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By George W. M. Harrison

Until eventually the Renaissance the centrality of Roman tragedy in Western society and tradition used to be unchallenged. reviews on Roman Republican tragedy and on Imperial Roman tragedy by way of the participants were directing the gaze of scholarship again to Roman tragedy. This quantity has objectives: first, to illustrate that Republican tragedy had a much more significant function in shaping Imperial tragedy than is at present concept, and rather potentially extra very important than Classical Greek tragedy. moment, the impact of alternative Roman literary genres on Roman tragedy is larger than has previously been credited. experiences on von Kleist and Shelley, Eliot and Claus support reconstruct the traditional Roman level by means of displaying how moderns had proposal to alter it for modern aesthetics.

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The original version of Euripides’ play, the Hippolytos Kalyptomenos only survives in fragments and descriptions. 6 Segal (1984: 319). 7 On the influence of Vergilian and Ovidian epic on Senecan tragedy, cf. Coffey and Mayer (1990: 181–183). The observation receives fuller attention in Mayer (2002: 69–70): “Phaedra is a drama but it is also, and perhaps in Seneca’s case primarily, a poetic text. ” Cf. Segal (1984: 320–321) for an extended discussion on Seneca’s debt to Vergil. 8 This and subsequent citations and translations of Ovid’s Metamorphoses come from the Loeb Classical Library edition of Frank Justus Miller (1984).

De or. 217; Tusc. 53. 14 Manuwald play. A. 12 Although in this case there is comparatively rich information about the plays from various sources, the issues of attribution and of the character of the performance remain intricate questions. Rather little is known about what was possible on the Roman stage in Cicero’s time, there are no valid parallels, and Cicero is not a disinterested reporter (but the most extensive source for this period). The most straightforward interpretation, which does not assume much beyond what is said in the text, still seems to be to attribute all fragments to Accius’ Eurysaces apart from those for which the provenance from Ennius’ Andromacha is attested elsewhere.

2 TrRF. e. clouds], from where the rain comes with fierce sound and wind, Since both versions are equally well attested,21 scan and are grammatical, only the sense and the conventions of the language in the respective case and parallel instances can decide (with spiritu generally preferred, being regarded as more appropriate in a description of the sounds of rain and in view of the collocation with sonitu). 8 Orthography and Punctuation Fragments are typically transmitted in the spelling common at the time of the transmitting authors (besides being possibly affected by the conventions of medieval scribes).

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