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Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance. |
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The friendly expatriate ladies of the chorus in Helen enter having heard loud lamentation issuing from the palace, while engaged, like the Φλα of the chorus in Hippolytus 125ff., in spreading laundered crimson textiles to dry in the sun. The central theme of ‘hearing cries’, with the verb κλυον and nouns of utterance, is reminiscent also of Medea 131ff., where the opening words of the Parodos κλυον Φωνν, κλυον δ βον… allude to Medea's loud utterances сωθεν in 96ff. and 111ff. (...) |
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Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance. |
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The conflict between Prometheus and Zeus has long dominated critical discussion of the play and diverted attention from the only mortal to appear onstage. Prometheus is widely applauded as humanity's saviour and Zeus condemned as an oppressive tyrant, but the fate of the maiden Io is largely discounted. Her encounter with Prometheus, however, is the longest and most complex episode in the play, and it provides a very different perspective on events. The elaborate forecast of her journeys delivered by Prometheus (...) |
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In their first stasimon, the chorus of Euripides’Iphigenia at Aulis(=IA) praises ‘concealed Kypris’ as a marker of virtue for women (568–72):μέγα τι θηρεύειν ἀρετάν,γυναιξὶ μὲν κατὰ Κύ-πριν κρυπτάν, ἐν ἀνδράσι δ᾿ αὖκόσμος ἐνὼν ὁ μυριοπλη-θὴς μείζω πόλιν αὔξει.It is something great to hunt for excellence. For women, it is according to concealed Kypris, and among men in turn manifold order being within makes the city grow greater. |
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The idea of the 'unity of opposites' allows one to see important connections between phenomena normally treated separately: verbal style, ritual, tragic action and cosmology. The stylistic figure of Satzparallelismus in lamentation and mystic ritual expresses the unity of opposites (particularly of life and death) as oxymora. Both rituals were factors in the genesis of tragedy, and continued to influence the style and action of mature tragedy. The author advances new readings of various passages of the Oresteia, which is seen (...) |
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This paper examines the appearance of theôria as metaphor in Sophocles' Oedipus at Colonus. Once Oedipus arrives in Colonus, the local site on the outskirts of Athens becomes, in effect, theoric space, as travelers converge upon the site, drawn there to visit the old man, whose narrative is known to all Greeks. Oedipus, as panhellenic figure, serves simultaneously as spectacle and theôros, attaining inner vision as he goes to his death at the end of the play. Oedipus offers salvation to (...) |
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Con base en Maneras trágicas de matar a una mujer, de Nicole Loraux, el presente artículo se propone la presentación de los modos tan disímiles como en una polis griega es pensada la muerte de un hombre y la de una mujer. Se busca mostrar con especial énfasis el modo como la muerte de la mujer es teatralizada en la tragedia griega, género literario considerado aquí como lugar en el que se desvanecen, aunque ambiguamente, las líneas fronterizas entre las dos (...) |
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The paper examines the surviving references to the setting of the rapes in New Comedy. It argues that the fact that rapes are commonly set in the course of nocturnal festival activities should not be seen merely as a convenient plot device. By using Menander's Epitrepontes as a case study, the paper suggests that there is a close relationship between the character of the festivals where rapes are set and a major theme in the plays themselves: namely, the maturation of (...) |
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Aeschylus' imagery has for some time now been discussed as a feature of his dramatic technique which does more than merely adorn his work. Lebeck, for example, has described how images articulate the Oresteia: The images of the Oresteia are not isolated units which can be examined separately. Each one is part of a larger whole: a system of kindred imagery. They are connected to one another by verbal similarity rather than verbal duplication. Formulaic repetition is rare, except in the (...) |
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en La présente étude entreprend de réévaluer la figure de la déesse Perséphone telle qu’elle apparaît dans une partie du corpus des lamelles funéraires en or. Il s’agit de montrer que l’importance régionale de la Perséphone de Locres a contribué à la représentation de la déesses dans les lamelles destinées à être utilisées en Grande Grèce. Des représentations mythiques et cultuelles sur les tablettes en terre cuite (pinakes) dédiées à cette déesse révèlent non seulement une « reine chtonienne », mais (...) |
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The question of the foreigner, especially as elaborated by Jacques Derrida in the first of his two essays Of Hospitality, is at the heart of Aeschylus’ Suppliants, a play in which the fifty daughters of the Egyptian king Danaus appeal to the Argive king Pelasgus for asylum. Indeed, Aeschylus structures much of the initial encounter between the Danaids and Pelasgus in the interrogatory mode: as an exchange of questions to the foreigner, of the foreigner. Beginning with queries about identity, the (...) |
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AtArgon.4.1653–88, Medea steps forward among the Argonauts and asserts that their harbourage on Crete will not be blocked by the bronze giant Talos, who stands menacingly throwing rocks at their ship. She claims that she alone can subdue him, and then steps forward and proceeds to do so. Using a sequence of ‘magical’ ritualistic acts, she causes Talos to scrape his vulnerable heel on a rock and fall down dead, as the ichor pours from his wound. This scene is the (...) |
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The interplay of Greek and Roman motifs in the Marcellus eulogy at the end of the Sixth Book of the Aeneid presents a complicated study in literary history. The association of roses with the dead is more Roman than Greek, but perhaps not so much so as one might imagine. Roses are not entirely absent from the Greek milieu, and in fact Vergil apparently drew on Greek rose motifs for the eulogy. Archaeology reveals that roses were an important symbol on (...) |
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The interplay of Greek and Roman motifs in the Marcellus eulogy at the end of the Sixth Book of theAeneidpresents a complicated study in literary history. The association of roses with the dead is more Roman than Greek, but perhaps not so much so as one might imagine. Roses are not entirely absent from the Greek milieu, and in fact Vergil apparently drew on Greek rose motifs for the eulogy. Archaeology reveals that roses were an important symbol on tomb stelai, (...) |
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In the light of the remarkable changes of political colour which Aeschylus has undergone in the hands of scholars, there is a certain amusing irony about the fact that the satyr-play which followed the Oresteia was the Proteus. Sadly, we know too little of the Proteus to say whether it would have resolved this debate about the Oresteid's political stance, though one may have one's doubts. |
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