Molly Harris
Published: 2019
Total Pages: 0
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In this dissertation, I look at three Greek tragedies that are set in the period immediately after war: Aeschylus' [Agamemnon] and [Persians] and Euripides' [Trojan Women]. I define this set of tragedies as "crossing from war" plays, since all three involve the experience of transitioning from war to what comes after war. Focusing on the physical and emotional movement between these two spheres, I examine how these three tragedies portray the impact of war on soldiers and their families, particularly how and why these narratives depart from the epic model of Odysseus' homecoming in the [Odyssey]. In the [Odyssey], Odysseus' homecoming is not complete until he has achieved three things: 1) returned to his homeland Ithaca, 2) reclaimed his throne and status as king among men, and 3) reunited with his family. I show how these tragedies, conversely, deny such a restoration to one's land, society, and family after war and expose the permanent damage that persists. These "crossing from war" stories depict the irreversible separation of the hero-and, indeed, every warrior-from his homeland, the inability of the warrior and others to regain their former status within their community upon return, and the permanently broken familial relationships caused by war. Through analysis of imagery- especially that of the physical land and youth-I demonstrate that the "crossing from war" tragedies are not simply stories of an individual's successes and failures, but also those of entire families, cities, and peoples. The effects of war are widespread, and they touch the men who fight and return, as well as the communities that are left behind. These plays bring to fulfillment what in the [Odyssey] are only temporary threats. Furthermore, I show how Greek tragedy enabled fears about war to be acted out on stage while at the same time bringing together the community in a way that might counteract those fears