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Tiresias: The Ancient Mediterranean Religions Source Database

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Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.


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All subjects (including unvalidated):
subject book bibliographic info
actor Athanassaki and Titchener (2022), Plutarch's Cities, 88, 93, 210
Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 173, 174, 367, 503, 660, 701, 716, 818, 977, 993, 1006, 1040, 1044, 1053
Lateiner and Spatharas (2016), The Ancient Emotion of Disgust, 96, 267, 269, 270, 271, 272, 273, 274, 275
actor, ambassador to philipp ii, aristodemus, the Gygax (2016), Benefaction and Rewards in the Ancient Greek City: The Origins of Euergetism, 238
actor, and auctor Oksanish (2019), Benedikt Eckhardt, and Meret Strothmann, Law in the Roman Provinces, 67, 68
actor, and politician, aristodemos of metapontion Papazarkadas (2011), Sacred and Public Land in Ancient Athens, 302
actor, apelles of ascalon, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 115, 124
actor, apollonides, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 49
actor, asklepiodoros, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 49
actor, astyanax, as Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 138, 139, 140, 141, 142
actor, athenodorus, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 27, 34, 35
actor, atreus, as Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 66, 67, 68, 69, 70
actor, caecilius, quintus, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 124
actor, canutius Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 96
actor, cretheus, as ritual Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 84
actor, euripides, never an Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 207
actor, gestures of Boeghold (2022), When a Gesture Was Expected: A Selection of Examples from Archaic and Classical Greek Literature. 26, 53, 54, 63, 64, 68
actor, gestures, of Boeghold (2022), When a Gesture Was Expected: A Selection of Examples from Archaic and Classical Greek Literature. 26, 53, 54, 63, 65, 68
actor, hannibal, as religious Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 120, 124, 125, 130
actor, iason of tralleis Marek (2019), In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World, 294
actor, jason, tragic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 114
actor, jason, tragic jeremiah, book of Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 269
actor, lycon, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 26, 35
actor, neoptolemos, tragic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 159
actor, neoptolemus, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 33
actor, network Harkins and Maier (2022), Experiencing the Shepherd of Hermas, 77, 78, 79, 81, 82, 83, 88, 91
actor, of asklepiades satyrplay Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 82
actor, paulus, as religious Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 122
actor, quintus caecilius, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 124
actor, religious communication Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 84, 111, 120, 122, 124, 125, 130, 133
actor, ritual Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 136
actor, roscius, quintus, the Wynne (2019), Horace and the Gift Economy of Patronage, 215
actor, sophocles as Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 629
actor, sophocles, as Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 207
actor, sophron, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 118
actor, thespis, tragic poet and Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 19, 156
actor, thessalus, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 27
actor, thyestes, as Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 63, 64, 65, 66
actor, tlepolemus Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198
actor, vitalis Alexiou and Cairns (2017), Greek Laughter and Tears: Antiquity and After. 225
actor, within halakhic system, theology, god as Hayes (2022), The Literature of the Sages: A Re-Visioning, 501, 608
actor, zopyros, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 46
actor/s van 't Westeinde (2021), Roman Nobilitas in Jerome's Letters: Roman Values and Christian Asceticism for Socialites, 96
actores, catholic Humfress (2007), Oppian's Halieutica: Charting a Didactic Epic, 189
actors Arampapaslis, Augoustakis, Froedge, Schroer (2023), Dynamics Of Marginality: Liminal Characters and Marginal Groups in Neronian and Flavian Literature. 18
Bruun and Edmondson (2015), The Oxford Handbook of Roman Epigraphy, 542
Cain (2013), Jerome and the Monastic Clergy: A Commentary on Letter 52 to Nepotian, 79, 156, 159
Castelli and Sluiter 92023), Agents of Change in the Greco-Roman and Early Modern Periods: Ten Case Studies in Agency in Innovation. 32
Clackson et al. (2020), Migration, Mobility and Language Contact in and around the Ancient Mediterranean, 63, 71, 188, 189, 190, 197
Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 3, 6, 26, 27, 30, 34, 45, 94, 106, 123, 124
Edmondson (2008), Roman Dress and the Fabrics of Roman Culture, 25, 38, 71, 72, 114, 175
Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 196, 197, 198, 199, 200, 201, 202, 203, 204, 207, 473, 482, 494, 506, 519, 528, 538, 544
Lampe (2003), Christians at Rome in the First Two Centuries: From Paul to Valentinus, 132
Mueller (2002), Roman Religion in Valerius Maximus, 28, 29, 30, 31, 32, 205
Shannon-Henderson (2019), Power Play in Latin Love Elegy and its Multiple Forms of Continuity in Ovid’s , 39, 175
Tacoma (2016), Models from the Past in Roman Culture: A World of Exempla, 41, 93, 94, 95, 97, 100, 101, 103, 220, 236
Tacoma (2020), Cicero and Roman Education: The Reception of the Speeches and Ancient Scholarship, 142, 143
Wright (2015), The Letter of Aristeas : 'Aristeas to Philocrates' or 'On the Translation of the Law of the Jews' 251, 354, 363, 364, 365
actors, acting Poulsen (2021), Usages of the Past in Roman Historiography, 61, 151, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 215, 216, 243
actors, aeschylus, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198, 199, 210, 246, 698, 699
actors, alexander iii, the great of macedon, and professional Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 149
actors, alexander iii, ‘the great’, of macedon, and Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 34, 35, 74, 81
actors, and actresses, jewish Bloch (2022), Ancient Jewish Diaspora: Essays on Hellenism, 190, 191
actors, and aeschylus Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 698, 699
actors, and autocrats Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 27, 34, 35, 81
actors, and infamia Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 16, 281
actors, and military service Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 17
actors, aristotle, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198, 202, 210
actors, as agents Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 24, 160, 345
actors, as outsiders Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 139, 149, 378
actors, as souvenirs, terracotta figurines of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 355
actors, augustus, and Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 107, 113
actors, autocrats/autocracy see also dionysus, monarchy, satyrplay, tragedy, tyrants , friendships with poets and Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 34, 35
actors, beaten Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 103, 146
actors, chorus, the, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 210
actors, circulation of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 20, 162, 357
actors, class of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 20, 146, 185
actors, comic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 26, 45, 80, 97, 102, 118, 124
actors, communication, between Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 207, 208, 209, 210
actors, competitions of Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 73, 97
actors, contest, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 197, 198
actors, critique audience Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 49, 124, 145, 316
actors, dancing Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 40, 41, 129, 130, 131, 263, 264, 265, 267, 268, 269, 270, 271, 272, 273, 278, 279
actors, delos, insula of tragic Benefiel and Keegan (2016), Inscriptions in the Private Sphere in the Greco-Roman World, 71
actors, demosthenes, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 197
actors, entrance, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 207, 218, 219, 220, 221
actors, ethnicity of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 376
actors, exit, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 207
actors, gender of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 14
actors, grex, troupe Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 41, 124, 220, 367, 422
actors, hierarchies among Bruun and Edmondson (2015), The Oxford Handbook of Roman Epigraphy, 542
actors, horace, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 199
actors, in ajax, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 207, 208, 209, 210
actors, in antigone, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 208, 209, 210
actors, in electra, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 210
actors, in myth, choreuts, dancers, narrators of and Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 67, 220
actors, in oedipus at colonus, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198, 199, 200, 201, 202, 203, 204, 207, 210, 213
actors, in oedipus the king, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198, 199, 200, 203, 204, 210
actors, in philoctetes, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 208, 209, 210
actors, in women of trachis, the, sophocles Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 210
actors, individual, actor, parmenon, comic Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 197
actors, individual, aristocritus Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 153, 154
actors, individual, aristomedes Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 155
actors, individual, athenodorus Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 153, 154
actors, individual, hippasus of ambracia Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 155
