Download e-book for iPad: Apuleius and Drama: The Ass on Stage (Oxford Classical by Regine May

By Regine May

ISBN-10: 0191513970

ISBN-13: 9780191513978

ISBN-10: 0199202923

ISBN-13: 9780199202928

Regine might discusses using drama as an intertext within the paintings of the 2d century Latin writer Apuleius, who wrote the single entire extant Latin novel, the Metamorphoses, within which a tender guy is became a donkey by means of magic. Apuleius makes use of drama, in particular comedy, as a uncomplicated underlying texture, and invitations his readers to exploit their wisdom of latest drama in analyzing the destiny of his protagonist and the customarily comedian or tragic occasions during which he reveals himself. may possibly employs an in depth research of the Latin textual content and distinct comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory beneficial properties of historical drama, particularly of comedy, with a purpose 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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Ad cf. ) is doubtful about the attribution to this play. Other theatre tokens just represent masks (cf. Green (1994: 161) with notes for further literature). Cf. —In the Kerameikos a monument was set up for the famous 2nd-cent. 12664 ¼ Menander test. ). 22 Cf. Jones (1993: 42); Green (1994: 164), both with further literature. The evidence includes wall paintings in a house in Ephesos, portraying scenes from tragedy and comedy (Sikyonios, Orestes, Perikeiromene and Iphigeneia). For Menander, Achaioi, a mythological comedy, cf.

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.

He 101 van den Hout (1999: 66). 102 Monda (2004: 92) is also inclined to see the fragment as independent of the Mostellaria and deriving from a lost play. 103 Cf. Gell. ). Gellius’ circle in the Noctes Atticae, including Fronto, Favorinus, Sulpicius Apollinaris, and Gellius, discuss linguistic and literary issues pertaining to the veteres (cf. Deufert (2002: 212)). 104 Cf. ). The lyric poets do not feature greatly in Gellius, the Alexandrians are completely absent. 105 Cf. Marache (1952: 189). Holford-Strevens (2003: 234) notes that Aeschylus was ignored by Fronto, Marcus Aurelius, and Apuleius, whilst Gellius probably knew him through compilations and anecdotes.

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

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