By John Fitch

This quantity is a better half to the author's new Loeb variation of Seneca's tragedies (vol. 1, 2002; vol. 2, 2004). It bargains purposes for his editorial offerings, and explains his interpretations of the textual content as mirrored in his translation. Hercules Oetanus and Octavia, now in general considered as imitations of Senecan drama, are either integrated. the amount is meant to be learn along Otto Zwierlein's Kritische Kommentar, released in 1986. within the intervening years there was a lot new paintings referring to Seneca's textual content, together with full-scale versions with observation on person performs, corresponding to Keulen's Troades, T?chterle's Oedipus and Ferri's Octavia. Annaeana Tragica seeks to complement and increase Zwierlein's paintings within the gentle of this new fabric. An appendix reports the scholarly controversy in regards to the anapaestic odes of those performs, and gives clean facts appropriate to the problem.

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442). The process of conflation leads Sen. to indicate a physical relationship between chasm and gravemound. Otherwise, as in the Axelson-Zw. conjecture tumulo levis, it would be unclear why Achilles’ shade should emerge from the mound, when it could emerge more directly from the chasm. Tro 197 The line as transmitted has been understood in three divergent ways. 1. I take it to mean that Achilles “separated the daylight (of the upper world) from the deep darkness (of the nether world)”: he did so by closing the chasm which had opened in the earth— and which had allowed unnatural contact between the two realms (179).

Tro 541 On the sense of stetit see below on HO 123. Tro 578 At 1986 271–72 I gave reasons for replacing the transmitted morte with cruce. e. the status of novus homo), 581 iuridici, 738 plebeia, 918 tura, Tro 150–55 (triumph), 773 sub tuum mittes iugum, 778 Troici lusus, 782 (Salii: v. Fantham ad. loc. and Boyle on 766–82), 1133 pronuba, Pha 167 Getae, 497f. (gilded beams), 499f. (mola salsa), 535 ballista, 816 Parthico, 983 fasces. 21 Also 304 if Bentley’s conjecture is accepted (amoris aestu .

S narrative style, viz. a cryptic initial statement (197) clarified and amplified by restatement (198–99). Such amplifying clauses are often co-ordinate with the initial statement, cf. Herc 664–67, 816–17, Ag 489–90, 497–98; this co-ordination can lead to their being misread as referring to separate events, as has happened here and at Med 755–56 TROADES 39 (v. ). For the poetic use of dividere with an ablative of separation cf. V. Ecl. 66, Prop. 3, Stat. Silv. 54. Zw. objects (1991 119) that 197 taken so would be the result of the actions of 198–99, and could not therefore precede them; but this is excessively logical.

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