By Alessandro Schiesaro
This ebook matters the main entire and demanding of Seneca's tragedies Thyestes to the type of serious research now to be had for authors equivalent to Virgil, Ovid and Lucan. Drawing many insights from psychoanalytic concept, and up to date advances in post-Virgilian literary feedback, it additionally discusses a number of different performs of Seneca. the amount offers, for this reason, a close and accomplished research of the entire major topics and stylistic positive aspects of Seneca's tragedies. whereas stressing the significance of Thyestes in post-Classical aesthetics, the learn deals very important insights into authors similar to Ovid and Lucan in addition.
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Additional info for The Passions in Play: Thyestes and the Dynamics of Senecan Drama
Sample text
42 See Ben. 5. Poetry, passions and knowledge 25 As is the aspect of an enemy or wild beasts wet with the blood of slaughter or bent upon slaughter; as are the hellish monsters of the poet’s brain, all girt about with snakes and breathing fire; as are those most hideous shapes that issue forth from hell to stir up wars and scatter discord among the peoples and tear peace all to shreds; as such let us picture anger . . 4, the whole apparatus of punishment in the underworld is a product of poetic craftmanship: Reflect that there are no ills to be suffered after death, that the reports that make the Lower World terrible to us are mere tales, that no darkness is in store for the dead, no prison, no blazing streams of fire, no river of Lethe, that no judgement-seats are there, nor culprits, nor in that freedom so unfettered are there a second time any tyrants.
And Thy. in Seneca’s literary production cannot be certain, in mythical time the actions of Ag. come after those narrated in Thy. and are in fact a direct consequence of them (on the dating of both plays see p. 5, n. 7). The ghost of Thyestes in the prologue effectively recalls Tantalus’ shadow, especially since they both claim to prefer the underworld to the devastation awaiting them on earth. Thyestes’ exclamation at line 12 – libet reverti – means precisely that he would rather return to the underworld than assist in the terrible revenge which is about to happen.
17 The Fury underlines her truly metadramatic function by showing her knowledge of mythical and literary history, and by explicitly alerting us to the allusive resonances of the play. The Fury’s intertextual competence is one of the ways in which she acquires a metadramatic status: her references to other poetic texts reflect the genesis of the play and its modes of signification, and go well beyond the dramatic level acted on the stage. What she effectively proposes and realizes is a self-conscious mise en abyme of Ovid’s and Sophocles’ story which will span the remainder of the play.