1,730,309 research outputs found
Aristophanes and Euripides: A Palimpsestuous Relationship
No full textAristophanes allows Euripides to interrupt constantly. In Athenian comedy of the fifth century they are on stage together, both literally and figuratively. Despite Aristophanes’ comedies having a meaning of their own, Euripides’ lines are so clearly visible underneath them that they can only be described as the verbal equivalent of a palimpsest. The Oxford English Dictionary defines a palimpsest as a manuscript or piece of writing on which later writing has superimposed or effaced earlier writing, or something reused or altered but still bearing visible traces of its earlier form. It is clear that a palimpsest is the product of layering that results in something as new, whilst still bearing traces of the original. Dillon describes the palimpsest as “...an involuted phenomenon where otherwise unrelated texts are involved and entangled, intricately interwoven, interrupting and inhabiting each other”. Aristophanes takes texts, particularly those of Euripides, which may otherwise have been unrelated, and weaves them together to form something new.
I will show that in a number of cases Aristophanes offers scenes that have already been performed in Euripides’ plays but lays his own plot over the tragedian’s, whilst at the same time drawing the audiences’ attention to the original. The nature of this borrowing overwrites Kristeva’s theory of ‘intertextuality’ and provides a new and more apposite name for the permutation of texts in which the geno-text corresponds to infinite possibilities of palimpsestuous textuality (and the pheno-text to a singular text, which contains echoes of what it could have been). The plurality of Euripides’ texts, whilst engendering those of Aristophanes, constantly interrupts them. Through the consideration of ancient and modern literary theory and by a close analysis of Aristophanes’ and Euripides’ plays, this thesis sets out to offer a new reading of the relationship between these two poets. It shows that they were engaged in a dialogue of reciprocal influence that came to a head at the end of the Peloponnesian War
A commentary on the final scene of Euripides’ Phoenician women
No full textOften enough the scholar who deals with ancient Greek poetry, specifically drama, has to answer a difficult question: whether the plays that have reached us today are in the same form as when they were written by their creator. Dramas today suffer from interpolations and corruptions and scholars have to dedicate a lot of effort to remove them. Luckily they have plenty of "tools" they can use: syntax, grammar, metre, style, vocabulary, relevance. One, of course, must always bear in mind that all the above are not always adequate criteria. Repeated phraseology, faulty grammar, undesirable metre can, but do not always indicate whether a passage is an interpolation or not. Strange vocabulary is not enough either, since common words may survive in a limited number of plays by accident. Relevance with a passage's environment can be a very subjective criterion as well. This thesis is concerned with one of the most problematic, in terms of interpolation, tragedies, the "Phoenician Women" of Euripides. After a general introduction about what the tragedy is about and what the main problems in it are, chapter two deals with the final part of it (lines 1307-1767) and the textual problems it presents and at the end the final chapter tries to give us an answer to the most prominent inconsistency of the play, i.e. what does Antigone do at the end of the play: does she follow Oedipous or does she bury Polyneikes
