Patrick Kragelund
Biographic Data
| ID | 5633265 |
|---|---|
| NAME | Patrick Kragelund |
| GIVEN NAMES | Patrick |
| FAMILY NAME | Kragelund |
| SIGNATURE | KRAGELUND P |
| AFFILIATIONS | Danish National Art Library Kongens Nytorv 1, Postboks 1053 DK-1007 København K. |
| VERIFIED | No |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 51 |
| WORKS AS AUTHOR | 20 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1977 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 4 |
Tacitus and Dio on Tiberius and the Tiber ( Annals 1.76.1, 1.79.1–4; Dio 57.14.7–8)
The focus of this article is on a curious episode at the end of the first book of Tacitus’ Annals . It is argued that Tacitus here is at his most metaphoric and allusive, allowing a senatorial debate on the possibly prophetic meaning of an inundation of the Tiber to become a debate about the overwhelming power of the river's namesake Tiberius. Parallels from Dio (and perhaps also from Livy) indicate that inundations of the Tiber by the end of the…
Roman Historical Drama
This title provides a comprehensive interpretation of ancient historical drama in relation to the 'Octavia', revealing how the play mirrors the genre's traditions by mixing formats and stock characters from traditional tragedy with elements drawn from new developments of the Hellenistic and Roman stage
Octavia and the People
The exposition is, like the play itself, emphatically tripartite, and the parallels and contrasts between its sections are dramatically effective. The initial setting with its ‘split-focus’, ‘delayed prologue’, and simultaneity of two separate actions, within and just outside the Imperial bedchamber, are unique in ancient drama. The dramatist is shown to be consistent in investing the bedchamber with a symbolic status connoting the power, legitim…
A Praetexta?
The chapter argues for strong generic continuity between the Republican and Imperial praetextae and the Octavia, the latter being ‘similar to tragedies’ but still emphatically Roman, be it in its handling of topography, social hierarchy, and various social formats, rituals and customs. In the employment of language and of characteristic turns of phrase (sermocinatio) one finds a clear effort to ‘get it right’. Challenging readings anachronistical…
The Revolt, the Fire, and the Ship of Death
Four closely interlocked scenes conclude the play. The Palace Chorus’s praise of Poppaea’s deadly beauty is interrupted by the message of the people’s damnatio of Poppaea’s statues. Nero’s soliloquy discloses his punitive plans for the Fire of Rome; his quarrel with the prefect, a stichomythic tour de force, shows the prefect to be the champion of the people and Octavia, Nero their enemy. Nero’s explicit orders force the prefect to ship her off t…
Plot and Historical Background
Tripartition (the three appearances of Octavia and of the Chorus of Romans on the drama’s ‘Day Before’, ‘Wedding Day’, and ‘Day After’) is basically what structures the play. The trajectory of Octavia, from inside the palace, to the palace threshold and finally to the harbour of her deportation represents a closely interlocking movement in time and place that is unparalleled in extant ancient drama, as is the emphasis on symmetries and contrasts,…
Seneca and Nero
Here the focus is on the scenes with Seneca confronting Nero. It is argued that they fall into three clearly demarcated sections of 60 x 96 x 60 verses: first, Seneca’s great monologue on the Neronian Iron (not, as officially claimed, Golden) Age, building up to Nero’s entrance; then their first confrontation pro et contra executions or clementia; and finally, their confrontation pro et contra divorcing Octavia and marrying Poppaea. The analysis …
Stages Old and New
Challenging the view that tragedy disappeared from the Roman stage prior to the reign of Nero, a systematic reassessment highlights how Roman prejudice against actors and acting seriously delimits and distorts our evidence. The increased importance of the recitation of tragedies and praetextae did not put a stop to performance proper. Indeed, contemporary performance of tragedy was taken for granted by Seneca, Quintilian, and Pliny the Younger (t…
Imperial Praetextae
The chapter outlines what is known of first-century adpraetextae, stressing the aspects suggesting generic continuity, even under radically altered political circumstances. After examining the evidence concerning the dramas of Persius and Pomponius Secundus, the main focus is on the enigmatic but clearly impressive dramatist, Curiatius Maternus, who is known from Tacitus and the epitomes of Dio. In a reassessment of this latter evidence, it is ar…
Evidence for Performances of Republican Comedy in Fourth-Century Rome
In a recent study Katherine Dunbabin has assembled and brilliantly elucidated a group of Roman monuments dating from the second to the fourth century and all featuring actors of tragedy and/or comedy standing near a mysterious instrument consisting of a base upon which is mounted a fairly large circular disk -the whole apparently situated on a stage at the margin(s) of the playing area. From the upper rim of this disk there are five stalks crowne…
Tacitus, Dio, and the “Sophist” Maternus
