DOCSLIB.ORG

Greek Tragedy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Greek Tragedy Greek Tragedy Everything you wanted to know about Greek tragedy but were afraid to ask Adapted from www.clas.ufl.edu/users/jrea/Greek%2520Tragedy What are we going to talk about? The Origins of Tragedy Which Cities Performed Tragedy When Tragedy was Performed The Parts of a Greek Theater The Theaters Themselves The Major Playwrights The Way a Greek Tragedy Was Staged - number of actors - the costumes - the masks - the audience The Origins of Tragedy Originated from the dithyramb: a choral song in honor of Dionysos Arion of Methymna (7th century) was the first to write a choral song, practice it with a chorus, and perform it Lasus of Hermione was the first to do it at Athens Connected with the worship of Dionysos in Athens The Origins of Tragedy Thespis of Corinth The first travelling actor Active c. 538-28 BCE Added prologue and speech to choral performance Said to have invented the mask When Was Tragedy Performed? City Dionysia @ Athens - aka “Greater Dionysia” - end of March Rural Dionysia - different demes had performances - “off-Broadway” - various dates in December The Lenaea - less prestigious - sometime in late January/early February Where Was Tragedy Performed? almost every Greek city had a theater Theaters could be very small or huge Each theater had specific parts Usually in the center of the city The Parts of a Theater The Orchestra The acting area semi-circular Had a small altar to Dionysos in the center Where the Chorus danced and the actors spoke The Parts of a Theater The Skene The large backdrop Could be decorated with scenery Where the action actually took place (hidden) Roof was accessible Originally one door in the center, but eventually had three doors The Skene The Parts of a Theater The Ekkyklēma A wheeled platform Used to display set pieces Agamemnon The Mēchanē a large crane Used for the entrance of gods Deus ex machina The Theaters Theater of Dionysos Athens Main theater for tragedy 4th century remains c. 20,000 seats Located on side of Acropolis Theater of Dionysos Theater of Dionysos The Theaters Theater of Epidauros The best-preserved Largest surviving theater Located near Argos in the Peloponnesus Sanctuary of Aesclepius Still in use today Theater of Epidauros Theater of Epidauros The Theaters Theater of Pergamon In Asia Minor (Turkey) Extremely steep seating Fit to the terrain Pergamon one of the most wealthy Asian cities Theater of Pergamon The Playwrights Three major tragedians Aeschylus Sophocles Euripides All active in the 5th century All won first place in multiple competitions Only Athenian plays survive Aeschylus b. 525 d. 456 (Sicily) Fought at Marathon “Aeschylus, Euphorion's son of Athens, lies under this stone dead in Gela among the white wheatlands; a man at need good in fight -- witness the hallowed field of Marathon, witness the long-haired Mede.” First tragedy 499 First first prize 484 (13 overall) Aeschylus Introduced the second actor Wrote over 70 plays (seven survive) Always revered Main interest is in situation and event rather than character Oresteia, Seven Against Thebes Pericles directed the chorus for Persians Both sons were very successful playwrights Sophocles b. 496 d. 406 Served as a general with Pericles (441) Very active in city politics (413) First tragedy 468 First first prize 468 Won 18 first prizes Never finished third Sophocles Introduced the third actor Wrote over 120 plays (seven survive) The most successful of the Big Three Challenged conventional mores Introduced more dialogue between characters (less Chorus) Oedipus Tyrannus, Oedipus at Colonus, Antigone, Electra Euripides b. 485 d. 406 (in Macedonia) Not active militarily or politically First tragedy 455 First first prize 441 Won only four first prizes The least successful of the Big Three Euripides No innovations on the stage Wrote ninety plays (19 survive) Sophocles: “I present men as they ought to be, Euripides presents men as they are.” More realistic than the other two Alcestis, Medea, Hippolytus, Bacchae, Orestes The Staging of Tragedy “Classical theater resembled today’s rock concerts: the audience knew every number by heart, performers wore high heels, loud costumes and heavy make-up, and they relied on background singers, known as the Chorus.” -Howard Tomb The Staging of Tragedy “The audience knew every number by heart…” Most tragedies dealt with mythological themes “Performers wore high heels, loud costumes and heavy make-up…” They wore elaborate clothes, tall boots, and masks “They relied on background singers, known as the Chorus.” Especially after the introduction of the third actor The Staging of Tragedy - Actors Maximum of three actors Aeschylus second Sophocles third All roles played by men Same group of actors for each set of plays for each author The Staging of Tragedy - Actors Playwrights did not act in their own plays after Sophocles Chorus publicly funded A choregos would pay for and train the chorus Viewed as a civic duty Could be prosecuted for failing to do it wealthy enough Choregos got a monument if his chorus won The Staging of Tragedy - Costumes Actor wore: Mask Robes Platform boots (kothornoi) Chorus could be in costume (comedy) The Staging of Tragedy - Masks The most salient feature All parts by men, so mask depicted gender Acted as a megaphone Voice inflection paramount Multiple Masks = Multiple Characters Only three actors More than three speaking roles, need for costume and mask change Oedipus and his eyes The Audience Any male could attend Women most likely able to attend Aeschylus’ Furies State funded attendance Cost was the average daily wage of a laborer Theoric Fund Never suspended, even when Athens in dire straights Supplied public tickets “Must-see TV” The Audience Catharsis “learning through suffering” Moderation is to be sought in all things, even good things The mighty fall so far that we admire them for being so high A spiritual cleansing of the audience Performances emotional .
