DOCSLIB.ORG

Andromache, Hecuba, Trojan Women 1St Edition Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Andromache, Hecuba, Trojan Women 1St Edition Free Download FREE ANDROMACHE, HECUBA, TROJAN WOMEN 1ST EDITION PDF Euripides | 9781603847353 | | | | | The Trojan Women and Other Plays by Euripides Produced in BC during the Peloponnesian Warit is often considered a commentary on the capture of the Aegean island of Melos and the subsequent slaughter and subjugation of its populace by the Athenians earlier that year see History of Milos. The Trojan Women was the third tragedy of a trilogy dealing with the Trojan War. The first tragedy, Alexandroswas about the recognition of the Trojan prince Paris who had been abandoned in infancy by his parents and rediscovered in adulthood. The second tragedy, Palamedesdealt with Greek mistreatment of their fellow Greek Palamedes. This trilogy was presented at the Dionysia along with the comedic satyr play Sisyphos. The plots of this trilogy were not connected in the way that Aeschylus' Oresteia was connected. Euripides did not favor such connected trilogies. Euripides won second prize at the City Dionysia for his effort, losing to the obscure tragedian Xenocles. The four Hecuba women of the play are the same that appear in the final book of the Iliad lamenting over the corpse of Hector. Taking place near the same time is Hecubaanother play by Euripides. Hecuba : Alas! Ilion is ablaze; the fire consumes the citadel, Andromache roofs of our city, Andromache tops of the walls! Chorus: Like smoke blown to heaven on the wings of the wind, our country, our conquered country, perishes. Its palaces are overrun by the fierce flames and the murderous spear. Euripides's play follows the fates of the women of Troy Trojan Women 1st edition their city has been sacked, their husbands killed, and their remaining families taken away as slaves. However, it begins first with the gods Athena and Poseidon discussing ways to punish the Greek armies because they condoned that Ajax the Lesser raped Cassandrathe eldest daughter of King Priam and Trojan Women 1st edition Hecuba, after dragging her from Hecuba statue of Athena. What follows shows how much the Trojan women have suffered as their grief is compounded when the Greeks dole out additional deaths and divide their shares of women. The Greek herald Talthybius arrives to tell the dethroned queen Hecuba what will befall her and her children. Hecuba will be taken away with the Greek general Odysseusand Cassandra is destined to become the conquering general Agamemnon's concubine. Cassandra, who can see the future, is morbidly delighted by this news: she sees that when they arrive in Argosher new master's embittered wife Clytemnestra will Hecuba both Hecuba and her new master. She sings a wedding song for herself and Agamemnon that describes their bloody deaths. However, Cassandra is also cursed so that her visions Hecuba the future are never believed, and she Trojan Women 1st edition carried off. The widowed princess Andromache arrives and Hecuba learns from her that her youngest daughter, Polyxenahas been killed as a sacrifice at the tomb of the Greek warrior Achilles. Andromache lot is to be the concubine of Achilles ' son Neoptolemusand more horrible news for the royal family is yet to come: Talthybius reluctantly Andromache her that her baby son, Astyanaxhas been condemned to die. The Greek leaders are afraid that the boy will Andromache up Andromache avenge his father Hector, and rather Hecuba take Andromache chance, they plan to throw him off from the battlements of Troy to his death. Helen is supposed Andromache suffer greatly as well: Menelaus arrives to take her back to Greece with him where a death sentence awaits her. Helen begs and tries to seduce her husband into sparing her life. Menelaus remains resolved to kill her, but the audience watching the play knows that he will let her live and take her back. At the end of the play it is revealed that she is still alive; moreover, the audience knows from Telemachus' visit to Sparta in Homer's Odyssey that Menelaus continued to live with Helen as his wife after the Trojan War. In the end, Talthybius returns, carrying with him the body of little Astyanax on Hector 's shield. Andromache's wish had been to bury her child herself, performing the proper rituals according to Trojan ways, but her ship had already departed. Talthybius gives the corpse to Trojan Women 1st edition, who prepares the body of her grandson for burial before they are finally taken off with Odysseus. Andromache the play, many of the Trojan Trojan Women 1st edition lament the loss of the land that reared them. Hecuba in particular lets it be known that Troy had Hecuba her home for her entire life, only Trojan Women 1st edition see herself as an old grandmother watching the burning of Troy, the death of her husband, her children, and her grandchildren before she will be taken as a slave to Odysseus. With staging by Romanian-born theater director Andrei Serban and music by American composer Elizabeth Swados, this