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Table of Contents
pt. I. TRADITION
1. Recovering a lost genre
2. Republican flourishing and imperial decline?
3. Genre and its Uses
1. Rituals and origins
2. Days of remembrance
4. Accius
1. Brutus
2. Decius or `Defeating the Gauls'
5. Romans fighting Romans
1. Partisan stagings
2. Pharsalos
seen from Cadiz
3. Spain, Caesar, and Pompey
6. Stages old and new
1. Staging and recitation
2. Fun (and shame) in acting
3. Upper class anxieties
4. Tragedy on the Roman stage, from Nero to Trajan
5. Emperor-actor
6. Imperial stage
7. Imperial Praetextae
1. Aeneas by Pomponius Secundus
2. Persius' essay
3. Tacitus and Maternus
4. Cato the Younger
5. Maternus' Cato
6. fate of Maternus
7. Maternus' Nero: date and context
pt. II. OCTAVIA
8. Praetexta?
1. Genre continuity?
2. Traditional aspects
3. Plots and structures
9. Time and place
1. Anonymus
2. Implied settings
3. Dramatic time
4. Dramatic place
10. Plot and historical background
1. Tragedy has three parts'
2. Historical background: parallels and contrasts
3. Implied geography
4. Adjusting and reshaping tradition
11. Octavia and the people
1. Nurse and empress
2. Cursed chamber
3. curse
4. First song of the Chorus Romanorum
12. Seneca and Nero
1. Seneca's monologue
2. Seneca-Nero: the first part of the dialogue
3. Seneca-Nero: the final part of the dialogue
13. Ghost, the divorce, and the wedding
1. Staging ghosts
2. Ghost come real
3. New beginning
4. Exit Octavia
5. Second song of the Chorus Romanorum
14. What Poppaea saw
1. Empress joins nurse
2. Exit Poppaea
3. Prophecy fitting the facts
15. Revolt, the fire, and the ship of death
1. Chorus of courtiers and messenger
2. Nero and the fire of Rome
3. Prefect and Nero
4. Third song of the Chorus Romanorum
5. Octavia triumphant
16. Time of Writing
1. Looking for termini post
2. Date soon after Nero's fall?
3. populus Romanus Against Nero
4. Roma Renascens
5. True clementia
6. `Nero forced me'
7. Nero unmasked
pt. III. AFTERLIFE
17. Tragic Pasts
1. Prologue
2. Greek or Greco-Roman revival?
3. Octavia, Trissino, and Rucellai: the beginnings of vernacular tragedy
4. From poetics to staging: Giraldi, Speroni, and Dolce
5. Tasso's Torrismondo
6. Mary Stuart goes on stage
7. Octavia goes abroad: France, Portugal, Spain, and England
8. Octavia goes to the opera
9. Envoi.
1. Recovering a lost genre
2. Republican flourishing and imperial decline?
3. Genre and its Uses
1. Rituals and origins
2. Days of remembrance
4. Accius
1. Brutus
2. Decius or `Defeating the Gauls'
5. Romans fighting Romans
1. Partisan stagings
2. Pharsalos
seen from Cadiz
3. Spain, Caesar, and Pompey
6. Stages old and new
1. Staging and recitation
2. Fun (and shame) in acting
3. Upper class anxieties
4. Tragedy on the Roman stage, from Nero to Trajan
5. Emperor-actor
6. Imperial stage
7. Imperial Praetextae
1. Aeneas by Pomponius Secundus
2. Persius' essay
3. Tacitus and Maternus
4. Cato the Younger
5. Maternus' Cato
6. fate of Maternus
7. Maternus' Nero: date and context
pt. II. OCTAVIA
8. Praetexta?
1. Genre continuity?
2. Traditional aspects
3. Plots and structures
9. Time and place
1. Anonymus
2. Implied settings
3. Dramatic time
4. Dramatic place
10. Plot and historical background
1. Tragedy has three parts'
2. Historical background: parallels and contrasts
3. Implied geography
4. Adjusting and reshaping tradition
11. Octavia and the people
1. Nurse and empress
2. Cursed chamber
3. curse
4. First song of the Chorus Romanorum
12. Seneca and Nero
1. Seneca's monologue
2. Seneca-Nero: the first part of the dialogue
3. Seneca-Nero: the final part of the dialogue
13. Ghost, the divorce, and the wedding
1. Staging ghosts
2. Ghost come real
3. New beginning
4. Exit Octavia
5. Second song of the Chorus Romanorum
14. What Poppaea saw
1. Empress joins nurse
2. Exit Poppaea
3. Prophecy fitting the facts
15. Revolt, the fire, and the ship of death
1. Chorus of courtiers and messenger
2. Nero and the fire of Rome
3. Prefect and Nero
4. Third song of the Chorus Romanorum
5. Octavia triumphant
16. Time of Writing
1. Looking for termini post
2. Date soon after Nero's fall?
3. populus Romanus Against Nero
4. Roma Renascens
5. True clementia
6. `Nero forced me'
7. Nero unmasked
pt. III. AFTERLIFE
17. Tragic Pasts
1. Prologue
2. Greek or Greco-Roman revival?
3. Octavia, Trissino, and Rucellai: the beginnings of vernacular tragedy
4. From poetics to staging: Giraldi, Speroni, and Dolce
5. Tasso's Torrismondo
6. Mary Stuart goes on stage
7. Octavia goes abroad: France, Portugal, Spain, and England
8. Octavia goes to the opera
9. Envoi.