DUCKWORTH COMPANIONS DUCKWORTH COMPANIONS GO GHEEE AND ROMAN TAGE ‘10 GREEK AND ROMAN TRAGEDY Series editor: Thomas Harrison, Seneca: Thyestes Also cvailable avis urpides Hipotytus — Sophie in Euripides: Medea Wiliam ten Seneca: Phaedra Roland Mayer Sophocles: Ajax Jon Heck Duckworthon oscdnage Ss , London CIM 6BP Te 020 7490 7509 £20 7490 0080, oor ©2003 by PX Davis Alright sere, [No prt ofthis publication tenes Re Hoe nro nid in yam ory are 0 ithou ta eRyNg reoding or nese Permission of the pa ‘Acstlgue record fr thie om the Ba blisher boc i availabe ish Library SBN 07156 3292 1 Contents ‘Acknowledgements 1. Contexts 2, Performance History 3. Themes and Issues 4. Reception Notes Guide to Further Reading Bibliography Chronology IndexAcknowledgements 1 would like to thank the following people who have helped me by their criticism, advice or specialist knowledge: Michael Bennett (University of Tasmania), Anthony Basle (University of Southern California, Joost Daaider (Finders University), Rhiannon Evans (University of Melbourne), Florence Dupont (Université Paris HI), Michael Hurst, Jenna Mead (University of Tasmania) John Ponwil (La Trobe Universit, Bendigo) and Mareus Wilson (University of Aukland). ‘Tam also grateful to the Archive of Performances of Greek and Roman Drama at Oxford University for aces to th les fn Theater an for heir hospitality, especially to Bath Hall, Pants ichelakis and Oliver Teplin, Lowe a sitailar debt to Filippo Amoroso ofthe University of Palio fr hie generous best an forging me a deape fhe predstin of estes at Sogesta in 1991 “Thank are alo due to Annette Fern, the Harvard Theatre Collection, Houghvon Library, Harvard University and tothe Dilly Rose Theatre Collection atthe Lincoln Center for the Peso Arte, New York, for responding s efficiently and helpfly to mais: Pau happy talacknosedge the financial support of the ‘Australian Research Counc1 Contexts Nero's Rome [At the timo of Nero (who ruled a 54-68) Rome was a city with 4 population of more than one million people controlling an ‘empire which encircled the Mediterranean basin, an empire stretching from Syria to Britain, from the Danubian lands to North Attica. Since 31 nc the Roman empire had been ruled by a single dynasty, the Julio-Claudians, established by Rome's first emperor, Augustus, who ruled from 31 uc to AD 14. Augustus hhad come to power through eivil war and, in consequence, had attempted to conceal is power by preserving as far as possible the constitutional forms of the old republic. His successors, however, were less constrained by concern for legal appear ances, and Nero, the last of the Julio-Claudians, inherited 2 well-established monarchy. "The bistorieal tradition is relatively favourable towards the early yeas af Net's reg, for it wat the uninhibited crusty and ee dopey i later years which made his mame a Byword for tranny But even the socalled quinguensiam ‘orons, the supposed five good years of Neronian ru! was ‘haractrsed by’ erm power was sized on Neto's beball ‘through the assassination of Claudius, his adoptive father, in. 54, and sustained by the murders of Britannieus, his brother by fidoption, in 36, and Agrippina, his mother, 59. There was flue his iendomap of band of thugs in the strets, brothels fd tavern of Rome, an activity which Tacitus dates to 962 ‘Tacitus sees 62 a8 a significant turning-point,’ for this wasSeneca: Phyestes rs ted i insures 0 oe eng them othe the ide il panes, epee Bi from organising the : wi com ion the public for by 64 the Temata a arto BES! the emperor played the lyre Sf fhe emperor rat tour of 18 and 67 he * Greece, participating in all per iities was Nero's response to to Cae oportaniy eae oor sme ‘lus describes it as follows: ng ts sae and on nih sa sa wah tat pres cog idee vee as tie and wild gaia of a with gold and per re wert Perms 28s that Nowers ale ki ers thar pee om Me aaa thong th cE ng hb a i Suetonius Nero 33 1, Contexts ¥or Romans this architectural projet proved particulary ofen- five becase so much ofthe iy epace and so much wealth had ben lavished on what was esentilly a private residence. Bat if Nev's rule was both criminal and deeply offensive to traditional morality it must be acknowledged that these years vere notable for literary achievement. Iisa striking fect of literary history that the years intervening between Augustus and Nero were relatively barren. By comparison with the ‘Auton age, the era of Tiberi and Gaius Caligula was not fone of grat literary achievement. What had happened? Why the apparent lack of terry tales? One reason may be lack of imperial patronage, Unlike Augustus and Nero, Tiberivs aed Gaius donot oom to have been interested in promoting liter: ature, Another reason maybe that writing became 8 dangerous eecupation, Even the relatively benign Auimustus had burned the works of the historian Titus Labienus! and had banished Ovid to the Black Sea and Cassius Severus to Crete Tiberius and Gaius proved more oppressive. The Iistory of the duli-Claudian emperors is one of owing sutocracy Tacitus tells us that the works of the Bstorian Cremutius Condus were Burned by order of Tiberius and that the bistorian committed suiide® Aelus Seturninus!* and Sextius Paconianus' were put to death by Tiberius for attacking him in their verse. Mamereus Aemilas Seaurus felt Shiiged fo comm suicide after being accused of attacking Tibwss an a tragedy entiledAtrens,® while an unknown Weiter of Atala farco was burned alive under Caligula In Ihe inter years of Claudius. and the early years af Nero however eeaitions sem to have improved, perhaps because Claudius was a man with scholarly interests and Nero was an enthusiast for all she arts iterate revived such an extent te ent yours of ‘Noro that ifs appropriate to speak of « Neronian iterary Tenalssance'é "There west major achievements several genres: Persius in satire, Lucan in epic poetry, Calpurnius Sretus jn pastoral Petrnias in the novel and, of nurse Seneca in philosophy and tragedy. uste Sosa fere nage toes , he 7 renowne ategne ta cage ca ot neers et dulterer and served one of tus io, a Greek historian of nang Seca was the paradigmatic wi Hegations that Seneca had villa (Caligula’s sister) and ister ‘and Nero's mother) Dio offers the — weit inny athe he wa conte Se re Be plop wae rn tober, et gh at, he i tein itty ofortanty bee tered rosa wrth te syed rao mk eens : 00 sce FeAl he acquired prop al, Pi ti ing Cassius Dio ict Se, Dio 61.10 cimceg gy he Baa! fr exorbitant pois we = Teer on of 61 (62.1) Though tot gat Natl wing to ako Mis fa tee RBar tly years of Nero's ‘he gan Af" eye OH poral and A ae poy, that they, managed Potten’ sald x ist appearance o BR 1. Contexts Seneca in the Annals, a8 we have them, is when Agrippina contrves his return from exe in order to assist inthe educa tion of her son and to advise in securing the succession (12.8) Once Nero had come to power, Senece and Burrus are repre sented by Tacitus a having a positive effect on the young princeps, limiting the murderous impulses of Nero and ‘Agrippina, striving to control Nero's vices and restrain his other's influence (18.2, 6). Bven so, Tacitus presents familiar charges against Seneca through the mouth of the loathsome Pablius Suillus, charges of adultery and an avarice ineompat- ible with philosophy (13:42). He also records an uncertain role in the murder of Agrippina (14.7, 11) as well a8 taerance of Nero's taste for the chariot, the stage and other forms of dogra- dation (14.14). It was the death of Burrus which brought about Senece's downfall and his retirement from polities (14.52) Once again, ertcisms of Seneca's wealth are reported But they are placed in the mouthe of Nero's inferior advisers, wile Senoca is deserbed by Tacitus himself as one of virtue's guides (14.59), Senoca's death is described in great detail (15.604 ‘Where Dio says that Seneca was involved in a plot to kill ‘Nero (62.24), Tacitus implies that he was an innocent vetim ofthe Killings which followed the diacovery of iso's conspiracy Where pio claims that Seneca wanted his wife, Paulina, to die with hams Taoftas states that Seneca discouraged her from their arteries but, at Nero's rejounds were bound Up. Because @ing was ‘taking so long, Seneca took hemlock. This too was ineffective te Sone died of suffocation. The episode closes with & Tepe that, bed the pot been successful the empire would have eon benadea over to Seneca as aman of outstanding virtue (15.60) "Though shoving awareness that aspects of Seneca’s involvement ie politica were morally problematic, Tacitus gives ‘relatively postive account of his lie. Sengca was born between 4 and 1 36 in Corduba (modern Cordaba) in the Roman province of Baetica in southern Spain into a family of equestrian rank." He had been taken to Rome before an, Tor he claimed to have sen the great Asinius Poli 18 | | \ rrrSeneca: Thyestes sho did in tat life, not holding lie Ne ae ig lien, oto Bara wie Sees who held no hoe et ae ct the rat rs oer with Barus wey rospoible are the histor ean teatly in Nero's reign, Sete ne th are) tof Seneca’ role at this comer cy ta ny a Rey eaten Se ey i ae ned et aur Sera ate J wih Aer om hs mae embassadors” He also 20 Seen a Ral of ora Gant ei apwina Ea were eas ranges Gat serine enone Be tata EH ar ey stg, for exam are et a Ot i ge is Pron flings Peto’ Nero at least ston promi rreeland h fheSebae's role in gover: Pipe Othe ag a erage le Seka ene ES rept coat " mo ae na er ehh EE teat ass mr, ght Seca soe io inevitably Jed. to moral < for tulesee in the murder of eos une fltlessncas some nie be atompe wt murders 1, Contests Agrippina, Seneca beeame implicated in her death, eventually having the task of writing a message to the Senate announcing her doom in terms which implied that she had been ploting against Nero's life "The death of Burrus in 62 led to a weakening of Seneea’s position and a request for retirement from polities. Although the request was denied, Seneca effectively withdrew from public life2* Aftr the fire of Rome in 64, Seneca asked for permission to leave Rome altogether” When this was refused, Seneca feigned illness and deelined to leave his bedroom, living on wild fruits and water. This period of retirement was prolif, for at this time Seneca composed the Natural Questions, one hundred and twenty-four Letters to Lucius, and, most probably, two tragedies, Thyestes and Phoenician Women.2* ‘The date of Thyestes “Lack of eternal evidence makes it imposible to date Sere’ tear ath able contidnce or rein. However pz dae ie ead Trajan Women Senec's sit om the fn of Catia suet bat only sugges) that these ys see ee a dition the metrical aod ote Ta ten which have ben endorsed by sient Pon! em torture sounding te cost See aco an ery prov comprising Agere, Phecde oo8 Oedipus, @ middle group consisting of Medes, yaar and Ont ule, an 2 ate group cosining Fe rome ase ad or szaping nt the BY Were Plots and Phoetvgporiod of tess, addon, the Famred ovr ot hyctes sams to alle 9 theron of Remanised world mention of bestowing diadems on cnt Rae re ch rages Neos installation of Tgranes Se eae mena nao 602and the zferenc othe wana aso, re were pressing on the orders of Moni the Gon Morne the clone reltionaip between These te Oo supa that he play ater than he eats, Si Oe Mere sues abo 9, As both Tarrant and Nisbet 15Seneca: Mystes SURE a dat in the eat Mt Hl pny 808 60s sms likely for Thyestes, the = ing Seneca’ witha Sete eens miko om pac ‘sperienees dating the frst. decade of News's rage ‘upon his Sssocated wit the year. Theatrical perfor ii the Ludi Megalenses (early April) (ate Ape, ily pet le Floater early May), the dt Ro mani (September) and the 1bee caleuated that inthe 1805 ius were active, there were available for dramatic perfor~ Onna apormACeS were associated Ra re ae sei event, 0 ol ere a the apn of a deceased have been introduced t© Rot until 240 ne that 3” is way onto the Roma 40d was Livius Andronicus, be suthr of the Laie marion ot le the four best. know? its (23) iho ded around 200) ius alg <8) and Aecius (170 ~ © ota 2PM cometies, wheres ‘omposed mistl¥eS exclusively to the ‘wel {28 on Roman historical 2 on themes drawn {FO seen fo have bean 1. Contexts Little is known about the manner of performance of tragedy under the republic, The Latin poets seem to have limited the roloofthe Chorus. On factor i this may have been the restric: tion ofthe Chorus to the stage area, the area used by the actors ence the elaborate singing and dancing characters of fth- century tragedy would have been impossible, They also pruned the metrical variety ofthe choral odes. We do know that Roman actors wore the tragie mask (Cicero De Orafore 3.221), robe and bbuskins Prom Horace’s Art of Poetry we learn thatthe five-act structure had become standard (I89t) and that it was still conventional that any tragedy could be performed by no more than three acars (192). ‘All theatres in Rome were temporary wooden structures Until the building ofthe theatre of Pompey (65 0). This theatre as radially different in conception from the Greek theatres of the fit and fourth centuries, Unlike them it was a free Standing “structure in which the stage-building, the femi-cirealar orchestra and bvo-tiered auditorium enclosed « Unified space. tn terms of later theatres Pompeys was eccentric Inthat it inorporated a temple of Venus in the auditorium. The ext theatres fo be built in Rome were those of Balbus (18 20) tnd Marocfue (11 Be). This fatto theatre, begun by Jul Caesar and completed by Augustus and dediated to the rnemory of his nephews became the prototype for theatres “broughout the empire, Apart from thelr physical remains, our main souree of knowledge concerning theatrical buildings is Vitivis, an architectural writer af the Angustan age, rom Vitruvius we tear thatthe tage ina Romsan theatre was wider than that of the Greeks, bcnane al actors payed her prt 0» the stage that tho space in the orchestra was alloted to the Seating of senators and thatthe stage building consisted of = Palace with throv sets of doors, those on ee right and the Tet ers (On Architecture 5.8). for the entrances of strangers (O ‘As Car ag we ean tell from the surviving evidence, the mos opular mythologieal theme for Roman tragedy was that of ‘Areus and Thyestes, Thus plas entitled Are are recorded 8 having been written by Aceius, Publius Pomponius Secundas aSeneca: Thyestes Atos So Thoetes are atten eeenUs Lapa, while plays entitled Carat ged to Eons, Vrs, Cassius, Graces Sana ns UEWiows and Basin Oral tae pape (050 aa Assia awe oe daly to, Enius! Tipe i i Ares 135 9c) 8 oman rr pa UN the eres phase af Po ts ean ema i Rome Me Rey fo lx ode in he last eat of is spy fomper om th ply ani’ lay Manas our Tees ri dramatist vent Sm hs angen Emi! Poets ined am ia and her marriage (© ican trapean PE*BEDS the me Cag Velie past Widely admired of the repub- Accius Romana "ulus declaring that in Accio Ti eta est oman tragedy J 1 ve Play, Atreus, seems to have contained scene, appa” Atreus outlined his plans ‘infamous line: oderint dum & they fear’) Atreus a? 2 inhi nclodng the 35 long matters of heredity, for he i® of hi ‘senger’s description of the en, @ representation of tween the two brothers of Siniathtt the play is what yOu implies that, Accius’ pl® of tyranny, 2 Performance History Albeit when first I undertoke the translation of this present ‘Tragedy, T minded nothing lose, than that any tyme thus rudely transformed it shoulde come into the Printers hands For T to none other endo removed him, from his natural! and lofty style, to our corrupt and bate, or as some men (but ‘untruly) alfyrme it, most barbarous Language: but onely to fits the instant requests ofa few my familia friends, who thought to have put it to the very stme use, thet Seneca ‘imaete in hie Invention pretended: Which was by the tag call and Pompous shome upon Stage, to admonish all men of thei Mele eetates Alexander Neville, Preface to translation fof Soneca's Oedipus (1568). ‘The best actors in the world, either for tragedy, comedy ‘Seneea cannot be tao heavy nor Plants 00 light Polonius in Shakespeare, Homet (16007 ‘Whatr a writer expected his play ob played oF nts ele ‘nth pate wher slab Ta ec in Bashan Translation’ (1027 Symmes i ste te ln ta Some fucken aa = Paes mee GK. Hunter (1986Seneca: Thyestes Performance or recitation drama? rast ost contentions ia et they were wate for stage perform. etn One mal ke the tet of oar st page we find alist of characters i tt eRe weet chs ae og re and thatthe work is punctuated bY ei ea te 8 chorus, Characters soli Bade dch SE tins are bt represents Sh fo eno nt stage direction, but these, oar are impli fie. Apa rom plied rather than explicitly nie et et onan om thee eM tnt of Theses ders i ae 8 Grook tragedy for Testes text nat al ma whos nal Marker ofperforman at we ane Sta ih wrk el Sithe Blcabethar Tsing that fe urs and enw ang at ao for scholars Psy writan a 8° Seneca was an author #0! ln sae Alcan Noe ten for per lipus resembles the Oris" to Se ettmance, not publication, While rte jitter age par oth elo 2 Stil ab wane that ng ‘rit " opinion. And yet nowade¥® en of Rance ay . man at tnd fle seem to some contempora"Y on es they asst lerature incapable of staé™ Ue pig me ized to the eatogory of ‘reeit®” ‘en reason : be tate a that adduced by Hunt ating DE inaction, and therel™Te pean ee peaker 8m a the Kn cont the be king gf ottetporary spectators 2 vie, eatonal action we find ine. are’ May soem static. But 384 the performabilit ©! 20 2, Performance History Fras Hig! for good and obvious reasons, remains unques- "What would Hunter make of Aescyl’ greatest surviving play gomennon? Here th draio sonsts sce entry of lengthy speeches and extended choral odes.