A Companion to Euripides
No full textIntro -- Title Page -- Table of Contents -- Notes on Contributors -- Acknowledgments -- List of Abbreviations -- PART I: Text, Author, and Tradition -- CHAPTER 1: Introduction -- 1 Euripides -- 2 New Approaches -- 3 This Volume -- 4 Conclusion -- CHAPTER 2: Text and Transmission -- 1 The Earliest Copies -- 2 From Alexandria to Late Antiquity -- 3 The Middle Ages -- 4 The Lost Plays -- 5 Modern Editions -- CHAPTER 3: The Euripidean Biography -- 1 What We Know -- 2 The Poetic Career -- 3 Ancient Biographical Traditions -- 4 Misogyny and Misanthropy -- 5 Popularity -- 6 A Death in Macedon -- 7 Summary -- CHAPTER 4: Euripides and the Development of Greek Tragedy -- 1 Life in the Theater -- 2 Women Bad and Good -- 3 Language and Composition -- 4 Coming to the End -- 5 Conclusion -- PART II: Early Plays (438-416 BCE) -- CHAPTER 5: Alcestis -- 1 The Alcestis and Genre -- 2 Structure, Characterization, and Major Themes in the Alcestis -- 3 Gender -- 4 Incongruous Feelings? Pity and Eros in the Alcestis -- CHAPTER 6: Medea -- 1 Medea as Barbarian? -- 2 Medea as Woman -- 3 Medea as Avenger: The Ending of the Play -- CHAPTER 7: Children of Heracles -- 1 The Legend of the Heraclidae and Athenian Patriotism -- 2 Supplication and Athenian Idealism -- 3 Political Paralysis and Transformation -- 4 Reversals of Power -- CHAPTER 8: Hippolytus -- 1 Second Attempts and Second Thoughts -- 2 Phaedra -- 3 Hippolytus -- 4 Theseus -- 5 The Role of the Gods -- 6 Finding Sympathy -- CHAPTER 9: Andromache -- 1 Synopsis -- 2 Date and Production -- 3 Euripides and the Myth -- 4 "If gods do wrong . . ." -- 5 Reading Andromache -- 6 Staging Andromache -- 7 Final Thoughts -- CHAPTER 10: Hecuba -- 1 Hecuba's Historical Context and Reception -- 2 Hecuba's Binary Structure -- 3 Hecuba's Divine Machinery -- 4 Hecuba's Moral Ontology5 The Ethical Positions of Hecuba's Principal Characters -- 6 Conclusion: Hecuba's Transformations as Expressions of its Moral Landscape -- CHAPTER 11: Suppliant Women -- 1 Myth and Plot -- 2 The Chorus -- 3 Aethra -- 4 Recovery of the Bodies -- 5 Suicide of Evadne -- CHAPTER 12: Electra -- 1 Synopsis -- 2 Date -- 3 The Myth -- 4 Dramatic Treatments of the Myth -- 5 Setting -- 6 The Farmer's Hut -- 7 Themes -- CHAPTER 13: Heracles -- 1 Heracles in Pieces -- 2 A Hero's Return -- 3 Heracles in Pieces -- 4 Of God to Man -- PART III: Later Plays (After 416 BCE) -- CHAPTER 14: Trojan Women -- 1 Background -- 2 Anti‐War -- 3 Women as Victim or Heroic -- 4 The Love Charm -- 5 Neither Simply Anti‐war nor Simply Feminist -- 6 Mortal and Immortal -- CHAPTER 15: Iphigenia in Tauris -- 1 The Myths -- 2 The Play within the Euripidean Corpus -- 3 Rescue/Escape/Safety -- CHAPTER 16: Ion -- 1 Autochthony and Identity -- 2 Psychological Readings: The Role of the Son -- 3 Psychological Readings: the Role of the Mother -- 4 Men and Gods -- 5 Food for the Soul -- 6 Conclusion -- CHAPTER 17: Significant Inconsistencies in Euripides' Helen -- 1 A Twisted Plot -- 2 Diverse Interpretations -- 3 Paradoxes and Discrepancies -- 4 Formal Anomalies, and a Most Unusual Chorus -- 5 Final Indeterminacy -- CHAPTER 18: Phoenician Women -- 1 Synopsis -- 2 Date and Trilogy -- 3 Staging and Features of the Fifth‐Century Premiere -- 4 Phoenician Women and