Load more

Recommended publications
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Defining Tragedy
    Cambridge University Press 978-0-521-87974-3 - An Introduction to Greek Tragedy Ruth Scodel Excerpt More information 1 Defining Tragedy The very term “Greek tragedy” carries an immense weight of cultural and critical baggage. Even though the cultural prestige of the genre is often the inspiration for us to read, produce, or see these plays, this very prestige interferes with our ability to appreciate them. However, we cannot expect simply to shake off all the assumptions we have inher- ited about what a Greek tragedy is supposed to be. We would not want to, since we could not make sense of the texts at all without the scholar- ship of the past. Yet with that scholarship come inherited assumptions and expectations that distort. If we can at least identify some of these assumptions, even if we cannot see the plays in some pure, neutral way – for we will always see them or read them both through our beliefs about the ancient Greeks and about the genre, and through the con- cerns and presuppositions of our own place and time – we can at least see them more freshly. There is one basic tension in any encounter with Greek tragedy that we should not even want to escape. These plays come from an ancient culture that is in some ways very distant from our own. Yet we expect them to move us and even to help us better understand our lives. If we rush too quickly to find universal meanings, we will probably ignore or misread whatever is profoundly different. But if we read them entirely as documents from a foreign culture – a polytheistic, slaveholding, misogynistic culture – they will lose their power.
    [Show full text]
  • 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.
    [Show full text]
  • Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
    Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its ‘export’ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet’s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved.
    [Show full text]
  • A Companion to Greek Tragedy
    A COMPANION TO GREEK TRAGEDY Edited by Justina Gregory A COMPANION TO GREEK TRAGEDY BLACKWELL COMPANIONS TO THE ANCIENT WORLD This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise essays written by individual scholars within their area of specialization. The essays are written in a clear, provocative, and lively manner, designed for an international audience of scholars, students, and general readers. ANCIENT HISTORY Published A Companion to the Ancient Near East Edited by Daniel C. Snell A Companion to the Hellenistic World Edited by Andrew Erskine In preparation A Companion to the Archaic Greek World Edited by Kurt A. Raaflaub and Hans van Wees A Companion to the Classical Greek World Edited by Konrad H. Kinzl A Companion to the Roman Republic Edited by Nathan Rosenstein and Robert Morstein-Marx A Companion to the Roman Empire Edited by David Potter A Companion to the Roman Army Edited by Paul Erdkamp A Companion to Byzantium Edited by Elizabeth James A Companion to Late Antiquity Edited by Philip Rousseau LITERATURE AND CULTURE Published A Companion to Ancient Epic Edited by John Miles Foley A Companion to Greek Tragedy Edited by Justina Gregory A Companion to Latin Literature Edited by Stephen Harrison In preparation A Companion to Classical Mythology Edited by Ken Dowden A Companion to Greek and Roman Historiography Edited by John Marincola A Companion to Greek Religion Edited by Daniel Ogden A Companion to Greek Rhetoric Edited by Ian Worthington A Companion to Roman Rhetoric Edited by William J.
    [Show full text]
  • Katabasis and the Serpent in Aristophanes' Frogs, As Dionysus Is
    ORE Open Research Exeter TITLE Katabasis and the serpent AUTHORS Ogden, D JOURNAL Les Etudes Classiques DEPOSITED IN ORE 03 August 2016 This version available at http://hdl.handle.net/10871/22845 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Page 1 of 18 Katabasis and the Serpent1 In Aristophanes’ Frogs, as Dionysus is preparing to make his katabasis, Heracles explains to him what he can expect to encounter as he descends to and then penetrates the underworld. After Charon and his boat, he tells him: μετὰ τοῦτ’ ὄφεις καὶ θηρί’ ὄψει μυρία / δεινότατα. After this you will see snakes and most terrible beasts in myriads. Aristophanes Frogs 142-3 The ‘myriads’, whilst grammatically associated in the first instance with the ‘most terrible beasts,’ is presumably to be read with the ‘snakes’ too. A hundred of these snakes at any rate can be accounted for in the form of the ‘hundred-headed’ (ἑκατογκέφαλος) Echidna, the ‘Viper’, which, the underworld warden and keeper of Cerberus, Aeacus, subsequently tells Heracles, will tear at his innards, in punishment for his former theft of the dog.2 In Apuleius’ tale of Cupid and Psyche, Psyche is directed by Venus to the banks of the Styx: Dextra laevaque cautibus cavatis proserpunt ecce longa colla porrecti saevi dracones inconivae vigiliae luminibus addictis et in perpetuam lucem pupulis excubantibus.
