All drama is meant to be heard by an audience, so that there is a sense in which any utterance in a play may be called audience address. It is possible, however, to draw a distinction between on the one hand the kind of drama in which the presence of an audience is acknowledged by the actors—either explicitly by direct address or reference to the audience, or implicitly by reference to the theatrical nature of the action the actors are undertaking, (...) or by a combination of some or all of these elements—and on the other hand the kind of drama in which such a presence is not acknowledged, where the actors maintain the pretence that they are enacting a real as distinct from a theatrical event. (shrink)

It is well known that when resolution occurs in the stichic iambics and trochaics of tragedy word-end is not found between the two shorts so produced: w or, more accurately, that the first short of resolution must not be the last syllable of a polysyllabic word. Moreover, the syllables in resolution most often form part of the same word as the following short or anceps, e.g.: Ion 1143.

Sophocles' Philoctetes is deservedly a much-studied play, and only sparse gleanings seem likely to remain for those who seek to propose total novelties in interpreting it. Much of the time, in these notes, I am attempting to restate or remarshal arguments for well-known positions; even the arguments are often old; I can only hope the redeployment of some of them will occasionally seem to sharpen them. It will be obvious how much I am indebted to the editions by Campbell and (...) Jebb, and to recent interpretative studies by Linforth, Kitto, and Knox. Some old arguments I have probably recapitulated far too briefly, others I have perhaps reiterated at tedious length. My excuse for writing at all must perhaps be that the excellences of this play seem to be peculiarly in need of defence against critics who approach Greek tragedies with a conventional stereotype in mind, especially those who incline to think that Greek drama must in various ways have been undramatic. (shrink)

As described by the ancient metricians, catalexis is a matter of arithmetic rather than rhythm. They develop the idea in their usual way, mechanically and mathematically, adding and subtracting elements, so as to produce ‘brachycatalexis’ and ‘hypercatalexis’. These are now mere metrical-glossary terms, but in catalexismodern metricians have seen a genuine relationship between cola and a rhythmic effect more or less comprehensible even to us. Wilamowitz, T.D. Goodell, and A.M. Dale explore the concept to some extent, but current hand books (...) and general treatises give it only perfunctory and superficial treatment, while casual appearances of the term offer the reader glimpses of a theoretical substructure which hasnot been explicitly and coherently explained. (shrink)

In an earlier article I reported the text Ajax offered by the so-called ‘Roman’ family of Sophocles, the manuscripts G, R, and Q. My present purpose is to give collations of G, R, and Q for Philoctetes, with some introductory comments confined to this play; I hope I may be allowed to refer the reader to my previous article for a discussion of the general problems arising from a study of these manuscripts.