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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, during which a tender guy is changed into a donkey through magic. Apuleius makes use of drama, specifically comedy, as a easy 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 events within which he reveals himself. could employs a detailed examine of the Latin textual content and precise comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive aspects of historic drama, particularly of comedy, for you to clarify a few positive factors of the radical that have to this point baffled Apuleian scholarship, together with the enigmatic finishing. All Latin and Greek has been translated into English.

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Extra resources for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)

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On Fronto’s recommendation of veteres to Hadrian cf. ). ), or exradicitus (‘utterly and completely’, p. 14). Cf. ) for a critical discussion: it is primarily Plautine words and the occasional expression which Wnd their way into Fronto’s style. This is a symptom of his private correspondence, as Deufert points out (p. 204): the published speeches show no Plautine imitation. 32 Knowledge of Drama and Archaism The ease with which he adapts Plautine words to his own style can be demonstrated by Fronto p.

47 Cf. It. IV. 12 no. 254, which collects all the evidence for the pantomime Apolaustus of the 2nd cent. )). He is said to have performed parts of tragedies by Euripides. Cf. also the warnings by Robert (1930: 108); Seeck (1990: 234). 48 Cf. Jory (2002) for the importance of pantomime in the 2nd cent. ad. 49 Masterly analysis by Panayotakis (1995), with further literature. On Petronius and comic drama cf. also Horsfall (1989: 194, and 206 with n. 4). 50 Preston (1915) lists many parallels between Petronius and Greek and Roman New Comedy.

142 to ‘tetigit guttis grandibus’ because of the passage of Fronto. 102 Comedy for Fronto oVers a situation known to both partners in the discussion, to which he can contrast their own experience favourably, as richer or emotionally more deeply felt than in the play. The joke, however, is still only wordplay. Typically, Fronto does not engage with the actual content of the passage—had he done so, the question of whether it is an adaptation of the Mostellaria or of an unknown play could be solved—but only concentrates on the inherent contrast of the words.

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