actors, individual, jason of tralles Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 178
actors, individual, kallippides Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 196, 197
actors, individual, kleandros Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 155
actors, individual, neoptolemus of scyrus, -os Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 152, 155, 182, 195, 196
actors, individual, nicostratus Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 238
actors, individual, pleisthenes Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 41
actors, individual, polus, -los, of aegina Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 155, 177, 195, 317
actors, individual, theodorus Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 40, 195, 197
actors, individual, thessalus, -tt- Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 153, 154
actors, individual, timotheus of zacynthus Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 155
actors, information, from the outside, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198, 199
actors, movement, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 213
actors, musical performers Bruun and Edmondson (2015), The Oxford Handbook of Roman Epigraphy, 542
actors, of satyrplay Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 72, 81
actors, passageways, for the Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 224, 225
actors, plutarch, on compliance, citharodes/comic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 199, 205
actors, poetics, aristotle, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 198
actors, politics, aristotle, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 202
actors, pollux, on Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 197
actors, religiosity of Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 11
actors, ritual Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 84, 111, 122, 125, 130, 133
actors, singing, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 197, 200, 207, 247, 269, 270, 271, 699
actors, skill set Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 11, 56, 139, 157, 158, 160, 289
actors, speak from experience Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 124, 140, 160
actors, stage, for the Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 210, 213, 214, 215, 216, 217, 218, 219, 220
actors, status of Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 13, 16, 56, 97, 103, 137, 140, 146, 236, 323, 356, 407
actors, t. publilius pellio Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 13, 224
actors, tekhnitai Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 5, 11, 384
actors, terminology of Castelli and Sluiter 92023), Agents of Change in the Greco-Roman and Early Modern Periods: Ten Case Studies in Agency in Innovation. 8
actors, tragic Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 34, 35, 45, 80, 90, 97, 99, 106, 124, 164, 169
actors, used for sex Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 56, 104, 109, 119, 282
actors, voice, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 197, 207
actors, woman, as religious Alexander (2013), Gender and Timebound Commandments in Judaism. 1
actors/acting Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 8, 195, 196, 197, 317, 318, 319, 326
actors/acting, aristotle, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 7, 195, 196, 197, 348
actors/acting, cantica Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 215
actors/acting, deuteragonistos Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 7, 67
actors/acting, epideixeis Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 170
actors/acting, hypotragoidos Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 240
actors/acting, interpolations Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 83, 182, 328
actors/acting, protagonistos Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 7, 8, 67, 153, 165, 166, 171
actors/acting, synagonistai Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 165
actors/acting, tragoidos Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 207, 212, 219, 220, 238, 240, 241, 301, 319, 320, 321
actors/acting, tritagonistos Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 67
actors/actresses Huebner and Laes (2019), Aulus Gellius and Roman Reading Culture: Text, Presence and Imperial Knowledge in the 'Noctes Atticae', 120, 121
actors/singers, comic, comōdoi Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 152, 153
actors/singers, comic, comōdoi, roman era Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 199, 213
actors’, interpolation Radicke (2022), Roman Women’s Dress: Literary Sources, Terminology, and Historical Development, 69, 70, 90, 99
actors’, interpolations, aeschylus, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 237
actors’, interpolations, euripides, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 83, 237
actors’, interpolations, sophocles, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 83, 237
actors’, song, euripides, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 244, 245
actors’, ‘promptbooks’, euripides, and Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 202

