Required reading at more than 100 colleges and universities throughout North America.

Troades has often been thought to lack any coherent structure, and this has been variously attributed to its being the last play of the trilogy and to Euripides' overriding concern to impress the horrors of war upon his fellow Athenians. More recently, however, attention has been drawn to how the constant presence of Hecuba gives unity to the play and to how it is articulated by the striking entries of Cassandra, Andromache, and Helen. Cassandra and Andromache enter in mock triumph, (...) Cassandra waving torches in her ironical wedding song and Andromache on a waggon, while Helen is dragged out by force and her scene marked off by Menelaus' second prologue. All three women emerge from the tent, argue with Hecuba but fail to convince her, and depart for marriage in Greece. Andromache's ideal marriage to Hector contrasts with Cassandra's perverted ‘marriage’ to Agamemnon and with Helen's destructive marriage to Paris. The departure of the Trojan women for marriage in Greece balances Helen's earlier departure from Greece for marriage in Troy. (shrink)

Ancient Greek visual representations of the recovery of Helen by Menelaos are generally thought to depend closely on two distinct poetic sources. This paper argues that this belief is untenable. The principal theoretical assumption underlying it, that there will always be a close fit between ancient Greek poetic and artistic representations of a given story, is not the only conceivable relationship between poetry and art in Archaic and Early Classical Greece. The empirical evidence advanced to support the belief, the occurrence (...) of similar motifs in both the poetic sources and the visual representations, is strained: scholars have read into the pictures motifs or intentions, including nudity and seduction, that are known from literature but have not been given unambiguous visual form in the pictures. This paper argues that the relationship between the artistic and literary representations of the recovery of Helen is much more distant and less direct than most scholars have thought. The same general story underlies all the pictorial representations of the subject in the Archaic and Early Classical periods, but no specific poetic source was necessarily behind the story circulating among the artists. This study draws attention, in particular, to methods of storytelling that are unique to the visual arts. It addresses in detail one of the most striking and problematic aspects of the iconography of the recovery of Helen, the variety of physical settings of the event, and argues that the pictorial elements of setting provide important narrative information that verbal narratives would convey in a different way. (shrink)

πγχυ δ' εμαρες σνετον πóησαι | πντι τοτο, sang Sappho ; but, to judge from the controversies which have marked the scholarly discussion of her poem in the sixty-five years since its first publication, her confidence was at least premature. Some problems can indeed be considered to have been settled, either through new finds or through gradual consensus: thus the man of line 7 is Menelaus, not Paris, and few today would see in the poem merely an affirmation of exclusively (...) feminine as opposed to masculine values. But to the twin questions of the function first of the story of Helen in the poem, and especially second of the words with which Helen is introduced — γρ πóλυ περσκθοισα | κλλος νθρώπων 'Eλνα — no satisfactory answer has yet been found. The strictures of Fränkel and of Page on this passage are well known; yet even where their judgements have not been simply taken over, the explanations that have been offered for these two distinct but closely connected problems fail to convince. (shrink)

Troades has often been thought to lack any coherent structure, and this has been variously attributed to its being the last play of the trilogy and to Euripides' overriding concern to impress the horrors of war upon his fellow Athenians. More recently, however, attention has been drawn to how the constant presence of Hecuba gives unity to the play and to how it is articulated by the striking entries of Cassandra, Andromache, and Helen. Cassandra and Andromache enter in mock triumph, (...) Cassandra waving torches in her ironical wedding song and Andromache on a waggon, while Helen is dragged out by force and her scene marked off by Menelaus' second prologue. All three women emerge from the tent, argue with Hecuba but fail to convince her, and depart for marriage in Greece. Andromache's ideal marriage to Hector contrasts with Cassandra's perverted ‘marriage’ to Agamemnon and with Helen's destructive marriage to Paris. The departure of the Trojan women for marriage in Greece balances Helen's earlier departure from Greece for marriage in Troy. (shrink)

Over 25 centuries ago, the Greek philosopher and sophist Protagoras equated his famous notion of "man ids the measure of all things" with another that declared "on every question there are two opposing answers, including this one." The purpose of The Critical Double is to demonstrate that this second Protagorean notion constitutes one of the fundamental principles of aesthetic and rhetorical theory. This work formulates, for the firs time, a succinct model for the deconstructive analysis of aesthetic discourse. While the (...) stated purpose of this work is to redefine a critical methodology, its originality lies in its emphasis on the notion of duality, or doubling, as the essential way to distinguish aesthetic from other forms of discourse. The first two chapters, on metaphor and rhetoric respectively, establish a solid basis for this model, for theories of metaphor and rhetoric have almost always been clearly marked by their emphasis on duality. The remaining six chapters all develop this model in their respective contexts. (shrink)