Two conjectures are proposed on Sophocles’ Thyestes (fr. 260a Radt) which restore Sophoclean language and metre.

One day towards the end of the eighth century the scribe of cod. Paris. Lat. 7530, a miscellany to which we owe the carmen de figuris , began to copy out for us, on the 28th leaf of the MS, the Thyestes of Varius. He transcribed the title and the prefatory note, which run thus: INCIPIT THVESTA VARII. Lucius Varius cognomento Rufus Thyesten tragoediam magna cura absolutam post Actiacam uictoriam Augusti ludis eius in scaena edidit, pro qua fabula sestertium (...) deciens accepit. Then he changed his mind: he proceeded with a list of the notae employed by Probus and Aristarchus, and the masterpiece of Roman tragedy has rejoined its author in the shades. (shrink)

Two minuscule codices carrying collections of grammatical and rhetorical treatises and extracts from such treatises, one written at Monte Cassino between A.D. 779 and 796 ), the other at Benevento towards the middle of the following century, contain among their uncial tituli the three words INCIPIT THVESTES VARII. There follows in both codices a twenty-four-word sentence stating the full name of Varius, the literary character of the Thyestes, an aesthetic judgement on the work, the date of a public performance (...) in a Roman theatre, and the price paid: Lucius Varius cognomento Rufus Thyesten tragoediam magna cura absolutam post Actiacam uictoriam Augusti ludis eius in scaena edidit pro qua fabula sestertium deciens accepit. (shrink)

The opening lines of Seneca's Thyestes (1–13), which feature Tantalus’ reference to the so-called great sinners, have received little critical attention. Through both an intertextual and an intratextual analysis, this article reveals the peculiarities of this allegedly canonical list of sinners by comparing it to similar catalogues in other Senecan dramas, as well as by identifying its structural function within this particular tragedy. This kind of two-fold approach enables a reinterpretation of certain key passages of the drama vis-à-vis lines (...) 1–13, as well as a reassessment of Tantalus’ role as the creative force and architect of the tragedy. (shrink)

Two minuscule codices carrying collections of grammatical and rhetorical treatises and extracts from such treatises, one written at Monte Cassino between A.D. 779 and 796 ), the other at Benevento towards the middle of the following century , contain among their uncial tituli the three words INCIPIT THVESTES VARII. There follows in both codices a twenty-four-word sentence stating the full name of Varius, the literary character of the Thyestes, an aesthetic judgement on the work, the date of a public (...) performance in a Roman theatre, and the price paid: Lucius Varius cognomento Rufus Thyesten tragoediam magna cura absolutam post Actiacam uictoriam Augusti ludis eius in scaena edidit pro qua fabula sestertium deciens accepit. (shrink)

Since Teuffel's Römische Literatur mentions s.v. Varius the famous entry in the Monte Cassino MS. incipit thvestes varii, but ignores its occurrence in a Benevento MS. , it may be well to give some account of the latter codex. For I read with amusement a recent article in this journal in which the writer severely censured Mr. Garrod's ignorance of the entry in Paris 7530, but revealed his own ignorance by assuming that it was the scribe of the Paris MS. (...) who had the lost tragedy of Varius before him. (shrink)

The language of Seneca’s messenger speeches concentrates preceding patterns of imagery into grotesquely violent action. In three tragedies – Phaedra, Thyestes, and Trojan Women – the report of an anonymous messenger dominates an entire act. All three scenes describe gruesome deaths: the impalement of Hippolytus on a tree trunk in Phaedra, Atreus’ butchering of his nephews in Thyestes, and the slaughter of Astyanax and Polyxena in Trojan Women. In portraying violence, these messenger speeches repurpose language established in earlier (...) scenes to realize and deform a dominant theme of each play: distorted sexuality, appetite, and moral dissolution. (shrink)

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies , but in his best works (...) it is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies, but in his best works it (...) is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)

Some of the more difficult archetypal corruptions to detect are those that occurred, not when a scribe was mindlessly copying what was before him, but when he was paying some attention to the sense of his text and departed from his exemplar by wrongly anticipating how the sequence of thought would develop. The resulting text may give sense, even though it does not reflect what the author wrote. It is suggested here that such a process led to corruption at Seneca, (...) Thyestes 33 and Lucan, B.C. 2.279. In the former what was originally the subject of a verb has been transformed into the object; in the latter, the reverse has occurred. (shrink)