Theban Myth -- 5 On and Off Stage: Space and the Phoenician Women -- 6 Final Thoughts -- CHAPTER 19: Orestes -- 1 Electra and Helen Exchange Pleasantries, and Then . . . -- 2 Agonizing with Orestes -- 3 More Plotting, Helen Killed (?), Hermione Taken Hostage, the Friends Encircled, the House of Atreus Set on Fire, Apollo Intervenes -- 4 A Tragedy for All Ages -- CHAPTER 20: Iphigenia at Aulis -- 1 Plot2 Characters and Changes of Mind -- 3 Chorus -- 4 Marriage and Sacrifice -- 5 War, Slavery, Politics -- 6 A Self‐Conscious Drama -- CHAPTER 21: Bacchae -- 1 Recent Trends in Scholarship on the Bacchae -- 2 Foreign Cult -- 3 Sex, Drugs, and Kettledrums -- PART IV: Satyr, Spurious, and Fragmentary Plays -- CHAPTER 22: Cyclops -- 1 Satyr Drama: "Tragedy at Play" -- 2 Cyclops and Major Themes of Satyric Drama -- 3 Setting the Scene -- 4 Burgeoning Philia: Odysseus and the Satyrs vs Polyphemos -- 5 With(out) a Little Help from his Friends, or Odysseus' Revenge -- 6 Cyclops and Satyrs: An Overview -- CHAPTER 23: Rhesus -- 1 What Happens in Rhesus? -- 2 The Rhesus Myth before Rhesus -- 3 Stagecraft and Dramaturgy: Accomplishments and Failures -- 4 Language and Style: A Derivative Play -- 5 Did Euripides Write the Rhesus we Have? -- CHAPTER 24: Fragments and Fragmentary Plays -- 1 A Few Facts and Figures -- 2 The Nature of the Evidence and how it has Survived -- 3 Collecting, Editing, and Studying the Fragments -- 4 List of Euripides' Known Plays, with (Mostly Approximate) Dates -- 5 Reconstruction of Fragmentary Plays: Possibilities and Limits -- 6 What and how do Fragments add to the Appreciation of Euripides? -- 7 Some Individual Phenomena: Pairs of Name‐Plays -- Satyr‐Plays -- Unassigned Fragments -- 8 Illustrative Case‐Studies: Ino, Palamedes, Phoenix -- the Oedipus‐myth -- 9 Supplementary Note 2015 -- PART V: Form, Structure, and Performance -- CHAPTER 25: Form and Structure -- 1 Aristotelian Basics -- 2 Formal Structures: Basic Units, Special Scene‐Types, Microstructures, Other Features -- 3 Narrative Patterns in Euripides -- 4 The Interplay of Formal Structures and Narrative Patterns -- 5 Clear Partition and Alternation between Actors' Scenes and Choral Parts -- 6 Blending or Interlacing of Actors' Scenes and Choral Parts7 Initial Exposition of the Principal Character and His/Her Situation -- 8 Intense Distress, Violent Backstage Action, Plot Acceleration -- 9 Conclusion -- CHAPTER 26: The Theater of Euripides -- 1 Theater Industry and Audiences -- 2 Social Change and Innovation in Euripides -- 3 Formal Matters -- 4 "Metatheater" and Stage Machinery: Theater in Construction -- 5 Plum Roles in Euripidean Drama -- 6 Theater Beyond Euripides -- CHAPTER 27: The Euripidean Chorus -- 1 Varieties of Choral Experience -- 2 Choral Sympathies -- 3 Wider Contexts -- 4 The Chorus as a Tragic Theme -- 5 Musical History -- CHAPTER 28: Euripides and the Sound of Music -- 1 The Music of Attic Drama -- 2 Music in Euripides' Tragedies -- 3 Euripides and the New Music -- 4 The Orestes Musical Papyrus -- 5 The Sound of Music -- PART VI: Topics and Approaches -- CHAPTER 29: Euripides and his Intellectual Context -- 1 Literacy and the Alphabet -- 2 Specialized Skills -- 3 Relativism and Humanism -- 4 Anthropology and Progress -- 5 Agency and Responsibility -- CHAPTER 30: Myth -- 1 Tradition, Innovation, and Multiplicity -- 2 The Selection and Deployment of Myths -- 3 "Skepticism" and "Heterodoxy" in Context -- 4 What Makes Euripides' Myths