° Apart from tntranges ee the pay his very ile action. Tt begins Sith te Watehmas spe after which Cltemnestraextre inorder Yo inform the Chorus of Trays capture. Nex the feral enters to announce Agamemnon's imminent arial ‘Amumorson now enters wth Cassnira and is weleomed by Clyeemnowea Ts oly ow tat weave significant action Agamemnon trampling on the tapestries as he enters the Palace "This iy followed. by. the confrontation between Chandra and lytomnostra, Cassandra's prophecy of er oe ti Aptos death and te sound of Agamerson's death re om within the palace, Newt Cltemnestra and egiths take adamacaly powerful ey standing over he bois of ‘Agamemnon and Cassandra. This is followed by a debate Barwon Ciytemnestra and the Chorus and the etsy of hn then By estan of Skee Caer ayy state Here i no exiting ui fie action oe sarprise ofthe kind that Hunter wants, And yet tre kn eat tk lay was a high sues teat se etn ae em tnd that thas ben perorsed to eet ee eae The complaint hy Hunter and other aaa ae A rama het Seneca tragedy i ate reveals na Ee atformabiity af Senean age, but ther ieetapmpmy randy nthe laa in, ot mea ee ncechys Agamemnon, These i et ampere wth, er ar fee id eee shoal odes, The play begins with an ‘unnamed Fury’ dragging the oe ese nderworidpaishen tows the Fala a gna he ca reactivate he family’s inate Tr Ee ess antaas tempting 9 eseape yin 0 block the Fury’ entry into the house, resisting until the Fury lashes hi tno Tanta then enters ee house and i dann acts prevents tres, Tle of ArgoH whDping 2Seneca: Thyestes Disa a ‘Tastes We a me oe = hatred against his brother, readin ing his revenge, planning a fal pent ad cGating wh hs Miner’ he een Ara hee eer with and edtion bY ‘pw aponegion of rown and royal robes. Act stake” and cnn Tatatve, the Messenger’ report of tres" ty ee CT ant of cons evan ote ago Hse Areus vitorius entry A Ore of the cise Sees his drunken song, and the faving bt state, By ancient standards Seton nth ew tha seed netball ung eeen ‘unaccompanied by vigorous importa arama. Te ig not the Length of @ est mht ler yeh duality: Although Biizabeths® sri, they fey Seneca about quick-‘fire ive some "tS MUCH to learn about dramatic da ®t, cb esto rare ani: above al, about the use ©! on 8 rhetorical than his thee 2 he performability of Seneca? ae ng ts Occur in Seneean tr tain Sng e886. Thus Hutchinson tells US ie play are often wildly wnred!” il beast as gh 8, the inspection of thE Hving ‘hat ate which is unplayed Tle alt events of wats in Westerns are IR geomet kind cannot be ase ion eel production. ie ipus has been succes Nang area Petr Book Cease tm Ln, Seneca * ih ” an le re Sumer at the Ale nn ‘insurmountable cents ain opie Of AFEUments against Play” isin Senecan tragedy om 2, Performance History make sense if they are performed before an audience of spect- ators." The treatment of the Chorus in Thyestes is a case point. In Act 2 Atreus reveals to his Minister his true plans, i particular the fact that he proposes to lure his brother to Argos Inorder to take his revenge. However, the Chorus whieh follows seems quite unfamiliar with these events. After line 335 they sing their second ode, Their opening words are, superficially at least, surprising (836-8): tandem revia nobilis, fntga gms nach ‘rear compost ins AL ast the royal house, the family of ancient fnachus, has sted ‘theatre of brothers, ‘The word are surprising, because the auience knows them to be fal. Sutton" attempted to resolve the difficulty posed by thovefines by deleting tem, action frst proposed by Richter. However thi textual emendation does not resalve the conta Aieton forthe Chorus proves equally ignorant af the events of ‘Ae Dn thet tind ode as wel (54659). Otherwise they cou nt inteprotte apparent Fecncliation of Act 3 as resulting from pictes (649), eto surgery is not the slation Bot ifwe aap that Senet as opposed to fith-centar cho any or nay nat be present during an atthe probes Sermon opto than sel not fica for ws, we are an valence Ree theatre, vo grasp what has taken place, Having teen tha the Chonux'menbers were absent during Act 2, we can delet tat ey have heard and believed reports of the Proposed ocroclation between the two brothers: We know, Towoves ton their viable absence from the stago in Act 2 that thy eee at erie to. Atreus™ true plans. ‘The. optimistic pening ts Ode wil cause an attentive adence of pectators 0 surprise at all Since Zirlin's'clasic statement Arama in 1966, his postion has stely ofthe case for recitation een losing ground in PySeneca: Thyestes {be Bagh speaking world = wok eect on the sent I. 1969 Walker declared that the cna ae tb Present reviewer was to make what prev Seeing tle ne oe arene peubablty me Sencan aa Seca slr now accept that 8 ub tithes the pubic private hat Seneca wrote with bie rors agen ind, Thus Sutton argued mate and Dn ple Caer favours private pet Pont iy tite tralatons af Phoedra and on nthe pu, the Sag. supports sade can Za fra aa tl eve that Seneca write wih anata Thay ge ae, the. plays' undeniable Lathe ane 26 meter i eh ene thet esis at pte 2 te acct Ny icing enrict haps any reading or hearing © I erm gt? aking the effet to mare, pnts Tarrant, having. agcapted 2 on ackrowiedgltcation in his 1976 edition of 2d, vile eae ie ra his 1985 edition of Thyestes ding that ‘a strong th 41 flavor Seng tae ONE thence concn 80% lieeiyees BAY setually have Bee is ime, continued to believe that, tout regard for the restraints © Coffey argues that ‘thous to provide a vehicle f° ton in which the audience "a spr enact rane he PS ‘in whole or part should PO! eri aha Sonne yh kan len bate in the English-speskiN€ an Somer ot Haruo See Mat dy na AO producion of Tro” AS SS ra es a gi® trang dramatic prformane® ~ Meta ei ned and. Cli wmbiguous supporters © % 2, Performance History szage performance, but too were CM, Marsal, who Contriuted an important essay on theatrical aspects of ence’ handling af the Chorasin Trades and George WA, Fanon who dscns the physi sting fase perfor inane, "Bren former supporters ofthe “redtaton rama theory’ offered paral rearations’* wth Fitch arguing thot ome tcenes were writen with staging in mind and tha some wrere not hi corel example being Act of Theses for These per and athe saciiescene in Oeipus for Unprfombi.Fantham enforaed that poston, continsing ton that ‘al tage-acion must be verbally signaled’ and then offered out page of Stagedrstions fr an esl pest tance of Trjon Women upon, hac bon involved in major Frnch productions of Seneca tragedy nludng Phyeten has anpued that the tueton i wna poned. Se came eat where ae of Ou Crntemprares see versity, the Romane sa leawence and the eae a ag ad tea rbot” and Teeth mono ogues' were an intrinsic part of all Roman tragedy. Thus ‘the: sins Senn pay” reas dow nts bo gens ‘is Roman tras jlayable in current conditions?” and ‘dic Sencar ae he! Roman tragedies? Dupont hols that Ino ee ter sys She argues tha, aan amateur ‘tragedian, Seneca in fact wrote for the recitation ‘hall and that venta eon hal ena conformity tthe ules of the tragie stage. Thus she concludes: 1 that he vo so he debate 7 genuine dramatic poet having iy because he intended them for Tei entertaining to state final are both ght, for Seneca writin rea tragedies, provi! Publi reading” ‘Thus Dupont collapses the distinction between recitation and Perform ena ty arguing that Sones wrote for terest tion hal, nna that that entailed writing in accordance with the ules of the tragie stage. Although Dupont’s compromise is intriguing, it should be noted that there is no necessary connecSeneca: Thyestes tion between ama ther Penstevttragedian and recitation hall, for Tacitus ‘an ex-consul, wrote for the saat ties a! that ae rob neerosntly, Hine is right, rspangt eetaaae tee nee ayo Fett TS. Blot at whee ee eae of the texts tap oda ee pt ter Sree cycle net a hl re lines whi ch oh el actor, tec ake of that? ihre mae % 2. Performance History Seneca’s tragedies are not merely playable: they demand performance upon the stage.® ‘Types of tragic performance What kinds of performance were available to a Roman drama tist ofthe first century Ab? Our evidence concerning theatrical performances under the empire is limited. There were thre kinds of tragic performance. First, we know that dramatists continued to write tragedies with a view to fullscale theatrical performance. Pomponius Secundus, for example, a tragedian highly admired by Tacitus and Quintilian, certainly composed for the publie stage.t! Secondly, we also have evidenco for a ‘more private kind of dramatic performance, performances taking place in the homes of wealthy individuals. Pliny® chides 8 friend who failed to accept a dinner invitation on the grounds that he might have heard, among other things, « performance hoy comie actors. Plutarch records that performances by the Greek comie poet Menander were popular at Reman dinner Parties and that slave actors performed Platonic dialogues lunder similar circumstances.® Thirdly, we know that some tragedies were composed which were not intended forthe stage. ‘The Medea of Ovid (this has not survived) may be an example. Such works were intended for private reading oF for public Tecitation. Thyestes and the other Senecan tragedies belong, in Imy view, to either or bath of the first two categories ‘Twentieth-century performances of Thyestes Ay produetion of Thyestes feos one insuperable problem from aie ease nul tri od pay. 18 al Paced fra start, it's (oo sort) and gory Father than horrific» “Antony G, Keen, ‘Review: ielus Annoeas Senece's Thyest Sone ers hunan being an fc ith heen ated yh pts ting ot eh Ms rie wart eared ue ‘ Bree Sige Nester Amann 2of their having taken place, tances associated with the fees in Sonecan drama, i ‘production of Thyextes took place atro Valle in Rome.® It ws ‘nd Ligh seme wae Nut tele Squaring, with Thyestes in a transé Toceng is, the production vas nderne t eaeh Ltzati sched eet fhe er and ‘urs both pin, ven 0 nab i ret and wun el ani TB Tootlas wearing {WES having ang pea a] mee keke ‘ot 88 an embod 2. Performance History rent of the civie community, asin Greck tragedy but as an tsa wows consGence, vi and though re thowe of Seneca, InAct2 Ate entered quan priealy costume, The Ministre saws hity man fat, bald and tind Here to Gassnan sa ‘biographical reforencs, with the Minster being reminiscent A Seneca a8 Nero's utr and canal, Senecn dll in bis hope of controling and saftening the tyrant. As for Theses, Gassmanstrned thatthe actor plying this Tole sould avid ‘aking him a vim eo as otto decry the pays oposton Seten wo fores and two types of ev oth condemned by the Poel andthe Chorus, Thyete and his son entre In wretched Claes Here dramatic tension ares fom the sons ale on Alence andthe fathers supreme difience. For the eenuntr teen he brothers Gasman broxght on Alco” dren, ‘Agamemnon and Menelau, who ban play with Ue cousis, ‘with the litle ones playing ight hearted the older ones Playing ith instinctive rival Atreus and Thyestes embrace, Thess Il down untried by his brother Theses thn ston the throne, The some ced with Thyeses bing dresed ws pris king and Atrous leading away his children. si the enengor in Act Gssan od he ght of anal, aniping his move by anguing tat this messenger was more cbetrat dh the messengers of lsscal tragedy that the nee no human itso to Ate ins spd, more impoctanty tha ie drew tzetion to Uo predestined, heel ta nals baer ations he final shoal oe Dresented the greatest problems, fr Gassman's view i dels ‘ith proton eeues, but in tanner more retrial chan tel On theater hand oc eet valuable peuse Tetyeen te Merengersnarative and Aureus entry. Aor the linac scene, Gassmnan wrote as flows wethout sco thou Feast, of ads toc, tho xcs atures rea, tape emotion 1 fs necessary to confront directly Without exution, the possible ridicule lopped’, of ifebood’ the groteeaue, ‘hich could provoke a reaction inthe fare here the equivalent of an appro 2»Seneca: Thyestes According to Cor A larly well lar inal scene worked partic- Tyo epey he eae REA performance. at thr enn ec Sei Cont cee es Seems tohave been langaly neg eet tee a Gasman daring ate Eth more reper te fas ertheless demonstrated that nd its expressive value, with eI fo the word Derpiasey end doce acta! ase daa eh E oo Sed amest thane at evo he theta ee ESP Pt ates ommena et ha whe Rs nas aves ee re blood for bi can be tng Dea tab ended ae en ion # Noni gt of Clee mas production ett thought the ne Ti © the ly wa any ‘othe flea Hayman w text and staged engan a 2, Performance History ‘The actors were virtually naked and paintod lack. The poor ances ofthe principal ators generated diverse rections, with Christopher Smal, writing in the Glesgow Herald, declaring that Gerard Murphy, the production's Atreus, bellowed and falumphed about the stage, and that Rupert Frazey, as ‘Thyestes, though more restrained, adopted a ‘Sambo accent By contrast, George Bruce, writing in the Sunday Times, claimed thatthe eetases and anguishes ofthe intense perfor ances of Gorard Murphy as Aireus and Rupert Frazer as Tayestes find poweril expression’. Opinion also dered as to the relative merits of Hayman's and Seneca's contributions to the performanes. ‘The Glasgow Herald expresod the desire to see another prediction ofthe ply. though ‘with a ttle more taste and judgment’ and with a director other than Hayman in contra while the Sunday Times claimed that ‘had Mr Hayman Simp hoon fl to Senos, we shold have bad ey 8 loo rhetorical tragedy iC unl ie hat Theta prod in he United States" In 1987 (2530 Apri Panagiotis Agapitoe Ainected Tyestes in translation by Richard Tarrant at the Agasiz ‘Theatre, Harvard College® The emphasis io this Production was on dijintednes, for Agapits aimed to aro the incangruence of word and action, myth and history, Greek and Roman, Consequently he presented th play “8 arehearal Ot a *Roman-eostume” Thyetes' oes were assigned co the ‘rious character to demonstrat the relations betweon them, ith fr example, the diet aso playing Ateus and the same Stor Bayng the shade of Tt im AC ad th 78 fants in Act 8. The cho = Tee ry Se horas linguistiealy from the main Body of the pay” Each Peformance wae accompanied by muse (piano and ere ‘rosy improvised foreach peformance. "he 190s wor remarable yearn the performance Ksoy of Thyester, for the play was performed in several Purp Sites Milan and Segesta in 1891, Manchester en 21804, Paris in 1995 and 1989, and Rome in 1998 atSeneca: Thyestes adly: In April 1991 Antonio slation by Raul Montanari at the rateviewing the play for Corire della. sete line that he was grateful to Spay Hoge. Senec's text and tailing greatest Spay nt weve teil to Spay or ome tse Sse y hag ese Played by nk me Me ve actors, all dened ave aero Seed to have come om aciceee band seiorgncctsti fm, Further atthe ance eau ATS Wore Mickey Monae ne Equally striking was trou, 88 business this naraats dance, rolling on the {the Phone, simulating lesbian se Pn 20 bol up the dear en snoring. Perhaps not i considered that all this was dnt tient tring te le ‘Nevertheless Raboni found praise for the sana if ‘ator if not the directse ts See eed bol Ofmueh al of ancient drama fal ie ce ey Sa in Sigs or ohis os ett was Wer Pag Was im Sa! ea ae whe Perheps not suprsingy Se acting and i Orchestra, ook ne aC Was Occupied by an, rea den 2, Performance History tn ne erro dy nent aa Gane, Reframe enna a ty th terns opin ‘bn tae rte be Res ets te ean “it pion eh dasa et Chorut ot a ‘entered and exited with the ae sec wi Ro py ete mt ny Seed fn he eseaion Sede Sona pps ert een 2p san erty ao sw Pecan et A” wane ane we Erne ft ns ese ae its powerful acting, for it employed some ee : cinema ectors: Maurizio Guel cae Sins hen a Equally significant was the British production whic oo wi tc egal Presented in modern Lora and. ae ma roduc Oras apt fat ea Seca ree Tals ile tempt to anv erin ee ee ih lief that they dering is ips ably th iences. However her ren ist mara mate = wee eeu gen SD 38Seneca: Thyestes ence ariving to the sound of liquids pouring and tearing metal, fnfered past two small rooms, one containing a dining table ‘ith painted meal anda video camera pointing at it, the other vith the crouched one-man Chorus, Upon entering, the audi: ‘nee confronted a number of lage monitors displaying shots of ten The ncn a ec ew So HT ie Pail a “re te ang ee Patri lotion wi vole tno oa fost ronnie tnt cent foment Sound pn ctr of vit recat eet ul vw te mango bana fc eae ‘ts the the idn seen sno apr mente sam Dele Hts dtu that's ne a ee shih same vo and the pate ga sak ey ning pate the iwan iow ee ‘atin whonelearne hat ee fullest ade co tar oh yang Bu eins don gus EH chs. one more example, alnays assum Pee ‘power, of how much = the requisite Irving Wardle f-poken, almost done to him until the While reviews counts by jour- Dion, Preudicod. Thus Bdith “pplement that Seneca unsugzestive of stage trical ion" is am Antony Koen ye eet of fact Ie eiclat review in Didaskalia es faces one insupet™ "5 1 not actually a terribly 2, Performance History nature of the fon lay he was more isrutve aout the na ‘ticle to follow than about the pla. ane By contrat jurnalita wating for he general public hough sometines revealing the awareness of handbook ammonplacs, were more open-minded, Some made tile flr pra of eaten na ang inabsre room, with a cury-wgged man ina red frock moaning ote Robin Thorber inthe Guardian. By contrat Michael Goren inthe Observer, though avare that ‘Senee's ERY ot hue bee intended for perfrmans’ anny tha a reasonable cae for his dramatursical sieance sa {hte while Pal Taylor nthe Idepende! reflted won het hat "yest ipa which wonders roll we tere are ny its othe erly human bls mil eit RO other’ Equally thoughtful were John Grose (Suny who recognised that “her, (Charis eran er ntely rompts thoughts not jut of litera Te es {ithe rea weld ofthe ethie of revenge, othe li Toe {em Riad, of what has happened in tne ona) {Rts and Irving Wardle Undependent on Sunday) Whe Oe {hf Production ‘eold-loodedy illaminating Re most part, erities who did not ‘worthless responded poste n France, by eontrast, questions ofthe thee pau of Senecan tragedy were not {ime in Pai in 1908 a oro men qSeneca's tragedies " Phyestes, alone with Tor et os memon, was directed by Adel Hak tthe Tyg artiers d'Ivy in October and November, "1, telogy 08 Ese tpn ung hee a The le Ct, the rly ating for about Fores Ds weer atta semanas “rai of spectacle where word iy tte Loin his reduction lake the igh Ee bck the sttion, but tao was im modern eS yal “9 for a thre plays was # 38working act ter Frese stunned by beauty. an cana pa pont. Go gente by ea ‘genuine and fine th W theatre utterly 3 Themes and Issues ‘Tho finest tragedies are compote concerning fet houses, Like those concerning Alemacon and Oedipus and Orestes and Meleagor and Thyestes Astle Petes 455019-21 ‘When we examine the plays of Senos, the actual hotors are not © heinous or so many as sypposod. The most unpleasally Sanguinary is the Thyestes, a subject which 0 far a8 1 know, was ot attempted by a Groce dramatist. . "TS, Biot, ‘Seneca in Ebzabethan Transition’ p- 80° ‘ Introduction ince the revival of interest in Senecan tragedy which bean tn the later part ofthe twentith century, Testes es ese © play which has attracted most attention and aes Praise? And yet not so long ago it was the most despre s claim that no Greek had written on such see tended. to. suggest. that fifth-contury Athen {Reem for good taste and. decorum had prevented SO SEmmatiats from exploiting tia gruesome myth. EI Te tr "urse mistaken, for Sophocles, Euripides and others Jays {Eeted the myth relating to Thyestes*HHoweren Be Foye this subject have not survived. Te Day is, 88,0% ShBeasantly’ sanguinary’, but readers OT ‘tofu ef the reas dh wits’ Annals will find it no more 90 HA hich it was written.Seneca: Thyestes Act t usual in ancient tragedy, for it tween two characters, the ghost of Fualus anda Fury neither of whom will reappear in the ploy? Rmployment of such characters in the prologue, inevablY | ‘anes the question of the relatonshi i ste qui tionship between Act 1 and the ee. Shed ping eee ‘mmatura fois etme concid Saconee, | ‘mensas ut strueres hogpitibus dei.” Bitch lpec one ete nana Hs tthe is af unripe vietim on the, wanes Pet Ya edd oo tat we Minny Seda emt ot cl we, Sasa inne 3. Themes and Tesues emit propius pomasque dasupor inten tals me ngue acenduntque famem quae ube ritas Serere manus" hase prota a iui tose nae ‘utumnus rapt siuaque mobi i ay Tansee oe ty yt ts er ‘side, with pregnant leaves there hangs a tree, bent at cine ty a Se Seni onal Soa ttn int ie oes a coe leaves jump about and ignite hunger, which arders him in sng te ead ‘being cheated, all autumn is snatched aloft and the shifting Se raving, Tana isan of Lust (libido, fitting ancestor for Bec of hi permanent uns ‘Poropriate emblems for the eonce {et that hei. child Aillr also makes hi = is to announce ‘he primary function of the opening sng or ‘jr themes and motif which are to be explored ait ped in thereat of the play. The most prominent of hee, >ngor and thirst Thins ofcourse APPT oy Scier of Atreus’ erime and Thyestes’ consumption 0% ry and blood, Tantalus alludes to his UME ‘then describes his punishment (4-6): sine at ‘frente in undis aliquid et peius fame an eee as something worse been found tan burning snd worse than ever gpg hunge? gered ‘endured by Sisyphus ual aa aes ote omental Sy "Sonate pment fT 39Seneca: Thyestes ‘are daily ovoured by a monstrous bin os lly ae 2% BY a monstrous bird, which is described most ‘ut poena iy ‘ut bien Til soca aso patens spread open with vat cavern, wounds end, by night restoring er forthe fresh monster , er husbands tn ome Alopan Ab SB the Fun Sian roe Spd then Tete ae teat th thine (O78 2 fanem nfam ints My heart srved at this stage, The ated with passion, foreshadowing the i associated uited lust i8| 3. Themes and Iesues cernis ut fonts liquor inuroreus ects lingua, ut spe wacent ‘entusquerarasigneis nubs Tera? els omni arbor ae mada ti fuente poo ramus et qu fuetibus ine propinguisIthrmosatque in remit, Uiina grat dluldens terra ads Tonge remotos ats exaut sono ‘Do you see how the liquid, driven back, abandons the springs, teow ver banks are emp how ry wd cris of he ase clus? roy tro arms ple and every brane ane ak Sri ed andthe Temas, which rage with elhbourng ‘sven thr svg oar wees with sede a now bond and rs fart sud ‘The passage of Tantalus through our world has the same effect Shs ree inthe under ese Trunrequited lust is associated with dryness, then lust satis fied is associated with moisture, Note the Fury’s description of the coming feast (65f): ‘siuni expe, mixtus in Bacehm err ectante te potetr while Fl sour hunger, et gore mingle ato Bash be 101 Took on roan war te This Note too her way of referring to the T and) irriget terras cruor (‘let flowing g0°e oem aoe between dryness and moisture . onlin sted an int is da ‘Arter aca motif introdveed at tapi 8c Ress and the flight of the sun. At 48f. the en ‘eae camer meant ela cg suet daa mn do sta a dat el de aSeneca: Phyestes ‘pt ot the sky be exempt from your evils Why do stars flash in ‘he aky and Names preserve the beauty owed the firmament? “er very last words draw attention to the same idea (1201) ‘ps Tan dba an abet seg comiiqu habenisire peru Bohol Titan himself hosts ates whether he should order to roerd or retrain with reine a day ther'n ysl ord #8 day that is doomed to die ‘This dea that eh i a N28 0 appalled by Atreu’ crimes that it ee jraree is & normal part of the myth.