic drama, specifically 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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Id. p. g. Arruntius Celsus’ commentary or glosses on Phormio; similar commentaries may have been written at this time for Plautus. 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.

Quint. 1, and Fantham (2002: 370). 62 Theon Prog. ). 63 Cf. Quint. ; evidence collected in Fantham (2002: 372). Knowledge of Drama and Archaism 27 characters for rhetorical training and the interface between declamation and comedy. 76–82). 68 For Apuleius the orator, it is thus natural to turn to comedies speciWcally as subtexts for his works, not only, if Quintilian is to be believed, because he will have studied them in the course of his rhetorical training, but also because of the renewed interest of the contemporary e´lite in this literary genre.

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.

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