Defining Tragedy
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The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; Proquest Pg
The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; ProQuest pg. 387 The Conditions of Dramatic Production to the Death of Aeschylus N. G. L. Hammond TUDENTS of ancient history sometimes fall into the error of read Sing their history backwards. They assume that the features of a fully developed institution were already there in its earliest form. Something similar seems to have happened recently in the study of the early Attic theatre. Thus T. B. L. Webster introduces his excellent list of monuments illustrating tragedy and satyr-play with the following sentences: "Nothing, except the remains of the old Dionysos temple, helps us to envisage the earliest tragic background. The references to the plays of Aeschylus are to the lines of the Loeb edition. I am most grateful to G. S. Kirk, H. D. F. Kitto, D. W. Lucas, F. H. Sandbach, B. A. Sparkes and Homer Thompson for their criticisms, which have contributed greatly to the final form of this article. The students of the Classical Society at Bristol produce a Greek play each year, and on one occasion they combined with the boys of Bristol Grammar School and the Cathedral School to produce Aeschylus' Oresteia; they have made me think about the problems of staging. The following abbreviations are used: AAG: The Athenian Agora, a Guide to the Excavation and Museum! (Athens 1962). ARNon, Conventions: P. D. Arnott, Greek Scenic Conventions in the Fifth Century B.C. (Oxford 1962). BIEBER, History: M. Bieber, The History of the Greek and Roman Theatre2 (Princeton 1961). -
Thyestes, Acts 1 and 2
Archived at the Flinders Academic Commons: http://dspace.flinders.edu.au/dspace/ Daalder, J. (Ed.). (1982). Thyestes (J. Heywood, Trans.) (New Mermaids series). London: Ernest Benn Limited. Copyright (1982) Ernest Benn Limited. Published version of the text reproduced here with permission from the editor and the publisher. Personal use of this material is permitted. that to reprint/republish this material for Please note advertising or promotional purposes, or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works, permission must be obtained from the editor and the publisher. I vi SE~ECAIHEYWOOD If L. A N. S e N E C A E CHORVS. Anaporfrici,pra-ur unum & alrcrum Adonlum. vo tm.trurn,{uprrionq; parrns, Q Cuius ttd ort us noCl1s opac~C Dtc~M omnr fogit,quo Ut'rtls rtt"rf J..'itdioq; dmn pnd1s Olympof Cur Phcxbe tuos .rapls aJPcCl~Mf :Nondum {ru.nuntiuf bor~C N ott urn auocat .lumina urjptr. ·.~~ fa)cnrra rnhtulrb ~hp~ Non®m Htf1mi.~:flrxur~t rot~ rftrs fdUbfullr 4'n;h1 Jubtt cmrricos {olun-e CU7Tu5. (brb bP }afprr ""'~ :N ond&~m in r.oflrm urrgrntr die tDool' frlfotut of Tttti.t mifit buccin11 fignum. 3:1Coln£ .Cob Stupct ad {ubit~C ttmpord cCXM lcgt Non dum fofTu bub~M 4Tdtor. CR _,JfOJble QEid tt td'rtio ptpulit c:ur{u! Qg.c C.tU{4 tUOJ finUtt CrTtO Driedt equosfnunquid dperto IMPRINTED AT Cdl'ure DitJ) uiCli,trntztnt konbon an 1lrtrftncc BeUd gigdntcstnunquid Tit''" an tbr bf»ae lata Pettore fiffo rrncuat uetms C[bomae 15tr:; Saucitu ir.t~fnum reidlo r~dcUt8. -
Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy. -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
Iphigenia in Tauris. Translated by Anna Swanwick
rPT idZt> . 3 U.c HANDY LITERAL TRANSLATIONS. 90 VOLUMES " To one who is reading the Classics, a literal translation ts a con- ietit and legitimate help: .... and every -well-informed person itnU d th' Classics eithr.r in the original or in a translation.*' Caesar's Gallic War. The 7 Books Demosthenes' Olynthiacs, Philippics Caesar's Civil War Euripides' Alcestis, and hlectra Catullus Euripides'Bacchantes, Herc.Furens Cirero's Brutus Euripides' Hecuba, and Andromache Cicero's Defense of Roscius Euripides' I phig. In Aulis, In Tauris Cicero De Officiis Euripides' Medea Cicero On Old Age and Friendship Herodotus, Books VI and VII Cicero On Oratory Herodotus, Book VIII Cicero On the Nature of the Gads Homer's Iliad, tke 1st Six Bookt Cicero's Select Orations Homer's Odyssey, fst 12 Bookt Cicero's Select Letters. 2 rr>ts. Lucian's Select Dialogues, 2 volt. Cicero's Tusculan Disputations Lysias' Orations Cornelius Nepos, complete Plato's Apology, Crito, and Phaedo Eutropius Plato's Gorgias Horace, complete Plato's Inches (paper) Satires, eompUtt Plato's Protagoras, Euthyphroa tivenal'sivy. Books I and II Plato's Republic Uvy. Books XXI and XXII Sophocles' O7-d. Tyr. F.Iec., Antig O 'id's Metamorphoses, a voli. Thucydides, Books I-IV Phzdrjis' Fables Thucydides, Books V-VIII Plautus Captivi, and Mostelaria Xenophno's Anabasis, rst 4 Btokt Pbuius'Pseudolus; Miles Gloriosus Xenophon's Cyropaedia, 2 volumet Plant us'Trinummus.and Mensechmi Xenophon's Hqllenica, Symposium Pliny s Select Letters. 2 To/umes Xenophon's Memorabilia, compUt* Quintilian Books X and XII Roman Life in Lat. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
