Commonplace and Dramatic Symbol in Seneca's Tragedies

Owen, William H.

doi:10.2307/2935848

Cited by 7 publications

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“…955-7). 158 The same sequence of thought characterises his 157 A line of argument pursued by: Henry and Walker (1965); Bishop (1966); Owen (1968) 303-4; Shelton (1978) 58-73;Fitch (1987) 24-33 and 35-8; Braden (1990) 249-52; Motto and Clark (1994) 269-72; Harrison (2014b) 623. 158 Seneca's language creates additional links between Hercules' labours and his meditated conquest of heaven.…”

Section: Self-aemulatiomentioning

confidence: 90%

“…Major proponents of the view includeMotto and Clark (1981) and Lawall(1983). Bernstein(2017) 20-1 expresses a more balanced view that goes some way towards reconciling the two camps.162 Noted byOwen (1968) 304 and explored more fully byRose (1979-80) and OKell(2005). Littlewood(2004) 33-6 pursues a similar idea by connecting Megara and Lycus, which likewise suggests the fallibility and agressiveness of Stoic values: 'we are encouraged to see her obduracy as the image of his'.…”

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Seneca's Characters

Bexley

2022

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Seneca's Characters addresses one of the most enduring and least theorised elements of literature: fictional character and its relationship to actual, human selfhood. Where does the boundary between character and person lie? While the characters we encounter in texts are obviously not 'real' people, they still possess person-like qualities that stimulate our attention and engagement. How is this relationship formulated in contexts of theatrical performance, where characters are set in motion by actual people, actual bodies and voices? This book addresses such questions by focusing on issues of coherence, imitation, appearance and autonomous action. It argues for the plays' sophisticated treatment of character, their acknowledgement of its purely fictional ontology alongside deep – and often dark – appreciation of its quasi-human qualities. Seneca's Characters offers a fresh perspective on the playwright's powerful tragic aesthetics that will stimulate scholars and students alike.

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confidence: 90%

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Seneca's Characters

Bexley

2022

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“…48 Voir entre autres Barrière 2019. 49 Voir, pour les premiers, Cattin 1963, 686-688 et Syme 1987pour les seconds, Herrmann 1924, 513-514 ;Cattin 1960 ;Owen 1968 ;Opelt 1973. La prédilection de l'écrivain pour la zone torride est tout à fait remarquable et ses représentations presque mécaniques contribuent à mettre en relief le climat extrême de cette partie du globe, littéralement brûlée par le soleil. Le poète y déploie toute la richesse de son vocabulaire pour échapper à la répétition d'expressions qui, sinon, pourraient paraître formulaires (cf.…”

Section: Si Quis Minor Busiris Aut Si Quis Minorunclassified

Poètes latins et zones climatiques : Heurs et malheurs d’un topos

DEHON

2024

CetC

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From Accius, Varro or Lucretius onwards, Latin poets have repeatedly alluded to or described the division of the terrestrial and celestial spheres into five climatic zones. The present paper is tracking down and delving into the several passages where this theory was mentioned from the origins of Latin literature until the 5th century A.D. Be they shorter or longer, these excerpts show regular interest and curiosity for a highly scientific topic from authors whose verses are not necessarily dedicated prima facie to science in general or to geography and astronomy in particular. Over time the picture of the zones evolved into a true literary topos whose grounds for attractiveness are also looked into. The Romans’ natural appeal for reality and technical matters is one of them, as well as the philosophical, moral or ideological dimensions of the theme. Last but not least, this topos offers a wide range of possibilities to authors willing to engage in an agonistic process, fully compliant with the ancient concept of creative mimesis, in order to display their personality and originality.

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“…(3) W. H. Owen (1968), "Commonplace and Dramatic Symbol in Seneca's Tragedies," TAPA 99, pp. 302-308.…”

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دلالات البروج السماویة فى مسرح سنیكا

المتولى¹

2022

أوراق کلاسیکیة

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Significance of Constellations in Senecan Tragedy ‫ا‬ ‫حفظ‬ ‫يمكن‬ ‫وال‬ ‫ًا‬ ‫جد‬ ‫طويلة‬ ‫لترجمة‬Seneca gave a very important role to the Constellations in his tragedies; He did not mention them to prove his knowledge of these signs and their forms, but rather dealt with the matter with great professionalism, as he put these signs in their place in his dramatic work for a goal he would like to show, or to clarify a relationship in the play Between these signs and his tragic hero, which makes a strong link between the presence of these signs and the tragic hero. Seneca mentioned Cancer, Gemini or Leo, these had a close relationship with Hercules and his works and his fear of confronting it in the sky, as well as in Libra and Aries or Virgo has a relationship with one of the play' characters, while there are some other zodiac that have nothing to do with the characters of the play, such as the bull in Hercules furens, or Scorpio, Sagittarius, Capricorn, Aquarius and Pisces mentioned by Seneca in the scene of world' end in Thyestes to complete the fall of the entire zodiac circle, Seneca cleverly linked some forms of animal signs with the heroes of his tragedies, as with Hercules. Seneca did not refer to the influence of the constellations on human life, but he did not separate between them and humans, while on the contrary, he tried to link them with the characters of his plays with great professionalism and clear intelligence.

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Commonplace and Dramatic Symbol in Seneca's Tragedies

Cited by 7 publications

References 0 publications

Seneca's Characters

Seneca's Characters

Poètes latins et zones climatiques : Heurs et malheurs d’un topos

دلالات البروج السماویة فى مسرح سنیكا

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