The article presents new arguments for identifying Maternus in Tacitus’ Dialogus with the homonymous sophist whose execution under Domitian in c. 91 is mentioned by Dio. Re-examining alleged obstacles to acknowledging identity, it is argued that parallels in Dio show the term “sophist” to be so broadly applicable that it might also include Tacitus’ senator-cum-dramatist. The time gap between “crime” and punishment is shown to correspond closely t…
Popes, kings and the Medici in the eighteenth-century fasti of the Palazzo Mocenigo di S. Stae in Venice
The Venetian Palazzo Mocenigo di S. Stae, once a family residence and today a public museum, holds a collection of eighteenth-century paintings celebrating the exploits of a branch of the renowned patrician family of the Mocenigo, seven of whom became doges of the Serenissima. The article discusses the role of such collections in exalting the status of Venetian aristocrats within the Republic and offers new identifications for a series of paintin…
The Temple and Birthplace of Diva Poppaea
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Livy, the Savelli, and a Domitian/Nerva in the Ny Carlsberg Glyptotek
At an auction in Rome in 1896 the Ny Carlsberg Glyptotek acquired a statue representing the Roman Emperor Domitian. The hitherto unpublished inscription on the statue's pedestal throws new light on its provenance and history. Found at Albano, once part of the great suburban residence of Domitian himself, it had after his fall in AD 96 been re-hewn as his successor, Nerva. Some 1,500 years later, in 1663, when it was unearthed in what was by then …
Nero's Luxuria , in Tacitus and in the Octavia
According to Tacitus, this was Galba's verdict on Nero's fall. The tyrant's undoing had been of his own making. As for what determined the outcome, Galba is unequivocal. Two factors had proved decisive: Nero's immanitas and luxuria
Epicurus, Priapus and the Dreams in Petronius
[ Lichas ] ‘videbatur mihi secundum quietem Priapus dicere: “Encolpion quod quaeris, scito a me in navem tuam esse perductum”.’ exhorruit Tryphaena et ‘putes’ inquit ‘una nos dormiisse; nam et mihi simulacrum Neptuni, quod Bais tetrastylo notaveram, videbatur dicere: “in nave Lichae Gitona invenies”.’ ‘hinc scies’ inquit Eumolpus ‘Epicurum hominem esse divinum, qui eiusmodi ludibria facetissima ratione condemnat.’ ceterum Lichas ut Tryphaenae som…
The Prefect's Dilemma and the Date of the Octavia
The long-awaited publication of Otto Zwierlein's edition of Seneca's Tragedies provides a welcome opportunity to present a few observations on the penultimate scene of pseudo-Seneca's Octavia (846–76). The scene in question features Nero quarrelling with his Guard Prefect over the fate of the Empress Octavia. In this altercation there are three textual points which have for long been in dispute. The first section of the article is concerned with …
Vatinius, Nero and Curiatius Maternus
The above passage, from Maternus' first speech, poses a number of rather intricate textual problems. J. F. Gronovius rightly divined that the meaningless vaticinii referred to a person whose evil power Maternus had broken. Who else but Vatinius, Nero's notorious jester? To read Vatinii for vaticinii is intrinsically attractive, and in default of a better alternative has found almost universal approval. The contextual implications of this acclaime…
"Prophecy, Populism and Propaganda in the "Octavia
Dream and Prediction in the Aeneid. A Semiotic Interpretation of the Dreams of Aeneas and Turnus
Nero's Luxuria , in Tacitus and in the Octavia
According to Tacitus, this was Galba's verdict on Nero's fall. The tyrant's undoing had been of his own making. As for what determined the outcome, Galba is unequivocal. Two factors had proved decisive: Nero's immanitas and luxuria
The Temple and Birthplace of Diva Poppaea
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Epicurus, Priapus and the Dreams in Petronius
[ Lichas ] ‘videbatur mihi secundum quietem Priapus dicere: “Encolpion quod quaeris, scito a me in navem tuam esse perductum”.’ exhorruit Tryphaena et ‘putes’ inquit ‘una nos dormiisse; nam et mihi simulacrum Neptuni, quod Bais tetrastylo notaveram, videbatur dicere: “in nave Lichae Gitona invenies”.’ ‘hinc scies’ inquit Eumolpus ‘Epicurum hominem esse divinum, qui eiusmodi ludibria facetissima ratione condemnat.’ ceterum Lichas ut Tryphaenae som…
The Prefect's Dilemma and the Date of the Octavia
The long-awaited publication of Otto Zwierlein's edition of Seneca's Tragedies provides a welcome opportunity to present a few observations on the penultimate scene of pseudo-Seneca's Octavia (846–76). The scene in question features Nero quarrelling with his Guard Prefect over the fate of the Empress Octavia. In this altercation there are three textual points which have for long been in dispute. The first section of the article is concerned with …
Roman Historical Drama
This title provides a comprehensive interpretation of ancient historical drama in relation to the 'Octavia', revealing how the play mirrors the genre's traditions by mixing formats and stock characters from traditional tragedy with elements drawn from new developments of the Hellenistic and Roman stage
"Prophecy, Populism and Propaganda in the "Octavia
Tacitus, Dio, and the “Sophist” Maternus