The Shadow of Aristophanes: Hellenistic Poetry’S Reception of Comic Poetics*
Author manuscript: Published in M.A. Harder, R.F. Regtuit & G.C. Wakker (eds.) (2018) Drama and Performance in Hellenistic Poetry . Hellenistica Groningana 23. Leuven (Peeters): 225-271. THE SHADOW OF ARISTOPHANES: HELLENISTIC POETRY’S RECEPTION OF COMIC POETICS* Thomas J. Nelson The influence of Attic drama on Hellenistic poetry has been a topic of little consistent focus in recent scholarship. Most scholars are content merely to note individual cases of parallels with Attic comedy or tragedy, or lament the loss of many dramas which would doubtless prove illuminating intertexts were they to have survived.1 What emerges is thus a rather piecemeal picture of Hellenistic poetry’s engagement with earlier dramatic texts. There are, of course, some notable exceptions, such as explorations of the underlying tragic elements in Apollonius’ Argonautica and Callimachus’ Hecale ,2 as well as the analysis of comedy’s influence on individual Hellenistic poems. 3 Yet the full extent of Hellenistic poetry’s debt to Attic drama remains largely unexplored terrain.4 This lack of scholarly attention may in part reflect the common belief that Hellenistic poets display a largely negative attitude to drama, 5 but it must also stem from the traditional emphasis on Hellenistic poetry as a written artefact, detached from any immediate context of performance – apparently a far cry from the socially embedded performance-culture of fifth century Athens. As many contributions to this volume demonstrate, however, this fifth-third century dichotomy is too simplistic, and the belief that classical drama was relatively unimportant for Hellenistic poets should be reconsidered given the continuing prominence of drama in the third and second centuries BCE. -
Illinois Classical Studies
8 Tragic Contaminatio in Ovid's Metamorphoses: Procne and Medea; Philomela and Iphigeneia (6. 424-674); ScyUa and Phaedra (8. 19-151)^ DAVID H. J. LARMOUR Ovid's use of tragic sources in his Metamorphoses is varied and complex. The principal sources at his disposal were the Latin adaptations of Greek plays by Livius Andronicus, Naevius, Ennius, Pacuvius and Accius and the original Greek versions of Aeschylus, Sophocles, Euripides and others. That Ovid was famiUar with, and made extensive use of, the tragic tradition is not in dispute,^ but some clarification of how he incorporated this material into the Metamorphoses seems appropriate. Basically, Ovid uses tragic sources in two ways: most frequently, he structures his own account of a particular story around the traditional tragic version—in the Phaethon (1. 747-2. 339), the Pentheus (3. 511-733) and the Hecuba (13. 399-575), for instance, the canonical Euripidean treatments form the basis of the ' Line numbers pertain to the Teubner edition of W. S. Anderson (Leipzig 1985). The following works will be cited by the author's surname only: J. N. Adams, The Latin Sexual Vocabulary (Baltimore 1982); F. P. Bomer, Ovidius Metamorphase n. Kommentar, 7 vols. (Heidelberg 1969-86); I. Cazzaniga, La saga di Itys nella tradizione letteraria e mitografica Greco-Romana, 2 vols. (MUan 1950-51); H. M. Currie, "Ovid and the Roman Stage," ANRW 11 31.4 (1981) 2701-42; B. Otis. Ovid as an Epic Poei^ (Cambridge 1970); H. Jacobson, Ovid's Heroides (Princeton 1974). ^ See Currie; G. D' Anna, "La tragedia latina arcaica nelle Metamorfosi," Alii del Convegno inlernazionale Ovidiano U (Rome 1959) 217-34; S. -
Seneca's Agamemnon: a Literary Translation with Annotations
Seneca’s Agamemnon: A Literary Translation with Annotations A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics of the College of Arts and Sciences 2017 by Jason Clay B.S. Loyola University New Orleans, 2014 Committee Chairs: Lauren Donovan Ginsberg, Ph.D. and Valeria Sergueenkova, Ph.D. Abstract This project is a literary translation of Seneca the Younger’s Agamemnon. As the only extant Latin tragedian, Seneca’s work is invaluable to the history of drama. In the past, Seneca’s tragedies were understudied, yet they are now steadily gaining critical attention following a renewed interest in Silver Latin. This project aims to fill one of the gaps that previous inattention has caused: there are not many modern translations of Seneca’s tragedies, with the exception of Fitch’s Loeb, and A.J. Boyle’s translations and commentaries on Senecan tragedies. In my translation and annotation, I hope to underscore what makes Seneca’s tragedies so fascinating and worthy of study. With regards to translation, I tried to remain close to the original Latin, but I also recognize that Seneca’s style can be a bit clunky if one tries to adhere too closely. A major component of Seneca’s style is the influence of rhetoric and declamation, including frequent alliteration and wordplay that I tried to include in my translation. I wanted to highlight the intense emotion these characters feel. These are characters who are struggling to control their heightened emotions, and I hope to catch their struggle. -