® Tig, 8 "EOF tls pay takes pace fe Can ofthe guilty Ps’ house stands, will Fury prays that erime and go down to lien peri ee Se"EAion wl be worse Indeed, in ; however let them be ferme: gues FUD's view tue et Oe site Coy successive alter we Argtecizeng who min C2 1 they hope thal Pech ot rg have eh *M Ode 2 they ack what 2 3. Themes and Issues ris dave teney ean such. bly alteration, eri dare spain 0) Bt beret ant ota determining re Jn this plage also an obvssion. Bocas of stn hh il ures dots te paternity so, 8123), Only wien tromphantwengeanc is Schioved is Atreus convinced cat Agamemnon a are truly his 10980), vane than anpunesome atthe first act ofthe drama does more than me ‘of the major themes and ideas of Thyestes: Ef epakaarsn a othe pays major event, in particulate conversion of icon Sea heute e doesnt simply preset logue Tatas opening oral stat he has ee dragged on slag agate wl while he Fury's first attempt to arouse him to action ee Shans nevulsion and his ttm 10 fee (6, Denia ber onder (66), Tanta attempts to lock the Fury’ ent) info {he house: sao et arco selus (TL will sand and keep ov rine"). At ie we orn that he Fury hola whip and i seems clear that when the Fury sas lune, hare Poor (this, this frenzy’, 101) and sic, sie (30, 01 ere ng the gk of Tantus The eos en nr ie se and ie diminad fer the Fay ter he words oc 2 abunde Cita amply done’, 105). Th ta 0) Te Bing of the ghost onstage, hs attempt tole, his ere Sntrance into the house and his scourning, undesine © To ‘eh ould be eta fom Tantalus’ own word: We i "leant potter oie howe, He ests the FU Song ‘dh iniily alent, has to be compelled fo ober Inthe es however, Tantalus sole to ie intincls (97-100) and ST! hous. A we shall ee, Thyeles ls Po ut ho i ovorcnn by inate spas abumme primary fot of Despite the play's ttle, Thyestes is not an unknowing and inert in play eo he Py ‘ovilingviti, But tint how 43Seneca: Thyestes i Caan hts brother i exactly ke himself ehat he hat the same lust for power and the same lack of moral seruple 1 Nothing that happens in the play leads Atreus to alter ‘udgement. In his first speech, the speech which opens Act 2; i ‘Atreus declares (193-5) liquodsudendum est nefas {iro eruentum, tale quod frater meus ‘su ese mall Sea Time us ie dared, dreadu, blondy such as my brother ‘would prefer were his Areus views Thyestes as he does. He also, cli i ower (288): possessing ws the same criminality that ims Atreus, » POSEesSes the same desire fot ssl Ste woe oa nase rat en NOSE gute ste hed sper Now he ‘hopes for my kingdom, oe Sc ene onthe Gronken Pye ‘own sons Atreus says (9174), Eee oe team bet Ete pri ia | | Lt he tthe din ‘wri ig MN os om iden He es Atreus have fom At 2 Te! 8 ew? Pras, a Aur ig kine He i tobe, and for robbing Aros zi "re, Thyestes acknowledge! Cheba ee Pe tent Thyestes? on oS Tn He fit comes _ "ot impress us hat is me rn 3. Themes and Issues 1. He is shabbily the Kind of man hat tous clas hm tobe, He ig Sab dressed and proclaims the value of Philosophie virtue (446-54) term ine ater gut bom nen naar bay espera Sete resins slr ith fi ip ae in in, Tso om gh never cnsed to tremble 204 far th ery rord upon nyse O ow wd 8. one's way tae fest sntroble ing on he sound CO out aber ‘huts, and food is taken safely | srionee: it is possible ison drunk in gl spk With == Teper ba ans ed a Thyostes’profeseed values are prectly te opposite oO pees wales ar prec es Alreus. Infact his statements here have mae eT eves Ae 3 ce wealth the ode on kingship which pre ers also ene of (ear ip wth see a at te ‘nem cally Susie terme the Chorus membe ‘dation, associating tue ng See aed with ang the Fs, cn en ore Cnuunt et ht ‘Resale eee Su sae? Dt Sn a aif we rosin Same el ena le ste thn mie ge i Scape Are’ oer to share the fle AE Sa a eageemge ere iD). ne 52 ees 1 2 Tg sor hi question we nee {e.g pth at Ty ea, The crown is eld suspended bees? Me ‘Thyeses refusal the followings 45Seneca: Thyestes cpt ho rgrm dc, ‘eum ee credo udgu ec: rater, tuum, | Sor Sagi ae uy | ‘Thyestes: FueTNS gleam gua fee etuant ‘Areas: "—ftatrem pti gloria agentes \ ‘mame naan espuare ertum est rgna consul ‘Areas ‘eum relingm, nist am parte ep, ‘Thyestes socio: reg nomen ingen ‘Mreus This kingdom is big enough fo i, ‘Ries: Whatever is yours brther 1 aij ino, ‘reas Who rss infewing frou ahs Whoaver has ex Rneoevcme ane H rs, [alana erenari | Ree SRA eS spat re tiy matletbot Ae arunens show unpersug sive they ars. Indad th dy boon put to Thyesten ‘by his son, Tantalus,!5 and already beer reeled. Tamale Io “teen mel enn ais ‘offered him (4306), Then Thy oceans hat ‘fier 9). Ty ‘expressed his fear. of Atreus’ a ning Ay te es Ao ieee fave wo kings a nee dans $20, dy {Be Bd of Tyee chiens ete Wealth and: Power, Ae! ae Professes indifference t0 te kings 285 we can se that iota ite out tobe, is vend ad Arg tole opes (lone oF lng ape Meal, cay yn nse a oe eS ho ea former ‘6 es Won in his father" hen eeu haat reweh techary in a cher vae? 3. Themes and Issues mself being mot by {50% He ln conjures up a pista of hime image we sing mw Sn wr 2 Thysee homily enrlyeonineng owe isclourtal oan iherent in the life of wealth and pc Ie aby GE ec tated preference for Latipith nam licet (‘I rns bt i mated prec fr, ee ae Soe wih pele’ pale feave than yng bent, C6)" pounble an eee r to good’, Bak sou 0 1e that poverty, Sr te ea ame rs Tr a pen sclentahehnatomie a fake cae ta hl eaten Ee preference for poverty esos foe te een eo cee ¢ life he has renounced 8 rer erent et a ei al ‘eee nes ited iin rat tn ede nec ‘endless drinking, But most Ley pose ain rego pat pais Hee ge dns ot ewan “owien out the same to eas Herwond Pe ore Rat ‘Bled wiht 2 ase i ea te mee Kon 00 ee TiO, The choice of "to manage Pat om, 'hyestes claims that he ean get by Wi he does not want one.!* ee There is then 8 discrepancy oo evel Thysstes ‘irl te calus, Aton inte epuosphy. Ata mare vera, Sinica aati ooo {2h he holds the same values as the ofa Oh ly. Te is signet thatthe a offer 8 Fives tose hs baer terme tn 10 Moreover, ‘Thyestes yields 10 tothe Fury in A Precisely the ghast's Lean sequor (T = ee Valu yields with the word s9¥@r esis yields with the ort & stuyestes’ professed and aaSeneca: Thyestes {tlow you, Ido not lea’), The parallelism between the action Ot Acts 1 and 3 suggests that it fs hen surrender. His professed values are overwhelmed >y his inherited natures® _niauehout Act 8 Thyestes' behaviour is remarkably obtuse. He knows his to accept a crown, behaviour suggest that he is actions ‘But other patterns in Thyesten ‘ot fully in control of his ews return to Argos means sey Fil sind ie dino tan, Eheanetendeeon ‘eas cea geen hn te nbs or ny tnt El a aid wy ‘lon ober than hae mi Wen nT oo, ‘Hag do ng de Thyestes now. finds e088 to approach ie i sae al tsp, the meee cohen the ibility fop * 489). But Where Thyestes itt a ith to Tate, ae tes does not, : ance: his unkempt (905-7. Previous! 3. Themes and Issues rmit's life. Now the ‘isesteprofesed tn take pleasurein his hemi Messenger deseribes his new condition (7784 laneinat gatos pater ftrgue mai ore faneto os) eter madi unger comam ‘raulsque uno; saepe praeduste fenuore faces ibe with ely ‘The father rps his sons part and gnaw thi ine with Geol Sth bi vpn ith Sowing peu nd ae Wine, he pistes; often his blocked-up jaws : with his Tiyestes' present appearance strikingly contrasts with is revows squalor. But his luxury is ere seated Woh ‘fem earadation Like his aneaor antl, slot on sts craves flies and wo he does nt fas le BS sons’ bodies, but rips them apart and eave Shey 8, the words lancinal and mandit Sr fesh into bis mouth it bestil eating. Indeed, be Late onthe association of Ln he fd ticks in hi trot, Note ovine tre wih he ew, Tye (at, Remeber on irtereniene pion) ith moist. Aesieaton, Here lust satisfied is eonnedted with mes Tn.Ac wo can aco Meats for aureles for Aves the palace doors and Thyestes is revealed (900.41) ro int, "erp pu purpura tg efron eu aa oe nish, ey "einige ts cn pri and POPE ‘ith win, on he et bane ee nm of revolting ate No the ie penetra ating ae ae ‘onetime sattaction 0 ouch oF purple and wld, 0 0Seneca: Thyestes ‘Thyestes’ craving for power, as well as for food and drink, hal now been satisfied Ay line 920 Thyestes begins to sing a joyful song. In hit drunken stupor Thy ex's companion takes of Thyestes. hich teen use 30) The maxim tha does Tyee fk ane das quam gu refer (i {al than whither St) cna © ‘Tayases reeds that Theses hs bce avig his ea were rae Sean ae oan is emcee sas ey The dito epg Maral made 926 further emphasises his self ‘Ho wpenketa at com sto Tanta n he Tg 505) and himsein ho aor inthe rest ot Ae of desergtion St the morey of ed agin thet eration than this is senstion# ns which Precede disas” ts the SOsmos, so it affect an Thyete pers are traly bearing they a heals of yest "on Mhyestes reeponds wa 2 3. ‘Themes and Issues ans Rea lia et a a Ba aoe ‘zpmota Tellus pondus ignauum aces? e have He arth, do you le unmoved, a slugish weight? The gods recognition that {M8 Tiysts distraught shore produces i eogitin hat 's eppeal as fae, he rth os ot espond And a.oure es reine unmoved he ell ints Tyee ns tes and to embrace his sos and hen taunts i with ks Se rk ou have (20308). iyestes speaks again (103551), acknowledging stent and i own See oki ea Sa {eptls to his brother to give him # sword so that he st emt sity tes a eee bens Pt bat rele tha he cannot destray Bsa! Yolating his sone tomb. He coneludes wit bis aN th rer agar Sh my sana am ted By 2 ttn Seem incoherent ew beaut, {TOD herein no efctive reply 0 AE BA yen Ares” description of his GL makes third appeal OBES fe and underworld, and then, 0 embodies the ight ofthe gods 2070) aven's ruler Rhetoialy #6 RBS’ three species, but. asin end 2 hlpoanes, Towle etre sons to recive due eremation ho bi Band then concludes by hoping his prayer, darkness hou his sons, ye has caten ing divine help- ae pointless, Be 5Seneca: Thyestes It is pethaps the failure of the gods or other forces Tiagad fe Thyestes! prayer which makes the world of thi ods have been revolted by Ati rerzinss sto fee, They make no attempt e is no suggestion that ‘hyestes will rapid geet Fevenge upon his brother. All he ean do in tht rapid stichomythia with which th {o the gods again, When Thyestes any Sree Ne pious (1102), Arous replica Whee? Pee got slat S28 emindr of Thysteysedueuanetauroe e Is last words Thyestes (1110¢) threatens that the gods will haw aenteanee. But what sort of threat in eet Thyeste® Ose maetked three times that te ea ad rage (351070 snd recognised the eines! his owe "88 Thyestos is weal “by the gods wht in thar Ret dy brother nao * (501), dengan tes is the | the fn vain" (7206) st in the gods 1? on the due punish That ashi whic paces that with a ‘meditation on th® ode with a deserif” m8, an event whic! the Only Thyestes place? the world's moral orderiné 1c has least right to 4? ature that Thyestes # than 8. Themes and Issues Atreus si fm cath sion ie, en i ‘through his mastery of language. In Act 4 Der be Greeks ‘and Romans the world ha href oe fture, heavens, earth and underworld. Each Seca ie distinctive creatures: gods, fnumans, benstce theo neat di ‘ions, for Atrous is all three: human, b ppt That Atreus conceives of the crime discussion with the sree TES i ca si a area oe ht be scene Whee he lin ofthe eden ake sri aq opt ies, Pest targa iuuenum nobiles ee — itt ita purpures ligat ita at Se eatin ‘Spe as nanerate seston oar sy ye wot Be lar ae adored = who ead el ne et Sack he ou nna nb cs bn i i sorrow news with, purple edi rs sacred uid 9nd lacking. not Bacchus’ sacred With salted mea All rdar i preserve: ae improperly ro eake Teg so ereat 4 iit anger makes this x0 jest. And the Messen Fe), But ae eet dose hms! ee reed O91: ipae est sac mom the (7Rot only priest; he isthe one to WF 2-14),Seneca: Thyestes ‘irs Atrous capita uot eine } ‘speelatu irae: quem prive maciet sbi bit ecunda deinde quem casds mmole $e.rim Atrus gazes upon heads doomed to impious wrath, He ‘Peptates which on frst to serifce to hima then which to ‘mmolat in second sleughter Ae fey @ Tae ah teatsimum: ja ingot ng Se Fe crlaryo Atee ci the Olympisn sis. Irn itty ole, BS) Hg ng EMBR: aY Wihthe stars Bestest a s SE the dopartre a0 TR wishes hee eae Tiga Stein which SGU (889-8). BE 7 a the children have beet asin, a 3 empleo wh ich most of the pane Abreu I eomsPitously fait to ull ei fro a i 7 ca i this play are th 42 Let usc, Teta, 6 "sue between Atrev* is contempt for Time the gods would aa 3. Themes and Iesues sr hs Miter Aer Ae smi nd he Mir {ran aon oth nn moral ach ee ta ctr ts rar tr efecto rb The Minter ras tetra ppl dayproa- Arn eis that in hiskingom mon ar competed approve th alert sins Ther ep th he pei il scr Ars regi tha taken eter rng 8 feigned approval than sincere (211f,). Atreus open! ons grees ‘rt He has nae rotons ay tnd rat (t7f” At ho damit cra! Raman tu eta: Py, deart, Unlike thr Seneca hee Fe rin, tes ds nt even exarence mol ue. A fcr sn to vers tal pints othe i of Staton lh mate hana ee sl: He Seto eatin Act 9 through hb mak crs yess he inverts the isiution of ine, I A pyoueh ‘human sacrifice he perverts the rites: lig She corrupts the ritual ofthe feast acon Attous This bings et he the se of Aeros cara eS sb That esa aloe resent in of Teas itl the Pry frum tn 30 eros. impetus, 198), This becomes exBlt In EE bea awe poste re is st esd Lay tee et) wc Kr ‘iin 780) 1 hecmen xin SON hen hen he compares himsol oa hunting dog an outeimmre tin it ot as ta oe $a fubatus qualis Armenia leo us gual oy ‘ne mula ir armen meus ls ee {Rponi ras hne et ine auras eem ‘ale inatar dnc Sar Toss ‘es ina Armenian frst 2 Ben the hor inthe mis of mach a ath gore and hunger routed, i 55Seneca: Thyestes {his sido and Ubathareying the bulls, it ene threatens Ah can wth et ls energy is is ability to whit ry first speech is one of sol ith the measures he hs! rein wae ene Sonate oti dlissatistacton oe lng ofthe cigs ete, oe his a as proved rt “0n8 but unknowing, but Pt Thess "tid appeal and it 56 8, Themes and Issues Precisely Thyestes’ appeal which brings about Atreus’ fine! Satisfaction (1096-8); une arta uera est palma, perdidere sels slated ‘Now I praise my handiwork, now Ihave won the te palm bad "sted my crime, if you were notin such pain. So the beast tr itisfaction.* The only eat triumphs. He achieves sl oly 'aracter left dissatisfied at the end of the play is Thyestes, wh "potently requests revenge from the departed 00S. {Would like to fuen now to an aspect of Atrus that reltes ‘2 important issue of the play: his awareness ofthe Dy {fl Beredity: Seneca ringe ths ese tothe fre by, sctaly ging Tantalus onstage in Act 1. He aso makes ie % conscious of their ancestry. Aires * hs {snus history He ues the naples of Petops and Tanta Su" himself to further crime (2420). And of courte 1 FigXe in which the killing and cooking of the chitdsen 4s decked with trophies of the house of Teter hes oftheir crimes. But the notion of heredity SR, inthis play not only in vlaio to Ate ATER Ko to his descendants, Since Thyestes’ evime Wh Tg. dues Acrope, his wife, Atreus has doubts aboot WM RAY of hie sons, Aearemnon and Menelaus (240), S90 0 Ini Stbicion aside momentarily, atreus 2c og ‘tal conve our Nene {286i the itor questions ts Fin es tyelment might ead to tei compton re ie ne Sside: ne mali fiant times? / mascuntus yen aC [eeeme ext They ar barn 0,310), So one ewFDgly or unknowingly? Atreu® ld be conscious accomplices (32 -30): iinet fos : "hoe petatar score: bella abmuné arSeneca: Thyestes .gererenolunt oi i patrwum uocant, paler et Let proof of their uncertain they refuse wer and are ‘uel, hos thei father # birth be sought from this erime: vunwiling to wage hatred they eal i ‘Dis question arises again atthe end ofthe play. Atreus i n0™ Tapa, that Agamemnon and Menclaus ane truly his Ov legitimate sons (1098-102), fa ae en casera eee Sac ee mS SSE Bp ates somo thon ag era ia ‘Thyestes: Sons to thelr father? is: ladmit it and, a eases fo Pi re ‘hi pg is bth highly com the obsessions of At =a Tes ‘stilts betwee ee cern With * chil owe idee ame aise is how ts sons deserved their at erga "ers: they ie <¥ed their fate becat! ou ahs DOS ne to utter two wor! c hoxth 2 is expressing ores 0 their tke TSMODetng his srtenes i "2 YOU your children), a4 rsa Tam now convinced that 3% "PY compressed ant nat whl 3. Themes and Iesues ab eon infer tht he ia of Hn tre pecs the legitimacy of Thyestes”. Cleary te i ih eta is entra fo Ate’ motivation, Bs ‘ous now fel asd tations are rl rat ofl we hou note that this not Aes’ only din, need i nok even is most extraordinary din, Ares Ses ia erp’ sie ae Ci, Te en iy aro restored tomy mariage bed! 1050, The on Baral to this claim in Senecan tragedy to son Py ater the murdr ofthe fst eo Mao = (824) Sam iam recepi sceptra german rate, ‘SBolumque Colcht peeudis urate forth ad sceptre, brother, father, hag a : Sold the soi atthe gan ewe; the King *"aped virginity is restored. - ‘eam nr ease al ala ssttremngni Ares isnot rarely a azaage, Ta not only UNO Ty consummate master of language. cover ot ms t in Act 1e is able to exert, ur's clichés ‘ectatcnes eng th te Mii Thess mitt isin Act 5, when he is no be is most apparent. The confror ‘mot Sot ee rma fans TOT T ‘peels that Thyestes nas evo th ssa on i Area OU 8 ion Ie wl ing Spek or rene ation bet tees 7 takes him 10 Pe Oe (970-2), Thyestes Lakes Orr ion. Atrous of course 59 2 ——Seneca: Thyestes af ‘Thyeses no longer has bers who can pose a threat to hms totais When gee clsfor asso es eb | ‘Consider ‘them in their father’s embrace’ (76), Thos! ndorstands hi o mean: T wl bring them along shorty | owt in is embrace’ nue diferent eee. Atreus clearly enjoys this game, for he prolongs his apeech A series of ghastly ambiguitie. He eamcadeebrilionty ‘this heirloom cup filled with Bacchus O82), The cup is ilo bane lange othe family bat leo at Bee ‘kom eup singe ie contains the bleed uf este here, a 108 Atrous fees the heads and other remaining pats ofthe et ren, From this point on Atseus irony is kee sell il mocking crus. He delight in torturing Thee ee abletopay wth ambition. for the evel abe has eta th cle Aires abandons ron ee Tefleted in hit language ote! conus his send appa! withthe word fae, frame prenarue nals sees tia Rey Ch Gintama a we Jone mene? 1050). Tyee” conhodg % ala inet the words perhaps of someune Sk there ina belance offre fe fing plays on word tai er tts as devouring hig titled because Thyestes aid iene deynaeg 2 Beane they did Pt ¥ -_ nquishes _ With his response. bel word quads Potts to When Thyestes appeal Thee a an the sods Atreus ee ution CF 3, Themes and Issues then Thyestes entrusts Atreus' punishment to the gods 9 futile gesture, Atreus crushing replies: te punted tors frado tuis ("You T entrust for punishment *9 Yo" 1012). Atreus is master in word and deed, ‘The Chorus = vo anda are ‘The choral odes of Thyestes are as impresive and 5 all integrated with the aetion as any in ancient tragedy TT four odes are sung by Argive citizens is not diffi on i patent. is Chorus whose concer for the city’s weliae i Pale ‘hae rat wordy an appeal othe gods unde ‘nd their ove for their country (1224) ional moral ‘This is aloo @ Chorus whieh treasures tal Tes talus The very that in theirs ode heya ‘plies confidence in divine support for these micting Particular they pray for an end to the cycle os of Ranta (132 Sduertat placidum numen ct ares, lemaefelerum ne eden ees et suecedat au deteriot oo ‘t maior place enips minoribus bere May {some divinity) turn Kindly gedbeed ‘uceesive alternations of rime, #0 TE tee randaon from sucowading grandfather loesing the dascondants Mere th al tr pray in gene: embers make apote. prae®® ‘avialus in morally-charged langues Tr . 