Senecan Tragedy and the Reception of Augustan Poetry

Trinacty, Christopher

doi:10.1093/acprof:oso/9780199356560.001.0001

Cited by 114 publications

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“…Too little of Ovid's Medea survives for scholars to gauge its influence on Seneca's version. There are, however, demonstrable links between Ovid's depiction of Medea in Heroides 12 and Metamorphoses 7, and the figure portrayed in Seneca's tragedy: see Leo (1878) , and for more recent discussion, Boyle (2014) lxxiii-lxxvi;Hinds (1993) 34-43;and Trinacty (2007) and (2014) 93-126. 16 Hinds (1998) Ross (1975) 78, where it describes Roman writers' methods of appealing to literary tradition.…”

Section: Medea's Meta-theatrementioning

confidence: 99%

“…30 According to Seneca, most individuals change their masks frequently (mutamus subinde personam), but the wise man plays just a single role, that of himself (unum hominem agere). Thus, far from claiming that all acting is inherently 29 A connection explored by Trinacty (2007) 71-2. 30 Frede (2007) 160 discusses the ways in which Stoic theatrical metaphors establish a link between actors and human beings; see also Gibson (2007) 125.…”

Section: Medea's Meta-theatrementioning

confidence: 99%

“…Too little of Ovid's Medea survives for scholars to gauge its influence on Seneca's version. There are, however, demonstrable links between Ovid's depiction of Medea in Heroides 12 and Metamorphoses 7, and the figure portrayed in Seneca's tragedy: see Leo (1878) 166–70 and, for more recent discussion, Hinds (1993) 34–43; Trinacty (2007); Boyle (2014) lxxiii–lxxvi; and Trinacty (2014) 93–126.…”

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confidence: 99%

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Recognition and the Character of Seneca's Medea

Bexley

2016

Camb. class. j.

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-pro t purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. Versions of this paper were presented at the University of Edinburgh's Classics Seminar Series, and at the Cambridge Philological Society; lively discussion ensued on both occasions, and I am grateful for the responses I received. I would also like to thank the journal's anonymous reviewers whose suggestions have lead to me clarify and improve the structure of this complex argument. Lastly, thanks are due to Ioannis Ziogas, as always, for his perceptive comments and unstinting encouragement.

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Section: Medea's Meta-theatrementioning

confidence: 99%

Section: Medea's Meta-theatrementioning

confidence: 99%

“…Too little of Ovid's Medea survives for scholars to gauge its influence on Seneca's version. There are, however, demonstrable links between Ovid's depiction of Medea in Heroides 12 and Metamorphoses 7, and the figure portrayed in Seneca's tragedy: see Leo (1878) 166–70 and, for more recent discussion, Hinds (1993) 34–43; Trinacty (2007); Boyle (2014) lxxiii–lxxvi; and Trinacty (2014) 93–126.…”

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Recognition and the Character of Seneca's Medea

Bexley

2016

Camb. class. j.

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“…Boyle (1997), 132, and his commentary (2014) ad loc . as well as Trinacty (2014), 125; Littlewood (2004), 192; Armstrong (1982). More specifically for interpretations of her use of agnosco, cf.…”

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confidence: 99%

“…51.At such a notable instance of Medea's self-identification and expressed self-reliance, it may also prove relevant here to consider how Seneca uses Aetna to speak of poetic originality in one of his letters to Lucilius ( Ep. 79.5–7), on which see Trinacty (2014), 10–13. If Medea uses Aetna as a symbol for herself, this can be further reflective of Seneca's knowing engagement with the belatedness of his poetic treatment.…”

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Medea's Sol-Ipsism: Language, Power and Identity in Seneca's Medea

Campbell¹

2019

Ramus

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Recent investigations of Seneca's Medea have found consistently fascinating the way in which Medea progressively flags her realization of enacted identity and selfhood. She self-consciously pierces the fabric of her drama with identifying declarations, colored by especial reference to her name: the announcement Medea superest (‘Medea remains’, 166) and bald statement of fiam (‘I will be’, 171) in response to hearing her own name lead to the supreme utterance of Medea nunc sum (‘now I am Medea’, 910). Medea conjures herself into being with these three identifications, stepping fully into the troubling contours she knows of not only her own mythology, but also her literary history. Medea's dominating focus on her name allows this layered acknowledgement of self, of Medea as both mythological figure and literary fixture. In resultant discussions, the weight given to her name in precipitating this sense of identity within her play has, quite naturally, led to a proportionate emphasis upon who Medea is. In some ways, Medea's notably self-annotative process of becoming ‘Medea’ eclipses other useful interrogative frameworks of her identity: the spotlight on the ‘who’ of Medea comes somewhat at the expense of the ‘what’, or the ‘how’. This is not to say that such categories are not mutually informative or intertwined, for Medea (by Seneca's time) does, in fact, have a defining act: the murder of her children. Who Medea is stems from what she does, the sentiment vividly expressed by Medea nunc sum. In light of these considerations, I would suggest a different perspective from which to conceptualize Medea's identity, one that takes into account the paired aspects of being and doing that together comprise an understanding of character, especially within drama. This perspective departs from a framework dependent on progressive structural characterization, as represented by the trio of passages cited above, and focuses instead on characterization via demonstrated patterns of linguistic tendency, on both macroscopic and microscopic levels. From the beginning, Medea displays measured consistency with her relentless knowledge of self as she transforms these categories of identification and action: as the play develops, her sense of ‘this is who I am’ becomes ‘this is what I do’.

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Euripides and Senecan Drama

Star¹

2016

A Companion to Euripides

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Senecan Tragedy and the Reception of Augustan Poetry

Cited by 114 publications

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Recognition and the Character of Seneca's Medea

Recognition and the Character of Seneca's Medea

Medea's Sol-Ipsism: Language, Power and Identity in Seneca's Medea

Euripides and Senecan Drama

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