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The Controversiae underpin and abet this entire system, but for a great many of these characters--in fact, we find representatives in each category but the first--the source in Senecan declamation directly affects their depth and consistency; motives and drives are envisaged, and shaped to make sense, in light of the ethopoeia in or implied in the Controversiae and of the colores of Seneca's declaimers.
If she is to be attacked at all the declaimers must address two questions, one regarding colores and the other ethopoeia: her level of knowledge of her husband's plotting; and her level of devotion to him.
47-57)--Sesse though an aristocrat has about him that savagery with which the declaimers of Controversia I.
The declaimers, says Seneca, mostly agree that her intentions were not lustful or rebellious, but compassionate.
112 (`the declaimers studied Thucydides minutely').
By setting his composition at a rhetorical-historical crux, and abandoning his own persona for that of a historical character, the declaimer shows off both his rhetorical ingenuity and his contact with the classical past, rather than his ability to tackle contemporary issues in rhetoric.
This interest in, and command of, constitutional detail and theorizing shows that the author was not just a declaimer at heart, but also something of a constitutional historian.
The danger posed by Alcibiades to the community is precisely the point of many anecdotes about him, and something that could be appreciated by a citizen of a Greek polis at most times and places, while the type of argument likely to be used against Alcibiades in 415 would be apparent to a declaimer who was an attentive reader of Thucydides book 6.
Public declaimers boasted that their speeches could be danced (Messalla's line of argument in Tacitus, Dial.
Just as the student of rhetoric or the accomplished declaimer could be called upon to compose and perform the kind of speech that a given mythical, historical, or imaginary character could be expected to utter in a certain set of circumstances, (22) Lucian equips his fictitious pantomime fan not with his own personal views but with the kind of defense that would have sounded plausible or appropriate (23) in the mouth of a moderately educated member of the lettered elite.
In other words, the real victor emerging out of Lucian's treatise was not the rehabilitated pantomime but the rehabilitating orator, the declaimer who, while validating the pantomime experience, in reality controlled its fate, for it was his own art that played a crucial role in negotiating the dancer's position with respect to "high" culture.