A Companion to Greek Tragedy (Blackwell Companions to the Ancient World)

A Companion To Greek Tragedy
......Page 1
Contents......Page 7
Illustrations......Page 10
Contributors......Page 11
Preface and Acknowledgments......Page 16
Abbreviations and Editions......Page 17
PART I - Contexts......Page 19
Prologue: 431 BCE......Page 20
Tragedy and History......Page 21
Athens and the Sea......Page 22
Aeschylus’ Persians......Page 24
Empire and Democracy......Page 26
Aeschylus’ Oresteia......Page 27
War and Peace......Page 28
Sophocles’ Ajax......Page 29
Euripides’ Children of Heracles......Page 30
Pylos and the Peace......Page 31
Euripides’ Suppliants......Page 32
Recoveries and Reversals......Page 33
Sophocles’ Philoctetes and Euripides’ Orestes......Page 35
FURTHER READING......Page 38
Aristotle on Origins......Page 40
Dithyramb......Page 43
Satyr-Play......Page 44
Etymology......Page 45
Rival Claims to Tragedy......Page 47
Tragedy and Religion......Page 50
FURTHER READING......Page 53
Dithyramb......Page 55
Comedy......Page 56
Satyr-Play......Page 61
Satyr-Play between Tragedy and Comedy......Page 63
Mutual Influences......Page 66
NOTES......Page 70
FURTHER READING......Page 71
Was Tragedy Supposed to Teach?......Page 72
How Did Tragedy Teach?......Page 83
Why is it Important to Acknowledge the Educative Function of Tragedy?......Page 85
NOTES......Page 86
FURTHER READING......Page 87
Poetry and Philosophy......Page 88
Nature and the Cosmos......Page 92
Theology......Page 93
Knowledge and Reality......Page 94
Politics, Law, and Society......Page 95
Ethics......Page 97
NOTES......Page 98
FURTHER READING......Page 99
Athens and Performance Culture......Page 100
Performance in Electra......Page 103
Performance in Hippolytus......Page 106
Rhetorical Complications......Page 109
Rhetoric in Ajax......Page 110
Clytemnestra and Rhetoric......Page 112
Conclusions......Page 116
NOTES......Page 117
FURTHER READING......Page 118
CHAPTER SEVEN - Pictures of Tragedy?......Page 120
The View from Statistics......Page 121
Two Examples: Andromeda and Medea......Page 122
Theatrical Representations on South Italian Vases......Page 126
The Importance of the Salient Detail and Telephus......Page 127
Iphigenia among the Taurians......Page 130
A Brief Aside on Some Omissions......Page 132
List of Objects......Page 134
FURTHER READING......Page 135
PART II - Elements......Page 136
Origins and Functions of Greek Myth......Page 137
The Oresteia as Exemplar......Page 138
Functions of Myth in Tragedy......Page 140
Bringing Myth to the Stage......Page 145
FURTHER READING......Page 150
CHAPTER NINE - Beginnings and Endings......Page 152
FURTHER READING......Page 164
CHAPTER TEN - Lyric......Page 165
Lyric, Song, Parakataloge......Page 166
Strophic Structure......Page 167
Dialogue and Song: Kommos, Amoibaion, Epirrhema......Page 168
Monodies......Page 169
The Social and Poetic Status of the Chorus: Otherness, Authority, and Integration......Page 170
The Social Status of Singing Characters......Page 172
Lyric Forms of Contrast and Contact from Aeschylus to Euripides......Page 173
Time and Narrative Technique......Page 174
Literature and Ritual: Dithyramb, Paean, Lament, Humenaios......Page 175
Patterns of Evolution: Critics Ancient and Modern......Page 176
Lament from Aeschylus to Euripides......Page 177
Failed Paean and Interrupted Ritual: Aeschylus’ Seven against Thebes......Page 178
The New Music and Generic Consistency in Euripides......Page 179
FURTHER READING......Page 181
Definitions......Page 183
Structures......Page 184
Junctures......Page 186
Three-Actor Scenes......Page 188
Messenger Scenes......Page 189
Agon......Page 191
Medea......Page 193
NOTES......Page 197
FURTHER READING......Page 198
CHAPTER TWELVE - Music......Page 199
The Place of Music in Tragedy......Page 200
Resources......Page 201
Musical Revolution......Page 206
Survival......Page 207
FURTHER READING......Page 208
CHAPTER THIRTEEN - Theatrical Production......Page 210
The Evidence......Page 211
The Performance Space......Page 212
The Performers......Page 219
The Audience......Page 224
Some Problem Cases......Page 225
FURTHER READING......Page 226
PART III - Approaches......Page 228
CHAPTER FOURTEEN - Aeschylean Tragedy......Page 229
The Man in His Time......Page 230
The Stagecraft of Aeschylus......Page 231
Tragedy, Myth, and History......Page 234
Individual and Group......Page 236
Men and Gods......Page 237
Past, Present, and Future......Page 240
