By Regine May
Regine may perhaps 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 become a donkey through magic. Apuleius makes use of drama, in particular comedy, as a uncomplicated underlying texture, and invitations his readers to take advantage of their wisdom of up to date drama in reading the destiny of his protagonist and the usually comedian or tragic occasions during which he unearths himself. might employs a detailed examine of the Latin textual content and unique comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory gains of old drama, specifically of comedy, so that it will clarify a few positive factors of the unconventional 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 info for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)
Ii Lindsay (1904–5). 79 Holford-Strevens (2003: 22–6). 30 Knowledge of Drama and Archaism interest in ancient drama, especially comedy, which they may have known from their studies or from watching it. 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.
Bernstein (1998: 318) on Sulla’s ludi scaenici. Leppin (1992: 26). 41 Formal archaeological publication: Caputo (1959); cf. 1979: 96); colour pictures and description by Di Vita in Di Vita et al. ). 24 Knowledge of Drama and Archaism decoration,42 since it does not portray the long narrative sequences of mythological stories about Herakles and Dionysos usually depicted on pulpita,43 but instead single independent scenes. 44 This unique pictorial programme alone may show some independence of the local artists from the common imagery used for theatrical buildings of the time.
2), and tragic and comic performances of unspeciWed plays are mentioned (Leppin (1992: 25f. with n. 8): Apul. Flor. 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.
Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs) by Regine May