1. Sophocles, Electra, 1225 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 94 | 1225. Is this your voice? Oreste |
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| 2. Aristotle, Poetics, 1542a (4th cent. BCE - 4th cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and revelation Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 27, 61 |
| 3. Plautus, Rudens, 1175 (3rd cent. BCE - 2nd cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 94 |
| 4. Plautus, Captiui, 923 (3rd cent. BCE - 2nd cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 59 |
| 5. Plautus, Amphitruo, 501 (3rd cent. BCE - 2nd cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 95, 96 |
| 6. Plautus, Menaechmi, 1124 (3rd cent. BCE - 2nd cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 94 |
| 7. Terence, Hecyra, 819, 818 (2nd cent. BCE - 2nd cent. BCE) Tagged with subjects: •nan Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 59 |
| 8. Seneca The Elder, Suasoriae, 3.7 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •recognition scenes, and metatheatre Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 29 |
| 9. Nepos, Agesilaus, 1.4 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 57 |
| 10. Horace, Sermones, 1.4.62 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •recognition scenes, and family ties Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 231 |
| 11. Horace, Ars Poetica, 123-124 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •nan Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 68 |
12. Quintilian, Institutes of Oratory, 7.1.14, 11.3.73 (1st cent. CE - 1st cent. CE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion •recognition scenes, and metatheatre Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 57, 58, 59, 68 | 11.3.73. Consequently in plays destined for the stage, the masters of the art of delivery design even their masks to enhance the emotional effect. Thus, in tragedy, Aerope will be sad, Medea fierce, Ajax bewildered, Hercules truculent. |
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13. Seneca The Younger, Phaedra, 1107, 1249, 1256-1258, 92, 1260 (1st cent. CE - 1st cent. CE) Tagged with subjects: •nan Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 231, 232, 233| 1260. ponenda: laevi lateris agnosco notas. | |
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| 14. Seneca The Younger, Medea, 1, 1021-1022, 1025, 123-124, 166, 2, 22, 32-34, 447-449, 487-488, 516-517, 523-524, 566-567, 8-9, 910, 933-934, 982-986, 993-994, 1024 (1st cent. CE - 1st cent. CE) Tagged with subjects: •nan Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 59 |
15. Seneca The Younger, Letters, 31.1, 31.9, 52.12, 89.1, 92.3, 120.22 (1st cent. CE - 1st cent. CE) Tagged with subjects: •recognition scenes, and revelation •recognition scenes, and family ties •recognition scenes, and reunion Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 34, 35, 96, 231, 232, 233 | 31.1. Now I recognize my Lucilius! He is beginning to reveal the character of which he gave promise. Follow up the impulse which prompted you to make for all that is best, treading under your feet that which is approved by the crowd. I would not have you greater or better than you planned; for in your case the mere foundations have covered a large extent of ground; only finish all that you have laid out, and take in hand the plans which you have had in mind. 31.9. But how, you ask, "does one attain that goal?" You do not need to cross the Pennine or Graian[4] hills, or traverse the Candavian[5] waste, or face the Syrtes,[6] or Scylla, or Charybdis, although you have travelled through all these places for the bribe of a petty governorship; the journey for which nature has equipped you is safe and pleasant. She has given you such gifts that you may, if you do not prove false to them, rise level with God. 52.12. There should be a difference between the applause of the theatre and the applause of the school; and there is a certain decency even in bestowing praise. If you mark them carefully, all acts are always significant, and you can gauge character by even the most trifling signs. The lecherous man is revealed by his gait, by a movement of the hand, sometimes by a single answer, by his touching his head with a finger, by the shifting of his eye. The scamp is shown up by his laugh; the madman by his face and general appearance. These qualities become known by certain marks; but you can tell the character of every man when you see how he gives and receives praise. 52.12. There should be a difference between the applause of the theatre and the applause of the school; and there is a certain decency even in bestowing praise. If you mark them carefully, all acts are always significant, and you can gauge character by even the most trifling signs. The lecherous man is revealed by his gait, by a movement of the hand, sometimes by a single answer, by his touching his head with a finger,[6] by the shifting of his eye. The scamp is shown up by his laugh; the madman by his face and general appearance. These qualities become known by certain marks; but you can tell the character of every man when you see how he gives and receives praise. 89.1. LXXXIX. On the Parts of Philosophy It is a useful fact that you wish to know, one which is essential to him who hastens after wisdom – namely, the parts of philosophy and the division of its huge bulk into separate members. For by studying the parts we can be brought more easily to understand the whole. I only wish that philosophy might come before our eyes in all her unity, just as the whole expanse of the firmament is spread out for us to gaze upon! It would be a sight closely resembling that of the firmament. For then surely philosophy would ravish all mortals with love for her; we should abandon all those things which, in our ignorance of what is great, we believe to be great. Inasmuch, however, as this cannot fall to our lot, we must view philosophy just as men gaze upon the secrets of the firmament. 92.3. What is the happy life? It is peace of mind, and lasting tranquillity. This will be yours if you possess greatness of soul; it will be yours if you possess the steadfastness that resolutely clings to a good judgment just reached. How does a man reach this condition? By gaining a complete view of truth, by maintaining, in all that he does, order, measure, fitness, and a will that is inoffensive and kindly, that is intent upon reason and never departs therefrom, that commands at the same time love and admiration. In short, to give you the principle in brief compass, the wise man's soul ought to be such as would be proper for a god. 120.22. That is how a foolish mind is most clearly demonstrated: it shows first in this shape and then in that, and is never like itself – which is, in my opinion, the most shameful of qualities. Believe me, it is a great rôle – to play the rôle of one man. But nobody can be one person except the wise man; the rest of us often shift our masks. At times you will think us thrifty and serious, at other times wasteful and idle. We continually change our characters and play a part contrary to that which we have discarded. You should therefore force yourself to maintain to the very end of life's drama the character which you assumed at the beginning. See to it that men be able to praise you; if not, let them at least identify you. Indeed, with regard to the man whom you saw but yesterday, the question may properly be asked: "Who is he?" So great a change has there been! Farewell. |
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| 16. Quintilian, Institutio Oratoria, 7.1.14, 11.3.73 (1st cent. CE - 1st cent. CE) Tagged with subjects: •recognition scenes, and family ties •recognition scenes, and reunion •recognition scenes, and metatheatre Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 57, 58, 59, 68 |
| 17. Seneca The Younger, Thyestes, 1004-1005, 1023, 176-180, 504-507, 517, 521-526, 59, 885, 901-907, 942-943, 970, 976-978, 997-998, 1006 (1st cent. CE - 1st cent. CE) Tagged with subjects: •nan Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 61, 62, 63, 66, 95, 97 |
18. Suetonius, Nero, 21.3 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •recognition scenes, and metatheatre Found in books: Bexley, Seneca's Characters: Fictional Identities and Implied Human Selves (2022) 68 | 21.3. He also put on the mask and sang tragedies representing gods and heroes and even heroines and goddesses, having the masks fashioned in the likeness of his own features or those of the women of whom he chanced to be enamoured. Among other themes he sang "Canace in Labor," "Orestes the Matricide," "The Blinding of Oedipus" and the "Frenzy of Hercules." At the last named performance they say that a young recruit, seeing the emperor in mean attire and bound with chains, as the subject required, rushed forward to lend him aid. |
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