By Regine May
Regine may well discusses using drama as an intertext within the paintings of the second century Latin writer Apuleius, who wrote the one entire extant Latin novel, the Metamorphoses, within which a tender guy is changed into a donkey through magic. Apuleius makes use of drama, specifically comedy, as a uncomplicated underlying texture, and invitations his readers to exploit their wisdom of latest drama in reading the destiny of his protagonist and the customarily comedian or tragic occasions within which he unearths himself. might employs an in depth research of the Latin textual content and specific comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory beneficial properties of historic drama, specially of comedy, that allows you to clarify a few gains of the radical 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 info for Apuleius and Drama: The Ass on Stage (Oxford Classical Monographs)
4. THEATRICAL ARCHAEOLOGY IN N ORTH AFRICA Even Apuleius’ North African audience would have been able not only to read but also to watch plays performed. This issue is important for the reception of his African works, the Florida and the Apologia, which, as will be shown, make wide use of dramatic imagery and quotations. The second century saw a huge increase in the building of theatres in Africa. 31 Africa Proconsularis was extremely wealthy, and this is partly reXected by the astonishing density of theatrical buildings in this province32 and the abundance of performances of ludi scaenici in these 27 Cf.
29). 17 Plu. Quaest. Conv. 5 ¼ 673b ¼ Menander test. –A. notes that during symposia actors of mimes and ethologoi appear as well as those who perform Menander. Similar statement in De Vit. Pud. 6 ¼ 531b and 106 ¼ Quaest Conv. 4 ¼ 706d ¼ test. –A. Cf. Jones (1991: 193), for the suggestion that even whole plays may have been performed during symposia. Cf. Hunter (2000) for the general preference of the time for Menander over Aristophanes. 18 Cf. Friedla¨nder (1919–21: app. 14) for evidence for continued performance of comedy in the 2nd cent.
Antoninus de eloquentia), where the text reads ‘sublimis Lucretius, mediocris Pacuvius’, and Warren, cited in van den Hout (1988), would like to read, ‘sublimis Lucretius,