List of validated texts:
17 validated results for "actors"
1. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Aeschylus, and actors’ interpolations • Euripides, and actors’ interpolations • Sophocles, and actors’ interpolations • actors • actors/acting,interpolations

 Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 482; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 83, 237

2. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Aeschylus, and actors • actor • actors, and Aeschylus

 Found in books: Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 367; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 698

3. None, None, nan (4th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Aristotle, and actors/acting • actors • actors/acting,deuteragonistos • actors/acting,protagonistos

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 6; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 7

4. None, None, nan (3rd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: • actors • actors, beaten • actors, class of • actors, critique audience • actors, status of

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 3; Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 103, 145, 146

5. None, None, nan (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: • actors

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 94; Tacoma (2016), Models from the Past in Roman Culture: A World of Exempla, 220

6. Philo of Alexandria, Against Flaccus, 39-41 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: • actors

 Found in books: Arampapaslis, Augoustakis, Froedge, Schroer (2023), Dynamics of Marginality: Liminal Characters and Marginal Groups in Neronian and Flavian Literature. 18; Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 3

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39 Then from the multitude of those who were standing around there arose a wonderful shout of men calling out Maris; and this is the name by which it is said that they call the kings among the Syrians; for they knew that Agrippa was by birth a Syrian, and also that he was possessed of a great district of Syria of which he was the sovereign; '40 when Flaccus heard, or rather when he saw this, he would have done right if he had apprehended the maniac and put him in prison, that he might not give to those who reviled him any opportunity or excuse for insulting their superiors, and if he had chastised those who dressed him up for having dared both openly and disguisedly, both with words and actions, to insult a king and a friend of Caesar, and one who had been honoured by the Roman senate with imperial authority; but he not only did not punish them, but he did not think fit even to check them, but gave complete license and impunity to all those who designed ill, and who were disposed to show their enmity and spite to the king, pretending not to see what he did see, and not to hear what he did hear. 41 And when the multitude perceived this, I do not mean the ordinary and well-regulated population of the city, but the mob which, out of its restlessness and love of an unquiet and disorderly life, was always filling every place with tumult and confusion, and who, because of their habitual idleness and laziness, were full of treachery and revolutionary plans, they, flocking to the theatre the first thing in the morning, having already purchased Flaccus for a miserable price, which he with his mad desire for glory and with his slavish disposition, condescended to take to the injury not only of himself, but also of the safety of the commonwealth, all cried out, as if at a signal given, to erect images in the synagogues, ' None
7. Plutarch, Crassus, 33.1-33.6 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • Aristotle, and actors/acting • Iason of Tralleis, actor • Jason (tragic actor) • actors, individual, Jason of Tralles • actors, individual, Kallippides • actors, individual, Neoptolemus of Scyrus (-os) • actors/acting

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 114; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 178, 196; Marek (2019), In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World, 294

