This volume is a companion to the author's new Loeb edition of Seneca's tragedies (vol. 1, 2002; vol. 2, 2004). It offers reasons for his editorial choices, and explains his interpretations of the text as reflected in his translation. Hercules Oetanus and Octavia, now generally regarded as imitations of Senecan drama, are both included. The volume is intended to be read alongside Otto Zwierlein's Kritische Kommentar, published in 1986. In the intervening years there has been much new work pertaining to Seneca's text, including full-scale editions with commentary on individual plays, such as Keulen's Troades, Töchterle's Oedipus and Ferri's Octavia. Annaeana Tragica seeks to supplement and advance Zwierlein's work in the light of this new material. An appendix reviews the scholarly controversy concerning the anapaestic odes of these plays, and offers fresh evidence relevant to the issue.
The Octavia is the only surviving historical drama from ancient Rome. With a plot rich in sex, dynastic intrigue, riots, and murder, the play's characters include the philosopher Seneca, the emperor Nero, the ghost of his murdered mother, his wife Octavia, and his mistress and empress-to-be Poppaea. For centuries dismissed as a feeble, rhetorically overblown closet-drama written without consideration for the demands of plot or stage, the Octavia's dynamic changes of time and setting, its startling interplay of the verbal and visual, and its integration of issues pervading the politics of the period in which it was written, reflect scenic conventions and a notion of the dramatic that radically transforms and expands our knowledge of ancient theatre and the Roman stage. Roman Historical Drama is the first comprehensive interpretation of ancient historical drama in relation to this exciting play, revealing how the Octavia mirrors the genre's traditions by mixing formats and stock characters from traditional tragedy with elements drawn from new developments of the Hellenistic and Roman stage. The volume explores the role and impact of historical (and political) drama in Rome, offering a pioneering reading of the Octavia in relation to ancient performance practice, as well as to the politics of those who in AD 68 brought down the tyrant Nero. In its final section, the volume provides a panoramic survey of the revival and reinvention of classical tragedy in the Renaissance period, tracing the impact of the Octavia from Italy through France to Elizabethan England.
A full-scale critical edition of Seneca's Medea which offers a substantial introduction, a new Latin text, an English verse translation, and a detailed commentary. Boyle locates the play firmly in its contemporary, historical, and theatrical context and in the ensuing literary and dramatic tradition.
This book studies Seneca's poetic drama from a novel point of view. Whereas most criticism of Seneca's dramas has tended to focus on their relationship to Stoicism, I approach them from the perspective of Seneca's own theory of literary decadence, which he sets forth in the 114th of his letters to Lucilius. His theory can be summed up as follows: the various forms of stylistic corruption are the result of a straining for effect, which itself reflects a taste for the extreme. A writer or speaker's stylistic vices thus mirror the vices of his character; they also reflect the vices of the time and place in which he lives, since every user of language is conditioned by his environment. What is especially striking about Seneca's discussion is that a number of the vices he lists – hyperbole, disruption of natural word order, excessive metaphor – are notable features of the poetic style of his own dramas. I argue for a rehabilitation of the 'decadent' style of Seneca's tragedies: in Seneca's hands, this style is a precise diagnostic tool for revealing the self-destructive irrationality that governs not only the individual, but also his society and the entire universe.
Pantomime was arguably the most popular dramatic genre during the Roman Empire, but has been relatively neglected by literary critics. Seneca's Tragedies and the Aesthetics of Pantomime adds to our understanding of Seneca's tragic art by demonstrating that elements which have long puzzled scholars can be attributed to the influence of pantomime. The work argues that certain formal features which depart from the conventions of fifth-century Attic drama can be explained by the influence of, and interaction with, this more popular genre. The work includes a detailed and systematic analysis of the specific pantomime-inspired features of Seneca's tragedies: the loose dramatic structure, the presence of “running commentaries” (minute descriptions of characters undergoing emotional strains or performing specific actions), of monologues of self-analysis, and of narrative set-pieces. Relevant to the culture of Roman imperial culture more generally, Seneca's Tragedies and the Aesthetics of Pantomime includes an outline of the general features of pantomime as a genre. The work shows that the influence of sub-literary-genres such as pantomime and mime, the sister art of pantomime, can be traced in several Roman writers whose literary production was antecedent or contemporary with Seneca's. Furthermore, the work sheds light on the interaction between sub-literary genres of a performative nature such as mime and pantomime and more literary ones, an aspect of Latin culture which previous scholarship has tended to overlook. Seneca's Tragedies and the Aesthetics of Pantomime provides an original contribution to the understanding of the impact of pantomime on Roman literary culture and of controversial and little-understood features of Senecan tragedies.