production of The Trojan Women went on to tour more than thirty countries Trojan Women 1st edition the course of forty years. SinceThe Trojan Women Project has been sharing Hecuba production with diverse communities that now include Guatemala, Cambodia and Kosovo. A Festival of work from all participants is scheduled for December, The French public intellectualJean-Paul Sartre wrote a version of The Trojan Women that mostly is faithful to the original Greek Hecuba, yet includes veiled references to European Trojan Women 1st edition in Asia, and emphases of existentialist themes. The Israeli playwright Hanoch Levin also wrote his own version of the play, adding more disturbing scenes and scatological details. Femi Osofisan 's play Women of Owu sets the story inafter the conquest of the Owu kingdom by a coalition of other West African states. Although it is set in 19th century Africa, Osofisan has said that the play was also inspired by the invasion of Iraq by the U. Another movie based on the play came out indirected by Hecuba Mays. In anticipation of his soon-to-come multimedia production of A Clockwork OrangeMays utilized a marginal multimedia approach to the play, opening the piece with a faux CNN report intended to echo the then-current war in Iraq. Charles L. Mee adapted The Trojan Women in to have a more modern, updated outlook on war. He included original interviews with Holocaust and Hiroshima survivors. Trojan Barbie is a postmodern updating, which blends the modern and ancient worlds, as contemporary London doll repair shop owner Lotte is pulled into a Trojan women's prison camp that is located in both ancient Troy and the modern Middle East. From Wikipedia, the free encyclopedia. The Trojan Women. Women of Owu. Department of Performing Arts. Georgetown University. Retrieved 12 December Retrieved 6 July Plays by Euripides. The Trojan Women by Euripides. The Trojan Women Troades A Dream, What Else? Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons Wikisource. An engraving of the death of Astyanax. Wikisource has original text related to this article: The Trojan Women. Edward Philip Coleridge. Wikisource[2]. Gwendolyn MacEwen cite note-jrank Howard Rubenstein. Euripides, Trojan Women | Department of Greek & Latin - UCL – University College London JavaScript seems to be Trojan Women 1st edition in your browser. You must have JavaScript enabled in your browser to utilize the functionality of this website. Her notes offer expert guidance to readers encountering these works for the first time. Happily, he lets this Hecuba keep going. Click HERE for more information. The footnotes provide all the necessary information a new reader might require, including topical mythological details but also more explanatory information. The translations themselves are delightful. In AndromacheArnson Svarlien has captured the poetry of the choral odes while using accessible language. The rich emotions of the characters are nicely portrayed, from the furious fighting spirit of old Peleus to Hermione's despair at being abandoned by her father, to Andromache's quiet resistance. Similarly Trojan Women 1st edition Hecuba, the Andromache of the first half is violently overthrown by the rage of the second. And the raw, unrelenting despair is offset only by the joyous hymn that Cassandra sings. I first Andromache of her work when I was searching, madly, for a translation of Medea for a production I had been hired to direct. I sought out every published version. I tried to track down any unpublished ones rumored to exist. All the others were wanting; her translation was revelatory. Merely read her translation of the play, then read another. You will sense the difference. This is particularly true if you are a practitioner of theatre. Retrieved from monkeyatatypewriter. They remind me of why I love Euripides. Arnson Svarlien has Hecuba an effort to provide a given Greek word with Hecuba consistent English translation throughout. These efforts Andromache one of the great attractions of the volume. The translations run smoothly and represent well the snap of Euripidean Hecuba, the rhetorical bent of his speeches, and the graceful yearning characteristic of his odes. It offers clarity without banality, eloquence without pretension, meter without doggerel, accuracy without clumsiness. Arnson Svarlien has shown herself exceedingly skillful in making Euripides sound Euripidean. Trojan Women 1st edition Scodel is the D. The Orestes Plays. Alcestis, Medea, Hippolytus. Medea Svarlien Edition. Bacchae Woodruff Edition. The Trojan Women. Add to Cart. Reviews: " The Introduction is strong. Related Titles. My Cart. You have no items in your shopping cart. Andromache, Hecuba, Trojan Women Euripides' Trojan Women was staged as part of a trilogy of plays set in the Trojan War. It included Alexanderwhich told the story of the return of Paris, exposed at birth, to regain his birthright and ultimately to be the destroyer of Troy, Palamedesthe Greek hero framed for treason Trojan Women 1st edition Odysseus and executed by the Greeks.
