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The Function of the Deus Ex Machina in Euripidean Drama

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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. In Chapter 2, I examine cult aitia in Euripides’ Hippolytus and Iphigenia in Tauris and argue that Euripides uses cult aitia in plays with strong religious or cultic themes in order to connect the world of the play with the world of the audience through ritual. I also argue against the idea that ii there is perfect correspondence between the aitia represented in Euripides and real life cult practice instead contending that differences between the aitia in Euripides and our evidence for real cult practice may stem from Euripides referencing real cults but modifying certain aspects in order to better suit his literary motives. In Chapter 3, I examine Euripides’ use of prophecy in his Electra, Helen, and Orestes. Using intertextuality and concepts from media studies I argue that Euripides uses prophecy to connect the world of the play to the world of the audience through myth. Euripides uses deus ex machina prophecy to connect plays which deviate substantially from the mythic tradition back to more established versions of the myth. Euripides links up his versions of a character or myth not only to portrayals by other authors like Aeschylus and Homer, but he also uses prophecy to link his own plays to other plays of his within the same narrative arc. iii Dedication Dedicated to my husband James iv Acknowledgments A special thanks to my advisor Dana Munteanu for all of her support and guidance throughout my time at The Ohio State University. This project would not have been possible without her. I am also very grateful to my other committee members Sarah Iles Johnston for all her help with the dissertation as well as for a very informative seminar which heavily influenced this project and to Thomas Richard Hawkins who was a great help throughout the course of the project and whose feedback was invaluable. v Vita May 2004........................................................Maple Lake High School 2008.................................................................B.A. Classical Studies, Concordia College – Moorhead, MN 2011 to present................................................Graduate Teaching Associate, Department Greek and Latin, The Ohio State University Fields of Study Major Field: Greek and Latin vi Table of Contents Abstract................................................................................................................................ii Dedication...........................................................................................................................iv Acknowledgements..............................................................................................................v Vita......................................................................................................................................vi Introduction..........................................................................................................................1 Chapter 1: An Overview of Deus ex Machina in Euripides’ Extant Plays........................25 Hippolytus..............................................................................................................27 Andromache...........................................................................................................35 Suppliants...............................................................................................................41 Electra....................................................................................................................47 Ion..........................................................................................................................56 Iphigenia in Tauris.................................................................................................67 Helen......................................................................................................................78 Orestes...................................................................................................................86 vii Bacchae..................................................................................................................99 Medea...................................................................................................................109 Chapter 1: Conclusion..........................................................................................116 Chapter 2: Aitia................................................................................................................127 Hippolytus............................................................................................................135 Iphigenia in Tauris...............................................................................................154 Chapter 2: Conclusion..........................................................................................190 Chapter 3: Prophecy.........................................................................................................196 Electra..................................................................................................................215 Helen....................................................................................................................235 Orestes.................................................................................................................260 Chapter 3: Conclusion..........................................................................................289 Conclusion.......................................................................................................................294 Bibliography....................................................................................................................323 viii Introduction In this dissertation I will explore Euripides’ use of the deus ex machina1 as a narratological device as well as the function of two common DEM components: aition and prophecy. Euripides is famous for his frequent use of DEM, and although various scholars such as Spira (1960), Dunn (1996), Sourvinou-Inwood (2003), and Mastronarde (1990) and (2010) have discussed some aspects of DEM scenes my project will provide a more comprehensive treatment. I will give a comprehensive overview of the extant DEM scenes and their effect on the plot and the characters as well as providing an in-depth analysis of select DEM aitia and prophecies. By examining these aspects together I will uncover what function the DEM device served. Before I can begin, however, I must first define in clear terms what exactly constitutes a DEM. Defining a DEM is not as straightforward as it seems. There seem to be many criteria that are used by scholars but there is a certain lack of consistency amongst those who study it. We can gain some insight however, through an examination of the term deus ex machina, or θεὸς ἀπὸ μηχανῆς in the original Greek. This literally means “God from the Machine” and thus reveals two aspects that are often deemed essential to the 1 I will take a moment to clarify how I deal with the term deus ex machina. I will be abbreviating deus ex machina to DEM in order to avoid the awkwardness of declining the word deus to dea in the case of a female divinity or to dei in the case of multiple divinities appearing as deus ex machina in the same epiphany. I will abbreviate throughout except when discussing the term itself. 1 classification of a particular intervention as a “deus ex machina.” The name implies that a god must be involved; moreover, the god’s involvement should include the use of the crane, or machina, and thus be fairly direct. Although the name of the device only yields two criteria there are other commonalities. The formal term “deus ex machina” seems to be exclusively applied to interventions by a god which occur at the end of a play. In addition every example which is generally agreed upon includes a speech delivered by the deity, which typically explains the present circumstances
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