Satyricon Cena Gospel Parallels Essay and Table (original) (raw)
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Decent Indecency The 'Roman' Image of 'Greek' Traditions in Petronius's Satyricon
Graeco-Latina Brunensia, 2019
The purpose of this paper is to illustrate how The Pergamene Youth and The Widow of Ephe-sus episodes present a stereotypical negative view of ‚Greek tradition' in Roman culture. This analysis shall show how the narrators of these two Milesian tales entertain while the implicit author connects ethical categories and values to the different levels of the complex narrative structure. The question is not what are the Greeks like, but how the author sees the Greeks. The subject of the current study is thus not the Hellas that is open to historical research, but the ideal of Greek culture that was present in Roman minds.
The Satyricon of Petronius: genre, wandering and style
2008
(1605), and John Dryden in "Discourse concerning the Original and Progress of Satire," which prefaced his translation of Juvenal (1693). 2 These critics' point of view collided with the many that sought to fit the Petronian work into a novelesque genre of Greek origin. This conflict allows us to say that the first attempts to explicitly configure the genre of Menippean satire occurred around the time of the polemic that surrounded 1 Relihan (1993) 12, and Branham (2005) 10. 2 Cf. Dryden (1926) 66: "Which is also manifest from antiquity, by those authors who are acknowledged to have written Varronian satires, in imitation of his; of whom the chief is Petronius Arbiter, whose satire, they say, is now printed in Holland, wholly recovered, and made complete: when 'tis made public, it will easily be seen by any one sentence, whether it be supposititious, or genuine."
M. P. Futre Pinheiro, J. Perkins, R. Pervo (eds.), The Ancient Novel and the Early Christian and Jewish Narrative: Fictional Intersections, pp. 139-152., 2013
Since the early twentieth century, scholars have noted that the Christian Apocryphal Acts bear a striking thematic and narrative resemblance to the ancient Greek novels. 2 The pervasive similarities and parallels between the two are not surprising given that not only do both feature the same geographic and cultural context -the late antique Hellenic world -but also that both corpora reveal as well as examine the social concerns of the period for a particular audience: the novel for urban élites, and the Apocrypha for the emerging Christians. 3 Both were often presumed to have had a predominantly female readership due to the unprecedented role women play in their narratives. 4 It is generally assumed that the Apocryphal Acts were most probably influenced by the ancient Greek novel, since the writers of these (later) Christian texts appear to have adopted and applied novelistic topoi and themes, as well as rhetorical techniques. 5 Recent scholarship on the intersec------1 I would like to thank Froma Zeitlin for reading and commenting on an earlier version of this paper. I am also grateful to Scott F. Johnson as well as to the audience present at the 'Ancient Novel and Early Christian Narrative: Intersections' panel at ICAN IV. 2 Von Dobschütz 1902 emphasizes that the resemblances between the Apocryphal Acts and the novel are 'quite apparent', especially 'in the accounts of threatened chastity and its preservation'.
Satyr Drama in the Late Hellenistic and Roman Imperial Periods: An Epigraphical Perspective
Reconstructing Satyr Drama , 2021
From Marseille to the cities of Asia Minor, spectators enjoyed performances of Greek drama throughout the Hellenistic period, and well into the Roman imperial era.1 Overall, the number of Greek agonistic festivals increased drastically from the age of Augustus through the early third century AD, what Louis Robert called an 'explosion agonistique'.2 Leschhorn counts over 500 festivals in the Greek East in the imperial period.3 Upwards of 30 cities in the Empire are known to have had competitions in drama, and some of these cities celebrated multiple dramatic festivals.4 New tragedies, comedies, and satyr dramas continued to be performed at Greek festivals into the second century AD. Reproductions of tragedy and comedy continued into at least the early third century AD. Although the scripts of satyr drama of the late Hellenistic and Roman era do not survive, even in fragments, there is material evidence for the genre, for which the most crucial source is epigraphical. Inscribed documents pertaining to the administration and celebration of dramatic festivals reveal not only how long satyr drama persisted in the Greek world, but also how important the institutional framework of the festivals was to its survival. Before the analysis of these epigraphic sources on satyr drama, there had been doubts about whether it was performed at all in the late Hellenistic and Roman era. In 1979, Plotnick questioned why Horace had written at such length in the Ars Poetica about satyr drama, 'a currently non-existing dramatic art form'.5 In the same year, however, Steffen made a first attempt at reconstructing post-classical satyr drama on the basis of epigraphic evidence in his short Latin dissertation.6 In 1991, Ghiron-Bistagne collected some of the epigraphic evidence for Hellenistic satyr