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33.1 τούτων δὲ πραττομένων Ὑρώδης ἐτύγχανεν ἤδη διηλλαγμένος Ἀρταουάσδῃ τῷ Ἀρμενίῳ καὶ τὴν ἀδελφὴν αὐτοῦ γυναῖκα Πακόρῳ τῷ παιδὶ καθωμολογημένος, ἑστιάσεις τε καὶ πότοι διʼ ἀλλήλων ἦσαν αὐτοῖς, καὶ πολλὰ παρεισήγετο τῶν ἀπὸ τῆς Ἑλλάδος ἀκουσμάτων. 33.2 ἦν γὰρ οὔτε φωνῆς οὔτε γραμμάτων Ὑρώδης Ἑλληνικῶν ἄπειρος, ὁ δʼ Ἀρταοθάσδης καὶ τραγῳδίας ἐποίει καὶ λόγους ἔγραφε καὶ ἱστορίας, ὧν ἔνιαι διασῴζονται, τῆς δὲ κεφαλῆς τοῦ Κράσσου κομισθείσης ἐπὶ θύρας ἀπηρμέναι μὲν ἦσαν αἱ τράπεζαι, τραγῳδιῶν δὲ ὑποκριτὴς Ἰάσων ὄνομα Τραλλιανὸς ᾖδεν Εὐριπίδου Βακχῶν τὰ περὶ τὴν Ἀγαύην. εὐδοκιμοῦντος δʼ αὐτοῦ Σιλλάκης ἐπιστὰς τῷ ἀνδρῶνι καὶ προσκυνήσας προὔβαλεν εἰς μέσον τοῦ Κράσσου τὴν κεφαλήν. 33.3 κρότῳ δὲ τῶν Πάρθων μετὰ κραυγῆς καὶ χαρᾶς ἀραμένων, τὸν μὲν Σιλλάκην κατέκλιναν οἱ ὑπηρέται βασιλέως κελεύσαντος, ὁ δʼ Ἰάσων τὰ μὲν τοῦ Πενθέως σκευοποιήματα παρέδωκέ τινι τῶν χορευτῶν, τῆς δὲ τοῦ Κράσσου κεφαλῆς λαβόμενος καὶ ἀναβακχεύσας ἐπέραινεν ἐκεῖνα τὰ μέλη μετʼ ἐνθουσιασμοῦ καὶ ᾠδῆς· φέρομεν ἐξ ὄρεος ἕλικα νεότομον ἐπὶ μέλαθρα, μακαρίαν θήραν. Euripides, Bacchae, 1170-72 (Kirchhoff μακάριον ).καὶ ταῦτα μὲν πάντας ἔτερπεν· 33.4 ᾀδομένων δὲ τῶν ἑφεξῆς ἀμοιβαίων πρὸς τὸν χορόν, Χόρος τίς ἐφόνευσεν;Ἀγαύη ἐμὸν τὸ γέρας· Euripides, Bacchae, 1179 (Kirchhoff, XO. τίς ἁ βαλοῦσα πρῶτα ;). ἀναπηδήσας ὁ Πομαξάθρης ἐτύγχανε δὲ δειπνῶν ἀντελαμβάνετο τῆς κεφαλῆς, ὡς ἑαυτῷ λέγειν ταῦτα μᾶλλον ἢ; ἐκείνῳ προσῆκον. ἡσθεὶς δʼ ὁ βασιλεὺς τὸν μὲν οἷς πάτριόν ἐστιν ἐδωρήσατο, τῷ δʼ Ἰάσονι τάλαντον ἔδωκεν. εἰς τοιοῦτό φασιν ἐξόδιον τὴν Κράσσου στρατηγίαν ὥσπερ τραγῳδίαν τελευτῆσαι. 33.5 δίκη μέντοι καὶ τῆς ὠμότητος Ὑρώδην καὶ τῆς ἐπιορκίας Σουρήναν ἀξία μετῆλθεν. Σουρήναν μὲν γὰρ οὐ μετὰ πολὺν χρόνον Ὑρώδης φθόνῶ τῆς δόξης ἀπέκτεινεν, Ὑρώδῃ δὲ ἀποβαλόντι Πάκορον ὑπὸ Ῥωμαίων μάχῃ κρατηθέντα, καὶ νοσήσαντι νόσον εἰς ὓδρωπα τραπεῖσαν, Φραάτης ὁ υἱὸς ἐπιβουλεύων ἀκόνιτον ἔδωκεν. ἀναδεξαμένης δὲ τῆς νόσου τὸ φάρμακον εἰς ἑαυτὴν, ὥστε συνεκκριθῆναι, καὶ τοῦ σώματος κουφισθέντος, ἐπὶ τὴν ταχίστην τῶν ὁδῶν ἐλθὼν ὁ Φραάτης ἀπέπνιξεν αὐτόν.' ' None
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33.1 33.3 33.5 ' ' None
8. Seneca The Younger, Letters, 80.7 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: • Actors • Atreus, as actor • actor(s), acting

 Found in books: Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 70; Lampe (2003), Christians at Rome in the First Two Centuries: From Paul to Valentinus, 132; Poulsen (2021), Usages of the Past in Roman Historiography, 210

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80.7 But surely, you say, "it is the part of justice to render to each that which is his due, – thanks in return for a benefit, and retribution,4 or at any rate ill-will, in return for an injury!" This, I say, will be true when it is one man who has inflicted the injury, and a different man who has conferred the benefit; for if it is the same man, the force of the injury is nullified by the benefit conferred. Indeed, a man who ought to be pardoned, even though there were no good deeds credited to him in the past, should receive something more than mere leniency if he commits a wrong when he has a benefit to his credit. 80.7 I often feel called upon to use the following illustration, and it seems to me that none expresses more effectively this drama of human life, wherein we are assigned the parts which we are to play so badly. Yonder is the man who stalks upon the stage with swelling port and head thrown back, and says: Lo, I am he whom Argos hails as lord, Whom Pelops left the heir of lands that spread From Hellespont and from th' Ionian sea E'en to the Isthmian straits.5 And who is this fellow? He is but a slave; his wage is five measures of grain and five denarii. " '" None
9. Tacitus, Annals, 14.20 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • Augustus, and actors • actor(s), acting • actors, tragic