88 “impious’(impta), claiming 0 raya 5) Myst Or nc poem Yow EE leeceatum). They allude to Pe {he “deca charotee_ dee” als" erm, declaring his PU ion, 1508). ifthe Chorus members” aSeneca: Thyestes tthe close relationship between the opening stanza of Ode 1 ané icing of the frst At also suggests that this « Chor Which is deluded about the circumstances in which they themselves. At 124f they rofer to the isthmus of Carinth. ThE can only remind us ofthe Fury’s deseription of the present st® ofthe isthmus (112-14). And if Tantalus’ presence has st Githaeron of its snows (117), then Taygetus is not likely t0 DE ‘covered by its far-seen snows’ (126) Alpheus may normally But itis in the pray " concusion thatthe Chorus prov most dehded 1360 ‘and lass fro exuat impetus ‘ci progenies mp Tenia A ength may the implousafprng of Withee” SP FNE Of dy Tana wary eat of fulfilment has already bee? acta hinted ie en at ban that his sin wit be repeated on Prayer that such a recurrence No more effective th® i. Indeed the words wives (‘successive alternations © {0 recall the words of # sngatur ensis (“et sword + 250). The Chorus's boP® it conclusion is brief: aright change, it only thro nil east off thie “bee alae a hopes are vain, The Fury "10 excite their toatl hed nuts descendants 8 8. Themes and Issues have seniy se, (it), and she is succes, for, os we wen tasty is the leading quality ofboth Atreus and Te Moreover the description of Tantalus’ literal tht TAD, inmeitty followed by the entry of Ate 2 thir fr blood and vengeance, aes she Crs te moral retin Ode 4245 thy eva thoi poop innaton Ding At 2h ance has ben py toa ings recon TN per ae stoma wih so pt 8 potents an apparent recnlition 8 9 3 8 Reaton on pa ha sees of fain Whi Pl 2 ind to quarrels. Thus the Chorus ones Prefesed by Thyeston and despised by AUTH rahe Wes 2 and 3 both begin with reflections o Preceding act (836-8; 546-8); tandem regia nobilis, ‘haul genus Inachy, im comport mina. {i tthe royat house the he ste of brothers ty of ancient Ina as sted ily of anc Set he qusguam? eile se poten ments tracalontas Aes "ats aspect staetactas est Woutg 2 That bestia anyone believe this? ato rientelled of mind and eel, ABeEU "ith of his brother The Resch Case the Chorus is deceived. tue Sees that the Chorwsmembes ers of Ate dese fr Ty vnacPeting Tinos of Ode 9 stalih ing pla rs haere Feige comet what Fa Tye ore 0 Oj not Atreus who ‘stood till” PY aba Ode 2 continues ‘with a 6Seneca: Thyestes thooe with lst for power, but one with particular pertinene? to Atreus and Thyestos (339-11) ‘is us exagiafuroe Alten dare sengunem ot eoptrum soelae aggre? ‘What trey drives you to shed blod sucesivly and to assault he coptze by eine? ‘This brief question recalls key words and phrases. Here the Chorus stresses: the notion of reciprocity (alternis, 340) Ruling thelr earlier prayer and the Fury's command (25); th aes of tage reminding us of the furor with which the Fury ‘Rfest the house (27, 101), of th furor whieh fll the heart of from fear and, so bea king and assert th®y rex est qu wack ies are an intrinsi part Mi pon meus eta mata ab 6 3, Themes and Issues ee hear’ ev, ‘s he who has set aside fear and the per heart nega Bit At a. scrm eingh n ae fics enumerating the qualities which the King wit not Possess: he will not be affected by unbridled ta, by thundee- bee favou, by go, by abundant harvests ne talts or raging seas or military fore. When the Ch age becomes ‘ more positive definition of the king their ore neutral (S658) {Uta psis leo rs ie omnia ges soins Fer od ply ho potond na sf pace su alta nat ‘nao hi fat and oe a oP vege Bibi dro heidenietion RES ik * or alee, oe ie pen hana leading characteristics ae arguing that the man of 5004 se ir tenure of Chorus. “ength but philosophic sel: [Rx est qui metuet nihil TES a cer ie quo dat son ehowitosi ‘ng one wo wi far aathing he each one ges ial "etn tn senna a wt what is the dramatic fun ous” ream ey re A cg Sahni conin ls Pings 8 Prescriptions at 944-9. FE pow = Power: his concer? 7 although ¢ to ates eg ago 6 ~~Seneca: Thyestes Teague ier 211), He is nditerent to concerns | jie and personal safety, since he rates his own life at nought | be can obtain revenge aguint his brother (190), He is indi’ fagnt to the ‘mob's fickle favour” (3526), for he values the Judgements of issu (866), he will son ‘walle equal with the Sg ind shove all” (885). Atrous may not as yet meet tb? Thera laid down at 388-90, absence of fear ond desire, but i ene . adequate to deal with thes? ad that Acer, that i can be angued, peralocean es, (2 SeiBSires pare 3 tiene rhe | Poser re is @ remarkable foincidence between hif smth elec ce 3 ‘rue kingship, go Tree, P88 gleaming. ‘with gold’ (347) an? sacha oe gos ks pen A OA a8 Gs, gust 2 ere “0 shine on my lofty ceiling, a assert that sed © Ms: “but we a ut Weapon eat ME are not fe ir house is 5% semen Ke fer He value death above world!’ ae cat ods beet 8 seinen of te Charu a optierahe acer assertion of ‘adherence to phil” nc ad saben aviour reveals " suetficil, Wealth may ™ the sen 6 3. Themes and Issues in Thyestes' opening iat a ing 940, but a we hav ton in Tene pening EGR ts wea ora tht ot rms oe ‘hiking king may be unmoved by the mobs fle fever (351f), but Thyestes looks forward to the oor map| {Me true ing knows no fen 88) it Tess {it At, 435). Bren more telingare Payee aso laa that either cohes of Tran eat oon aking (46), but by the end of Ack 8 TVS ngs by ating ode emia ments 8) Raby accopting a erown (69. Thyests ction mE Tay {Bethea deceived about the true nature of i lve Saathnown to hima 40), By he ta = 2, Thyestes is shown a frau de 8, The inference The Chorus proves equaly deluded in 0843 Ter ortho {hat the Choras:members dav fom thei sino he worl ot UOT At striae icomor et TBM: nous maior pitt wer ela etree rence Pity 0). They contrast oe ve wl SIRS SN moray ie wh ary a mil hose thas hel together (65 2” Pg Tango Make in a tragedy, given thai Mal strife which is the met erates | the first three odes reve! the Chow 2 cosas their ove dv thsi world’s true nature. Bie z ect which has boen foreshadowed & Sy he Puy af 690 27d 2 ope ond Fugions, 614), hy the MessePer his TaN speared inthe sky as AUC SYN con vote ann’ he 72. Envelonaat © the Choros make Play (dies "eloped hy darkness, ms (189.93) Re terrarum superumque pare™% Seg eter eee eon, 67Seneca: Thyestes at whose rising all dare night's your journey and destray day in ou snatch away your face? ‘Where, parent of earth and sk, ‘eau hes, where do you tary ‘ic heaven? Why, Phoebus do ‘The, threfold questions underine the Chorus's urgency: TH ‘evplaned disappearance of the sun at wales hog, 2! Talents indueed a sence of panic, for nature no longt™ {lows its normal course. The falar ordering of ve hese! ‘hs been spend cole af of Oe 4s taken up with the Chorus imagining a a cate estelltions The passge is nex ree wes ae SEA, fr the Chorus seams to ann contain i Instead universitet collapse sing univer that et us enters the stage i rin weave m and their being | Freee total and consequent He speaks a follows (885°3 ime, th Sip ai ta ane da er ee limit apenas E20, nu 3, Themes and Issues ag ee ee shove al Nw td Kai dyno we ‘throne. T dismiss the gods: I have attained t pavers common means of IR etanhor of reaching the stasis common mea {etng the achiovoment of sucess in Roman erste. zmonapotheoneW shoul an rua hat Ae led Thyestes to himself (sibi, 713) an Tam most lofty of ‘Edam: o me ealitumeexcelsisimum (0 1am mae 00 of amjSD. But there is more than this, tr oor He cm tobe equal ofthe gods but io be a heh ss {Stetves ofthis in avery phys fashion: he ME "Yeteture, his head touches the heavens. Aleus 80% ie the apace one ose sae AgmDlahmen a he greatest of MADAD ea th gos are now superivous: dsm the Bo isle gis one engine of the world collapsed? onate but ineffective pleas and Bi EAgTRBveinded fed, we real the absene® ih the crushing replies of Atreus W862 {us ime the Chorus right oe 6 ins unpunished Thyeates and Sisko” snd politi S82 Seneca isthe author of mora nd Fa SS Peter npr grant ‘sk how the play is related fay, it teat f poten! power 12 part in 7a the relationship bore Spaletesand in Ow Mery De Con 5g gngbttribution to political PHT =n Me UR addressed othe youth NPG ida tie tradition of treatises for the new emperor ing Sen tn sl eo cySeneca: Thyestes ener fr al who watchs ont Sorting he = et of hin nna ec own wer foe ange ae ee neds eters ion whan eae, main No theres SRL ser ci cies ey an se fsgrousy, longing for his czens to apne hie cee ‘fuming to himself amply blessed, if he shares his own good Gh, ay of access and approach, attra" fortuna, affable in spe es once ped crater ire cto hank Sratiring then rch an spc anit ge dn, ha nn a a ett ecore Shon eae, On Mery Lasat EET Alou alt deserption in Act 9 Where tht ‘deal king is inclined to metey and is concerned for his poople’* ee Atreus labels. himself as ‘tyrant™ (177) and defin®* ma agra Even more ‘telling is the ensuting debate between Atreus ant Stine 20615, or gem that th Minton cont Advances positions ‘adopted by Seneca ‘himself in On Merey a8 is consig i rejects them, Atrel! ay tor eRologve wih dae eg eA 4 nie eon ony terton point ‘neha ng aie pare mos think that, Tike ne ‘gv0d ruler depicted seman nil fr tne gH approve Sado ag Me ee the pcg 2 Ee ey fata dO Ei Bonu " cn ae am ase PU 3, Themes and Issues forced to thatthe people are Ti inghips area god thatthe "ffer as much as prise their mas cae sew this is a recipe for hyoeri: eee aes earl, ot mee ken. And Senn apa th sme vin 8 OMe fre ciims thatthe pele ay the same tings abt te Toe J, Se usr tht asp eatin i, Sonat egal at wel only the fake ra an till a ow =D, Peta Pi the ante i ean oe cx) | Tesco ee ce berets f.eats the rater asthe soul of the pe the commonwealth (135-4 Atreus (2140) tients phicsinauetantum honesta domine iregnatur a note ‘Where only honeatyiallowed nls, tw oe lay, reseed pores gt ‘Bete Sencca’ ‘emphasises the emPery the ion Ee a melts tothe ods (1.12, 1 433) ee ir en! rth peopl ona gue Under oe just king (1.19.8 oe ot aN Inet net AP eo oral valves jetion of we is a rejection Private ize, 7 n |Seneca: Thyestes suneitas pitas ides Priata bone sunt qua ust rgeseant. (217) ‘ati ety; good fuith, are private goods; lt kings go where Susi iets po rivate gods; Jet ngs go rey. | insists that concern for moral values i® ‘even more in mad f 7 } [Samet ae ‘ant n publi than in private ie (1.5.2, 175 186), oie ‘Public th Private life (1.5.2, ‘want what {to oe wilt wan a nse lo ant) Mitr ina hee ame ed son "er clearly means the opposl® rafts i sont 10 false praise which Atr® ‘mae Pll to praise, not mere ro the is compelled to say wh! Wvoeate opie both rh nine €Senecan he ‘mbodies views ery n »_ 3. Themes and Issues mca presents 0 does Atreus’ realm, for in his prose treatise Senece the tyrant's kingdom as characterised by fear stan ‘Acruel kingdom is troubled and black with darkness, and arog ind even es those who quake and tremble at sudden sound "he cause of tumult ie not unshaken. ee prt ofthe Fan's 7a east moments Bt aoe (8,9. connestin Fear ll-pervasive in Atreus’ on ay $B 40), Poa acts Atros (289), teas! Minister, the Messenger (634), the Chorus (8286, Te EeHs (266). But above all it afets Thyesn {Bieta it is Thyestes who best understam : en fear and power (4469, 452). epraente) roe, reas ene cel 5 ac Mercy. Cruelty, says Seneca i iADURET, ang it ‘and wounds and, casting off humantt ‘That Atrous rejoices in blood and wou noteworthy othe face that Atreus it = {Gus Cesta, 546, 721) and that he on 1127-09, 707.11, 732-8). He exp evo hs rly has each On Mercy toa 1 an be ao all ergelty exons ors TE 2 20 form fortran AE nh pain a Pe eft thegyearng then tha er a oH kite madese inion : ‘87s to pleasure and enjoys Kline 4 BE” "Meret ing BER craving for vengnancs, ey re hes rope tad enon inant Prnjapaicly that death aa Ee ree ‘tinggi Aen ar of PO 8Seneca: Thyestes over them (1.5 3 for suffer wrongs when ‘lorious than a pri 's especially favoured be sees al) bene ‘aa on us os {or 50 many yoars is Be fi hin et in ing lS lac dst you ve aay sang No contury eites 3. Themes and Iesues 30 representation of he fhemant omit oad and an in herp res Sean Mest chilren and in Act 5 we se the enjoyment 3 borrifc events one ofthe play’s major virtu obtains enting his wretched brother argues: us stction ‘Tse has something to sy abt the enomon actin SE ila {ten dred ye poo om thing nia tere ee i aa ‘le theastiction ofa natural an Aint acedecratan = nd ctiction fom het Atreus derives enormous ere ie Btw of indus iis lust. for butchery is undeniat xe poet and his Sth of era aes at tie darn? Poe datletes also derive satisfaction to near but Beis leary "a Eon tab th pare of WT Menger ope 8 i set but als enthaling and compeling More O reat mee good king vita rant Say that the Messenger ech, at the a twonees isa close a0 teed to reflect that weg of their represen! able to them for Pn tha ho sa ® fod 0 treat him ‘Aap he 8 cannot he diminish Sg ud detorin Bi NS hrs idm te 6S Praised in quite ae his position is go inti of Atrous" deeds. In his opening P&T ye . is ih he Messenger ipa hf pple Bi rete otiy an as i eal ia nt Inca of bln yan EMBe= in ached sot Hee i dcods and ees of ad wlfciently to tell of Atrews) dee er sctes 80 fo pretminary desertion Ho 79 and 78 ms Ey at and then asia by while the re Chorus continues 1 be Horr a ich 8 (0 ans he Maen en itis mot the ie sngltslitic for his tank The Chor plies (7170) ac taht first?" The Messenge '*t st Shigamgemn, father: Mantas sth Bt 6 >» ! |Seneca: Thyestes ‘At 748 the Chorus exclaims: O saeuum scelus! (‘0 a the Menge eli: earns? hactens $2 ‘ef (plus et. Are you hore? IF the ete saps hee Heer Mesngr dplas the same wit es rh elroy ta ning yung Tan Atreus displays his pietas, Moreover, if he had merely kil elitten be might well be called pize, We should real gain of the terms of conventional morality: tenants he iowoint ofthe mura. 8 ease He Se ats ae ‘tion Tom thee grcsome soon f ‘Thyestes as drama rg ean on he dumanising 8" i wwe ad the lust for pow ot ialtaion. How effective i it as dram an exitera oc Sut it eritica by arguing thet "7 Of plot and character are inapprerr ‘tragedy, because Seneca’s conee™, copie this rangy Pecause Seneca’s cor nb sos pralem e207 lective grant *eatactor are essential properties than det theeneean tragedy, if it is a PY aoe Stertion that g, for th crn ec show no concer 8 Sate ee POmertal SEF of canta ne Yor Se era Pena On Desig Sea ig and sues the sources fe Chara, Phaedra Uh contend aah explo eet enue 22 Euripides en te afippol™ " i war pe mete 8 pomernt i Thyestes. Here 100 the rae ete om 's even more explist 0 "ation than he was in the © 76 3 Themes and Issues charter {it And Atos i considerably more comple cart 8 those who would mssgn the play to te enya ml would have us believes Thyetes tn iM Oi, SMe tar all he undergoes a transorms ‘Reming Stoic sage to degraded vietim. Senee ™ uch cncern for character au we nd n BAT, ge then of his treatment of plot? To #0 ows ate plays, Phaedra or Trojan Women ots of these plays are eigen pot is plainly ale, forthe placa more nor less complex than the EW"Pide Te Here, fee mthologeal material, What thn oT digg Be amited, the plot is parila Pia ere the Fury urges the bee | wut it the house, He does 50 hes it * the downfall of Thyestes and sttO™PISPT or Sena? enplex tha tngQ Qt OF Dhaest is less compl ae ve at this point 1h al 6 Tie, mportant, however, to oboe Miyake | ody ria Belongs to a eatnory of ash Ete ig” F uf Ti estes ® 64 wih ey Se treat Acts of Thpets can te PRET At 2 isRhe toa the oe 8 and the Minister, Act 4h eer le A han ott AEE or pie rattion Act 3 where there #° ee ae intalus and Atreus. But €¥e DOs here wre 8 & Ta Tn the fst al of A sae na nd Srey ‘i is ahd Tani Ie fh iene ren tcos and a aa a i se et es there and tha wanes te ogi! Thee 8. Supptiant Women, S22, ean Copan baw Sy this i SN Sone He net Buy that twro-actor form ents id SOPs at St ai ter question arises. May 'm of drama? The 10 1Seneca: Thyestes Comaig CmPhasie the overwhelming power of Ate CouPesiy of blot implies restrictions imposed. upon i hich he or she must struggle to res ‘Aes Sencon wishes to represent an alt powertul rat Thana 27th sas nothing The manoeuvres WHE ronal Andromache or even Mo mst fe \ Te cet forAtrus In arattclinn forms Tests ‘be efcent in pot, bur a rod by te n Plot but the deficiency is made G0 Rewer of Seneca's representa i he ve Power of tion of Atreus. Indeed th een fof paramount impectace 0 Bie have considered ie character of Atreus overdro™ should eel thar tt the lust of Atreus is exaggerated tina 8 was aman at Rome ro panes aig steve panos oe Rama wo Po a than eel Nevo indged fee ct Mani “T°US, Consider for example Caligula’s ™! “ ret ten drowned a i, 25 boas 2 he imitated more keen tt fat hy ee Me revi tata, more fe an wil ye ah, Atoingat tay RE aummoned JPA 8 Seneca On Anger 17 and Betilienus BassU ogg stor, and others, bath st tPoni Sutemeng” not for the sake of a id Sea Be ME tha ate tt Pott enormous that his © ‘oe ri hes walkie mn hich separates the co!0™ Ss “ellsht But what was the B™ 7% 3. Themes and Issues eaten? How What danger, public or private i single night crete? tcl wouldve bon to wae fo da 00H ring spe stators the Roman people wi wee IEP of es the world jas the contemporary Roman word esenbles 6 this play, go the play itself is Romanised. Tiger whee ® aicent Argos, but it nevertheless presents 8,0 inhabitants chow awareness of lands remote, 68 Si Greece, of India and China of Spain and Lise a 9 ‘hose borders are threatened by Puan 278 ith SEMEN Roman foul ees, US or ur ‘Hee designated ty that peculiarly Ramen A iy rls Eh etn ges and te PE en he bestow diadems on clint kings and © 7 TT apcient city Ss ea bg a a oman audience the world ofthis ley = “aly similar to their own.4 Reception Although for us, inthe early years ofthe twenty fis mS Pioestes is one of the most potent and most resmna ent tragedies, thas not always ben 0 Foros Of red or so years since its first printing in rare STAT Sot been highly rogurded. "And yet at certain Periods 0m fl places the second ala te ist cnt Ty th and sixtgenth centuries in England, eee] ‘more widely in the second ball ofthe twenties oer aw not ony heen high vel ul Bm ‘e PRerful cultura: reoponses. In this eatine a series of works which attempt ® iter to engage ith the ism Posed MP Brio evade them. The tase fs worth Sar eeption of Poeses adda not on #9 ‘ane OF understanding of sabsewent anding of Thyestes isl a ‘Phyestes in classical antiasitY i en nln pe evidence for aware pa '. We find, for example, that we Ct his epigrams, with nam wi ge na say OO a fe (for es era i 0h 1080 srs Fe 10), rea ‘reo ing a remark of fs or an en we 4 all oe ei i heal, ‘hyestes 307 pon ie Quint efore an 79) resords ABST 9 29). But the ‘ign quotes Medea, line “53 BtSeneca: Thyestes * ‘substantial evidence of awareness of Senecan tragedy o Hranat & Myestes in particular, comes from thet of i gost notably Ociavia, a play once attribut Seneca? and ‘Statins’ Thebaid. ee enre, tt pret example of «major dramatic get New Pete o ayn Reena a Meee lt cee are ee ere IY thos ered an ¥ author clearly ky corpus pe fe i knew the Senecan corp Osten ang Ala scones, with the seein seen Trojan Want” Nurse being reminincent ree prolotr Ee Seneca's speech in Act 2 resem ps the suscsson of ages in Phat CEI which is Octavia’s most itl net testing gM tthe ln interpreted Sem B05 orang fhe Bhilosopher teres bei ref 2 begins with the entry of Seneca py Tite 83, upon the contrast betwee” Me of power itis like rl ie and le Feta, a8 mee ih whe; tering mo with deceptive oie aca cei wy 2 ort ill more heavily and gez® Gong hidng distant from en ahs oes, where my api 8 te "hed time for cultivating my 1 ‘onuio 7 a fear the life of pow gall is 478, Seneca, who has e Aoaining in power: #5 Hf (the freedom nd by Roman politics e of sient stu 5 mite 'sTecalling Thyeste> 4, Reception ern ind "eis heme grows oi etna oa once mae id os thet day na ar he oro ace through heaven's collapse Octeie 914 ring, this SCI eC hes i mca tees hope of renewal in ue or goeraon veil destruction wl be fllawed by # titer Me that of Saturn's ape (094-0. eneca now offers an Hippolytustike aeeun8 ty, tno age cnchaing with the mph o ein Leu and red hit conten te ttt i tr rin in bn of Pn SE OEE ko im (457). Attia pit Os ue bate between Seneca and Nero whic (204-20). In on & ike account of the sues = = see eed hte Iigtbange is both longer and more reeulas ‘tout ects eas mY Se at Teele har wan Noo cane oye renee ea aking ers ene PS See itl emedy for fear. And 0 i se °. SG, Hy Neto enunciates the rules oF 1 However Sec counters Pncble, Here is the conclusion to te Atte seit teorut es Sen: ep he mab amples the power eae te 5. Sen 107 The word protects apne. SEM rd cae IEE Sosa shat eared So Ben ge Ney yt fr” Se: Mite Gi Ne, Ht them obey my orders. Sem orl ay lh Sec Sencar Wee ee Neo trawn ord wil eee ime be bunt e 1 rong 3 WE Semceavero debate 28 $9 Ween ‘Atreus and his Mit 88Seneea: Thyestes th the ear 0 a interpreting a Senecan scone with thi carci ecg ho te ordre the Moser represents the common dec mor panna umn beings, in Oetaoia Seneca embodies the 3 Borg i But whereas in Thyestes each injunction oped lf ‘Rona thatthe Minister ean produce ie superbly cat al fh pe beta each tyrannical preseription is count the front ethos not overtumnad. by eo This rr ied lective because neithor Nero 2% Hed thetoriian ag Atreus. But perhaDS Something different: a less uneven & ‘nd tyrant, be nia aitranc btween Ts ase SS ay the an sia Otay rts dren and Octavia is ted of fh Ce mn one of unrelioved despa Fe, is othe mal Bot te Nee oe People Be date REE leads fo a poplar pei oe 0 pop nee Scooaly agg, defeated tator Int they are not entirely Fe the p ure ya frie knowingrende "Nee ulimatedstrcton “tepe that some avenging god might arise ( ort to Vindex’s Gallic rebellio® “s 0? ion 7 SEP arated jn date by a generaticr > aia irene dynes Tae po! i 42) 8 nonetheless in et eo an: The Pi ls baton rer OM sel slaughter? Indeed Mc Tktumber of points, to en tse Tents and Pe! o ty sudden appearane® ere oo Atteid cannibalism” fail? © brothers ere 8 4. Reception that John Henderson 2th, 1 bs evn been angel ty John Henn edi i Seccan raged sero wn ee TE Sih th eld me cr at Sg Ae fe che, ie Eom Trey, the poeudo dialog inage epee Sn {test remates, but reinstating Bi Soe rs scl ate uw Pai Miah Taso Sv nt yd ah nar Theda othe Babe rime ejecta, he sa bel les, thereare nevertheless le tate and ThebiaMentmportanty, Si "nae “Get Etec clnly old om Am Sey sees Atres and Braces a 02k i Alrese a fniahed and pel ron SEAL of morality? The propos 1 feels re rants snot entre ee, cll elt tyrant in iso IRN thereat abel Etec a = ve rence sms We find the Thebiam ing Ean Steen enna ening ways fr hi appeal2 Mt ere ee Ey Rate 2 eee mites Btoocls fom fst 0 Sy ies UE Tydeue in boop nee is ie wi ol mae Buse prams comet te Of empl ane m8 ar the Theban people = ‘inary 6 a or ty 1 soiree ar et “eto kings very aren od in Pe fre tee ele Je etree et By contrast Beale ot Sy ee ate ae "sbossadors and aren 2 the Sina 85Seneca: Thyestes can haraly 6 aa Srna SCPE contempt for conventional ends at Reteles depends on others forthe securing porte of his wil: He eannot defend ™! 