    [Show full text]
  • The Function of the Deus Ex Machina in Euripidean Drama
    The Function of the Deus ex Machina in Euripidean Drama Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Christine Rose Elizabeth Hamilton, B.A. Graduate Program in Greek and Latin The Ohio State University 2017 Dissertation Committee: Dana L. Munteanu, Advisor Sarah Iles Johnston Thomas Richard Hawkins 1 Copyright by Christine Rose Elizabeth Hamilton 2017 2 Abstract This dissertation explores Euripides’ use of the deus ex machina device in his extant plays. While many scholars have discussed aspects of the deus ex machina my project explores the overall function not only of the deus ex machina within its play but also the function of two other aspects common to deus ex machina speeches: aitia and prophecy. I argue that deus ex machina interventions are not motivated by a problem in the plot that they must solve but instead they are used to connect the world of the play to the world of the audience through use of cult aitia and prophecy. In Chapter 1, I provide an analysis of Euripides’ deus ex machina scenes in the Hippolytus, Andromache, Suppliants, Electra, Ion, Iphigenia in Tauris, Helen, Orestes, Bacchae, and Medea. I argue that in all but the Orestes the intervention does not have a major effect on the plot or characters and I identify certain trends in the function of deus ex machina scenes such as consolation, enhancing Athenian pride, and increasing experimentation in the deus ex machina’s role in respect to the plot of the play and the wider world of myth.
    [Show full text]
  • Euripides' Medea in Context. in A. Pociña Pérez, A. López, C. Morais
    Finglass, P. J. (2018). Euripides’ Medea in context. In A. Pociña Pérez, A. López, C. Morais, M. D. F. Silva, & P. J. Finglass (Eds.), Portraits of Medea in Portugal during the 20th and 21st Centuries (pp. 11–20). (Metaforms; Vol. 14). Brill Academic Publishers. https://doi.org/10.1163/9789004383395_003 Peer reviewed version Link to published version (if available): 10.1163/9789004383395_003 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Brill at https://brill.com/view/book/edcoll/9789004383395/BP000010.xml. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ EURIPIDES’ MEDEA IN CONTEXT1 P. J. FINGLASS University of Bristol A slave-woman standing alone on the stage opens the play. From her the audience learns the tragic situation: having helped Jason gain the Golden Fleece, Medea, together with her children, has been abandoned by him in favour of a Corinthian princess. Another slave now enters, bringing Medea’s children and further bad news: Creon, king of Corinth, is intending to send Medea and her children into exile. Such is the beginning of Euripides’ Medea. The chorus of Corinthian women arrive, having heard of Medea’s distress. Her cries are heard from inside the house; soon she comes out and addresses the chorus in more moderate tones.
    [Show full text]
  • Choruses for Dionysus: Studies in the History of Dithyramb and Tragedy by Matthew C. Wellenbach B.A., Williams College, 2009
    Choruses for Dionysus: Studies in the History of Dithyramb and Tragedy By Matthew C. Wellenbach B.A., Williams College, 2009 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Classics at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Matthew C. Wellenbach This dissertation by Matthew C. Wellenbach is accepted in its present form by the Department of Classics as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date________________ _______________________________________ Johanna Hanink, Advisor Recommended to the Graduate Council Date________________ _______________________________________ Deborah Boedeker, Reader Date_______________ _______________________________________ Pura Nieto Hernández, Reader Date_______________ _______________________________________ Andrew Ford, Reader Approved by the Graduate Council Date_______________ _______________________________________ Peter M. Weber, Dean of the Graduate School iii Curriculum Vitae Matthew C. Wellenbach was born on June 4, 1987, in Philadelphia, PA. He first began studying Latin during his primary and second education, and in 2009 he earned a B.A. in Classics, magna cum laude, and with highest honors, from Williams College, located in Williamstown, MA. In the fall of 2008, he was inducted into Phi Beta Kappa. He matriculated at Brown University in Providence, RI, in the fall of 2009 as a graduate student in the Department of Classics. During his time at Brown, he presented a paper on similes in the Odyssey at the 2012 meeting of the Classical Association of the Middle West and South and published a review of a monograph on Aeschylus’ Suppliant Women in Bryn Mawr Classical Review as well as an article on depictions of choral performance in Attic vase-paintings in Greek Roman and Byzantine Studies.