Load more

Recommended publications
  • Trojan Women: Introduction
    Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers.
    [Show full text]
  • Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; Proquest Pg
    The appropriation of a son: Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; ProQuest pg. 127 The Appropriation of a Son: Sophocles' Philoctetes Hanna M. Roisman ANHOOD in archaic and classical Greece-as in modern times-is generally manifested not so much in relation­ M ships with women as in relationships with other men, especially in the relationship between father and son. The Greek male is expected to produce sons who will continue his oikos (e.g. Soph. Ant. 641-45; Eur. Ale. 62lf, 654-57). Further, as Hesiod makes clear, sons should resemble their fathers in both looks and conduct, especially the latter (Op. 182,235; ef Ii. 6.476-81; Theophr. Char. 5.5). Such resemblance earns the father public esteem and proves his manliness; the lack of it may be cause for disparagement and calls his manliness into question. 1 We learn from Ajax and Philoctetes that Sophocles follows the Hesiodic imperative that sons should resemble their fathers in their natures and their accomplishments. Ajax sees himself as an unworthy son, having lost Achilles' arms to Odysseus, and prefers to commit suicide rather than face his father, Telamon, who took part in Heracles' expedition to Troy and got Hesione, the best part of the booty, as a reward (Aj. 430-40,462-65, 470ff, 1300-303; Diod. 4.32.5). At the same time, he expects his son, Eurysaces, to be like himself in nature, valor, and in everything else ('ttl.~' aA.A.' OIlOlO~, Aj. 545-51). Sophocles' Philoctetes, on the other hand, presents the strug­ gle between Odysseus and Philoctetes for the 'paternity' of Neoptolemus, as each tries to mold the young man in his own 1 Even in contemporary Greece the intense male rivalry for proving oneself takes place among men alone, while women and flocks serve as the object of this rivalry.
    [Show full text]
  • Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides.
    [Show full text]
  • Preliminary Studies on the Scholia to Euripides
    Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1.
    [Show full text]
  • "Andromache As Maenadic Warrior" Sean Signore
    "Andromache as Maenadic Warrior" Sean Signore SEAN SIGNORE ANDROMACHE AS MAENADIC WARRIOR In Book twenty-two line 460, Andromache rushes towards the walls of Troy: ὣς φαμένη μεγάροιο διέσσυτο μαινάδι ἴση So speaking, she rushed from the house, equal to a maenad1 What does the phrase μαινάδι ἴση mean in this context? Segal writes that “if μαινάδι means maenad and not simply mad woman (likely, but not absolutely certain), we would have another instance of Homer drawing upon a relatively unfamiliar realm of experience for an unusual degree of emotion.”2 I argue that a link arises from the adaptation of the warrior formula δαίμονι ἶσος to an expression tailored for Andromache. This phrase that only occurs once, μαινάδι ἴση, is adapted from an inherently masculine formula and made appropriate by Andromache's gender and grief. Through a formulaic3 comparison with δαίμονι ἶσος and an analysis of both the nominal form μαινάς and corresponding verb μαίνομαι within epic, μαινάδι ἴση, I argue, elevates Andromache to a divine status as great as a warrior who is δαίμονι ἶσος. In other words, she receives an aristeia within her cultural and gender-specific sphere of 1 All translations are mine. 2 Segal 1971, 47-48. 3 We begin with Parry’s original definition of the formula as “a word or group of words under the same metrical conditions that expresses an essential idea.” His definition has been refined by a number of critics, such as Hainsworth, Martin, and Russo. Martin adds the term paradigmatic to designate a formula that substitutes an isometric morpheme or “meaningful unit” for an element within the regular syntagmatic formula that is not semantically appropriate.