Some of the more difficult archetypal corruptions to detect are those that occurred, not when a scribe was mindlessly copying what was before him, but when he was paying some attention to the sense of his text and departed from his exemplar by wrongly anticipating how the sequence of thought would develop. The resulting text may give sense, even though it does not reflect what the author wrote. It is suggested here that such a process led to corruption at Seneca, (...) Thyestes 33 and Lucan, B.C. 2.279. In the former what was originally the subject of a verb has been transformed into the object; in the latter, the reverse has occurred. (shrink)

En este trabajo analizaremos dos tragedias en las cuales consideramos que los conceptos de libido y luxus juegan papeles centrales dentro de la representación: Phaedra y Thyestes ofrecen dos puestas en escena particulares del lujo impulsadas por un tipo particular de libido, las cuales, en apariencia, se adecúan a las habituales condenas moralizantes de la época de nuestro autor. Pero estas obras van un poco más allá, pues a través de la puesta en escena y la representación retórica de (...) la paupertas y cierto regreso a un estado natural, se deconstruye la idea de Naturaleza al mostrarla, paradójicamente, también como artificio. (shrink)

My paper, written in 1911, was something of a ballon d'essai, and I acknowledge frankly one or two mistakes. Thus I did not know that Euripides wrote a Thyestes; and again one or two of my references were wrong: in excuse I may perhaps plead that I have not had access to a Latin book for nearly two years. Apart from this I will now make only two observations:1. I set aside the evidence of Cod. Paris. Lat. 7530 because (...) I was dealing with evidence of saec. i.-iv. Cod. Paris. Lat. 7530 shows that some persons at the end of saec. viii. ascribed the Thyestes to L. Varius Rufus. So did persons in saec. iv. In addition, Cod. Paris. Lat. 7530 gives a date for the Thyestes. To Mr. Housmanthis date is certain; if it is uncertain a large part of his argument comes to nothing. But who can think it certain ? It comes to us from the end of the eighth century. If it came to us from Jerome's Chronicle we could still not think it certain, though we should know whence Jerome derived it. We do not now whence Cod. Paris. Lat. 7530 derived it. The reference to Actium may have no better source than the wish to connect a great literary and a great political event: and the gossip about the playwright's profits seems to me in itself suspicious.2. The main contention of the early part of my paper was that the evidence of the relevant MSS. as between Vari and Varii, etc., amounts to nothing either way. I do not think Mr. Housman is prepared seriously to contest this proposition. (shrink)

The first choral ode in Seneca’s “Thyestes” is linked to Horace’s odes 2, 13 and 2, 14, which are themselves interconnected. In all three texts, the motif of missing is prominent: in 2, 13, the falling tree narrowly misses its owner, in 2, 14, Postumus is reminded that his conduct of life misses a point, and in the choral ode, Tantalus famously fails to reach fruit and water. The gesture of failure is not only used as a motif but (...) also as a mode of representation since all three texts point towards an aim but fail to hit it and thus express something by not saying it directly. The comparison of this technique sheds light on the difficult intertextual relations between Horace’s odes and Seneca’s choral ode. (shrink)

Dramaturge guinéen, Hakim Bah revient dans cet entretien sur l’écriture de deux de ses pièces récentes traitant des migrations : Convulsions, qui est une réécriture du Thyeste de Sénèque, et À bout de sueurs. Les mythes méditerranéens côtoient les coupures de presse et les faits divers dans ces textes à l’oralité et à la poésie très marquées.

The text quoted above each note is that of the edition of Seneca's tragedies by Otto Zwierlein , OCT 1986; numerous passages are discussed in his Kritischer Kommentar zu den Tragüdien Senecas , Stuttgart, 1986; various textual suggestions were made in a correspondence with Zw. by B. Axelson . Other works on Seneca's tragedies, referred to by the scholar's name only, are: Text and translation: F. J. Miller, Loeb, 1917; L. Herrmann, Budé, 1924–6. Text with commentary: R. J. Tarrant, Agamemnon (...) , and Thyestes ; J. G. Fitch, Hercules Furens . Text with commentary and translation: Elaine Fantham, Troades ; A. J.Boyle, Phaedra. (shrink)