The article presents new arguments for identifying Maternus in Tacitus’ Dialogus with the homonymous sophist whose execution under Domitian in c. 91 is mentioned by Dio. Re-examining alleged obstacles to acknowledging identity, it is argued that parallels in Dio show the term “sophist” to be so broadly applicable that it might also include Tacitus’ senator-cum-dramatist. The time gap between “crime” and punishment is shown to correspond closely t…
Vatinius, Nero and Curiatius Maternus
The above passage, from Maternus' first speech, poses a number of rather intricate textual problems. J. F. Gronovius rightly divined that the meaningless vaticinii referred to a person whose evil power Maternus had broken. Who else but Vatinius, Nero's notorious jester? To read Vatinii for vaticinii is intrinsically attractive, and in default of a better alternative has found almost universal approval. The contextual implications of this acclaime…
Dream and Prediction in the Aeneid. A Semiotic Interpretation of the Dreams of Aeneas and Turnus
"Prophecy, Populism and Propaganda in the "Octavia
Vatinius, Nero and Curiatius Maternus
The above passage, from Maternus' first speech, poses a number of rather intricate textual problems. J. F. Gronovius rightly divined that the meaningless vaticinii referred to a person whose evil power Maternus had broken. Who else but Vatinius, Nero's notorious jester? To read Vatinii for vaticinii is intrinsically attractive, and in default of a better alternative has found almost universal approval. The contextual implications of this acclaime…
The Prefect's Dilemma and the Date of the Octavia
The long-awaited publication of Otto Zwierlein's edition of Seneca's Tragedies provides a welcome opportunity to present a few observations on the penultimate scene of pseudo-Seneca's Octavia (846–76). The scene in question features Nero quarrelling with his Guard Prefect over the fate of the Empress Octavia. In this altercation there are three textual points which have for long been in dispute. The first section of the article is concerned with …
Epicurus, Priapus and the Dreams in Petronius
[ Lichas ] ‘videbatur mihi secundum quietem Priapus dicere: “Encolpion quod quaeris, scito a me in navem tuam esse perductum”.’ exhorruit Tryphaena et ‘putes’ inquit ‘una nos dormiisse; nam et mihi simulacrum Neptuni, quod Bais tetrastylo notaveram, videbatur dicere: “in nave Lichae Gitona invenies”.’ ‘hinc scies’ inquit Eumolpus ‘Epicurum hominem esse divinum, qui eiusmodi ludibria facetissima ratione condemnat.’ ceterum Lichas ut Tryphaenae som…
Nero's Luxuria , in Tacitus and in the Octavia
According to Tacitus, this was Galba's verdict on Nero's fall. The tyrant's undoing had been of his own making. As for what determined the outcome, Galba is unequivocal. Two factors had proved decisive: Nero's immanitas and luxuria
Livy, the Savelli, and a Domitian/Nerva in the Ny Carlsberg Glyptotek
At an auction in Rome in 1896 the Ny Carlsberg Glyptotek acquired a statue representing the Roman Emperor Domitian. The hitherto unpublished inscription on the statue's pedestal throws new light on its provenance and history. Found at Albano, once part of the great suburban residence of Domitian himself, it had after his fall in AD 96 been re-hewn as his successor, Nerva. Some 1,500 years later, in 1663, when it was unearthed in what was by then …
Popes, kings and the Medici in the eighteenth-century fasti of the Palazzo Mocenigo di S. Stae in Venice
The Venetian Palazzo Mocenigo di S. Stae, once a family residence and today a public museum, holds a collection of eighteenth-century paintings celebrating the exploits of a branch of the renowned patrician family of the Mocenigo, seven of whom became doges of the Serenissima. The article discusses the role of such collections in exalting the status of Venetian aristocrats within the Republic and offers new identifications for a series of paintin…
The Temple and Birthplace of Diva Poppaea
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Evidence for Performances of Republican Comedy in Fourth-Century Rome
In a recent study Katherine Dunbabin has assembled and brilliantly elucidated a group of Roman monuments dating from the second to the fourth century and all featuring actors of tragedy and/or comedy standing near a mysterious instrument consisting of a base upon which is mounted a fairly large circular disk -the whole apparently situated on a stage at the margin(s) of the playing area. From the upper rim of this disk there are five stalks crowne…
Tacitus, Dio, and the “Sophist” Maternus
The article presents new arguments for identifying Maternus in Tacitus’ Dialogus with the homonymous sophist whose execution under Domitian in c. 91 is mentioned by Dio. Re-examining alleged obstacles to acknowledging identity, it is argued that parallels in Dio show the term “sophist” to be so broadly applicable that it might also include Tacitus’ senator-cum-dramatist. The time gap between “crime” and punishment is shown to correspond closely t…
Octavia and the People
The exposition is, like the play itself, emphatically tripartite, and the parallels and contrasts between its sections are dramatically effective. The initial setting with its ‘split-focus’, ‘delayed prologue’, and simultaneity of two separate actions, within and just outside the Imperial bedchamber, are unique in ancient drama. The dramatist is shown to be consistent in investing the bedchamber with a symbolic status connoting the power, legitim…
A Praetexta?