    [Show full text]
  • Female Agency in Homer's Iliad an Examination of Helen and Andromache's Development of an Emerging Female Voice Within the C
    Female Agency in Homer’s Iliad An examination of Helen and Andromache’s development of an emerging female voice within the confines of a patriarchal society, as expressed by their relationship to traditional female objects, the loom and the marriage bed in their social protests. The figures of Helen and Andromache in Homer’s Iliad provide an opportunity to track the evolution of female agency in Classical epic. Andromache has often been regarded as a foil to the character of Helen, since she is steadfastly devoted to her husband, and represents the virtues expected of a dutiful Greek wife. Helen, on the other hand, is a foreign temptress, unfaithful to her first husband and disinterested in her second. However, both Helen and Andromache subtly express themselves within the female domain and challenge their traditional roles in order to gain a sense of agency. They are rebellious, both in their wavering between male and female domains and in their admonishing speeches. These women are implicitly paralleled by means of linguistic echoes and items, symbolizing women’s domestic obligation, namely, the loom and the marriage bed, which each character invokes. In Book 3, Helen is found in her chambers, weaving depictions of battle scenes from the first nine years of the Trojan War (Hom., Il., 3.121-128). Helen uses the loom, a traditionally feminine object, to explore the primarily male realm of warfare, to demonstrate her active role in its causation, and to express her frustration and regret. Unable to take a more active role with the proceedings of the war, her only outlet for expressing her social protest is to covertly comment on it through her female craft.
    [Show full text]
  • The Survivors' Song: the Drama of Mourning in Euripides' "Alcestis"
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 1999 The urS vivors' Song: The Drama of Mourning in Euripides' "Alcestis" Sheila Murnaghan University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/classics_papers Part of the Classics Commons Recommended Citation Murnaghan, S. (1999). The urS vivors' Song: The Drama of Mourning in Euripides' "Alcestis". Illinois Classical Studies, 24/25 107-116. Retrieved from http://repository.upenn.edu/classics_papers/57 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/classics_papers/57 For more information, please contact [email protected]. The urS vivors' Song: The Drama of Mourning in Euripides' "Alcestis" Abstract Classical Athenian tragedy is often thought of as a genre of poetry about death. Its plots center on the deaths—violent, untimely, self-inflicted, or brought about by unwitting philoi—of certain individuals who dominate the plays in which they appear: Agamemnon, Ajax, Oedipus, Antigone, Pentheus, Hippolytus, Heracles. Drawing its audience into the experience of those characters, tragedy forces that audience to look death in the face, to learn what it might be like to see death coming or to be overtaken by it suddenly, to choose and welcome death or to fight it unsuccessfully. But no more than any other genre can tragedy actually represent the experience of death. However skillfully the poet may build a link of identification between spectator and character, that link is severed with the character's life and the spectator is given a vicarious experience: the opportunity to make sense of someone else's death.
