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

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 single entire extant Latin novel, the Metamorphoses, during which a tender guy is changed into a donkey by way of magic. Apuleius makes use of drama, specially comedy, as a uncomplicated underlying texture, and invitations his readers to take advantage of their wisdom of latest drama in analyzing the destiny of his protagonist and the usually comedian or tragic occasions within which he unearths himself. could employs a detailed learn of the Latin textual content and specified comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive aspects of old drama, specially of comedy, so as to clarify a few good points of the unconventional 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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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. For Apuleius the rhetorician, using stock characterization is something he learned very early, and much of his comic subtext in the Metamorphoses is based on this kind of comic ethopoiia.

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.

Cf. Jory (1986a: n. 2). 36 For tragedy cf. Parca (1991). 37 Jory (2002: 241), talking about evidence from Aphrodisias, says that in the 2nd cent. ad pantomime masks usually have closed mouths. 3). 128) considers it to be a mime mask. 39 Cf. Ch. 4 below. 40 Cf. 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.

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