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 99, 113; Poulsen (2021), Usages of the Past in Roman Historiography, 203

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14.20 \xa0In the consulate of Nero â\x80\x94 his fourth term â\x80\x94 and of Cornelius Cossus, a quinquennial competition on the stage, in the style of a Greek contest, was introduced at Rome. Like almost all innovations it was variously canvassed. Some insisted that "even Pompey had been censured by his elders for establishing the theatre in a permanent home. Before, the games had usually been exhibited with the help of improvised tiers of benches and a stage thrown up for the occasion; or, to go further into the past, the people stood to watch: seats in the theatre, it was feared, might tempt them to pass whole days in indolence. By all means let the spectacles be retained in their old form, whenever the praetor presided, and so long as no citizen lay under any obligation to compete. But the national morality, which had gradually fallen into oblivion, was being overthrown from the foundations by this imported licentiousness; the aim of which was that every production of every land, capable of either undergoing or engendering corruption, should be on view in the capital, and that our youth, under the influence of foreign tastes, should degenerate into votaries of the gymnasia, of indolence, and of dishonourable amours, â\x80\x94 and this at the instigation of the emperor and senate, who, not content with conferring immunity upon vice, were applying compulsion, in order that Roman nobles should pollute themselves on the stage under pretext of delivering an oration or a poem. What remained but to strip to the skin as well, put on the gloves, and practise that mode of conflict instead of the profession of arms? Would justice be promoted, would the equestrian decuries better fulfil their great judicial functions, if they had lent an expert ear to emasculated music and dulcet voices? Even night had been re­quisitioned for scandal, so that virtue should not be left with a breathing-space, but that amid a promiscuous crowd every vilest profligate might venture in the dark the act for which he had lusted in the light." <'' None
10. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • Hannibal, as religious actor • Religious communication, actor • Ritual, actors • actor • actors • actors, tragic

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 99; Lateiner and Spatharas (2016), The Ancient Emotion of Disgust, 274; Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 130; Tacoma (2016), Models from the Past in Roman Culture: A World of Exempla, 220

11. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • actors

 Found in books: Mueller (2002), Roman Religion in Valerius Maximus, 205; Tacoma (2016), Models from the Past in Roman Culture: A World of Exempla, 100

12. None, None, nan (1st cent. CE - missingth cent. CE)
 Tagged with subjects: • Neoptolemus (tragic actor) • actors, individual, Aristocritus • actors, individual, Athenodorus • actors, individual, Thessalus (-tt-) • actors/acting,protagonistos

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 33; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 153

13. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • actor and auctor • drama, actors

 Found in books: Keane (2015), Juvenal and the Satiric Emotions, 96; Oksanish (2019), Benedikt Eckhardt, and Meret Strothmann, Law in the Roman Provinces, 67

14. None, None, nan (2nd cent. CE - 3rd cent. CE)
 Tagged with subjects: • Hannibal, as religious actor • Religious communication, actor • Ritual, actors • actors, tragic

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 99; Roumpou (2023), Ritual and the Poetics of Closure in Flavian Literature. 130

15. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: • Augustus, and actors • actors

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 107; Tacoma (2016), Models from the Past in Roman Culture: A World of Exempla, 93

16. None, None, nan (5th cent. CE - 6th cent. CE)
 Tagged with subjects: • Actors • actors/actresses

 Found in books: Huebner and Laes (2019), Aulus Gellius and Roman Reading Culture: Text, Presence and Imperial Knowledge in the 'Noctes Atticae', 121; Lampe (2003), Christians at Rome in the First Two Centuries: From Paul to Valentinus, 132

17. None, None, nan
 Tagged with subjects: • Apollonides (tragic actor) • Asklepiodoros (comic actor) • Zopyros (tragic actor) • actors • actors, comic • actors, tragic • actors/acting,protagonistos • actors/acting,synagonistai

 Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 45, 46, 49; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 165, 166




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