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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 one whole extant Latin novel, the Metamorphoses, during which a tender guy is became a donkey by means of magic. Apuleius makes use of drama, specifically 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 events within which he reveals himself. could employs a detailed learn of the Latin textual content and particular comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory positive aspects of historic drama, specially of comedy, with a purpose to clarify a few good points 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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Extra resources for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)

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1 Since we have so little evidence for the state of drama in the second century,2 it is diYcult to assess Apuleius’ knowledge of it, and where he could have got his knowledge from, be it from watching plays performed or recited, or reading 1 Green (1994: 145). 2 Jocelyn (1988: 59 n. 18) (with further literature) is sceptical on performance. Christian apologetic literature, due to its bias and repetitive invective is not straightforwardly reliable evidence (cf. )) For contradictory statements on performance of drama cf.

Table 4: ‘Occasion des jeux du the´aˆtre’)); the evidence for the 2nd cent. ad is compiled in May (2002: app. 2). , 404. 491) (6FS4). First published in Gsell and Joly (1914– 22: 111). 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).

Epist. 1; Apul. Apol. 20; Gaius Inst. 212, Dig. 37 pr. Cf. —Evidence for the performance of whole plays: Under Nero, Afranius’ Incendium, a togata, was performed (Suet. 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.

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