The Subjectivity of Revenge: Senecan Drama and the Discovery of the Tragic in Kyd and Shakespeare
THE SUBJECTIVITY OF REVENGE: SENECAN DRAMA AND THE DISCOVERY OF THE TRAGIC IN KYD AND SHAKESPEARE JORDICORAL D.PHIL THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE SEPTEMBER 2001 But all the time life, always one and the same, always incomprehensibly keeping its identity, fills the universe and is renewed at every moment in innumerable combinations and metamorphoses. You are anxious about whether you will rise from the dead or not, but you have risen already - you rose from the dead when you were born and you didn't notice it. Will you feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness. But what is consciousness? Let's see. To try consciously to go to sleep is a sure way of having insomnia, to try to be conscious of one's own digestion is a sure way to upset the stomach. Consciousness is a poison when we apply it to ourselves. Consciousness is a beam of light directed outwards, it lights up the way ahead of us so that we do not trip up. It's like the head-lamps on a railway engine - if you turned the beam inwards there would be a catastrophe. 'So what will happen to your consciousness? Your consciousness, yours, not anybody else's. Well, what are you? That's the crux of the matter. Let's try to find out. What is it about you that you have always known as yourself? What are you conscious of in yourself? Your kidneys? Your liver? Your blood vessels? - No. -
The 1903 Iphigeneia in Tauris in Philadelphia Lee Pearcy Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2008 In the Shadow of Aristophanes: The 1903 Iphigeneia in Tauris in Philadelphia Lee Pearcy Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation L. T. Pearcy, “In the Shadow of Aristophanes: The 1903 Iphigeneia in Tauris in Philadelphia,” In Pursuit of Wissenschaft: eF stschrift für William M. Calder III zum 75. Geburtstag, edd. Stephan Heilen, R. Kirstein, R. S. Smith, S. Trzaskoma, R. van der Wal, and M. Vorwerk. Zurich and New York: Olms, 2008, 327-340. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/105 For more information, please contact [email protected]. IN THE SHADOW OF ARISTOPHANES: THE 1903 IPHIGENEIA IN TAURIS IN PHILADELPHIA Forty years ago in a memorable course on Roman drama at Columbia University I learned that Plautus, Amphitruo, and Seneca, Thyestes, were not only texts for philological study, but also scripts for performance. The in- structor advised us never to neglect any opportunity to attend a staging of an ancient drama; even the most inept production, he said, showed things that reading and study could not reveal.1 With gratitude for that insight and many others given during those undergraduate years and since, I offer this account of a neglected early twentieth-century revival of a Greek tragedy to Professor William M. -
Fifth-Century Athenian History and Tragedy
CHAPTER ONE Fifth-Century Athenian History and Tragedy Paula Debnar Prologue: 431 BCE the final months of the fourteenth of Elaphebolion during on the day to Bcfore dawn visitors alike made their way residents of Athens and archonship of Pythodorus, celebration of the City Dionysia. stir surrounded the theater. The usual buzz and had previewed the the tragic poet Euphorion the official opening of the festival, would Bcfore long overdue for a victory, about the Titan Prometheus. Euripides, his plays the satyr-play Reapers. and followed by offer Philoctetes, Dictys, earlier (433 BCE) Medea, with the festival. Two years excitement had to do had Not all of the alliance, and in so doing the Corcyraeans into Athenians had accepted and a the Corcyra's mother-city power in a with Corinth, embroiled themselves quarrel The Athenians had hoped Peloponnesian Leaguc. alliance, the contact ful member of Sparta's could avoid direct themselves to a defensive agreement they the Corinthians sent that by limiting misfired. In retaliation but their had of Corinthian forces, plan theirs but members with Potidacans (colonists of to help the forces the following year and their own forces trapped secede. with Potidaca besieged Athens' alliance) Then, in the fall, a full synod to invade Attica. Early had lobbied the Spartans broken in the city, they Years' Peace had been had voted that the Thirty Peloponnesian League ofthe to war. of the should go certain. Members and that league her allies was not yet with and the vote, war Sparta Greek world knew, despite Despite and as the heralds, - continued to exchange because of it the alliances - both force or perhaps world's finest as the hoplite be avoided; their reputation fall soon, war might were to their to to war.