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Senecan Tragedy

Twelve Propositions

Bibliographic Data

ID11827749
AuthorsA J Boyle (University of Southern California, corresponding author)
Year1987
Volume16
Issue1-2
Pages78-101
Publication date1987-01-01
Open AccessYes
TypeARTICLE
VenueRamus (JOURNAL)
Journal identifiersISSN: 0048-671X • E-ISSN: 2202-932X
PublisherCambridge University Press (PUBLISHER • US)
DOI10.1017/s0048671x0000326x
OpenAlexW3071714284
LanguageEN
Citations received10

I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed. What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans

Art · Character (mathematics · Drama · Greek tragedy · Imitation · Literature · Tragedy (event · Classical Antiquity Studies · History · Philosophy · Psychology · Shakespeare, Adaptation, and Literary Criticism · Social Psychology

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Citations per year0.27
Citation span1989 - 2020 (32)
Highly citedNo

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