    [Show full text]
  • Brainy Quote ~ Aeschylus 018
    Brainy Quote ~ Aeschylus 018 “Whenever a man makes haste, God too hastens with him.” ~ Aeschylus 018 ~ Ok "Setiap kali seorang manusia bergegas, Tuhan juga bergegas bersamanya." ~ Aeschylus 018 ~ Ok Pernahkah Anda berencana melakukan sesuatu dengan segera?! Ketika Anda bersama anggota keluarga atau anggota tim dalam pekerjaan, apakah mereka juga akan mengikuti kemauan Anda dengan segera? Mungkin iya, mungkin juga tidak! Bila anggota keluarga atau tim Anda mengerti dan memahani tujuan Anda, mereka mungkin mengikuti irama hidup Anda. Bila tidak, mereka kemungkinan akan mengabaikannya. Namun, tidak demikian dengan Sang Maha Pencipta. Tuhan akan bergegas bersama manusia yang bergegas melakukan pekerjaannya. Seperti yang pernah diutarakan Aeschylus, seorang Tragedian Yunani terkemuka, hidup dalam rentang tahun 525 – 456 BC (69 tahun), lewat quote-nya, ‘Whenever a man makes haste, God too hastens with him.’ Secara bebas diterjemahkan, ‘Setiap kali seorang manusia bergegas, Tuhan juga bergegas bersamanya.’ Tuhan itu maha adil. Ia menselaraskan berkatnya dengan manusia yang berusaha. Dia selalu hadir untuk manusia yang bergegas melakukan pekerjaan yang baik dan benar. Namun, seringkali manusia salah menafsirkan perilaku Tuhan. Menurut mereka, cukup dengan berdoa, maka berkat akan berlimpah bagi hidup mereka. Padahal, Tuhan tidak demikian. Ia senantiasa ada bagi setiap orang yang mendekatkan diri pada-Nya, sekaligus bekerja secara optimal. Bagi yang tidak, Tuhan menunggu sampai manusia merasakan kembali kehadiran-Nya. Ora et labora! Berdoa dan bekerja. Bergegaslah untuk berkarya. Jangan menunda. Bila manusia menunda, Tuhan pun demikian. Bila manusia bergegas, Tuhan pun demikian. Ia selaras dengan usaha kita. Usaha 100% akan diberi berkat 100%. Usaha separuh akan didiberkati separuh. Talenta 1 akan menjadi 2. Talenta 2 akan menjadi 4.
    [Show full text]
  • THE SUDA's LIFE of SOPHOCLES (SIGMA 815): TRANSLATION and COMMENTARY with SOURCES Wm. Blake Tyrrell (Michigan State Universit
    THE SUDA’S LIFE OF SOPHOCLES (SIGMA 815): TRANSLATION AND COMMENTARY WITH SOURCES Wm. Blake Tyrrell (Michigan State University) Table of Contents Preface Introduction The Suda sigma 815: Translation and Text Index to Notes and Sources Texts, Translation, and Commentary Appendix: Text and Translation of Family and Life of Sophocles Bibliography 4 Electronic Antiquity 9.1 Preface This project is offered as a resource for those interested in the life of Sophocles. Sigma 815 of the Byzantine lexicon, The Suda, forms its core. The Suda entry is annotated with thirteen notes which treat discrete subjects and around which are organized the sources for Sophoclesʹ life. An index to the notes has been provided. The sources are presented with the Greek and accompanying English translation. Commentary is interspersed among them where it is useful. The commentary does not attempt to build up a biography of Sophocles, for in the present condition of the sources none is possible. Ada Alder’s monumental edition of The Suda is currently being translated by numerous scholars under the direction of Suda On Line, published by the Stoa Consortium. The author’s translation of sigma 815 forms part of this effort. I have used T enclosed in parenthesis with a number in the reference line of a source to designate the number of the source, where available, in the list of testimonia collected by Stefan Radt in Tragicorum Graecorum Fragmenta. Vol. 4: Sophocles. A bolded number in parenthesis designates a source in the present work. Tyrrell The Suda’s Life of Sophocles 5 Introduction Ἡ Σοῦδα, The Suda, perhaps The Fortress or The Stronghold, denotes the title, not the author as long thought, of a Byzantine lexicon.1 The Suda was complied after the time of Photius (ninth century) whom it cites and Eustathius (twelfth century) who cites it.
    [Show full text]