2s fored upon the ‘Theban king fo" Atreus needs to resort t0 Dre ther in the second par of. ate batts ites and Beatles ise, their «= wir circumstances: Eteocles is Atreus in epi¢! moose Engh Renata dramt 5 esto of dram sisabed 1S) i genera ts born in the reign of let dea eae tl Peconed to have ben the 18 0 git": This was a generation we No, cluding Senec's tH stueton and unpreceeo ish tranelation “it ofthe infuemee of Senee® Heaton bth ad ad ve (° exemplified in ABOMET TES a Primary model for BM theTident from the extent 1 at ature of Kyd and Shabefiyy cont Both Latin and English iy Tide the general isue oD 2 3 Sina’ exploitation of THe 8 comprehensive trea sr (A'S chapter, my intentiO? Figs monks for which Toto vith the first Bnglish CM ing re ich anil texts, Kyd’s The Any which ‘Thyests 3 nid and Mele UO {8 works which empl if * Yonson's Sejanus 8 4. Reception Jat an under Cie usa My im io demote al Saidingof Senecan tragedy, especially Payestes, can Hat {itieant aspects of works of some of the most imp lth Renaissance dramatist. so 1404 te Atter their first printed edition in Ferrara in 1040 tc of Seneca wore regularly re-edited and reprint spitenth and sixteenth centuries, inching Sm re, SE Printings of the ellectd tragedies and # 9 fx 1500 the yea of the pletion of Sst HOS fate gi translation of Pests. The Doel iene creme I's successful version o! vublis rad ea cc rn a ‘gbearently reprinted im 1559." Heywood a ygnat m Women and Tiyestes were then rePent i Tnne Tyg’® collected edition of the tragedie, Se i res y dice translated into English (1581) Te 8 raat sult of printed Latin txts and of He a THe the reception of Thyestes POSSI, gubaequent gt effect of Heywood's translation OPE" fi Engi weabethan dramatic 1s difficult t0 i028, int Ins circulated in competition wit te O78 Monto in which major arama HOEY, ore’ that in 1561/2, little over as nen Tyee, dod, at firs tag Norton and Thomas Sackville mig i at the Christmas Revels of 18 Jan Gorbetttore Queen Elizabeth at Whiteht? Fr Bi omit is a landmark play, fort W857 chorus ay Faria claus! vie Has imag? tnd an the fit £ PE "e's {hall moore closely approxima wi Heywoor’ rrtoone ower Teemu town an ane et ne cst daha ee Neat a iin ae 8 Gorbodue wos viewed & rating Wy esi ‘Gime Position being we was “meee pure Sree =a ible. er 8Seneca: Thyestes and self-defeating: only eight plays are pure Seneca and t ‘Rete composed in Latin in ‘the first century ap. Not surprisi ena with Baker declaring that many tnecan ideas were commonplace and that the five-#ct "8s actually derived from ancient comedy:#! ‘Balt crit of fiveact form is readily resolved: Td lish play, it is ‘true, has five acts, but a, ® idicate that this mode of division mé save been derived from the classical date tt, true that ancient thooretis frente MOH sacra char compl rat fen Sacro rh cts ca se Reon didn gr R2MAN comic playwrights, Pats rt divi oper [At had oe tether plays inthis ive tet Se aon, them by ecitors. BY eo, Sencar ren atetly incomplete Phoenician Wy, ene i Ry ernment Phoenician Ps ener Sct and four coe a toe Nort tet att Teeny O00 os ativders and 2 ae {or Gorboue’® % not use the Chorus at all, the bet if rie Seton eA src nudge necan - ‘This it Tot Roman comedy. is dramatist # show before the begin gd! he amy den i dam t's oes soem to rite yeaeihew and to eonfirm the rmple, the du he For example, the duty th 7 men who fil ¥ but succeed when tBOP Vand Gantt rsa mde fst Chor ick “ounces Gorbodue’s 4% ori? between ode and So Seems always (0 =" acquainted with the 8 4, Reception recan Otaiais Sf Seren ragdy insatng the pane Sennen Qo {Reerent trom the play's beginning, for Vide’ oreng ech is reminiscent of the opening of Oana, we {fates meditation on the destinies eee by ate thir denen of the ate Psinly moll om Hecube's sir eer ening speech of Trojan Women, © ‘ling Priam ‘happy’ 2° 1 in the play's eoncern with Tat of power, the ‘use of kingdom" Ulttrere. "The second dub show preset ‘0 cups of wine te ofr act b oe {fit after he had: placed himself in 3 ce sot so 1m, there ete’ and kneeled is enna ee tla, and fra up ca use BO yn "Dh the ang etd Aer nm comes od wi Sesion, and presente the king Wh OF cane ulm, which the king accepted, and ely fll down dead upon the sg" = co jcks up the ima6e, end Chorus picks uP Haas in gold to tok, ye vd Whcesie da homed eo Om et = {Mea that yn ig drunk from, older by a remark of Thyeste’ 1520 ttuague angusta cM ta ne er . row mig Safely taken from « na Tork expr son ce able o *26¢ cobee onats Tae 89Seneca: Thyestes ° rol portant are that Gorboduc lke ‘Thyestes trong tb Bain tht Kings no ros enoush os, 44), tha Forex desires pun f Senean hel isting Tanta third Chorus severe the mr ests’ choral odes, claiming that ‘the ington » laiming set sacred Thad gan a uy fOurh dam show, Mogera be satel Renaissance tents. But most ime Make advice which Hermon gives FET, ‘Hscount the gate 8 Practical advantages, Hermon 6 Peg at a dn Ee eae rn era an Ae oy, Teen oD et atom ine oad i a ncn, Prine mighiy nae : nd 8uPPase themelves in ta sata Ferme eS elas se fey af wt pn ne fe Hone patra tt ie Fe ie oeemn for te views fg vr ain % » contempt for dine ‘thor in ordinary morals elects Ate’ contempt fr dine ‘sanctions, while his argument that eof re nous crimes’ recalls Atreus' argument that mo ‘ite ae for private ie and that King shoul mise (sanctitas pietas fides | privata "secant, 2170) «pare Sence! was me UScholing’s view that Gorboduc ne exc | oo es Baker nese 2 Sees | Banstead adons and deal Se Be Nosion and Suckvlle exploited dbtintiy now Tea a ne work als mani in pats ftites,ineding use of the dlube-show an ally GaE,o more speakers” Equally extreme 204, 5 ae ortatng is Bar's iistence that Govt fete moeetBed with Elizabethan poles th oh atta dimension of Senecan tragedy Se uc ot antithetical terms. Both Tiyeste ei Meeed withthe nature of mona nga 4, Reception | gu iu | or regu > of ¥ ay eat Seneca Lae en is regularly asse tal to tbe sins reve in arial are fundamen an jd ‘tragedy in Elizabethan Bein 1 1th eit ea or te merle og ohh tragedy ig the example of Ser rg thatthe revenger = use Pog ee inflammatory ane tet tlon of Engh event PP Sem’ curate, Tt also aren cu Dl min Medea, a play whose ¢Por aa opal andl eters, Clyemmesta an Ne re on se weg ih bn i ue sey oI fe i cect Pong om sees to juste sand a ict "it ference tet An, hit Pe to conser: en ean - and Shakespeare are, M# te er oe 9Seneca: Thystes ! racbul®, Thomas Kyd's play The Spanish Trosedy ios Samo esha Vis Aon and anand deren ines experience of Andrea's ghost 0 8 Traci flows closet that ot Aeneas onrted inate oe infant exception, for where AS roan), a ee, the gate throgh whi fr hao2 Ardea is sent “through the gates of Bante creme oe eae econ acount atthe me se scaly Vii le delivers it reminiscent of Thm gh fave a prologue in which © to alegre igure true 61 closes with a command: | oot The Spanigh Tragedy 1 and Revenge serving © Nie he sees al nets Jwell have been prompted Ci ath he drinking of | ji Mercer teres Te is paint of Sonecan SO any hanes that Kyal's play is 2° Set andling of Smet Fete Ne oan me atio® ee aac % 4. Reception ox Bait tian Lain Ov Sati ard als Ba eos aap det im Fasc for Horatio death ods ioe ft the pin prohibition of revenge agaist he eras me itd in Semen raed, Hirommo enters A 9S 13 with a book in his hand’, the bh eh ee {{Sevecrs tragedies, and delves wha commen as the play's, ‘most ‘important speech. He beei ‘Pounding Romans 12.19:! Yao mins ‘ewe revnge of ee ‘He will they suffer mureer unrepsi ‘ Beco Weonzeandter ag Ferme men may no appt a 4 age isting atthis, ‘Point Hieronimo reads from Seneet slightly Cbremnetzas words at Agomennon 15 a ge flan semper tutu Cees ire oe eee en fags condor i For he that thinks with petienc® 1 a ‘Hie life, hig if shall eee inde 0 i e wet context Clyteranestea’s rote as tis ttm eat tr oth A tenes orem part of a seleasboray rgeton, in fr te lente Wo the nly erase of aT Postion he may nc big tio (“For evils unto ills €0* leaf Patience, o leaving ¥e8 {his own death es tog is point Hieronimo "" Trojan Women (510-12) 98Seneca: Thyestes 2a ey sa es erent MOY? th him oh i hah il seeng is dat The Spanish Tragedy 3: mashes mor "swords (If fate helps the ub ae ea Astyanas, who isto be hid ys axe intenacat PPtecton against the vengefl GS | ois mean” ne a swat consolation. Hieronime rds io an exhortation to revenge: e* nip a ot a2 i led eg Pied? Reflection upon Clytem tain rey? 10 the conclusion that he US noes of ar. Now he reflects upon the mt Either he wil see orho wl 5p ceessful, then he will achie's ot favour him and Be aye | 8 tomb, Ihe wins neithet Pt itroide ri Thos | ne course of action is aPPrOP Ed Seng the gh it wecan text prompts: th “ nee demands revenge TB tio bas St Rare yet support Hit The tay Appeatgy Ne 860 not a man ress anti nen he Ping pean for rime is how to ache quired is co 4, Reception Fer ignorance, I wot, and well they know, Reve melon ars ‘The Spanish Tragedy 9382955 Hiro da from Sencss imo concludes by adapting Wor - ous, When Creon, having recur frm Deli stents conceal what he has learned, Oedipus reman malorumremectivin, ignorantia est (615, “ignorance 8 Wea elon remedium ignorant es ie Timedy for evil’), meaning that without knowledge B8® Thebes, Although Oedipus, like Trajan Wome My. "ngs tragedy, Hieronimo cannot be ssid 9 CSTs amau®E Of Oedipus’ remark, for he argues YT" oe as his PmAreDESS of the truth of this proposition Yl Tstion: feigned ignorance will protect his 2 Hisronimo the liits of his ele ‘emp 2" principle and Senecan example: maaan of juices Kah Mart ® With grief and comes a bral 3 ‘led Larens, Hlgconnn gos ont te ot tty Hl! knife Don Cyprian and biel eee Hissting oe Shimo resembles noone so much 8 AS and Keven e AS th pay clome a e sen of ATE ea nla description of the undereoO hanof VE ‘Ren speeches of Agamemnon and TRE gets cit. Unable to obtain justice, Hie revenge i nas SaUle and is transformed into Sagat (195) pias Howard Baker's Induction © 08 at Secmge, Howard Bakar’ Ich, hated at ie conventional to asset OM, in onic shows no signs o Rete debt i to vad Theta rergk® Various elaasical texts!” HOTS ch Self Vi import ea rapete® Dido and Aenens is preset ‘ang Of Lavinia by Chiron and DED viral Gente" Tamora and Aaron.” FOB tan ugk Sack of Troy in Aeneid 2 8 Eicd | ihe ar gvaion af 95Seneca: Thyestes ‘etarian Greeks is reenacted on stage as the civilised Ram Api invaded by barbarian Goths a. imore important for this lay is Ovid, for © fre fon ison to mythe which Fea buon oven thei ce to tenes Metamorphoses and Rost, Phas ge fad setae en py Lucia the house of nes Di 0 Pyramus Orpheus,* fo,5* Astraea® and thé ke; car ene Lah and an 8 ty far the est OF | 6.424 pitt” model is the story of Philomela (MetamorP! eo ane grucome ei esomeness the Be chang eee Treas Cuts tt Phineas 6% Alp othe oETO8 Not only eut out Lavinia’s tone . et brevet her un tating PO BY 50 informed her sister of het | ed 8 tt er ong, Cat mean i cut on hoo. cola et thon prep Met, Ve better weety fingers off” ! i ! Tat og Tit Andon : Hiertnag Mies eo, Menai he ae" fr this portion oe Be Bow Stata te 4 (book is that. she tosseth $0? Shes eee Metamorphosis: from among the rest. ct shall Trea? leeison and ie rape ~ Pot of thy annoy Titus Andronicus 14 4, Reception Se Te importance of Ovi to this play ie undenisble Ext Ov "importance net net di Soe spear quotes Ovid in Latin, he ques mote Sena heen of det 1, white plotng the rope of ain, Dentin Erigiases words of Phaedra: Fer Sogio Fe” on am ELE, “through Stygian [regan tho Hee es) | fore. In their original context, Pa hash 8" omnes igneos amens sequar, ‘throug "aad Twill follow yout, Phaere 110 oe tah theft ipplytus and sugga thot ven on ome by table to control her pasion Demis sy et’ In Demetrius’ line Shakespeare 1 (Ri Seneca’s verbal play, for am i Tad) have now become manes (‘ghosts ad sil follow’ has become the passive eer are Fen les seen ing that Demetrius is eve le sin "eda Tn tg, Soa we find TH Noes doninioe a cnt “eet aie ler, en i gic sforent win 08 Master 20 indi ™ of great heaven, | Are you 2 “Ferme, indfferent when 30% : Phoedra 8 xn he quotation ames 'se00 regnator deur tay iene regnator de gusset a als clea? tam nt you beer fl 1 ren ARE Pero gas, are su sn "ont wiea 7 i tothe chay 1 leas, just enous Holly #P pon his resi Aga the OE” ie ea OF, Titus! shock Sr Ps echoes Hippel otSeneca: Thyestes Jncestuous adultes adr a lai danse Met? Hore the problem has ben he i Philomelasnq’'e Sal part of Ovid's telling of the #9 att Plot of Thyestes. Indeed, Sencet, Me Atte is aware teUs and Philomela as a ‘samo (te, Daatan mitre feete af the Odysian Bot 0 consioaly strives 10 #0 care it Sheen a ead ob nuring of 2° YtHS, elements like the killing IResclding aig SH oF children, we would not be MESS came !° Mewes. fact, however Shale “orp go "a fand in Tose the most sti on ft She ag HI recasting of « motif 8 Teshaping of Ode into a seen# ing 42). Astonished that the ¥o* ‘Atos thatthe We "¥. Shakespeare clearly knew Sete a ness, the fourth MEE ny aa ‘Yodiac’s collapse (843 74): cl MDA at singe cavity his 2 {INH cts the snes in slant iy {lng il po th fain the cath when ering el ag gt ear bere hi he He anes 8 Gein with himel” ra thing heat, wi al earth which she ws Sen el tag down it lowe gat holds feathered 6, fest eng broke, Soe vigil all and you. eo wl depart gn Sowihiming tan wl Oey ‘ANd the slippery Saake ™ 98 verlike divides the Bears in two and the Letoer Beas ‘Gyros, cold with hard ee, joined to the grat Drage, and ine ‘ggish guard of is own Wagon, Arctaphylax, no longer stable, will collapse. is image of collapsing constellations Stakes tensors Tho Ana, tn tees no atin ct ae Reed ET Reena net He, Te cen dnn Josenrto weak oH EE eee pa Su weap wee es hele “a de hte ‘A Mane thee mH Fre boo Pa Here ee Seta Clue at 0S ig Eu were god cht ee Toy Nas oe Ot my dr ae write Si ae nen shot al our ea te ea ae temper oe ‘This was the spor, ‘The Ball, bing el Fy "That dowa fll both the Be boagtn® the gods or planets mis ae ae hot down he ‘tug and hey have one ie iat Marcu hou asi 8 at Pe, "age IBS tars is entirely APP™PRS Po ABP “lknificance in Thyes!®*!fhe scone fourth Chas foras Mini the cin ise aries, “i ton of ect ee ihe Kn inn “a the Phin, sacrifice, Tene’ a at filet are eons t Blabethan society tg twee civilisat Seren Son sad ‘by Indeed vests, Destiny of Possible, th ‘exiliy o p Iman beir the likes 8 tog ig ite® (note especially the li (inorogst@™ iss, ToT) a bein Thus 8 rh inane 2 “hig Anon sting Sten Seon Ati isan yrilderness of tigers’ (8.1.54). AN x jalderness of tigers’ th Melani Titus An annibalistie banquet. The from Seneca: Thyestes the fourth act emulates and comments ups#l in Thyestes ore general resemblances between the WOR ieetly or indirectly, Thyestes les Pry Titus Andronieus, a dep source oft Thus in both plays we see Oy ons in heats Ate ich make human cn ie is while in Titus Ant cot both plays we see & Ol ibarism, between GPs, between Roman and Goth i ie oD iat Thyestes? emphasi® ed oe pale Shakespeare row! mn Thyestes seems ineses : ls we sil Wwith Thyestes. If quotati® Wie aye ct s; for Marston quote? Hat, Gctavia 2 Phectne™ ABOM gt es on Dean Momen rs we Phaedra,” ABO Gai lia, h til Gaene acters ay é fala RTs a Casto and Fy chet ening 049 line and Flavia, Cyt Tt thr Th pF aa cmmie io ana the plot aetna ch Oedipus m Phoenician Weng mie Mell hyestes, tn tone 83 Melia is far 1022" pt concerns the inne, alt ® humorous and se ‘and Mettida is, 98 6 attusions 0 93 omen iat 4, Reception i Marston's primary sions to Phyestesaugests that quotation ie Marston's pri ‘mens of highlighting interest in iiicant Senay BST, farston’s concern with the tare vor soliloquy "2 Play's first scene. From Antonio's openi ‘Genoa, have Jr hat he and his father, Andra, the dake of Genes er Teens” defeated by Piero, prince of Veni, Cr ad by tear Pir’ tampa Wen a es of pies dangers, Pier, ats Wo ma Testes 888) and eres out: Ts Tae aiid he Rt wotorum attiga’ C1 dismiss the 6025, scene, having TERE ot my denne’ 1.1.60), Later i the m8 of Zam at his orders proclaiming 8 rere 5 “Why feed Antonio ave bees caret Os oat lly of Why then O me caelitum excelsissimum when he first #608 © ot Se 1.1.78), quoting the words of Atren tablshes Piet ‘d brother (Thyestes 911). Quotatio eh dit, Of Atreid aspirations, There 2; Me mance Fa betwen Atrous and or, wile Meo come tations are spoken it surg om Act 5: beginning Cia fal And Piero sours to fal, ArT Piget th a reconciliation betwee MotigaPtting Andrugio's life and aT that betwee i's ni. However thi reconliatoe I eo Ant Ral Thyestea. preven fale fr inthe O=tiN6 ception Res 28H, proves false, arin He PED nd ds Perse 860 Piro's pride In mi and Mi © i Tg epetve te ato of AMM sto rE tne we 7 By {0 fake forgiveness, in ase re Seg Pl i notte oly ee ol ae eens 1 BOciations, for both Fe ry SU 9 me S248 fami * hyestes. This 1 Mp este es, See gg imlinr fom Tye To Heit My onagey Andru, given that. Bes Myer Angee who professes disdain “sot rigg ale enters forthe first time ooh wor 'ne and explicitly rejec'*| solSeneca: Thyestes fn aa ft hosing to fll upon the ground and boat it wil He ie iy Fecollection of Senecan heroism, ee mt stertion of her own survival and of teanstine oat the mind vn 16.1, sai {he Chars in 798 Positions akin to chose of Tye Teste aye Thus 3.1 loses with Andrus 210 matter whither but from whence we fill ot ions for tt "efert, 926). When he returDs att Mer in ten reminiscent of THyete ms anger of drinking from cape of gold TPIS The water, oy Pt ec ope They say Z nonio and Meld 4 a 2 ev bernie — Bim arern fparPls, chairs of state, stata “sa King, ‘aught save wrong, est be Natering putts no tana ne Pal eoinigna@s unmoved of Ariono and Meltide 91g ded orn Shout Daraphrase of the oral oie (ay.p2, 388-00" 102 4 Reception ‘gm non fsiunt pes, ‘on esti Trine clo an fonts nota regi, en aura miidee tres: xen gui post metus di mal peta Sum non ambit spats ‘numa sabi fasor ‘ult ‘hoe regmum sbi quisque dat sy ar ten Ne ae not mea ine et oe i betas rl eo ars Gein EM in pot ba pre hn ‘im noes anton an ee eae “ss headlong mob affects... A king i 0° a ngdon kings one who will desire nothing: e! mel esti shoal vm Sones NoWever, Andrugio's quotations Ce saint as evidence that he embodies & sant the end of 3.1 apparently dete Seta behind nine ind him: We ere yon sun st 1 show mea “riviera eb Eat his exe words, ‘No matt white sat Wot denn rom Tete feteton of concern fr aaa the Thyestes like hom tine i ‘immediately followed reileo Genoa for tte ih Tre Over logs of power Mase moe pent “en the Stoie notion that CRBieh expect it in "eter called Felice mightSeneca: Thyestes that is how 4 Traduction fr 22" Playing Felice conceives of his role in ever surrey 82 e8¥ius thought could ever invade hiss ‘bis well-bout 'y favour of Madam Felicity gracing another, *H ‘is own ‘content persuaded not to hang in the front : ‘he ime; and ther 7 mB ‘netS appropriate to me the name of Felice te And 5 we i Tecra hatin he ay ple : Trait ng att Play's opening soene Felice BT i $5.20 Tgee MPT aaogan hat of ne Mp eat Ornate Ae the came of RON sein Pa pss Ths Foe war Pa ‘pation of line N®*Sencca debate av Ootavia, it! Moet gt be 4a et dba in Oct, ie i gi the Ate Minister dO of Ac Meld, including a para hat Marston most clea OP ling howr he wanders thrO ing ris thei ofthe 7 rain he gen with ae and 24187 ty Ie 882-8), to ole an the She 2 be one #0 look down. on the on ov a the with an undistingwishe, W neal ge image Pech Castlio annowrer 1 ‘a ng mt "poses hi own 200 ge is caims to Stole vet? = Matige't® 2nd Andrugto. wf | Site ey gus Senecan iasues it SE 3% 4A Ant Br at seni's Revenge ons ra Tales = form, for, - "SiR with Por's ei 104 4. Reception does Antonio's Revenge forthe tyrant entrs ean ovr bi bfono's Revenge, forthe tyrant rurder of the two would-be Stoic, Andro and Pace, And ‘once again Marston underlines resemblances between De for just as Atreus can barely control his passions wer tvestes is within his grasp (496), s0 Piero ‘oan rent {iumphing vengeance up (11.11). Moreover, Pio’ resents rugs sucess with Maras eminent of Areas ie 3est atthe los af Acrope to Thyeses At let in eave car Snes Pir coninns My ceemmcment ot eo ASES ‘The deaths of Andrugio and Felc, howeve TANS jfresentative of Stoic ‘Chow, a new aul Sie Pind, Hlbistr, Thyestes andthe Chorus. That sk A riice's father, who assert that he wil talk #0 mre (1.2.298), claims indifference tO crf repent inl an eon ‘sling 'Seneca's On Providence to prove, is the fact that, like Felie Atloeue with Pero which reals hat btw stor in Aet 2 of Pyestes Per: to kings are ee es yh 7, Rego mean, ara pe Pie Wine empire ba 8 SE gun "aah, eles ur sl ae rope to princes go bet te a Poa cl ee path ee BERS pene eter Ee atlas wr gent eee engi Rote Erneta es : Hence, doting 2% yoni EA wl th Bey pot bets a i SA ezent nt ra OH Teealls Atrous’ simi 105Seneca: Phyestes Teme bat over the value of praise translates the dime *etwown Atteus and his Minister oests 208 1 ‘Aewur: maximum ho regnibonum es, {Bl feta domint cogtur pops sui Sates. "fore quam laudare laud, gu auc os cog metus reddit nticos met mu ham ep itn aan te unl sacpe contin enn poten al ‘This ie kingship “i ‘Tha t@hi's greatest good, People are forced to suer ‘Muh raise her ms deeds Art heat makes hostile. Warner pias upon True tt be raised in ‘heart as much af Pigs orn ea cart nae sie 0 fr) tha nt eho thee ancient forebears Senile Produces the same 125 tyrant, while Atrout sco fe ae tit Stae fortitude in the 960% 8 ae therwinorim the noe =i. Antonio begins by awn ie “Piemy cares / et cont stiets 7 Will burst all at Sent he reads in Lat "esas On Providence tt rena in which you sup i ortane, aurea choalred, ori was ot ‘on with which to st 105 4, Reception voit malt In their original context these are # eee t ti uman complaint about the rae a innate rae Palen Son's death, for he cites them in tema is nthe ware are nena: Pehl THY hist widowed, / ‘Thy dear affied lve lately ¢ exible ono Senet defines the WO os ‘teeth and the slandering ee ed {Rtbded by the philosopher an ar angie TH Sapo ey ee cet antl nim ale Point is further underlined by Ane seen 2" of Agrippina’s vengeful g n a : ‘ey abe aha ee ny re 12 At Antonio takes on a variety ft ae ale {hstmmone up Andrus’ wos, Now san gat of Uh Fury in At 1 of Ta ee en ening hime aes a nts Moo. not avende St Tn Wem’ Thyean 1060, wi i a a juotingin Latin and combining "Tata ends om te Oe Suiienee un atit EE unta Pee guise eg mk tam a lou ies pocam oe Screen aR ad uo ale yt 8266.13, ‘Thyestes 13-15, 75-85 a Indg a git, wet 2 os Pons ofa wa Sat te ted seo en By sehen collapee, whoerer Sunt at Toor and, etnge, "Mie of Antonio fasten 07Seneca: Phyestes Not nme inca toni speak Tantalus’ words, bute inserts Tis own, Anson eats SPeech, replacing Tantalus’ name comes Tantalus eves the advent of Pira's son, Sli, whieh of Atreug, oY 2" €¥en more significant Senecan roe, the sf Areas ag ange marked by Antonio adapting the we an chs gto Tete th cs * ostras manus / tandem Thyestes, wt fos aude aes manus tndom Thy a rome, yea nt last Thyestes has come into oT i ames | Tandon Al 2 him’), Antonio says Vent in MOS) rat tein 2186) pet Mass (62.2067) Bven Julio’ Atrous 2° fate (7aq;5 YUE Tantalus? refusal 0 P "hoig 3 he transformation of Antot? bis, » Which ye th® stage-direction immedi 1, at ley ge-direction immedi Me ektog al Bero's Atreutke ts | let rengane tilt, unite tas gure 2154 | Like “Atreaa® SOE into our hands, st has come, a) (B2t6iny ang tttonio r sang J 122 at th, 80 hims surpanin , i mune: Antonio parodies religious er Portia of Thyestes children perverts ! Taras the pePtice, Antonio's destruction of Jy | death, INE of his blood upon Andrugio’® “hig 0 am ay % Antonio's Revenge 92 become! stage f DPOme. tt iter mys who acualy 008 Dis gat hariot” in Seneca's PY an i : Pon, i he pret Antonis Mind at least achiev’ yf he Angieaingesengy Go's mage Atreia moment Oy ve 28 in geet to pc ® Most Atreid moment tverbaet® the body af his 0m fj! Play which ie characte™ 10 4. Reception ere’ flesh and blood which am sre Bout get Antonio has become Atreus in word and ed 3) contra Pls mony rset {res and who subsequent views hil eneca's great revengors, Clytemne™ 22.221 lhc now become Tests th 20" etroy hi for Piero lone is 0s TE. But even more"venarbabe than the Tal A] Nonio and Peto is the metamorphosis heared ‘aries Pando ie expel SP ra and of Fekesman for Stoe vale, lying HT Soc {eis Mnir om gers a oe ode 4H ern PH Spey el ‘hen he regs to ssourn his aon, MTS Se ISP? (1.2200) ae we tl ind Pen oer h€*ophical works in Latin and in Engle y's ap obtain es atts an ent FE ibe: You have lot 008 sm Fenda; Why ansathe como ov Ang neo me agi dlls; Ha Dost askew Ged ok ay ie an will break ot =06 ged Patt Man wi are a, 266! Whe gn i a Hh ont hy ar as | ers forte ere hy duit eras et ® in these lines that we 82° PP co's wene® Sth ie ase BRE a the recognition that hb PEAS gt rai I, his Insc hae mark the Hose : ig etter ma se rom ti ptt a Fano 109Seneca: Thyestes Aatonio i Pir'stonpans ati Pandulfo who suggests the cutting ost | ‘And just as itis the sight of Thyestes' renee une mts hands. ai Ret | nisi sic doleres (1096-98, ‘now I gl ado my rine, ifyou did not grieve, 5008868 | sng eds Pando to exam He wees Ney i, Thad no vengeance if 1 had 00 | ere even echoes Atreus’ concer for esti 0m hia ets to Thyestes’ concern about wth an assertion that AgamenMr ty ‘Bet with the a His Certas, 11 rds 10 Pe i 1102), Pando responds 10 Mlaorter pee ha I truly was Prero'sson 5380" ugh thy eis vicious as Antonio. sat ‘te striking endings of tonio’s Re Reset aya the plage eee cm comme eis pak BBreservedly guccessfuls Te | enhment to the gods in a word Mi ly tobe capped by Atzea Sis or punishment to your child Ode wha area wae De Mig iUlfo ang we"BErS and the rest of sociel fi eneteiny en Alberto have nha stbiné Pt heme ling two senators Wit in tents of state power to i828 al it they bless the killers’ 2 ets and digniey 7 £ teen at ih it al mt ABrescrved condemnation Oat | SHoogy 28% with its powertol Pre ibution, define issues 0" | ™ is concerned with the "pst S2tion, ith the possible we ms might Limit oF ef Thyestes in partiewlat Cy understanding of M! ater ete ing raged ther consciously oF ™ lig 4, Reception Jonson's Sejanus His Fall exploits wie variety toon tens, te subject mater bing dre fr imperil history and its principal narative sures BEng torians Tact, Suotniuy Do Costs a OM og Wenal. Jonson even goes so far as to QUO Be iar ‘ovng of Tiberius in Greek (2.330), ne ally cae With puri (fire). In addition, the play's fOr fT ve over cal being ade into ie aad yo tc repent fa eSpace Jans and his family. On the othet ind Shserved in his address “To the Reader SS, ix t8de a chorus and does not obse™¥® OT "senecam least, Jonson's play is less classicth other be espe aissance plays. oan tage Nevertheless, Jonson does est Smet tmnt Milly Thyestes, in this play, using the SPC Pggjnus! ase URth Atos to establish the (98 MUS teen SHA O05, After the extraordinary e*CDOMIES cg ene Ae dems and Livia which ope 2 2, Sete y cm 128188 speaking of che revense Be feu? tah eh ay Ball fowou tiny anaee snd 0° Shon wie fc, wl 9 Pte ngs al eyapeore mr esl Ny father would wish ie "ne st Se pece™mentators point out, tA (Tyee the speech in which ies 1925) a ete Shine fc qui ma rater em "lla teat aliquot ae cea aig ‘ruentam, tle a "wun este mallee whSeneca: Testes Come now, my sou), perform a deed which no poster sl {Phe ere hay cane Se ee ‘read, bloody, such ‘that: my brother would wish his * ‘With these lines Jonson seems to mark out Sejanus ence Atteus. That reading is confireved by one feene, for the Tiberius-Sejanus meeting, recalls the a Ss he ee ee Sa ee oe roe sre moral vale Jonon he ml aad Tete Oslers morality Boll ena! ee values Sits 2176) profe concern tr cardio ort eo While Atret nd Se oe "us and Sejanus value po ‘seiam Nin ie et lig th ean 08 igen ne of unwilling praise. Where Att amin he maint copia ram St ott ho 00d, thatthe people are ose” their master's deeds serv 25 it seems, a Nrima eg er mena Sees "ei appears until Tibert® ites. PE "Sin gil Sejanus; B sens 24 4, Reception 8 eto sce tr gas sence, the resemblance between the Or ra ilatng oe Tier is ot ean = nei isnot to advance aa pi ‘gent In another sense, howover, ther = Aralusion to Thyetes points up the et i Teuslke figures, one actual ad OM6 SSE ina ‘The association between Atreus and anus’ entry-speech in Act 5. ai My rot receives me not; "is at Tread sa ach stp, | fel my advan bs ‘outa star in eav'n! ‘fia sates grado ot cundon = “em iperin erratin M ve ae Bata othe stars I walle anda ‘with my proud head. ne each ea eres to sete Ubon teu’ cng or we tS sc cr or conan 087 ml UES Curio banal Like Ate Mt Sree pricy snes ae atte Rocking stars rom Dae Bas ony. time So cing 2 oa ae ogo Sena ca fom est spon “Scleaion in thot gos ott sc ee ry 400, hat fol cll B08 ea hey tho "lsc witoner P a3Seneca: Thyestes Sibi ceed te rm hor ng his Teller ee! Senna 63905 3 collap® Sxsammentatrs duly note, reference to the zal’ ole i cat Sees emelpment in dake ce a re Sun's response to Atreus’ crime reported by wn of the meee, (78E) and to the Choruy'e escrito Serstellations’ fait in. ‘Thyestes’ fourth ode. But the ‘it hap SSA thr ar anny ts une cengte i fal fearon en ne 500%, tat f580. ate presented in Thyestes 8 in son a ion © Roman play suggests that of lov" fas and eet And soit in for Maco’s pledge oe Areas te Would be: ‘tyrant is outsmarted by’ bert ae Ee Testes una ete*, Tiberius, Sejanas’ quotatio! sch gun® both his ambitions st hic fol ott rea 2 m0 ans a pelt gh an tan woar™S even more strictly in Cot fi ov be ted choral eas wel 8 ng o%inaton ef cand oy ould bes Catline one boneeaD ior Soni fl in aving the Chora and. n followed Gret ipctranaenah mon alo mat ra RSs not pal cour CO itt te chaotic and compet, Politics. In respect Catilin® it Z asin ate 2 Testes Hence rant Atos ys Primarily to Thyest 4, y peal’ ghosg”™®i8 important for Catili ith net not cael ae rok S's ghar end. Gatli et "mle Then is gee lg 4, Reception sins etectvely alone (th eration between S's st sal alin thre no ri pete att tnae cel rie Am BS Sylae ghost quotes fom Moe, 2 I s {ites 2115 translate, Thyetes 87-95 ne Oo Ploestes 29.92, 486). The conne! ted lowing exchange from Act = eng: trang, ont Ror a nt Ti Bo Wn sour ee ive “rin come Orete my some yas Are ara i sie we ng of au those + words real te that Longin ‘with his 60 i Miniter (20M, 251) [Stet an equivalence tee imate authority and the ci jut ina sustained in ben tbe plays which we have consider a drae’*s that allusion to Thyeste® "ate strucnne was on i st Senea's hye ssbethan tnd Jacobean a Tr prsilely accepted. We ean g0 fre, thse wide vray of P08 man testing the exploitation of Se ext 2 “"sformation and sophie 5: 9 Pa pance? exploiting en in tt aly a Oo to St se Pea wee Sens oy ae rye aE a ual Cinzio's Orbeeche ee uae wt Thyestes in Renaissance Ha & usSeneea: Thyestes | Giovan Battista Giraldi Cinzio's Orbeoche, first performed Although th being drawn fo 48 Senecan, for es), obs narrate rat se of dw ‘tore character ing di allusion and an rane fhe eanet plays to expat Peta ubjet of Cinzo's play is not classical ia one of his own novell, he dramas sg he employs five-act form (five acts, four 2%) hee ee tes of time and plot and pr Stage the play's most violent action’ Py resto the spectators ina prologue se. ancient comedy than tage uh filemon to his awareness of Thoestes tS, history of the Tantalid house 0 AST is rents of such motifs as the darken eNetihe we vegetation (1.12790 ig MEPs rt act, which involves Nemesit deed TH OMe andthe ghost of Sli ig tran be tat of Theses; the eM deci And adver (2.2) rewrites AL | SSenger's narrative in Act 4 | poet? tents an encounter Hig! Malus, Act 1 of Orbeeoe a Nemesis ane te 3, Sat Alitary aneestor, Selina, 7, Stlmone. Nemesis begins with ase tn fan ht gn Punished (2.1.30r) and, e204 Paid naar genes a to justify her plan * fy. ni members of hit fi rier ther than, tad ane2stor, Tang ing the Selina, de cone Od a5 fed mother of Orbeceh® ra idy aroused the Fus®epe | "le sats Tike that | ug 4. Reception ys murder of Salmons she pris event to come Salone’ murder Oates de Cte lng of Sales tnd her suid: and ther ssn bel SPR SD Tantalus, Tityoo, Ixion and Singha, the fiat ‘inners. Selina alzo plays theroe fein ne “hrlet lle er or nest th hrs) neca’s Fury and Tantalus. Thus ea Seoecan material, resnining re i istan teaching, with Nemesis ® ‘tte and Selina a agent forsee EE IE Act sguteanty revrks e's third act reshapes male RBeduing he pays grant andar ual The son and CE matetial from Thyestes. In 3 oy: he tops tan es = differs strikingly from 7 runs, *® succeed, with the Bing nalts, Jet do wha Malecche as 236% 0 os igh! Sulmone reveals his true Au Heels that he beliowes that dea 6 an G8 end of punishment (1-3 6 MPH ar {*mRCteitc ofa kang that hs 6H Se (25 et Thestes 05-0. The scone ores "ishing the entry of his vei Werestraint (77-81; ef. Thyesies e sig ilone’s crime, the Kili by ghtesented in Thyestean ts fontthing that he had been bo® wr Places, as. Senece's forgery could ooeured 2 Thy Ind Tydeod the Mee sister. asf) and dela mantted out (4.1510). NOW S Tutte of the three vin al it, most notably i te te ores isthe ut| Seneca: Thyestes | | Mant to make you ki 7 ean rethen ing. Are you content with this?” rea Sumone lt the st hs hon d than {heen 28 and father in a single blow, Even more Tigers gv exertions isthe use of images dried 2, | Toe umone is likened to a hound (139, of ety Tiyestes Ton 218s &&. Thyestes 78217) and a tiger C2, tion to Orta. Finally, the bodies are prepared for Pre Orta lhe bodies ar preps it o's handling of the first act and his represen it & lear that Thyetes is an SR like (the. However, the Italian playwright Pe rine oat in a wholly diferent. context 8) eigen, e282» a world in which the tyrant Ss 8 World in which the eyrant’s punishing in Ac and is realised by his 0 ‘Er Salmone is punished for his yd dramay eet*tAlly regarded as the finest OFT ys Spas DA nds eso wom a ame 1 o ject Pais lng SAME suggests, the play's sube®t th Bony ssical, with Garnier citi ‘s of Kings chs 24 and 25, th Sh 3 Jeremiah ch ‘and Josephus iv Bat if Gernia's aaeet inate Og with Sena eeP hs, the play's 407%, rr for Garnier ie ‘Soc erenng cary Se en gral nt es ya Pender MK a6 gue Thyestes.t04 Amital, mothe? 5, ot Jom the rote of fret, hg: My embes Seneca's Wives of Sadéeie into hand"! Prew he beginning of Se ins by quoting Atre¥ 4, Reception ots words: Poel ux Dies WT walk’), words which vita wach 5: oequalis esis ‘et.2bogine with Nabuchodon marche 81, "Equal to the go iy tranlae ‘Adres’ rat words in At i radior (885, “Equal to the stars I walk. ee Nebuchodonosor claims equality with the Bode Tt Tr) us is alone, Nabuchodonosor is accompanied By PoE Nabuzardan, and Nabuchodonosr’s sposeh 3 204 Tor op Zevelaton of his vietim, but by a debe we Punishment. seems, then, that we are to hee “tthe Atreus-Minister debate from Thyestes, Bt pal 60 it proves. Like Atreus, the AIT Finith his enemy. Like. the Minister, Nett (QrH** penalties, arguing that Sédécie’s BUM -4. nthe firs 17,219.29), But the reasons given are unex ‘Aira this scene Nabuzardan’s positet( 5, white Nabuchdonoso’ pm be gebuzardan angues tat to les SS cece punishment ais, wr bee 26 the greatest. pond ‘hike ge are ae igbemy is to lose all vengeane® ‘NOU be forced to ive precisely Bere Epie5 that death would PO pe Re 4 i or ei8& (252-8) tm ene rt alt OT sayin B°°8, but Seneca in revers®: 4 OT rgue mang penalty and a minister Wh? FPeausite form of punishment fo NY the scene's end the stealtbtzardan sbi his TO train his anger (268-7 eer is ange O88 wnt fenders rule srt guint sit his previous teu Kf? lying nea reeset Nabyg’PPeal to. Nabuchodenes act ard clear rent wn in, one thing i€4, Reception Seneca: Thyestes cos fl ty their ary we | fr both child-illers remain unmoved, eigen net moat Ne enters in Act 3, che Aseyrian 26 Where aus! | Toes To: Les Jue 1090) Garr Piece a ty igh bat | “uber teubte, complex anu } Feild the raps we set), Nabe ae ne eet : . from the avresbeoot thet tins ta ete prise a8 hea ie hod i al Adapting Tigesten tron Soe “J caught’), And both’ Atreus and Nabuchoder | to the twent the Trojan war fe ‘sete 9 MPly the language af the hast Once semoas | Many classical myths, those sore the ouse of ATT Nahanni speech slog, nd 081 ign eh later great of a) Sharer 2 22Mbanie, this ime by his wife HOE Apa and Ciytemnesta, Ores, and Orr TS Bato te Ras ened with theatre of Py Truitt Medes, Phacdra Alsi By nsf a yt king advances the same arzument orn drama, per nd een in pol Proposes ors RE though opposing more Nabuehor “treus and Thyestes has proved one of the la na with andl Nabecieg Sédécie ative (956). After the weet rent of een he ErOveRe ae Senet tee mat pth | ig Ag Kinga AS to the auton tha aH Of Renaissance damatiets wilt Sr the BOM Pt (96376, Nepaah tbe wil pray for death to end bit ati issues, subsequent playwrights Imac os has become another AtteUS yb | paste Naha ; ying POE aot ted to sirip the myth ofits teviOPET hat mae “ cn et | ag onlers when Sedéce and jst | SR the apn hall of the tre wih 0 ! iter tag Afr hove ee | aay che bao de Teer ! Me saegae PES anda sh Ta scgmparble to Sem ay torent Bee est English work © or » Seg oo an ie gga Hot a tragedy but & SOP hh 8 regal towel 00 wa a ort Seog, emis Hck in hea, ao fle SM Maha is Soren to a transation. In 1674 00 jon Zemaining ‘without. vense8 Maney arrstr pl, ded penuh the ements anion? ptt Slated out of Seneca: To the ad reet fruit of such 136! 