The chapter argues for strong generic continuity between the Republican and Imperial praetextae and the Octavia, the latter being ‘similar to tragedies’ but still emphatically Roman, be it in its handling of topography, social hierarchy, and various social formats, rituals and customs. In the employment of language and of characteristic turns of phrase (sermocinatio) one finds a clear effort to ‘get it right’. Challenging readings anachronistical…
The Revolt, the Fire, and the Ship of Death
Four closely interlocked scenes conclude the play. The Palace Chorus’s praise of Poppaea’s deadly beauty is interrupted by the message of the people’s damnatio of Poppaea’s statues. Nero’s soliloquy discloses his punitive plans for the Fire of Rome; his quarrel with the prefect, a stichomythic tour de force, shows the prefect to be the champion of the people and Octavia, Nero their enemy. Nero’s explicit orders force the prefect to ship her off t…
Plot and Historical Background
Tripartition (the three appearances of Octavia and of the Chorus of Romans on the drama’s ‘Day Before’, ‘Wedding Day’, and ‘Day After’) is basically what structures the play. The trajectory of Octavia, from inside the palace, to the palace threshold and finally to the harbour of her deportation represents a closely interlocking movement in time and place that is unparalleled in extant ancient drama, as is the emphasis on symmetries and contrasts,…
Seneca and Nero
Here the focus is on the scenes with Seneca confronting Nero. It is argued that they fall into three clearly demarcated sections of 60 x 96 x 60 verses: first, Seneca’s great monologue on the Neronian Iron (not, as officially claimed, Golden) Age, building up to Nero’s entrance; then their first confrontation pro et contra executions or clementia; and finally, their confrontation pro et contra divorcing Octavia and marrying Poppaea. The analysis …
Stages Old and New
Challenging the view that tragedy disappeared from the Roman stage prior to the reign of Nero, a systematic reassessment highlights how Roman prejudice against actors and acting seriously delimits and distorts our evidence. The increased importance of the recitation of tragedies and praetextae did not put a stop to performance proper. Indeed, contemporary performance of tragedy was taken for granted by Seneca, Quintilian, and Pliny the Younger (t…
Imperial Praetextae
The chapter outlines what is known of first-century adpraetextae, stressing the aspects suggesting generic continuity, even under radically altered political circumstances. After examining the evidence concerning the dramas of Persius and Pomponius Secundus, the main focus is on the enigmatic but clearly impressive dramatist, Curiatius Maternus, who is known from Tacitus and the epitomes of Dio. In a reassessment of this latter evidence, it is ar…
Roman Historical Drama
This title provides a comprehensive interpretation of ancient historical drama in relation to the 'Octavia', revealing how the play mirrors the genre's traditions by mixing formats and stock characters from traditional tragedy with elements drawn from new developments of the Hellenistic and Roman stage
Tacitus and Dio on Tiberius and the Tiber ( Annals 1.76.1, 1.79.1–4; Dio 57.14.7–8)
The focus of this article is on a curious episode at the end of the first book of Tacitus’ Annals . It is argued that Tacitus here is at his most metaphoric and allusive, allowing a senatorial debate on the possibly prophetic meaning of an inundation of the Tiber to become a debate about the overwhelming power of the river's namesake Tiberius. Parallels from Dio (and perhaps also from Livy) indicate that inundations of the Tiber by the end of the…
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