Distinctive? -- CHAPTER 31: Euripides and Religion -- 1 The Gods -- 2 Impiety and Perjury -- 3 Ritual -- 4 Deformed Rituals -- 5 False Rituals -- 6 Syncretism -- 7 Priestesses -- 8 Conclusion -- CHAPTER 32: Gender -- 1 Critical Responses -- 2 Gender in Context -- PART VII: Reception -- CHAPTER 33: Euripides, Aristophanes, and the Reception of "Sophistic" Styles -- 1 Euripides, Agathon, and the Bumsy Style -- 2 Socrates and Euripides -- 3 Styles and "Styles" -- 4 Literary Critical Practices and Places -- 5 Euripides, Plato, and Later Reception -- Acknowledgments -- CHAPTER 34: Euripides in the Fourth Century BCE -- 1 Euripides' Supposed Unpopularity2 Fourth‐century Performances of Euripides -- 3 Evidence for Euripides' Influence on Fourth‐century Tragedy -- 4 Conclusions -- CHAPTER 35: Euripides and Senecan Drama -- 1 Seneca on Euripides -- 2 Madness of Hercules -- 3 Trojan Women -- 4 Phoenician Women -- 5 Medea -- 6 Phaedra -- 7 Conclusion -- CHAPTER 36: All Aboard the Bacchae Bus -- 1 Criticism and Translation -- 2 Performances -- 3 Published Adaptations -- Index -- End User License AgreementDescription based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Euripides' Orestes
No full textEURIPIDES' ORESTES
Euripides' Werke : Griechisch mit metrischer Übersetzung und prüfenden und erklärenden Anmerkungen / von J. A. Hartung (-)
Euripides' Orestes (Bd. 4) (1)
Titelblatt (1)
Einleitung (2)
Euripides' Orestes (9)
Zur Belehrung über die Metra (90)
Commentar (95)
Druckvermerk (131
Das tragische Theater der Griechen : des Euripides erster Band
No full textTitelvignetteEnthält: Hecuba, Jphigenia in Aulis, die Phönicierinnen, Hippolytu
Euripides' Trojerinnen
No full textEURIPIDES' TROJERINNEN
Euripides' Werke : Griechisch mit metrischer Übersetzung und prüfenden und erklärenden Anmerkungen / von J. A. Hartung (-)
Euripides' Trojerinnen (Bd. 2) (1)
Cover (1)
Titelblatt (11)
Vorrede (12)
Einleitung (13)
Euripides' Trojerinnen (19)
Zur Belehrung über die Metra (75)
Commentar (78)
Druckvermerk (98
Euripides' Phönikerinnen
No full textEURIPIDES' PHÖNIKERINNEN
Euripides' Werke : Griechisch mit metrischer Übersetzung und prüfenden und erklärenden Anmerkungen / von J. A. Hartung (-)
Euripides' Phönikerinnen (Bd. 5) (1)
Titelblatt (1)
Vorrede (2)
Einleitung (5)
Euripides' Phönikerinnen (9)
Unächtes (86)
Zur Belehrung über die Metra (87)
Commentar (91)
Druckvermerk (144
Euripides, Cresphontes and the Messenian Mythical Tradition
No full textGiven the scarcity of information literary and archaeological regarding the archaic history of Messenia the available versions generally brief and incomplete are also controversial Our purpose is to focus in particular on Euripides dramatic creations inspired by the myths associated with Messenia While taking into account the dramatic and scenic features that the fragments suggest we will attempt to underline Euripides contribution to its political reading and its influence on later versions on the same subjec
Euripides-Rezeption in Kaiserzeit und Spätantike
No full textDuring the Imperial Rome Age and late antiquity, Euripides was considered a tragic dramatist par excellence, and, alongside Homer, was the most frequently cited poet. This book examines the reception of complete and partially transmitted Euripidean tragedies into the Greek language vis-à-vis key authors and literary genres of the Imperial Rome Age and late antiquity, situating them in the cultural and literary-historical context of the times
- …