2b, of to rent | Wi. tae mt dedicating tne Adertiae ror? fee tener te | ith Semel tec Nag bate (oe fe The uttered on atage Ota ite had revised it at list : i on Ss Sener aa ay tchngy ar anne) See | Semel a men, ° Py to when which follows, the Jewr. It {idication as phous forthe ato jE ad ee * do his wo thyyClBht’s Mock Phyestes t ts orgy Sha 3 his captor to do is 8 than ne struct seein Mao stitutes Nabuchadone ti vn rims neh ccc lt Atal and Sess eee materia In 8 SN mma et the murder of S16? Ip PReounge, ts, material i A onthe ng te of Se iy ont brent Nahas Psa char ene ge coaches See ‘sa true descendant 7 129Seneca: Thyestes humans are Sg ate 2 corp that there is no point in his rtunil Pate tmtalts resists, Megaera threatens to wi tevin rttalus yields, At this point the Chorus rate tee Hater oF te house of anal with ee ts OP Greece to London. Act 2, as one might © As oat between Areus andsrvnt 2, ‘ayes ace that his wife was so lacking in beat reatons Gi2_oRlY have committed adultery with Mi Puriheg, ycPU®- When asked how ‘Thyeates should Tt orci Ss gelding Ae debe Of lawsuit. The servant then prvPaee ropa SES wife winon he eventual es efits being too dilatory. The 3S Sie her ern 20 eter to hyeston 18 8 Stina ggg botbers or quarreling 2 es api Giang aa has Tea maetng i has amsering whether he Sh0Ul sd ¢ received with blows O° Tali) others my vile ang Eves asks (somewhat Oe a snd children, while Atreus asks rete cg tien, while Atreus asks Sr ithappens, they are in Tt th intention of organising itl ns on the quicksilver nature fa '¢ Messenger praises THY IP a ‘are then told how Ate {o hishryt®, be cooked in diferent sey 8 vemeetet A mock star-Chorus lla Sdmaken song and Atreus *™ Cag sage 2 Ra an cs yo 5 along) Ma og Shure, the autor of Ga Upon Thyestes, Joh a ee and BO esoush Crowne is Pet aGie 4 no wrote number of he with good auc etl in Marte OBI ge MO "the Roman plas Le 4 Reception Thyestes ters and. structure. signiieant ile ‘ing translated from Senocs's Latin, Crowns’ GiMsiderably trom its archetype in plot nan of thelist of eharaes Ta irs, Crowne has incrensed ares ab Gtareciers in Seneca the Fay nei fale) Now AN Saughier,” Antigone, a iter sai enon and Menelaus, Atreus' wil Seieant role. Secondly, where Senec® TH $2 Crowe's has only one, Philisthenes Rein to major ference between, th Se nora ve pl A rothed. Indeed, ‘Thyests! ™ tellingbanquet. Although emplosing Sone ant fiveract structure, Crowe's m4 peeeed. There is of course no Cher, in various locations including he a Thyeste' forest deine om dramatist writing in © peg connctleely at a time when the monarch’ settted, the subject of Atres amd TAS yi leant problems, for this 8 2 con's Dect an unas UE Tye is obvious, The dificult US ae it ete oe Goevious The i dens ag A bin’ !0F Crowne, beeause the CET his AMET, Senet eta a i Ng a eb sie Teen atte oat Prseneagmtal pasion te “eit 8 eet None Hever, tinea Coates primary fom his BY ented adultery with bit ‘in Act 1 we have the ‘ows Now: wnat rt” Antigone Whats at? Your dagen 328Seneca: Thyestes fod ar you sure ofthat? Byes hye as rank eh at it is more than alll the can tell share ofthe is mine Crowne Thyestes Pt ‘i / 's play, Atre his ebildreey Datei us is concerned with Doreoe eu Hee the empha iy Tes onthe cel, | Constant roe Parent lack of chastity. The word ™t us lips. We are told by Thyestes tht Fg, ‘i Aerope, Atreus had been ‘the best Oi rent wi 250 and can reasonably infer that Eg lings pane cTUPEed Atreus, Thus we find eB that woman’ cy, 224 Present love for Aerope: “Ob! How 1 23). But we ap, 22) ‘that cursed woman, / Whom yet LIO™ ig We see £2 8d hear enough to infer that SEF *Protost her innocence, claiming "ra oh 3): We see madness come UP Yas the vile accusations against her Hs ofthis "They always leave 2 fs he whe 4 Prospect of Thyests" ret © Nad ls Thyestes in Act 5. But 6" Wool tes to is face in Act 4, Atreus ti! By the whos villin here’ (p. 600 is ther ddanag that declares thatthe so? a | thee, ial gg" 2O°FUPE my wife’ (p. 72): Merion Tact, PPOCed to political mata? | 8 of Sonat Play presents not 3 i sala, ut a failed ot Sasa thew, TH epee ttinlly domestic APO do the the play's political, Po ras sblity ofthe drama Po ionhie there m4 4 Reception ‘tually no resemblance betwen Charles and Aras gue ine and Aerope, James and These al On the other hand, oerastonl lines might wal TS ‘ving political import. Thus Atres” questi Cons tards, lawful sovereigns be?” (p. 79) ‘could be ye, in ceo ting the Charles II's view of the § ‘the bastard Retticular, his support for his ere "mouth. More telling is the play's Ot ni Sati, "nus the Protgve tet, Mae hile the Epilogue emt Td ta ‘Are but to names f0F the Sa rea Phlsthens goes rrr ana sss ‘0 the monarchy: Aso th people nt ag trots ars hn ey money you would eir hellit ‘And crn all honest men that WOU ys rings et pat ing tat Weick well seo these fines a8 EHR uch ‘Thyclove association with the vx the sat ‘ates is not wholly. apoliel Fe (TENTED) Te Aire emioPer Jolyot de Crébillon Pé ue tragean in ghee at ay beste, his second surviving DIS" ornate? e707 although te ns ait ak meet rested with HOP aot HIS Aly RORaion to Thy of Sa an is Aingttreme, i was revived ret Th vs 00 Dot ct Thyeste ineorpora oat se iret 2 fe ah fn rier taut pals *8.s0n, and Théodamie. ao Plisthne and Téa pct "nee is that the play / ofthe island of Buboe 125Seneca: Thyestes ay As with Crowe's Thyestes, Ainée et Thyeste is ie Sfmestc drama, for the issue of kingship doe via “taiultery with Aerope is now an event sbi Tie Srenty years ago. Nevertheless, as the pla beep cae nn snd his Net agunat Athens, Tye Be tangy otder to punish the man who seduced hi theta, Plsthine, whom al belove lobe ane she ap ston of Aerope being innocent: Ate Merci iln ove with Tyee and here rath of this claim (p. 52) ccbilon 1Te*haps the most interesting change effected bY Cry Thin’ Plsthine, son of ‘Thyeste, thought to be Atte ce "und a Breet death at his son's hands: 8 st nat merely of murder, but Ya AERO ements Phiten sti she at ZG fm ure Tye: fe sera 00g ‘recut " x CT will be his conquerot PY gis wien a5) ahs anger ave anole retked stra Wy Ptisthéne has fallen in love Wi {iter ang 8 "ho turns out tobe "Thodam THe thao O°T sister, And te ae mor son ine Leg th for Théodamie deel Ponsbigy aeatrtanding enables Atroe to. ple? eat, ce bas Parsi tt 2 woes re (Thyena'sdaughte® *S ef illo tase sonal inet a 3 tom Argos to Buboca and mn ellfcant. Crebillon cea. Nie kingdom by accident fy ike 2 Argos was an inland lang, 2 have taken place theres Natt hyena mive a 0 F one singy he is 203i Soi nwt et the broth fact. thor uere i® = “8 and that Atrée’s ¥*! 126 4. Reception illon’s insistence on the twenty Jr i era reer 0 ae Baristhine, by Thésdamie and by Thyse dims 0, St int Avra pus me Peypane is assault for twenty Yer gy at er 1 i not until the last scene of Ae n ote in ue parentage POE ar Exteed hy the renun of Teste 92" 2 Cp. At 6 Rt sor by inking rom 2m a i {ving sent’ Plisthene off for soci tie a ng triumph in true Sone # i ating era anion aes TO A fore drinking, recognises that COBAIN TO ier tla sn Theta cals out be iSwsstions of Senecan high spot wth TE cgneeenises his brother ee te Selina rade hewmen te it forfaits (“And at last I enjoy ony ft te meas Teudo mans | ™ | glorify my achievements, Theses 1096), lo’ ccaretters of Crébillon’s pla. soem gcc ie alt lsck ohornor an tsa of alte drunten banque are =P and a cup whi i inser of this play to Senee's ve Mua tat Vai yn ce Mage OF the Senecan play mas cont Cees om and een hele had dclaved te #2 al of Arigt® despite the expres “ete and Horace" a aea® Psbite his eontempt for play who 22 mio satSeneca: Thyestes Au attempted a tragedy on the same subject. He claims! to Gran the play in his youth in eleven days as a eRe Stiillo's Aare ot Thyeste, However, in his last deat e Thea anew Fit act forthe play and Les Pélpides o# Ta the spar in print until ATL. ag Paopides MtOEY fragment which serves as prtee iris (The Descendants of Peps) Votre expr id that Atte ocreilon's play, First, he disapproved of Dice wena revenge for an offence whieh brats i ‘ati, arguing that such anger i Sek Ae te mg ie ome Sas 8 tan plan 3 carying i gua Planning a loathsome action in AA) Thirdly ho dun ASt 8 without intrigue, obstacle fd a ‘lated the pointless love between Piste Play badly weit, uth, and worst ofall, he cons Of the pig ‘blay a consol 25. 2lng with Atrous and Thyestes which "2 far itis Voltaire's ‘which constitutes the SoniOM of the myth, Certainly it ist ane Pla. Voltaire sets the action 82g atists, for it takes place during 1 thers, when the relationshiP ie qilaire calls Acrope) is sil ui Thyeste, we have the se erst The ply aes pase ly serves as refuge fF HOP # senate and people: former tutor i Atrée od > reveals to Hippodamic, wa gat an Gages Nee orga i stat te ending 2d that Brope be restate ‘*it relationship cal ie 128 4. Reception the play problem a rope put a st civil war. Thus 3 put a stop to civil between the common geod ‘onflct between publie and private, ‘nd personal desire, Eee However, there are obstacles to be overcome. ders Mégare {etuce from the play's second scene, where Brats O° {2 conceal ce aépot préieux (this presous dee Lem rope ant These hse had cl No ela progresses thatthe existence ofthe NG rin act lor Both Thyeste and Erope. Moreovet 9 es Ate », "Ope loves both Thyeste and her £0” # “Atrée is not HAPPY P18), Secondly, we discover in Act 3 that AIM hen Las Tithe proposed treaty frit denies i ARN te tous pa it, Aes rie 8 Oe ou not king? No, 1 am not Avene ty jntrests 10 tnt ing? No toc PB sin bt ls Ne good and so Atrée kil Tiga, Bd and so At ii war le ae neater fate ene ae ee 1 plating inthis familys ist. inte tléton’s efforts are wasted Beeme of Tantalus and in ber he house of Tantalus bad this BUCK the gig the past my father® "alfatetul ove 4, any 1UBledanie thus reminds us f MET tt of Bagl Mer unsaceesfil sito) main BY contrast, Polémon EY, has 0 tha ie Le sore (Sometimes WE fot OS ngs Nous fa destns (WO On Boome Petal er comers hE "ls her vision of the fail” ® > {Bis wit otnrre al om ons nd you, hell wre 12Seneca: Thyestes E nit {hing presents to my eyes bloody images of past oth ina ik licning "Tne th a wn e hs srt cana whch Tonal rear oor ra 0 ani salts rs ht ithe psi Hd ed ret, BE Hight. And that she owas Fl ‘Sv lat words, tho play's final epocehs Destiny, Les Péopides, P- | vat ee hi 1 fom ays oa a ngs oning cine Lenin us ‘Tentals, you come’ {89 acknowledge me your som “mi pepe ; Given that Votan lirections indicate that "i ! eet hte nd tone nit is {ae tobe taken ral 4 | te eel pa ce ty his ron, Too | etal Brtiction ig cocoa by our er ! errs h2DIMON and Nee ll ac the at play ‘destiny ig inoseapable amity Reece oh any we a (A866, th cen TH ted go Claus’ version, ented Fo SOS rc Soot es wean pine of fd ation whic lirect experien® oF naiatite yr® Which had direct exper 0 ‘with the Sr haan 9 4 lived constantty With or, grat au, lau ha 1829), a Belgian POM 8 dante long eet writen aa Siew of est eas, hg HEE he ‘2 number see ox Leys ae a, _ rofl les "Oyo (1976) and Oar Sa fone ae » stonin Maser ses C88) A admire a (ee ogo sn one 130 | | 4. Reception work, a strict oii! {brah on aatin ahr ng ‘Sng Most the mst pve and act SIE of Testes. Aloo ing a Peet allow much cape fr erat oe in reruns, Cor Scseneeaee nections, Seneca’ , nn ins the play's Speeches Claus eos rt & ways which imply a thoroughgei orignal ms ext ofthe pays opening Bilton from Seneca’ st act. He = "econfigured and reconsied nS PO" The setting is no longer te TMs hone room: to thee of 82 ic fit the large golden skull a peste of the throne and the Tams ae Play's toca fie power, And the Fur) aloe fal", Rather, Tantalus comes o® SF oo 1 becoming vile seated 01 sist not her physical Power ASW seer nakedness wl 2 fealing beauty, her thighs SPTE Sher Sayed anew s sis suit bandling af the spss reas metttely rhetorical $e i cs detailed instructions pal, Shia ocameeae ee Ul and mood delivers si ence Sate in We nwardnes, no aU enh, me show in whieh Ate a et ge Al young Pant rum Pe a eso = ne ton eo of Sink a whine he nook Te gat Se am rene AE Si ingt-tirections not om eto in Seneca’ ex “ev ofthe acon 13Seneca: Thyestes ee ir tv sof tage dete nh Reine, As Atreus enters in Soneca's Act 5, vad AIRE intl ho gives instruction for the doors a ‘when we see the ‘drunken Thyestes. In Claus we ae fae nd snoring on he ea Ves, wearing the king's roe and cw, Semen Mgt DUS, he shay his head Even OD tins Claus omits veut arora easing . Segoe la for power on the one My it tion and ignoran ‘other, Claus also BANE, ny ee, on the a has Theat Clements in the play's language. FO! fo obec er eee a ‘Se rn 2 BE up bythe har and pushes Bi at ry oes It would be dificult t0 ima eNDMerinng Atrous’ mastery and “— tial status, ts all gran’ of the Chorus i equally creative on man, yi? characteristic of the Roman st ae sei car of a veel, his ist speech: it heat the Senin 8 addressed direct¥ {2s rein the Scan Chorus-momber® vo Oe Li ala sbi fine assistane seal of divine asta ie : od In ves humanity 4 Ite eee Sary ase ‘sconngetther anyone has found oe an weted, °C being alive tomorrow. 3 “ et reinvented Senecs's PO) 0%, matbtation: On the ator Ds ager Horogh rethinking 222 on Wie OF Grae with Gaeta ws Benguet Crbihon nea enaire i “the latory the Thyeatey nyt A til need expat niman experience * tobe fr tay 4. Reception {he play's closing speech, Unlte Sen word to the Chorus, who begins i¢wil not be otherwise. ae CnNotes 1. Contests sical aio 1 Por the quinguenniam Neronia in te BOE pe 5 Gratin, Nes the Bd ofa Dynes PP oe cri Nowe aahiortedniatee df a Dynasty, ch. 6, a ea of Nea artis ame eB rae ase) se es an San a se taint ehee, oms cea 12 Mace Annet 69. Penge Sri, Nero: the Bd of me salt Ant Spur a ae Oa Se hy adr the dates soe Gril: Grigg ascount of the Be ee ine pl 185 ine em ions Clu settstive 28 Teton anole 135, ain BA Be a une tte OO nr su i (tte) 00 Nee 189 aga abr the appointment of © oP 72 Forth coinage see axa turning 7 oe 0 386Notes 1. Contexts (radiion 1. For the quinguennium Neon the isoroger "eR Grin, Norte Bnd of Tacitus Annate 13.35, iin, Nero: the Bere nt x taring it om iin Ne nd of @ Dynasty, ch 6 Rice Avil 133.1416 18 tus Annals 15. i, sad rata Ney ities =O id ofa Dyna us Aur 97 ts i ero Sep sn S06 = or detailed dserition and appetite Mactonaid nena Fromas Ene gu 18 Dh Arhiterre of i ar Nea: the 8 Elder Seneca Controversie 9 Tacitus 5 Tess Annas 172,42 ets 438 a eee ar 1B. Tas Annols 35 cotis DASE Seton Gti sel Oat ee of mee Ny Nos weed dad Nee, gabe eee auth Ri it Capt Sa ras Fora rt ft eee Se shin" scieremnts 2 “Ble of Calpurntue Seu ag! forthe data se atin rig at of tf a of ery Suetonius ctu 8 Anal 15, 32 Mectus nna 12 sure iin (LOT Ot Note a A the apeintment of C*OUE or the coinage see Git, 135Notes to pages 14-19 SC and Nero: the Bnd “ mata taint Bnd of Dynasty, pp. 57-9, On the set Tage of senators bore 62 sce Grin, Sone: a Phil tut nas 132, ca 8A a im. hn an aon Bn Sey helentn ito Sh St hu tole Dating 0 cece Tra, Sina BP. 280-07 a tpg Peter Nisbet, “The Dating 5° " ie tc consi lfc to acape chat the pls ees 2) as propo Sener SO chen Dchtng der Aibe ce ra MES Thyetes, p. 19 n, 68; 182 SOE cs Tragedy pp 1068 PP Alo favoate History of Augustan and Barly 1 Dram date early n Nera Fug ames ‘oh da 2 Romanorum Pragmento PE, ne Late Faerun 6 ‘ete Tag 1.204 suggests a ater di at os ore ri ly are rasta i, OM traction ond Coecilins, pp. 346-57. pani «insect, The Pages o 28 Baye tanta in MM Andronicus, Naavius, Pe ¢ see ot ‘th Tae raged 185 Notes to pages 20:24 ox frp 5. On static elements in Senocan tragedy a= over sombii Ssfe Be Rane ‘. Ta ore ig eecrene sat ey srrnapicnt Het roe ast oe sof chorale i mon neces ae ae ging snd 2 Mehl emer ifm eto ee $e Mich, “Playing Seneca”, pp. HF AER be performed, see’ Rosenmeyt formance’, p. 237, who argues that Sd faring outward, reports» develormet Sune “Th slain 0 ‘Satoa bey yd Sean Cade a ten af ne l®. Murray, ‘Verbal Ply’, . 964, TB8 BOY ‘formed in Canada 1988) a a foe er of Eau anaes, Ses 2 Production sponsored, bythe Degaemest lege, City University of New York Ff aay of e s oa Sena ose ee itationadramen? He teas sevens Ee hn wen perro 1 Bie Sees one 2g orth eo rr Se a Af rin i erie 18. For zit newer tee fan age en en es PRE) Mayer reises-@ numbet teen ie 39. Boyle 'Senean Toes “periot an Se a atNotes to pages 24-25 age’ xt rural Krgsund,Senecan Tragedy: Back on Stage te our sage pero jad aes PiU sto performance, basing his ease on deal | Patra and Stora Annaeus Seneca: Medea, p. 42. ste with rec 2°, Rural Sneca Agmemnonp Seneca WO | ta at tgs eduction oe 3 erat Son's Phyces 9,122. BUREN Somes Theater 13. 77 Taran Sen's Tester 1s st 21. Coffey and ‘Mayer, Seneca's Phaedra, p. 15 108th | pet Sete Foformance, One ofthe, | Beiteriowatert etemance, One of on For oariae 2KiNg world, See: Valle “Putting Andromae gel ve nage gM of uch ash see Begun ba 28 Sah se Geta Svc and nd Sree Trap Bal Seca tranny ang Sonar enenbero= 5 Whites Soh, “Give us po ee f 8. Raby i 8, Seneca in Performence MMe 8 Sener in Perce Bin ens rch frre, a @ main Sts in Perna, ra aries Snes in Performances p18 Pees ws to when hrs fake ton or exit (Premsgy i950 nor aps eit sha ete sean fs at ec Sea tet aah bates aout this aspect fe ‘eA lesera A3 thee ae: Indo, Lalit ye ie Klan, hea of tte “bid 's Pa os rr eitions of Shakespeare Pe mathe hese nine a ct and eid tt lvaye provide lat 88st fh ent ates Inthe lease. of ott be fe in ha ox mith led 2, btwean performance, Per eee eect le Bayer re. Co td gle BE eo Pei sug tee Bae PA oie bie % translates words on 1 it athe "i> Dupont’ translation! 138, | | | [Notes to pages 2530 ae oe doze Ae Park 7001 ar oe aie ete Sater taser he ede ar ae Ros aa rome = WPM og 38, Dupont, Lex monstes de Séneque ET,» ; 37 on, "Soneca in Euabthan rane ‘ ait | 38 Herington, Senecan Tragedy um et 5 ne 2° pt a: rent Pare tiem parum et (afr, SS Minder: What of fre? Aureus: Sm 5 40. CE. B. Kermode’s (Shakespear®' ein King Skeopeare's ere the sumo ore ANE nan Sree tates cage ant "Woguogs hore is used not for eocution 84 5p 2 Sane ce a ters 1.15, forte S20 ta storie 10 ng rt ts ogee? Ovid's denial of havit re John s curr hentia Pe ar ta Ram eee be yin ee a ge, ry ert wrt Nr Seth eng he ead Po tae ne a tsance, p. 147; Boas, Unive ish my 18, Nelaon Record of art a ee The Tost valuable fie ne ens Production is asst sziope ae asthe eee fen Be te Se eine Sen i enn coed Seem ci oO ‘SIE, Sie too Amore Mle Ar pol Senecani nel Mente et ate erg ch en ret a :Notes to pages 30-34 igf2, Ti cou “Glasgow: Sonce's 5 Wath is based om Small “Atrocity in a Fo’ a Be = gar eee: Pur Tragedies and Octavia. rip titten ohare boon nly Us prediction of ne a ‘Are Tile Collection a tne Lincoln Center for une PE USA Gace hes no record of any production af The! ag on or eh one, The Harvard entre Colleton Pea at Putin. Yam grata he rans ine Rei stad on the oil progam Sar Tes 0 Perormances Cec and Rama, Pog Tiyeig,* Wetations come from Agapitos! own accoUNt at a, isso geil Hurst, Tare Pas se dane ing, < reatend 2 distinguished New Zeala ; fr his role nthe weer gets aspartate 2 of Pests (Pare), Buse Pt BH Onesie =" Agamerinon (Part 2) and Euripts ol nn tinge Aseand Performing Ars See Sag St ca ann eerie pene a 4” Phot a to 40-year ASS Tereistion wat! 80- and Goyer ids for Bleetra and a rata SenatghH a reat suc, tha cast of 82 te i Se rState te and etre Hort emanate ai on er esr Thaw nel Oe Pe a aad ates ae i sega EE Podacon in aly in he 980 elit ge 2&0 dell'Angelo an Rome, Brodit Rave nat been able to ob pa ia see Audio, eneet ® roe vende mali od nk . te Pe rity 2 aoe Goi based pial then Viclenegt= usin lone teeth Tran 140 meee fom state nt 4 Wardle, “The Greeks had words fr we Se ane Ca ee tr: Sore Sons's Pet Soames Na leauge Te wn nets De we ona seein Te Re meio nme neem ane Bi ed ae gery fe any ti Seine ond fe ey Kod some ga nr rem meets ye 1808 which ala prevented hs stating SOS cy aE ee td Arta, eter Brock enn CPE BG rte TO SR shout Senec's Ope that Bl 2 en See eae nme st 4 Ein pene Aue GP ee fatino ‘Les monstres a mr a la tie Gres bed s-thene tat EBs ay want ili Be Pec eae hee pce and apeolgy of Poe Be ot etal a gee Tee, Calder senor Tegel Tete "Sona eta es, sy setae iter and Armstan ( Zi Tioety abe unter wet ses ete wala Baers dra Ta once produc a PG nat eringtn (Someta Sita cnet See a ct Tae i Sarge w1S ancy‘ Aton and CoG aed a Tht Again, avail chon, Biogenesis cle wrote ve pa on pees ron 1 so Pla Spetly by Burp, be 8 Single divine Specter wn, oes 4g Wispeeie ae Sone ht Sop to divinities (Buripides' Taian Worcs net 8 Ly in Re). closer is Buripides' the ning Ey See, Montane, tn ae a sae estes is unique in combining sho the Fury). aloe? via in E, Megaera in A. Modern edit! Matar (tamorphoses 6411-814. cdetamorphones 641 ton a lus Calternating erime’) #8 So nee to te ate Sten. ay points et: tnt ON sce HS structure (eestance 1 MO, 100, 489) prove models for Ur yqial meee apo co he mL LS sy ane “ie Belatory debate ie 270 a te eee Sees ae tenant a Fa le ce Bet 7. ehesay 2 sina senso, to perpetta a Soper oe ee be ta bathe mee a 5 ie a ease ral ag teh 8 ch Notes to pages 4969 it, and 2s ww Sut Do Gl pet Hine, “The Structure of Seneca’s Thyestes’, p. 261 101-106" 1 For this point se Calder, "Sentee Pg Hig. ign, ‘Bemarkangsn 7 See Tete Laan an Tragedy; Poe, sn Analysis of Senet cay ‘Rime Tae aa Hie ke ga REP. 273) considers hms pro : 'e Toad of moral improvement’ ee sel AS Boy Tape Sen 427 ras conspicuous fo ss oP Older texts, following A, labelled this 7 vide enact i ‘ 1 17, GE Seneca On Mercy 1.19.2, er ata wae Fats See ts piv ear RL Watling ie Caryl Churenil's transla 07 xn mn Pwes 3 to Bashar wnt met ge 8 ny sos ext, ae a: S918, Hone 1 agree with Bor’ Se glee PB: he te deluded by 48" E°F up in Thyme cent Sens Pest Bier ines bie eta 22. Boyle, Tragie Seneca, P45 OM gy6. BM es monte de toe Py Schaefer snp Se ‘gd, Por the’ tie of meanine ae, cae nt fe a more detailed see a ings, The Chorus in Senco oS gan ger vi Spi a “BY generally co Davis SHE pe 2°”. pe shi Cog CE the at tian Tat OF. See 27, pre Murena 61. sence FPL gs 335g no Mee ref oui . =, So a se aoe Bed to Jape, Cites yet es born Neo i addressed Bust on 18 December a On MO ii 56 on Deer Sean oe ane Ds po ryNotes fo pages 71-82 31 Reconnection ako noted by Mae, “Quo aunt Ba Caggait made by Tarrant, Seneca’s Tests B , Senees Tragedian of npr Rome BP. 8ay sna O85 "Quod notunt etn pl points ou, eg acy ty gs des i an overt act of latory hich Saree uit compare‘ rape oo tacit nd, dominant son ar Senes very wm, grates agit Se ASW GRNePation witha tyrant, gave thunk oh gry ct rn On Ager the fk tha Sees RO BE arate doer not mca hen he regards 0 So Sind nlrb at On anger 22.88 Bengt Perng tort chracerisc of Adres) ithe ace al ita OE y chute and judgement Anse 8S at in 122) while frta Chesil eal) Sse And gne® in anger (2.5.3). Both are plais!Y neat Secs Testes 388 “indo ommes ners ib a 2d Cla, Cath ‘Seneca'sThyetes as Melos uimur,p. 186, points ieee eee D Se Arye royal alan a 0; cy! P Points out, jes to Vine e 4 L170 99) eh elf eles a Ty Seven’ deseription may. bowed? elmer the Pua store) Statotte Neve 31> 4 Reception a Thvestes, p 134, heen ; eee in ompa atl sna ith nine Soke ae ts Soon, Ang he 38 ant acca (; Most do not. In my VEN dhe mW evencePting Senecan autborebiP Hye wwii an pace ater" Ma Notes to pages 82-87 scram Ippo of Vind 8) ane mai FRc death gat The taco art la makes it unlikely that he i its author Ree Tor cramp ihe author follows Greek. preselS ce fal ines tothe Chorus. Also it action Se to ret me da cra Ae my cml Le tty (Honea, ip nt a (te of the double Chorus and siv-act seructure reer sey ed §, Compare alo the Nure’s dni of Sr, i SSE) with Seneca's similar denial Octot2 S74 tua eh a See ar mammary on Pee tt ie ca ar etd ee a re peta ote, cused by ther abe 24, cage “is sune ive aed mete = 4 SMe Fase 17 We Thad teas pat Statins and the Thobaid, PP? reat id, 7 Ney Status ond the Teel Sl 24 The classic statement of te, me iaebhan tragedy in general Bess oan ng re convincing zee of agit Lucius Annacus Senet j Boke, Tragte Sena la 15. For ave ap loge Fer convenience T have SA on Set ra a Sh ona ‘There play is ealled Treas CO Term fhe rane oe gaa Nae ec Agee translation see PS aad zt Se foae ra gable in Braunasllee i "9 Newton, Seneca His Tete Teta? ath rtrd os 5Notes to pages 87-92 ca Sackville’ Sonnets sweetly sauc'd and featly fined be Tee ions indo delight oh Quoted by Baker, Induction to Tragedy, p- 10) influence in Gorteducs. 