Virgil on the Popular Stage *

Panayotakis, Costas

doi:10.1093/acprof:oso/9780199232536.003.0009

Cited by 11 publications

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“…Transformations of poetry to theatre performances are already attested in antiquity: From Ovid's complaint that he has heard of unauthorized stagings of his poems (Ovid, Tristia 2.519-520; 5.7. [25][26][27][28] we learn that the original genre did not matter much to pantomime directors 27 . Vergil's poetry, too, was successfully adapted for the stage (Suetonius, Life of Vergil 26; Tacitus, Dialogue on Orators 13.2; Servius, Commentary on Vergil's Eclogues 6.11) 28 .…”

Section: Discussionmentioning

confidence: 99%

“…[25][26][27][28] we learn that the original genre did not matter much to pantomime directors 27 . Vergil's poetry, too, was successfully adapted for the stage (Suetonius, Life of Vergil 26; Tacitus, Dialogue on Orators 13.2; Servius, Commentary on Vergil's Eclogues 6.11) 28 . In classical pantomime performances the narrative was sung by a choir from offstage with the accompaniment of orchestral music while one silent dancer on the stage slipped into all the different roles.…”

Section: Discussionmentioning

confidence: 99%

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Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Stachon¹

2020

anabases

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Lire, relire la bibliothèque des sciences de l'Antiquité Guillaume de Méritens de VilleneuveRelire « The Allegiance of Labienus » (JRS, 28, 1938) et dépasser l'inertie historiographique autour des travaux de Ronald Syme . . . . . . L'atelier de l'histoire : les chantiers historiographiques Actualité du théâtre antique » (coordonné par Malika Bastin-Hammou) (n° 5) Claire Lechevalier La génération sacrifiée des enfants des Atrides. Électre /Oreste mis en scène par Ivo Van Hove à la Comédie-Française . . . . . . . . . . . Les mots de l'Antiquité (coordonné par Magali Soulatges) (n°11) Florent Libral Conjurer le spectre d'Épicure ? Noms et définitions de l'atome dans la philosophie d'Emmanuel Maignan (1601-1676) . . . . . . . . . . . Antiquités numériques (coordonné par Elodie Guillon) (n° 2)

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Stachon¹

2020

anabases

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“…9.For the text, see Brugnoli and Stok (1997). See Highet (1974) on the plural cantores , Quinn (1982), 152–4, Kohn (2000), Panayotakis (2008), 190–7, and Wiseman (2015), 114f.…”

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confidence: 99%

PERFORMING MIRACLES: THENATALICIAOF PAULINUS OF NOLA AS POPULAR ENTERTAINMENT

Fielding

2018

Ramus

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Paulinus of Nola might not be very widely read today, even among professional classicists, but he remains the most popular Latin poet in his adopted hometown. At the Christian basilica complex in Cimitile, near Nola, where Paulinus founded a community for ascetic devotees of the cult of St. Felix in the late fourth century, his poetry is still recited publicly on a number of festive days each year. On a recent visit to Cimitile, I found myself in the audience at one of these narrazioni, which had been organized as a prelude to the Festa dei Gigli, held annually in Paulinus’ honor on June 22. For a group of local residents, gathered around the tomb of Felix in the basilica uetus, an actor read passages from an Italian translation of Paulinus’ carmina, which were then subjected to theological exposition by the Vicar General of the Diocese of Nola. Even now, therefore, Paulinus’ poems, with their straightforward diction and everyday subject matter, are seen as an appropriate vehicle for inspiring religious devotion in the lay community. It is not difficult to imagine a similar scene at Cimitile when Paulinus himself was leading the festivities, 1600 years ago. Still, this modern recitation raises questions about how the Natalicia—that is, the series of poems he composed for Felix's feast day each January 14—were performed in their original context. Presumably, Paulinus would have delivered the Natalicia on his own, without the assistance of actors—but would he have recited all 858 verses of Natalicium 13 (for example), or would he only have presented excerpts? Would the readings have been supplemented by any commentary—theological, or even literary?

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“…See Holzberg (2004/5) 220 on the coincidence of book number, suggesting that 11.5 stands for the encounter with the Underworld that must precede Martial's 'Odyssean' Spanish nostos. 32 Martial's scenario may owe something to mime: see Panayotakis (2008) 196 on the performances of Vergil's underworld scene in the theatre that are suggested by Augustine Sermones 241.5 (= PL 38,1135-6): 'it seems that the ghosts of deceased Romans somehow participated in the plot'. 33 I owe this point to Andrew Morrison.…”

Section: Republican Exempla Under Imperial Rulementioning

confidence: 99%

Introduction

König¹,

Whitton²

Roman Literature Under Nerva, Trajan and Hadrian

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How a culture handles marvels is revealing, as Rebecca Langlands demonstrates in this volume. How it manipulates and twists its clichés is equally so. This paper investigates the handling of the clichés of exemplarity in texts of the Nervan/Trajanic period, with a particular focus on two relatively short texts, Martial 11.5 and Pliny Ep. 8.6. Both are about Republican exempla though they differ in genre and in mode: Martial's epigram seems to offer playful panegyric of a new emperor's effect upon the best of Rome's (long dead) Republican citizens, while Pliny's letter briefly adduces Republican exempla to attack the memory of an imperial freedman and deplore his effect upon the contemporary Senate -one of Pliny's rare moments of invective. What unites them is a treatment of exempla in counterfactual terms to explore human responses to powerful individuals. This counterfactual treatment of exempla strikes me as gaining ground in the period between Julius Caesar and Trajan, particularly in both satirical and panegyrical modes as they appear across multiple genres -a curious phenomenon that is eloquent of the disconnection from (or rejection of) the past that marks the sense of modernity that defines the literary horizons of this period. 1 Book 11 was Martial's first publication in the post-Domitianic period (its likely publication date is December 96), and presents itself as (yet another) collection for the Saturnalia, and the holiday's drinking and mayhem are celebrated in poems 2, 6 and 15. Although its opening poem is not addressed to the new emperor, it is clearly marked as Nerva's book; he presides over the Saturnalia in 11.2 2 , appears as Augustus restored in 11.3, as a third-time consul under the protection of Julian/ Trojan deities in 11.4, and as the princeps who (unlike his predecessor) gives married women no easy cover for their infidelities and forces them to sin openly in 11.6. The book is distinguished by a high degree of obscenity, which seems to mark a renewed sense of freedom and gaiety under Nerva. The sense of a return to the Augustan Golden Age is also implicit in echoes of Ovid in the opening poems. 3 The representation of a new Emperor as a new Augustus is a rhetorical move that is, by now, conventional in the praise of a new Caesar, as each successive ruler is matched against the one Caesar who became the exemplum for them all. 41 On the 'porous boundary' between praise and mockery, see Garthwaite (2009) 427. 2 This poem too, with its implied recusatio of imperial epic, is expressed in the counterfactual (if there were a Maecenas now…). 3 In 11.2, for example, the remark about Martial's works being read by the stiff centurion in the Getic frosts marks how far we have come since Ovid tried desperately to escape them and bring his poems home;

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Virgil on the Popular Stage *

Cited by 11 publications

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Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

PERFORMING MIRACLES: THENATALICIAOF PAULINUS OF NOLA AS POPULAR ENTERTAINMENT

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