| 1. Sophocles, Antigone, 450 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 |
| 2. Sophocles, Oedipus The King, 410 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 |
| 3. Suetonius, Augustus, 85, 45 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •nan Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 163, 165 |
| 4. Suetonius, Nero, 21.3, 46.3 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 |
5. Dio Chrysostom, Orations, 32.41-32.43 (1st cent. CE - missingth cent. CE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 | 32.41. What, then, do you suppose those people say when they have returned to their homes at the ends of the earth? Do they not say: "We have seen a city that in most respects is admirable and a spectacle that surpasses all human spectacles, with regard both to beauty and sanctuaries and multitude of inhabitants and abundance of all that man requires," going on to describe to their fellow citizens as accurately as possible all the things that I myself named a short while ago â all about the Nile, the land, and the sea, and in particular the epiphany of the god; "and yet," they will add, "it is a city that is mad over music and horse-races and in these matters behaves in a manner entirely unworthy of itself. For the Alexandrians are moderate enough when they offer sacrifice or stroll by themselves or engage in their other pursuits; but when they enter the theatre or the stadium, just as if drugs that would madden them lay buried there, they lose all consciousness of their former state and are not ashamed to say or do anything that occurs to them. 32.42. And what is most distressing of all is that, despite their interest in the show, they do not really see, and, though they wish to hear, they do not hear, being evidently out of their senses and deranged â not only men, but even women and children. And when the dreadful exhibition is over and they are dismissed, although the more violent aspect of their disorder has been extinguished, still at street-corners and in alley-ways the malady continues throughout the entire city for several days; just as when a mighty conflagration has died down, you can see for a long time, not only the smoke, but also some portions of the buildings still aflame." 32.43. Moreover, some Persian or Bactrian is likely to say: "We ourselves know how to ride horses and are held to be just about the best in horsemanship" â for they cultivate that art for the defence of their empire and independence â "but for all that we have never behaved that way or anything like it"; whereas you, who have never handled a horse or mounted one yourselves, are unable to restrain yourselves, but are like lame men squabbling over a foot-race. That may explain why, cowards and slackers though you are, you have won so many cavalry battles in the past! |
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| 6. Juvenal, Satires, 8.229 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 |
7. Cassius Dio, Roman History, 59.5, 63.9.4, 63.10.2, 63.22.6 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 163, 165 | 59.5. 1. This was the kind of emperor into whose hands the Romans were then delivered. Hence the deeds of Tiberius, though they were felt to have been very harsh, were nevertheless as far superior to those of Gaius as the deeds of Augustus were to those of his successor.,2. For Tiberius always kept the power in his own hands and used others as agents for carrying out his wishes; whereas Gaius was ruled by the charioteers and gladiators, and was the slave of the actors and others connected with the stage. Indeed, he always kept Apelles, the most famous of the tragedians of that day, with him even in public.,3. Thus he by himself and they by themselves did without let or hindrance all that such persons would naturally dare to do when given power. Everything that pertained to their art he arranged and settled on the slightest pretext in the most lavish manner, and he compelled the praetors and the consuls to do the same, so that almost every day some performance of the kind was sure to be given.,4. At first he was but a spectator and listener at these and would take sides for or against various performers like one of the crowd; and one time, when he was vexed with those of opposing tastes, he did not go to the spectacle. But as time went on, he came to imitate, and to contend in many events,,5. driving chariots, fighting as a gladiator, giving exhibitions of pantomimic dancing, and acting in tragedy. So much for his regular behaviour. And once he sent an urgent summons at night to the leading men of the senate, as if for some important deliberation, and then danced before them. 63.22.6. They were held by Augustus and by Claudius, whereas this fellow might most properly be termed Thyestes, Oedipus, Alcmeon, or Orestes; for these are the characters that he represents on the stage and it is these titles that he has assumed in place of the others. Therefore rise now at length against him; succour yourselves and succour the Romans; liberate the entire world!" |
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| 8. Anon., Suda, φ358 Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 163 |
| 9. Epigraphy, I. Thespiae, 358 Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 163, 165 |
| 10. Philostratus, V.A., 4.38.5, 4.39.2, 7.4.2 Tagged with subjects: •tragedy, modern reception of Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165 |