The Art of Aeschylus......Page 241
FURTHER READING......Page 245
Sophocles the Difficult......Page 247
Style......Page 250
Myth, Story, and Time......Page 252
Characterization......Page 254
Dramatic Technique......Page 259
Ethics......Page 261
FURTHER READING......Page 263
CHAPTER SIXTEEN - Euripidean Tragedy......Page 265
Euripides in the Fifth and Fourth Centuries......Page 266
Postclassical Developments......Page 268
Euripides in the Nineteenth and Twentieth Centuries......Page 269
Language, Style, Meter......Page 270
Structure and Design......Page 272
Consistency and Realism in Characterization......Page 274
Age Classes......Page 275
Shared Characteristics......Page 277
Genre and Humor......Page 279
Theatrical and Literary References......Page 281
NOTES......Page 283
FURTHER READING......Page 284
CHAPTER SEVENTEEN - Lost Tragedies: A Survey......Page 285
Early Tragedy......Page 286
Aeschylus......Page 288
Sophocles......Page 291
Euripides......Page 294
Other Fifth-Century Figures......Page 300
The Fourth Century......Page 302
FURTHER READING......Page 305
CHAPTER EIGHTEEN - Tragedy and Anthropology......Page 307
FURTHER READING......Page 317
Tragic and Popular Ethics......Page 319
Justice and Revenge......Page 320
Honor and Shame......Page 323
Gods and Men......Page 328
Sophocles’ Ajax......Page 331
FURTHER READING......Page 334
CHAPTER TWENTY - The Gods......Page 335
Inscrutable, Invisible Gods......Page 336
Visible Gods......Page 339
Speculation, Doubt, and Disbelief......Page 345
FURTHER READING......Page 346
CHAPTER TWENTY-ONE - Authority Figures......Page 347
Four Fields of Authority......Page 349
Forms and Figures of Political, Legal, and Military Authority......Page 351
Forms and Figures of Domestic and Familial Authority......Page 355
Forms and Figures of Religious Authority......Page 358
Knowledge, Spectatorship, and Cultural Authority......Page 360
Resistances to Authority......Page 362
FURTHER READING......Page 364
CHAPTER TWENTY-TWO - Women’s Voices......Page 366
NOTES......Page 377
FURTHER READING......Page 378
CHAPTER TWENTY-THREE - Marginal Figures......Page 380
FURTHER READING......Page 390
PART IV - Reception......Page 391
Tragedy Scripts in the Fifth Century......Page 392
The Fate of Fifth-Century Tragedy in the Fourth Century......Page 394
Scholars and the Text of Tragedy......Page 396
The Corpus is Narrowed Down......Page 400
The Long Road Back: Textual Scholarship since the Fifteenth Century......Page 401
FURTHER READING......Page 405
Classical Responses to Tragedy: Echoes of Lost Voices......Page 407
Philosophical Interpretations of Tragedy......Page 412
Postclassical Revaluations......Page 418
FURTHER READING......Page 424
CHAPTER TWENTY-SIX - Polis and Empire: Greek Tragedy in Rome......Page 426
Alcestis and Dido: Substitution and Exchange......Page 428
Ovid’s Procne: Bacchic Madness and the Killing of Kin......Page 431
Seneca’s Trojan Women: Marriage to Death and the Triumph of the Victim......Page 435
FURTHER READING......Page 439
CHAPTER TWENTY-SEVEN - Italian Reception of Greek Tragedy......Page 441
Length, Language, and Politics......Page 445
Courtly Ambiance......Page 447
Religion......Page 448
Dramaturgical Innovations and Dramatic Space......Page 450
The Language of Stagecraft: Sounds and Movements......Page 452
NOTES......Page 455
FURTHER READING......Page 456
Between ‘‘Philology’’ and ‘‘Philosophy’’......Page 457
The Three Tragedians......Page 460
The Birth of Tragedy : Origins, Dionysus, Suffering......Page 465
The Immediate Aftermath, and Beyond......Page 468
FURTHER READING......Page 471
Tears from the Heart or Tears from the Brain?......Page 472
‘‘Double’’ the Actor: Messenger Scenes and ‘‘Brechtian’’ Performance......Page 475
Canceling, Losing, and Finding the ‘‘Self ’’ in Acting......Page 476
Being and Not-Being: Euripides’ Helen and the Paradox of Acting......Page 482
NOTES......Page 483
FURTHER READING......Page 484
CHAPTER THIRTY - The Theater of Innumerable Faces......Page 485
FURTHER READING......Page 501
CHAPTER THIRTY-ONE - Justice in Translation: Rendering Ancient Greek Tragedy......Page 503
Philosophy of Translation......Page 505
Differentiation of Speakers......Page 507
Hyperbaton......Page 508
Set-Piece Speeches and Debates......Page 509
Translating for Performance......Page 510
Translating Poetry......Page 511
Monuments of Translation......Page 513
FURTHER READING......Page 516
Bibliography......Page 518
Index......Page 553