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Cicero's Influence on Our Perception of Republican Tragedy

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Roman Tragedy—Ciceronian Tragedy? Cicero’s Influence on Our Perception of Republican Tragedy Petra Schierl Of the tragedies written in Rome in the third and second centuries BC only fragments survive in the form of quotations by ancient authors.1 By far the larg- est number of fragments has been preserved in lexicographical works of the imperial period, in Nonius’ De compendiosa doctrina and in Festus’ epitome of Verrius Flaccus’ dictionary De verborum significatu. Both adduce quotations to illustrate the meaning of a word, often citing no more than a single verse. Arguably, the richest source of knowledge about Republican tragedy, how- ever, is Marcus Tullius Cicero. His writings abound in quotations from com- edy and tragedy, attesting to a lifelong engagement with early Roman drama.2 While the number of fragments from Republican tragedy which have come down to us through his works is relatively small, Cicero quotes the longest and most substantial passages of the major tragic writers, Ennius (239–169 BCE), Pacuvius (c. 220–130 BCE) and Accius (170-c. 80 BCE).3 Ennius may serve as an example: Cicero is the source for 30 out of 216 fragments, that is of 14 per cent of the extant fragments from Ennian tragedy; however, citing 135 out of 402 verses, he preserves 34 per cent of the tragic remains of Ennius.4 Since he fre- quently omits the name of the authors whose works he cites, he transmits 78 out of 180 fragmenta adespota from Republican tragedy.5 With 17 and 18 verses respectively, the lament from Ennius’ Andromacha (23 TrRF) and the speech of 1 Goldberg (2007: 582) justly emphasizes this aspect when he observes: “Our knowledge of tragedy includes not just the fragmentary texts, but the whole texts that preserve them: the history of its art comes wrapped in the history of its reception. Understanding that art there- fore requires understanding the terms of its survival.” 2 His rhetorical and philosophical works abound in poetic quotations; a smaller percentage is contained in the letters, the smallest in the speeches; cf. Kubik (1887) and Zillinger (1911, esp. 50–68). 3 This is also observed by Zetzel (2007: 1) who discusses the importance of Cicero as a source for Ennius. On the biographies and the output of Ennius, Pacuvius and Accius, cf. (2011: 204– 25) with further literature. 4 Cicero cites 15 out of 273 fragments of Pacuvius and 28 out of 476 fragments of Accius (the numbers refer to fragments for which the author is named, including those that are cited by Cicero alongside other authors). 5 184–254 TrRF. © koninklijke brill nv, leiden, ���5 | doi ��.��63/9789004�84784_004 46 Schierl Cassandra (151 TrRF) are the longest fragments from Republican tragedy which survive through his works.6 These examples also illustrate Cicero’s habit of cit- ing certain “favourite” passages repeatedly in different contexts: he quotes from Andromacha’s plaint no less than nine times in four works (Pro Sestio, De ora- tore, Orator, Tusculanae disputationes) and from Cassandra’s speech fives times in three works (Epistulae ad Atticum, Orator, De divinatione). Cicero, moreover, sheds light on different aspects of Republican tragedy, since he refers to trag- edy for a variety of reasons, showing an interest in linguistic phenomena such as the archaic genitive, but also in issues relating to the plot or the portrayal of character.7 What is more, he often comments on quotations and provides valu- able information on lost plays, for example by making reference to the speaker or the situational context of the verses he quotes or to performances in the Rome of his day. Cicero was writing at a time when tragedy still played a vital role in the cul- tural life of Rome. Not so much new plays, but revival performances of the “classics” were put on stage in the late Republic. The plays of the major tragic poets, Ennius, Pacuvius and Accius, continued to be read and performed so that many were known to a broad public.8 In addition, Roman comedy and tragedy were used in rhetorical training as manuals like the Rhetorica ad Herennium or Cicero’s De inventione demonstrate.9 Drama thus played a role in oratorical education, but also more generally in discussions pertaining to rhet- oric as evoked in the dialogue De oratore. This close engagement with drama in turn led members of the Roman elite such as Asinius Pollio or Cicero’s brother Quintus to devote themselves to composing tragedies.10 Marcus Tullius Cicero stands out as the most important witness of this cru- cial period in the reception of the early plays, and his value as a source both for the history of Republican drama11 and for the knowledge of tragedy, in particular, 6 Other fragments of more than ten verses are the account of Hecuba’s dream, which may belong to Ennius’ Alexander (76 TrRF adespota), the lament of Odysseus from Pacuvius’ Niptra (R3 256–269) and the description of the Argo by a herdsman who has never seen a ship in Accius’ Medea / Argonautae (R3 391–402). 7 Schierl (2006: 40–42) on Pacuvius. 8 Goldberg (2005: 126–28) discusses manifestations of a “dual experience of tragedy” in Cicero’s writings; on revival performances and reception through reading, cf. Manuwald (2011: 108–25). 9 Fantham (2004: 140–46). 10 Boyle (2006: 145); cf. 141 TrRF tragici minores on Q. Tullius Cicero and 144–145 TrRF tragici minores on C. Asinius Pollio. 11 Cicero’s references to dramatic performances, actors and playwrights can be found in Wright (1931); cf. now 17–29 TrRF Testimonia; for the testimonia on Roman drama in gen- eral, cf. Manuwald (2010: 42–101)..
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