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By Regine May

Regine may possibly discusses using drama as an intertext within the paintings of the 2d century Latin writer Apuleius, who wrote the single whole extant Latin novel, the Metamorphoses, within which a tender guy is changed into a donkey via magic. Apuleius makes use of drama, particularly comedy, as a simple underlying texture, and invitations his readers to exploit their wisdom of up to date drama in examining the destiny of his protagonist and the usually comedian or tragic events within which he unearths himself. could employs a detailed examine of the Latin textual content and distinct comparability with the corpus of dramatic texts from antiquity, in addition to dialogue of inventory beneficial properties of old drama, specially of comedy, to be able to clarify a few positive factors 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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On pantomimes as primarily responsible for the widespread knowledge of tragedy plots amongst the masses cf. ). 11 Rohde (1914: 270 n. 2-1876: 251 n. g. Antonios Diogenes, cf. Photios cod. ). g. Antonios Diogenes’ novel ‘dramatic’, äæÆìÆôØŒüí, (cod. 166. 109a7, cf. 111b30), cf. Rohde (1914: 376 with n. 1 ¼ 1876: 350 n. 1). Dramatic elements may be found in the novels, and in the case of Antonios Diogenes it seems that the same author claims to have composed works of both genres, which may either refer to his novel itself, or to the composing of drama besides the novel.

94 Cf. Marache (1952: 128–51). ). 96 Cf. p. 10. ). 97 The idea of a ‘miles gloriosus’ is also used by Fronto p. ’; trans. 98 Maximus’ genuine praises are, Fronto argues, heartfelt, and not intended to turn the target of his rhetoric into a laughing stock, and thus, despite being even more exuberant than the Plautine soldiers’ self-praise, well deserved. He ignores that it is not actually Plautus who is praising the soldier, but his comic creation, the soldier, who is indulging in self-praise. When praise, negatively charged and undeserved in Plautus, becomes genuine and positive in Fronto, the Plautine context, although known to Fronto, becomes manipulated and subordinate to Fronto’s own point.

23 Cf. Russell (1990b). Knowledge of Drama and Archaism 21 2 . 3 . 24 There is also evidence for privately employed actors of comedy, Atellan farces, mimes, and pantomimes in imperial Rome,25 indicating a wide interest in the performance of plays. 26 Especially if only excerpts were performed, a theatre audience would have been able to see all kinds of dramatic performances within a very short time span, possibly even within the same day and at the same venue. Apuleius, as we shall see, corroborates this kind of performance in the Florida.

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