78. Tho po The Inflence of Seneca on Elza «Sena rain in Renan = duction Tragedy po SE 2 2 Pre on, BEE Horas at of es bee Neonat B46. Por the text of Gorbade 1M BF Gail Biethan Tragedies. Ch Pron Hanes ie er ! Sh pel ie satan Tragedies, p. 88 Oe lines spoken uy Fremetheus. However, in the light of PA Eee Tee hide et bin renner {2g tat Tyo s eing TCT! Phys, | Tote a Age ih lad oon, 90 ry gi Se iS Aspen es se fe cS igi asta nara ke ear dalled n'sonen, Sencc's agama ea (cen charactor and chansee OSG aiy | Sansa rae men a Was eardod as Sone Fee ae pia wo Me | Tira Spanis have ot hes Spanish Tragedy 1 ce as! ot loro shansh Tragedy Horn” is a plain iva homes fo he Spanioh P= Sen SAE igen Boas, The Works of THOM GOs 1, pp. 108) objection that My shots wghetieval is mistaken, FS, at ay are nok mutual, ~ te creatively exploit® © i aint tae a te teats cee Rumour ncaa Pe Stat hy 2 Velen ed i, Foe 2,80 cam Roc petal names, Funes, Relea Ataparngg An of PEPtCifientions are camo? eT a ea hy er caberhan Ot es AE tie te > sage (though be 40° ug ‘ftanslation) and it is not he case that Achilles eles revenge for death ‘in battle, ee 88. B Mercer, ‘Hamlet’ and the Acting of Rew Parca sat gto tes oe a foun Ope, vol. 210, column 584), wot Honor 968 gt 12, ‘adapting de fertio consulat ey 3 3551 nfm rw it eee? rant rf ereseT etian reminiscences Mrs 27. 2.5.67, recalling Metamorphoses 15: ee id or 41019; 25.74 quoting Heroides 20.83, sty Veg or v8 sa 288, gating Td 389% ea aliens); 2.5.68, quoting Slee 5.70, quoting 2.2.13. fam s cn teat in mh elon Sie, ee eo See eI we others, soes a reference Uo iS mimo’ refetions othe go git Nae fae ee Eat et ew of al Ser nese : enna Sy ak sen ty li 7 Ro ck foal rene toe Tran ee tf Altnghetnw ares betes tog, nae Kod: The Spanish this oe, for abe velar re une ‘gh For the tent of Titus Arete a 8 a a cent is Mioln, Shakespea™ ibaa om a apt oe ich Miola barely touches, er Indio 0 Tey cus with Ovid and PTO blie at Ora omean mone for Titus and Lavin on utNotes to pages 95-96 Pamstiue, while Atreus cooks three sons of Thyestes Tani Sit Phen ano ynaaned ug Fy soe so OB tmbaTe uide ampiezus tribus “enjoy them, kiss thers, ive Fecent of meng the three’). Tt is particularly significant # van Bare Cth play = Waith, Shakespeare: Tits Andy Stars an’ Ou 10) a ola, 20.0. ene Ba ine it Setelton are ec sales, a ‘emai, Miota Sat Senaeca / Jasper Heywood: “Thyestes Sena Shaiepeoe ond Clear Pragdy ad BT "s ae Logi Merten of Pht’ Lit of Soe er SLBA eta ee of ot ee ee males Pius and Verginia (Livy 8.40 io, Fang ee Ratt 81, 21.266 neil 4.6879) 80a Seis Rome mt ee ie ox However allusion to Ovid Metamorphoses SURE ete we ab” Ord Mama mals LavingsPot800® of Lainie rene and He eeu ‘ee Law, ‘The Roman Backerou™ g 8 1: 80d Tame i SHER SSS sa then io Diana i nae ale aren mgt he a epi fe es than ew Aes ine the tye and the Mythos of SY eet ta ae conoerations 134200 gt 24 hon a 1 Me ft Fasti, 2.685-852 ” once se 5a, tinned a a 10.85) 11.166. The 7 gt rc Nie mh er deniation with Titus and “Ae in Metamorphoses 14g Notes to pages 96-100 us 11 0 80, At 4.3.4 Titus quotes in Latin Metamorphoses LISS Ate nia Te ose ae eee thd ofthe glen gs Vn Es tats Setorphows 123105 1. Se alg 2243, 29 21 521M ry enc and A wl become appar, Ct Baste Blzabethane’,p. 22) claim tat ‘the Senseen res a Sa lenbtbas avs ono when he aul toy a re ye ee nd elie, etn hh they Oa wipro ws gaa he ren i es Tron an logs or cn Tram el 2 eral 4. The ancionte vented tbe PIES) ‘ith gods nee of eae their amet AEME Law, aft Tin Conoco as, Pt aut dof Tas anit aoe = at Mil Shakespeare ont Cs sorneton bat oe 0 at og $8. De Armas, ‘Astraca’s Fall P | Sr Mclaren lee! Tre Sr 8 Hao he Br i ote egal these 1, ig 7h Orv t55 Nero's main ear a sigh a as by Piero. ete Thorse-like 38), Because sinteent 04 Src fo patsts included Octavia i. "fe Boru af te HC 3 fine hun oo OWE rampart the om oT. ia QUO. ia reals Pe a at fon fotos dent am ao Ben aaa gett Ps) 1 lO a ta’ Andragho's aanertion of S08 at tad 12 ‘net lai fade euperet OS exh nie 200 ns oxalate of MES to eat Sea ie aunt to a ene FeNotes to pages 100-114 kl ma, Wen E07 7732.19 trandates Phoenteran Women 152% 1 4..9¢,\%Usi0 quotes Hercules Oetacus 756 (O lares, 7 Faia ooo I Mersin oe 4 1. AS Hunter rage P ‘Points out: i, ironies of Justice in The Spanish Tr of | Bett, Silay Staton paces Andrae noble Ste i) Bio tata a? immediatly before an exchand ae 3 at tht broads meters inh ‘a Referee ra te an ® page and your poor sol (8.1.88) reals 7 miser ar# John Marston of the Middle Temple, P . if the Mite Temples 1 ote {eit of Maron's ple have ad SB Melee o) tere at ‘Toni of Justice in The Sponish Tae! ie sented follows tis paca? bY 22° ‘Roper hen ets are undareat, by ‘elghe’s pate ! lla’, ge, ‘The Function of Irony in Master iors ang Poltts out that “He is as guilty of or the aniithe rulers he excoriates no 9a larton: Anio, structure between the 1 o's Revenge, ® Seneca Dialogs 11.8. oe cant Be Gera lS: Lui et oto ee non laters nal ie i unig ide ad a narston: Antonio's Revena. 2-3 Sa ene ary gig ot he ct ee re of Heenan th tomb Neg Ml A" he gui Mae ols 0 Hot tA pean” 154: capenda rebus 0 at Hisrane sHlseetal i ePlende not capiende, OUT i a 2 Fi rte * tr Pe nance jes prensmably in terete fic On ranma ea ent Se Onn Ph Spanish Pn Fe ery tan nar ett ed Aye, en ma ear etn, 3 Caine a aia, p. 97, ghee "have ted ‘Botton and Go? 189 Notes to pages 114-128 84 tere ns Dol St at 95. Hence I find Barton's (Ben Jonson, Dror et tote oer born Seca wo ft shay Et oe Reiner meee pee te men ‘Tor the mmportance of sence ase Saar Cs Soe frase Dyer spe tnave vst Ai eatro Ths ote no gi IC) : ch ay sti Sei be un fer ea ea Ga Trasic Seneca: and Morrison, The Tee Hyrear Be con HD Noe tn lees Re 101. For the text of Les Juifoes 1 ™ gp tele ‘ied et Cetra wa {tation eats the re jomatical S85 op. 21S. ay Ot tion ot sources i problematic EP an i suet bsg Sates nt pnd Gis te Priorat GE ie Sa we ae Testy translated from Senee's Fi THRE Seneca: ni 8 ee Oe ee act ate tn eee gba a OM Sebrumat ore of Je at Wt lt, en ga tla ra inept ped the catatonia el fact that note ie Fi aA a 1108 Ror etn Crome tia ae Reais : Bo made appre an alan ccs 10 be teas tal Somme an hn et be re et Lag, ing. Hoe eeu theft example, that whe hr wb Be ing aap, that ene git agente to ie HF Ca “eee Sr Court Nice| | | Notes to pages 123-133 i 163 un si Me ita ome Cy Paige anon fats the king's prime opposite rth eet Erdace Mito, Jon Crome iy Pligues os i, cherncr = Crome ana arn TO gu al Se, Sth, Ancient Sop and” Meter Bape a Bralith Sage pp. sone SP a ae srr, S35 Anglican in etgion but mie ta stl than any dese elite, Bt pi Sy a pe ets recon aispanohis one ote rave wed ion at Crim’ Are of Thyete have eh es Pr Crs: pets Gpmplet. For the plays reeeptio™ Spee kt Cron cre Tee Nourse Bese aso and i Sater rene laps om Tags. ‘fee ran in 65) T ad 3 Pron a Mota 200), 1 ret ial | ar drat wn va edu rn tar oe | a EEA Upa mn Seni to Sh oa ‘ iste ieee coe ose Seer 8 Por the gat adult Com iniversity Press, 2 fete 1 tie thave usd Noland ne a Seren AY the cane of 8 Tobin, am bout. Ant Nes yo oe | saomnene Tag es i jplenganaes ot rag antl dan Mo Res ene en Ar coe 91 ach ‘ot ait”. Brame: ban of {ed Flemish Thee used i i hes: PI. editor), Sen 19) Sot Thedie gl Mscussion: Clea, Thgeste> nl ST ec 2 rane Aluin Van Cru? api 45, for Artaud pla aged Inctudes Mito watt Guide to Further Reading ended fo This guide is primarily int | ene ine themes f—eontned to works written rch, Caryl, Lucius Annoets So ' fern Books, 1998). A vigorous * ‘Jane, Lucius Annoeus Manchester: Caearnet New places MI ot EB ‘ = at wa: Bate ec Tt OE a 1 Be A serviceable pros? is veg Heh dens to roe in A stimuating anthology Set Eadie dating fom a im ton ted Hae Seve Barat Reena kine Univers Pres Corclrecre re MEF, Senet, Fa in Honk 1060. Be ‘ation byaSeneca: Thyestes ‘Thyestes: texts and commentaries is. Oi Chasmartin, Fy nn, Francois-Régis (editor), Sénéque: Tragédi {eamemron, Thoete, vol 2 Pars Los bas Lette, 1369, French tne conservative than Zwierlein’s, accompanies TARRY RA eto), Sena’ Theses Atlanta, Ga: Seba rea Latin ex sczompanie bya vtuable come gg ‘Univer $2" Ee Annact Senecoe Pragoediae (O30 Unie Bc cey erent, Secondary erature seat Boyle, aaa Prana ilies Seneca Tragicus: Ramus sexs 0, Spat ‘alaeon fam, Vis Aureah Publications, 1989). 4 est a ers yale rages nln m0 i Jo To duner aiBe: Twelve Propositions’, The Impey Ye Aur Pest ugh Ovid oditon, bl Bexle BEC ‘cman ution 1888 18101, An Important — ghd rea Seti rag through ewe i asta 166240" Bay in the Theatrical Prades ao eat eA emia fal he pas he iscusses their relationship with Be nee ingen important ci Seneca: Trayatian of Igoe ai Toa pen whieh 21976), pp. TK A ively and YOR Tae Retief hat “rou 0 Bn tee which we lve (p. 2). et: Ait pai moa, integration of Senen’s A gn cnt Es Scan Bro TEE 0 abe Re est PP ys 91. An idiosyoe™ 2 SE tora fd wih en. ~FE Benin t! Bort, clase! ina in le Gen hye, tbe ne sree sin Snes Tragedies ody Atte ie resort a agit Seneca in “Perjormane® (ae ot wot 00). ma ‘ a Tae iB "inanes, Deals mail 154 Guide to Further Reading es “Arion 6 (1968), pp. 432-71 tie etn a iy PP Moangon Senza ae te rimary nen itor in Bocca raed 8 lary Structure, Sm Terped atin Seminar 3 0880 FP hate anton of et nae cer. Cary ark Wi and DS HO on Transations of the American Phil 0-0" Deutn ares a iP endorsing Sse pation Most, "Anna ‘Lydia and Cat JOM Ey Meld iva Sta lst “hea! wor 0 os Joe Panky An Anas of Aiercan Phnogel Asse uy of Sena treat Dea ne Selena, Formsot Sve app. Baamines te Act Land dened ‘Sea Ts cr Galan Histor, iver of North Catlins PE ponte 1 as staging the ie ite mptcationss Se ate ion a! Seca tragedy fnreing OS haea, NY: Cornell Universi Tag ty, focusi 08M re and oma Classical Phong 81 099) szedy ix characterised by BAT4 got °% Pathology of the emotions‘Texts, translator Aan, Marco (editor), 1 Tet ton Ginuccent orn tino, Phi etn), Ben oan raltnchentr Universtiy Pros 19%) i Soatan (een, lon don Route, 1 Baws Frederick ein) Te Works THOT a ion, WE and Gardner, in lltidon: Edward Arnal 1973 civerpnt Fras , Mile, A teitan, Sena’ PM "AS tito, Se Braga itn, Sencca's Tron umatin, Francois RES Aganenvion, Toete, 2 Hus, Hugo, Hugo Claus Traduiterdy néerandsis Pe 2067, se és Thre Comple 2:1 de a oer dont “Tgeres ewes A Aes domme 13 ain, SO alate Unicroy Pr teas Se alder da. (ean. Eats A ei Rese 560) Londo: Ee! dr isdn eta Pre” ch Maa Sone Sees TO eet niverly Pres, “sing Gc oda A aye En St BORE So Pgh (eto, LA rnin, 2000) ween er on, en Ma 8) ot tama ear a set i isSeneca: Thyestes John Marsion: Antonio's Revenge (London: Bivist (editor, The Tragedies of Ennins (Cambrdte bridge University Press, 1964), 42 Ravtond (editor), Rober Garnier: Les suf, ures (Paris: Socits les Biles Letres, 1949) = eat ‘Sophocles: Fregments. Cambrids ames and Logan, William (eds), The Dramati set (Edun ian ron, 189 {editor Five ‘Blizabethan Tragedies: Magedy, Arden of Feversham finds. Oxford: Oxford University PFS, 2, Seneca, Tragedies. Cambridge, MAS Hon, Ocures Competes de Voie, i: Garner Prove 181, 2s ys Phe Spanish Troged? im Gravcorum Bragmente (HE Ser He nme Tragedies Te oduction by Ti aos . , Tragicorum Romonoram, {nt Nerlagsbuchhandlung, 1962) ), Oadipus of Lucius A Cardueei Publishers, Ie. Inted by Moses Hadas (Ne te Paygitd Octavia, translated bY ral Arts tes, storey Thyeates wy, wo New Pen 1088 ih OL 1, tranaated by Ds niversity Bros, 1992) “ih tin Migestes, ranaate by Stargen BivonD, pest ™ondawordh: Penguin Bh Kye The spanish 2 ond faraton: The Malconte™* Bibliography —— eaiers, Senera's Thyssen, GA: Seoie Pn 1985 ts Oa: a Age tan, De, bili Tare Ont Li SS 88g ander td Wath, Bugene Mf caton, Shaker Onird Unversity Pent, 60. yg ai 1: Baie Om ington ei), Remi Or, ris (Cabra, eat rt editon Remotes of Old Latin 2 Le erat Prt sun and ess (Cab ie 1980 cay ies ian, ohn Harold etn, Joba =e Med in rages ; ed Mol ig Bo ae a i a a Santo niverity Press, 180) sccontry HEY ry 4% Patri ‘ance ont Costs Ha rl er rr 200, 2 a il Aeon BeRmOrt 2 ene Sere Sone Re, enn sms ha Lh Na Or a a aan ene ath oer do sonic di Plant’ 6 Seg ries Pipertime eos reper a Arch sa oe 2 sete enol tay ie i Oda Rage Bt a : i Cae Pe et et Men 8 eg of EL Se ed veer he NGG i 1, William, The AS i Malevolent inne Biz ce ‘atari: Macon OoSeneca: Thyestes sre Tal “'mitation de Sénique dans “Corb” de he Newton, in Les Trogedien de Senague ee Tae 3 Reraance Pars: Gaon du Contre National la unig, 964) yp ter 3 ‘Seapstbt Atos Revenge: Marsion's Play on Revenge P= ist Els Ltrtare, 1900-1900 23 1980), DP 277g of ni adit to Tragedy Study in 6 Dewees allow York teh Spanish Tragedy, and Tins And |) GSS, Smman Sorin ei ise dt Snes Di? arto, 6 att | ee Peat) Melepare and Quid (Oxf: Oso UE ir Saft Function of tomy in Marsan’ Ant Bis Rage Swat Ploy 06 (1060), pp 73-5 se EET Stet Pronts (Parts Galant, 188) aUiivnigy Be. Drama in the adr age Os ‘Ginn aye” ser! na Gouna Thayer Bucabthan Revenge Tras. 587 re A Sah antago ne sect cd the agi Won, an ‘ne (Berwick, Vie: Aurea! Publications, 1989" st De Vie: Aureal prions: Ramus Essays on Senero” Lr en ire Propostons’ in The IP ‘bid Berwick, vie heal Po F, Soca Tr 3 a SS Fite terrain = 8 Cagio; td Paychok the DY ‘g Soa ty oct 4 totem Cae Nd the pradition: Tenet Ct, Steen Tey lle tragedie di Senees", P* a ce ‘he Rtas pahnongisll® ie Publica ‘itteraram: Studie Bess oti y chaal (adits), Clr ee Drama (Cambri 160 ook, Pot, ‘Petor Brook Talking 1 ‘Gedipua, Pays and Players 1700.71 ice, ‘George, “Glasgow: Senet November 1975), p36 i Calder, Waliam Ml, "Senee: wi Clesieet Journal 72 1978), PE. 130, op gene's Tose ce Danuta an Enterta a, ed ca Tragic: Romus Bae "Saad IAT ple rich Vs Aurel ES Poh 4 Smee Tiyetes 101-108 ae se - row Yor ate an it oe Ieee tis Cera Anthonx, John Marston 5 os Univorsty Pres, 1960 ns Catton, Marin, he Qt: SH hoes 1 1977), po ABS ign i Rea ton ER Phe Sencon Train fan isu of an’ Kasay blake 1 21 ON University Pres, 190) ce nnpeten 8 a Med ins a tne or fA ee ‘Tragedy in Studies Honour Bet Bets di Hooker and J. Gre col 80 pp, 4:52 ct an ps0 CO mmol, Wick ‘Un Séntave Peat He f gto eat i ars io ies! ne, Michal Senee Cunlie, dohmW, The fates jew irk Gordon Press 1 io, Masi ists =| March 09) Spt 2, geen Duar Joo, Te hae of Con 20 arate Drama 20 9%) Des 'Bde indica ame Phactnan Seneca Pose sated se ore Tag? Ad Be ‘Structure and Me amu 16 (6 “the Chora ‘ 1988) pp, 42195. cont 5 Siting Son: the 2 OS Ss a ea “Rewring Seners: CO SI8, al leon a ame Se nae Pete ano 161Seneca: Thyestes in Porat Lie: Spanish nd E 19018 ix ce: Spanish and English National Dro Giedby Louise and Peter Fotheri-Payne (Lewin Bl ory Bre, 100) yp. 3023 mm, “Garis Historical Souoe in i Renaitsner a prraisanee and Reformation | Renavssance t Re Pie ee Baan ot ot Seen eee Reine hn et 1g Conn Gaal rs of Wack 7 sie ie el sit Bre: Pots and Cite of i 1 Sohn Marston. of the Mid Dramatis’ in is’ Socal setting cambee in loa! Haar nea ‘ge Sn GR Pre ; Plus tnd Relative Dati gakespeare’, American Journal i Se, in ey cited 2 Seneca in Perormance, le Si get Castel rs of Walser i, "€ Charter 1 London: Weientlt & Mori, Ties er Mt See gn: Licino Coe — Teg 20 Senecas Thyet oe in Ms Going ss lec Perrott for Baroque: Seneca and the BOs ae Ag ep eNCe Londons Classical PT ga ei, gDrama PP. 200-31 ota cite CE Lat Contridge nis ft cme Camiratere, edited by El. Ken Yop : a a) te aa ‘ee University Press, 195°" nash Ape: 0 TB REE Mere tess i onde: aon 3804 Sunday Tie i 162 Bibliography Supolenet (1S all, Baivh, “Things Go Badly’ Times Literary cay ive im xing ter alel Tames 0,4 Dicionary of Eales So ee ohn sel Sa Ey. 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Sea. 154 an 49, 544, Chronology ord, southern Soin Bale brit fa oa Casta Eleaf Cn Since 9 Sei Sree ead tom ex Sov Ri otNao ‘ere marr ass Espen aon ser Se Ae ges Odes Bae eet Reo mart Cae fom pe Ne Sone rec sas Nero in Greece Boe Vine eatin of sa, Publi ation of the first PF SEY once opts aout emcee Neto nl Sah Gara ah ty Ie Tie Spc Peo Sitar ed rss arson Sor Sen at Jonson's Catiline | nec Od ie, st on at ens afr alleged alate with Sale an eppited tua 0 EI ‘oneca wires in Pils ers dat picid Nee Pht ses of ene fet 162Seneca: Thyestes Wight Tyee and Mock Theses Groves Tiger Gebibons Ane Thyeste Vai’ Les Peden Prodion of These in Rome ln Mts rolucon of Tyee in Glasgow Prostin of Theses at Harvard University olution of Tyee n Milan and Soest. lucton of Theses in Manchester and Lodo on of Testes in Pais Frohcion of Tes Pars eduction of Thee Rome Prodi o hen name Index pe essa 1, Vitoria, 2859 ilu Seaurus, Mamercs, Ws 18 Aeschylus, 20, 21,77 ‘Agepitos, Panagiotis, 31 Aerppina, 8,13, 14,15 Aristotle, 97,7, 127 Artaud, Antonin, 28,190, 189% 47, lain. 10 Anigustus, emparoe 9, 11,7 Brook, Peter, 22, 141m. 70 Burrus, Afraning, 10,12, 3h Me 18 Catiguta, Gaius, emperot Hs 12 co hurchll, Caryl, 38, 955 14 Gieoro, Marcus Tullius, 17 iso, Gira, 115-18 lauds, emperor 9, 1 Ms 7° Claus, Hi us, Hugo, 1304 . lon, Prosper dobat de, 1 (Gremutins Cordus, Auli 1 *owne, John, 122-5, Dio, Cassis, 12,13, 14 12h Dupont Florence, 25.35.38 19° nas Biot, n., 19, 26, 3497 antag, 1039 Corner, Robert, 115, 182Seneca: Thyestes Pacuvius, Mareus, 16 Phoenician Women, 18,88,& | ones “0 | Persus Faces, Aus, 11 Trajan Women 18,2528. | Petronius, Arbiter, 11 "77, 82, 87, 89, 99, 95: 10% Peo Calpain 13 18 | Pliny, Thyetes Pay the Younger), 27 ‘Act 1, 28, 38-43 | Pose ‘eres 33.61 \ ho. 12 horas 619 3toicism, 69-74 tana, 2, emer) | am | an. Jun, 29,26 ssukcpeare iia, 1.202%) t Sac 6,9, 95.100 HE 2] Staminsr"AS 8 Gobondue cute, Calpurius 1H gg | By Sect Stun Publ Poi ‘B46 | orm 18 24, 3 11 Sere og iggy Suetonue, 10.942 ‘Sumpter, Donald, 22 Sty, Antonio, 32 actus, Crm, 21 14,26, 27, 37, 111 ‘Tare emperor, 18262 113, 113, 114 Velleus Patereulus 18 Virgil, 92,95, 144 46 Vitruvius, 17 Voltaire, 127-90 Wright, John, 1212