    [Show full text]
  • PLOT SUMMARIES the Following Is an Alphabetical List of Plot
    APPENDIX B PLOT SUMMARIES The following is an alphabetical list of plot summaries of the Greek plays that have received sustained discussions. The plays are readily accessible in English in the Greek Tragedies series published by Univer­ sity of Chicago Press. Ajax (Sophocles, mid 5th c.) Ajax, the greatest Greek hero in the Trojan War to survive Achilles, fails to receive due recognition when Achilles' arms are awarded to Odysseus. He plots vengeance against the Greek leaders, but in a fit of madness caused by Athena mistakenly slaughters cattle. When he regains his sanity, his shame and anger are so great that, despite attempts by loyal friends to dissuade him, he commits suicide using Hector's, the Trojan warrior, sword. His half-brother, Teucer, and the Greek leaders debate his disposal, but Odysseus humanely inter­ venes and Ajax receives due burial. Alcestis (Euripides, 438) Apollo, in gratitude to Admetus for the hospitality he had received while serving his penance in recompense to Zeus for the murder of the Cyclopes, cheated the Fates of Admetus' death by providing a substitute for him. Pheres, Admetus' aged father, and his mother refuse, but Alcestis, his wife, agrees. At the point of death, Alcestis extracts a promise of celibacy from Admetus. Heracles arrives and though Admetus' house is in mourning, he is nevertheless entertained since Admetus places great emphasis on hospitality. Heracles eventu­ ally learns what has happened, fights death and brings Alcestis back to life and Admetus and Alcestis are reunited in marriage. Andromache (Euripides, mid 420s?) Andromache, widow of Hector and concubine of Neoptolemus, takes refuge at the altar of Thetis from Hermione, wife of Neoptolemus, PLOT SUMMARIES 181 who wishes to kill Andromache and her son.
    [Show full text]
  • Chapter 7.3: Classical Greek Tragedy (Euripides)
    Chapter 7.3: Euripides Life and Career • wrote something around 90 plays – i.e. 20+ entries at the Dionysia • younger than Sophocles by ca. 10 years – and died a few months before him – thus, they must have competed against each other on several occasions – but the specific years when they produced at the same time are not known Chapter 7.3: Euripides Life and Career • won his first victory in 441 BCE but went on to claim only three more victories during his lifetime – and one more posthumously (Bacchae) • but 19 of Euripides’ plays have survived – vs. 7 for Sophocles/Aeschylus each (14 total) • why so many more for Euripides? – his drama was far more popular in later ages! Chapter 7.3: Euripides Life and Career • select vs. alphabetic plays – 10 select plays: Alcestis, Andromache, Bacchae, Hecuba, Hippolytus, Medea, Orestes, Phoenician Women, Rhesus and Trojan Women – 9 alphabetic plays: Electra, Helen, Heracles, Heracles’ Children, Hiketes (Suppliants), Ion, Iphigenia in Aulis, Iphigenia among the Taurians and Kyklops (Cyclops) • from Volume 2(?) of a complete Euripides Chapter 7.3: Euripides Life and Career • the alphabetic plays show a wider range of drama than the rest of classical tragedies – especially melodramas and rescue plays – with happy endings and comic scenes • and many “red herrings” – cf. Helen • Helen never went to Troy, but Egypt instead • was rescued by her husband Menelaus • n.b. comic scene with Menelaus and old woman • fantastical “rescue” vs. the disaster in Sicily Chapter 7.3: Euripides Life and Career • what do we know about Euripides himself? – reasonably well-off • but his mother was a “green-grocer” –was “surly and unconvivial”? – deeply involved and interested in the new philosophical thinking of the day (sophists) – brilliant at agons •cf.
