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This is the first full-scale commentary on Euripides’ Alexandros, which is one of the best preserved fragmentary tragedies. It yields insight into aspects of Euripidean style, ideology and dramatic technique (e.g. rhetoric, stagecraft and imagery) and addresses textual and philological matters, on the basis of a re-inspection of the papyrus fragments. This book offers a reconstruction of the play and an investigation of issues of characterization, staging, textual transmission and reception, not least because Alexandros has enjoyed a fascinating Nachleben in literary, dramaturgical and performative terms. It also contributes to the readers’ understanding of the trends of later Euripidean drama, especially the dramatist’s innovation and experimentation with plot-patterns and staging conventions. Furthermore, the analysis of Alexandros could stimulate a more comprehensive reading of the extant Trojan Women coming from the same production, which bears the features of a ‘connected trilogy’. Thus, the information retrieved through the interrogation of the rich fragmentary material serves to supplement and contextualize the extant tragic corpus, showcasing the vitality and multiformity of Euripidean drama as a whole.
This volume of thirteen essays includes "Tantalus and Anaxagoras"; "Notes on Seneca 'Rhetor'"; "More on Pseudo-Quintilian's Longer Declamations"; "Lurius Varus, a Stray Consular Legate"; and "Loss of Self, Suffering, Violence: The Modern View of Dionysus from Nietzsche to Girard."
Euripides' Danae and Dictys are two of the most important and influential treatments of a popular tragic myth-cycle, which is unrepresented among extant plays. Moreover, they are early treatments of major Euripidean plot-patterns that anticipate and illuminate more familiar works in the corpus, both extant and fragmentary. This is the first full-scale study of the two plays, which sheds light on plot-patterns, key themes and aspects of Euripidean dramatic technique (e.g. his rhetoric, imagery, stagecraft), as well as matters of reception and transmission of both tragedies, by taking into account newly related evidence. The cautious recovery of the two lost plays based on the available evidence and the detailed commentary on their fragments seek to complement our knowledge of Euripidean drama by contributing to an overview and more comprehensive picture of the dramatist's technique, as the extant corpus represents only a small portion of his oeuvre.
Brill’s Companion to Euripides, as well as presenting a comprehensive and authoritative guide to understanding Euripides and his masterworks, provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Euripidean studies.
This book brings together case studies delving into different, unstudied aspects of the Nachleben of selected lost tragedies either in their once extant form or in their fragmentary state in later periods of time. It seeks to explore the ways in which the plays in question were reworked, discussed, represented or reperformed within varying frameworks. Notably enough, research on the reception of tragic fragments could yield insight not only into the receiving work, but also into the facets of the source text that have attracted attention in its subsequent refigurations. It could thus shed light on the ideological and cultural routes through which these fragmentary tragedies were received by the poet, the scholar, the artist, the viewer, the reader and the spectator in each case. The complex process of the refiguration of a fragmentarily preserved play within different contexts could form a yardstick of its cultural power and elucidate the dynamics of fragmentation in modern times. Τhe volume is of particular interest to scholars in the fields of classics, reception, cultural and performance studies, as well as to readers fascinated by Greek tragedy and its vibrant afterlife.
A recently-published second-century papyrus, P.Oxy. 5283, contains prose summaries (hypotheses) of six plays by the Greek dramatist Euripides, including two lost plays depicting the hero Perseus, Dictys and Danaë. This book demonstrates the significance of this discovery for our understanding of Greek tragedy. After setting out the mythological and dramatic context, and offering a new text and translation based on autopsy, the book analyses the light which the papyrus sheds on these plays, whose narratives, centred on female resistance to abusive male tyrants, speak as powerfully to us today as they did to their original audiences. It then investigates Euripides’ tragic trilogy of 431 BC, which ended with Dictys and began with Medea, whose dramatic power now stands in sharper focus given our improved understanding of the production in which it originally appeared. Finally, it ponders the purpose which these hypotheses served, and why readers in the second century AD should have wanted a summary of plays written more than half a millennium before. All Greek (and Latin) is translated, making the book accessible not just to classicists, but to theatre historians and to anyone interested in Greek literature, drama, and mythology.
This multiauthored volume, as well as bringing into clearer focus the notion of drama and oratory as important media of public inquiry and critique, aims to generate significant attention to the unified intentions of the dramatist and the orator to establish favourable conditions of internal stability in democratic Athens. We hope that readers both enjoy and find valuable their engagement with these ideas and beliefs regarding the indissoluble bond between oratorical expertise and dramatic artistry. This exciting collection of studies by worldwide acclaimed classicists and acute younger Hellenists is envisaged as part of the general effort, almost unanimously acknowledged as valid and productive, to explore the impact of formalized speech in particular and craftsmanship rhetoric in general upon Attic drama as a moral and educational force in the Athenian city-state. Both poet and orator seek to deepen the central tensions of their work and to enlarge the main themes of their texts to even broader terms by investing in the art of rhetoric, whilst at the same time, through a skillful handling of events, evaluating the past and establishing standards or ideology.
Paths of Song: The Lyric Dimension of Greek Tragedy analyzes the multiple and varied evocations of choral lyric in fifth-century Greek tragedy using a variety of methodological approaches that illustrate the myriad forms through which lyric is present and can be presented in tragedy. This collection focuses on different types of interaction of Greek tragedy with lyric poetry in fifth-century Athens: generic, mythological, cultural, musical, and performative. The collected essays demonstrate the dynamic and nuanced relationship between lyric poetry and tragedy within the larger frame of Athenian song- and performance-culture, and reveal a vibrant and symbiotic co-existence between tragedy and lyric. Paths of Song illustrates the effects that this dynamic engagement with lyric possibly had on tragic performances, including performances of satyr drama, as well as on processes of survival and reputation, selection and refiguration, tradition and innovation. The volume is of particular interest to scholars in the field of classics, cultural studies, and the performing arts, as well as to readers interested in poetic transmission and in cultural evolution in antiquity.
This volume examines whether dramatic fragments should be approached as parts of a greater whole or as self-contained entities. It comprises contributions by a broad spectrum of international scholars: by young researchers working on fragmentary drama as well as by well-known experts in this field. The volume explores another kind of fragmentation that seems already to have been embraced by the ancient dramatists: quotations extracted from their context and immersed in a new whole, in which they work both as cohesive unities and detachable entities. Sections of poetic works circulated in antiquity not only as parts of a whole, but also independently, i.e. as component fractions, rather like quotations on facebook today. Fragmentation can thus be seen operating on the level of dissociation, but also on the level of cohesion. The volume investigates interpretive possibilities, quotation contexts, production and reception stages of fragmentary texts, looking into the ways dramatic fragments can either increase the depth of fragmentation or strengthen the intensity of cohesion.