By Gesine Manuwald
Theatre flourished within the Roman Republic, from the tragedies of Ennius and Pacuvius to the comedies of Plautus and Terence and the mimes of Laberius. but except the surviving performs of Plautus and Terence the assets are fragmentary and hard to interpret and contextualise. This e-book presents an up to date and complete historical past of all points of the subject, incorporating contemporary findings and smooth methods. It discusses the origins of Roman drama and the historic, social and institutional backgrounds of all of the dramatic genres to be came across throughout the Republic (tragedy, praetexta, comedy, togata, Atellana, mime and pantomime). attainable basic features are pointed out, and a focus is paid to the character of and advancements within the numerous genres. The transparent constitution and whole bibliography additionally make sure that the publication has worth as a resource of reference for all upper-level scholars and students of Latin literature and historical drama.
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Extra resources for Roman Republican Theatre
Sample text
What traditions of monarchy and material glorification did Hieron inherit? How did he embed himself in Syracusan culture and make a place for himself in the broader Sicilian and Greek world? To answer these questions, we must start by looking backward to the imposing achievements of his elder brother, Gelon, and the rise to prominence of his family, the Deinomenids. It is fortunate that Deinomenid political activity and its related cultural production are reflected in a number of media. We survey their military activity, their programs of city foundation and dynastic alliance, their architecture and urban development, their coinage, their religious policy, their participation in athletic contests, and their dedications.
I do not suggest that there existed at Syracuse a constitutionally recognized form of kingship, nor that, as was sometimes suggested, Gelon was ever declared “king” of Syracuse or passed this title on to Hieron. 30 The absence of contemporary sources on Hieron other than Pindar and Bacchylides deprives us of any control group of vocabulary (notably, Bacchylides never calls Hieron king). Hieron was doubtless called a tyrant regularly by other Greeks. Yet when the need arose he could equally well have been called king.
Vocabulary from this stem occurs only three times in the epinicians. , and they all occur in gnomic passages. 53, an ode addressed to a Theban victor, Pindar “blames the lot of tyrannies” while arguing for an ideology of limited ambition and social harmony. The other two passages are from odes to Hieron. 87, the poet states that a man of straight speech excels under any type of government, whether it is a tyranny, a democracy, or rule by “the wise” (see Chapter 5). In this passage tyranny remains neutral.