    [Show full text]
  • Marriage and Strife in Euripides' Andromache
    Marriage and Strife in Euripides’ Andromache Loukas Papadimitropoulos URIPIDES’ Andromache is one of the least appreciated Greek tragedies. The play has baffled scholars whose E tendency has been to search for dramatic unity by using Aristotelian criteria. Its lack of a central character who dom- inates the play by his or her constant presence and its division into three distinct parts (1–801, 802–1046, 1047–1288) con- tinue to be considered flaws. Such criticism often disregards Euripides’ experimentalism, as well as his wish to put forward his own notion of the tragic. These two goals inevitably influ- ence the structure of his plays. It is highly probable that after his Medea and Hippolytus, which more or less comply with the tragic norm, Euripides had the intention of creating something that would differentiate him more sharply from the majority of his competitors. By writing a play that lacks a central hero and that falls into three sections, in each of which there is a transi- tion from danger or destruction to salvation, he probably achieved his purpose. In analyzing the play most critics have tried to discover the person or the theme that ensures its unity. H. Erbse1 for example holds that Andromache is the central character, as is proved by her presumed reappearance at the end of the play as mute. This reappearance is supported by H. Golder,2 but his arguments are not in my view convincing. J. Mossman main- tains that the absent Neoptolemus is the figure who unifies the play.3 On the other hand, H.
    [Show full text]
  • Mortal Women Crossing Geographical Boundaries in Greek Mythology‟
    Pouros, C. (2010) „Mortal women crossing geographical boundaries in Greek mythology‟ Rosetta 8.5: 186-210. http://www.rosetta.bham.ac.uk/issue8supp/pouros_mortal/ Rosetta 8.5. http://www.rosetta.bham.ac.uk/issue8supp/pouros_mortal/ Mortal women crossing geographical boundaries in Greek mythology Christina Pouros Royal Holloway, University of London ABSTRACT This paper will show some patterns between women in Greek mythology crossing both geographical and social boundaries, and that the consequences for these women are affected by their motives and influences for movement. My definition of crossing geographical boundaries is moving over land or sea to a new city, and my definition of crossing social boundaries is challenging the accepted standards of behaviour or moral views of society. The examples analysed here are women who travel with male heroes, either willingly or unwillingly. The paper discusses Cassandra, Andromache, Helen, and Medea. It demonstrates that a common consequence of these women crossing physical and metaphorical boundaries is that it results in death: either their own or the death of others. I argue that there is a link between Medea‟s geographical movement and her actions in a cycle of transgression and travel, and that breaking „boundaries‟ is integral to her characterisation. ARTICLE Introduction In ancient Greek mythology, crossing geographical boundaries and travelling to new lands was more commonly an activity for men, often in order to conquer new territories or in pursuit of glory.1 Mythic male heroes could freely move around Greek and foreign lands, whether for war and conquest, religious purposes, or in exile. Travelling was not an activity for respectable women, especially independently.
    [Show full text]
  • Challenging Kleos: an FPDA Analysis and Application of Andromache in the Iliad Ayana Marie Rowe Xavier University - Cincinnati
    Xavier University Exhibit Honors Bachelor of Arts Undergraduate 2016-4 Challenging Kleos: An FPDA Analysis and Application of Andromache in the Iliad Ayana Marie Rowe Xavier University - Cincinnati Follow this and additional works at: http://www.exhibit.xavier.edu/hab Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, and the Other Classics Commons Recommended Citation Rowe, Ayana Marie, "Challenging Kleos: An FPDA Analysis and Application of Andromache in the Iliad" (2016). Honors Bachelor of Arts. Paper 11. http://www.exhibit.xavier.edu/hab/11 This Capstone/Thesis is brought to you for free and open access by the Undergraduate at Exhibit. It has been accepted for inclusion in Honors Bachelor of Arts by an authorized administrator of Exhibit. For more information, please contact [email protected]. Xavier University Challenging Kleos An FPDA Analysis and Application of Andromache in the Iliad Ayana Rowe CLAS 399 Dr. Renzi 1 Table of Contents Introduction ................................................................................................................................... 3 Chapter 1: The Aristocratic Ancient Greek Woman ................................................................ 9 Chapter 2: Andromache and FPDA .......................................................................................... 17 Chapter 3: Andromache and Tragedy .....................................................................................
    [Show full text]