Seneca was a man of many facets: statesman, dramatist, philosopher, prose stylist. His life was marked by extremes of fortune - extremes that are reflected in much of his writing, and in the vicissitudes of his reputation in later centuries. This volume brings together some outstanding essays written about him over the past four decades, and illustrates the diversity of approaches by which modern critics have attempted to understand this multifaceted figure. Just as Seneca's writings often reflect his times, so current critical approaches often reflect issues in contemporary thought and society. Several of the essays have been revised by their authors for this volume, and two of them are translated for the first time. A new introduction places the articles within the context of recent academic thought and criticism. All Latin has been translated.
Statius' Achilleid is the most extensive treatment of the myth of Achilles hiding disguised as a girl on the island of Scyros. In the Achilleid, the hero, who had been trained to be an outstanding warrior by the centaur Chiron, complies with a scheme devised by his divine mother, Thetis, who does not want him to sail to Troy since her son is fated to die there. She proposes that he dress as a girl in order to hide himself from the Greeks who wish to enlist him in the martial expedition; despite his inclinations developed by Chiron, Achilles acquiesces, but only in order to pursue his desire for the princess Deidamia. Odysseus and Diomedes, sent by the Greek army, come to Scyros to reclaim Achilles, and the poem depicts the struggles faced by Deidamia and Achilles' future comrades as they coax him in opposite directions. While Achilles tries to sort out his desires, he reflects upon love, family, social obligations, and the lessons that have been imparted to him. Throughout the Middle Ages and up to the current day, Statius' depiction of the great Greek hero has attracted artistic and scholarly attention for its treatment of themes such as education, heroism, fate, and gender and sexuality. Statius' poem, written at the end of the first century CE, also engages deeply with the entirety of the Greek and Roman literary traditions--in particular, epic poems such as the Iliad, the Odyssey, Vergil's Aeneid, and Ovid's Metamorphoses. The Achilleid's reworking of these earlier poems amounts to a tour-de-force reconsideration of the entire genre of epic poetry. This new edition of the Achilleid contains an extensive introduction (encompassing mythological background, details about Statius' language and meter, and a survey of the reception of the poem since late antiquity), a Latin text (based upon recent scholarship) with facing-page English translation, and the first full-scale commentary in English in nearly 70 years.
This volume offers analysis of the narratological structure of the Theogony with the purpose of elucidating a major, unifying theme in this poem: the relationship between the divine and mortal realms. The techniques of narratology are herein employed to support the argument that Hesiod portrays the cosmos as sharply divided between gods and men. The Theogony should therefore be read as a didactic poem explaining primarily the position of man vis-à-vis the gods. The first half of this book discusses relevant scholarship and introduces the theme of relationship of gods to men in the Theogony. The second half of the book discusses how Hesiod employs Character-Text, Attributive Discourse, Embedded Focalization, Anachrony, and Commentary to achieve his didactic purposes.
This volume investigates the transmission and ancient reception of ancient Greek texts with musical notation. It provides a reconstruction of the dynamics of reception orienting the re-use and re-shaping of musical and poetic tradition in the entertainment culture of the post-classical Greek world. The study makes full use of literary, papyrological and epigraphic evidence, and in particular includes a detailed philological analysis of surviving musical papyri and of their relationship to the editorial activity of Alexandrian scholarship. The study helps to relocate musical documents in the world of their production and reception.
This book covers a wide range of subjects from Latin literature and language to textual history and criticism. E. D. Francis gives a history of the words prae and pro, as adverb, preposition and prefix. H. D. Jocelyn surveys the distribution and differing uses of quotations from Greek poetry in Cicero's prose writings and D. F. S. Thomson takes a fresh look at the manuscript tradition of Catullus. The remaining six articles deal with later authors and are divided equally between the poets and the historians: a reading of Horace's Roman Odes and their relation to the other odes in which he addressed the Roman people; a demonstration of the internal coherence of a Tibullan elegy and two Juvenal satires; a review of disputed readings in the OCT of Livy IX; an analysis of the structure of the prologues to the Annals, Histories and Agricola to cast light on Tacitus' intentions; and a critical review of Tacitus' portrait of Germanicus, generally viewed in a sympathetic light but debated by D. O. Ross.
