The chorus was a standard feature of Greek tragedy (see Choral Interactions and the Structure of Tragedy). Aristotle argued that tragedy originated from Dithyramb (see the Tragic Chorus in Ancient Literary and Philosophical Theory, and Dithyramb), and this may explain its pervasive presence, but tragic authors make the chorus allude to and perform in several other lyric genres (see Relation to Lyric Genres). Recent research on the tragic chorus has focused on performance (see Music, and Dance) and on the social interpretation both of choruses within the play (see Choral Identity) and of the chorus in social life (see Political and Ritual Dimensions, and Performance, Competition, and the Dramatic Festivals). Most of the choral sections were sung (“lyric sections”); they were written in meters that were sharply different from those of recited speech, and much more complex (see Lyric Meters). The language of sung sections was also distinctive (see Style). Choral sections are especially long and complex in Aeschylus (see especially Agamemnon), but their role is equally crucial for the interpretation of the plays of Sophocles and Euripides (see e.g., Sophocles’ Oedipus Rex and Antigone; Euripides’ Medea, Trojan Women, and Bacchae). The chorus virtually disappeared from 4th-century tragedy, except for short interludes, but in the only extant 4th-century tragedy, the Rhesus attributed to Euripides (see Pseudo-Euripides, Rhesus), the chorus still has a crucial part in the plot.
Many scholars argue that only three actors were needed in this problematic scene. I believe four are required. The case for a fourth actor can be made much stronger if we take into consideration the location of the Thracian, Trojan, and Greek camps as presented in the play. This argument has been overlooked in previous discussions of the passage.
houses, leaving behind the children of the µrst marriage, and enter a new marriage. .. Only Admetos. .. could keep the household together after his mate's death.
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