By Justina Gregory
The Blackwell better half to Greek Tragedy presents readers with a basic grounding in Greek tragedy, and likewise introduces them to some of the methodologies and the full of life severe discussion that represent the examine of Greek tragedy this present day.
Comprises 31 unique essays by way of a global solid of participants, together with up-and-coming in addition to exceptional senior scholars.
Pays awareness to socio-political, textual, and function features of Greek tragedy
All historical Greek is transliterated and translated, and technical phrases are defined as they appear.
Includes feedback for extra interpreting on the finish of every bankruptcy, and a beneficiant and informative mixed bibliography.
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Extra info for A Companion to Greek Tragedy (Blackwell Companions to the Ancient World)
Aristotle may then have had a terminological and conceptual prompt for his derivation of tragic drama from dithyramb that went beyond their association at the City Dionysia. He will also have been familiar with dithyrambs of the mimetic type represented for us by Bacchylides’ Theseus (18), which consisted of lyric dialogue between a soloist or leader singing as a figure from myth and the chorus singing as some group; the parallel with the actor and chorus of tragedy is evident. From every point of view, then – content, choral nature, institutional setting, mimetic element, and terminology – Aristotle’s association of dithyramb with tragedy was natural.
Aeschylus’ Oresteia The conflicts and resolution of the Oresteia are strongly colored by the difficulties the Athenians were facing in the 450s: clashes with the Persians, the First Peloponnesian War, and political upheavals within their own city. An outstanding feature of Agamemnon is the poet’s use of naval power and protracted warfare conducted in distant lands as a metaphor for a perversion of natural order and a threat to the political stability in Argos. Unlike Homer’s Agamemnon, Aeschylus’ king is called ‘‘the elder leader of Achaean ships’’ (184–85) and ‘‘commander of ships’’ (1227).
Circumstances must have complicated their responses to Neoptolemus’ disobedience to Odysseus and to Philoctetes’ stubborn refusal to compromise, both of which put the safety of the entire Greek army at stake. Euripides’ Orestes, whose plot takes up where Aeschylus’ Libation Bearers ends, is set in an even more troubling world of factions and wavering loyalties. One of the play’s outstanding features is the sketches it offers of a wide range of political types. 2; Hall 1993, 269–71). Next we meet the noncommittal Menelaus, who pries from Orestes all the information he can get about 20 Paula Debnar which party has the upper hand in Argos; after promising to help his nephew (if only in words), he does not show up at the assembly where Orestes argues his case.