Aeschylus: Playwright Educator

Beck, Robert H.

doi:10.1007/978-94-011-8818-0

Cited by 3 publications

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“…On the one hand, Electra does not embody a "morally evil" personality; on the other, "yet even moral rightness cannot justify certain transgressions" [5, p. 380] that Electra commits herself and to which she instigates Orestes 4 . 1 Tragedians are didaskaloi, but we lack so-called "external arguments" which would enable us to suggest that this is not just a technical term (with the exception of Aristophanes' claim in Frogs that poets are didaskaloi. This claim, nevertheless, extends to all poets, not only to tragedians), with the abundance of "internal arguments" (the content of the tragedies that demonstrate the pedagogical interest of tragedians in a number of issues).…”

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“…The ancient Greek playwrights, claiming 1 to be mentors for the city and its citizens, relied on Homer, who states that "even the very gods can bend" on hearing the prayer of the one who has mastered "thy proud spirit" (Hom. Il.…”

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“…Therefore, by the word "claiming" here, we mean not an active attempt of poets to capture the sphere of pedagogical activity, but a deep interest in it and a desire to instruct the audience in the correct understanding of the past or present events. See also: [1][2][3]. 2 Further on in this article, all citations are reproduced according to the electronic database of classical texts The Perseus Digital Library.…”

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confidence: 99%

“…Cho. [1][2][3]. From this speech, it becomes clear that Orestes has returned to this land without a clear plan and only after meeting with Electra does this plan begin to take shape.…”

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Orestes and Electra’s Prayer Practices as Instructions to the City

Pichugina

2023

Vestnik SPbSU. Philosophy and Conflict Studies

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The plot of Orestes and Electra, jointly implementing the revenge plan for the death of their father Agamemnon, is taken as the basis of the tragedy Libation Bearers by Aeschylus and the tragedies of the same name Electra by Euripides and Sophocles. А divine will and human desires intertwine at the key points of each of these tragedies, where the protagonists demonstrate different practices of the prayer as precepts to the city, which has to accept and justify the crime they are plotting. Orestes and Electra’s prayer practices in Aeschylus, Euripides and Sophocles will be analyzed according to the following questions: To whom do Orestes and Electra pray and why? Have their prayers been heard? What events precede the prayers? In which spaces of the city are the key prayers pronounced and what is the role of the chorus in it? What has the city been instructed to do through these prayers? Both Orestes and Electra assert their right to precept and seek support from the gods as the supreme preceptors in different spatial coordinates of the city. Theу view the city not only as a space where prayers are pronounced, but as another main character that can speak, for example, through the chorus lines or give tacit instructions through allusions to the details which appear in urban space descriptions. Not only does the city hear the prayers pronounced by the heroes, but it can give additional power for their materialization. For the protagonists, the city is as an open/closed space of crime and punishment, where they could and should claim new statuses of the ruler-mentors.

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confidence: 99%

“…Cho. [1][2][3]. From this speech, it becomes clear that Orestes has returned to this land without a clear plan and only after meeting with Electra does this plan begin to take shape.…”

mentioning

confidence: 99%

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Orestes and Electra’s Prayer Practices as Instructions to the City

Pichugina

2023

Vestnik SPbSU. Philosophy and Conflict Studies

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Scholarship on Aeschylean Drama, Eighteenth Century to the Present

2013

The Encyclopedia of Greek Tragedy

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Il sacrilegio di Vanni Fucci pistoiese e bestia nella Divina Commedia

Balducci¹

2020

Romanica Cracoviensia

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The sacrilege of Vanni Fucci, the beast of Pistoia, in the Divine Comedy This hermeneutic analysis presents a reflection on the complex nature of the concept of theft in the Christian world, compared to the pagan one. The author develops the idea of the desperate blasphemy of the infernal prisoner as a form of unconscious prayer. Vanni Fucci from Pistoia, the sacrilegious and blasphemous character of Dante’s Inferno, is analyzed by referring to the fundamental difference between the classical and medieval philosophical perception of metamorphosis as a symbol.

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Aeschylus: Playwright Educator

Cited by 3 publications

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Orestes and Electra’s Prayer Practices as Instructions to the City

Orestes and Electra’s Prayer Practices as Instructions to the City

Scholarship on Aeschylean Drama, Eighteenth Century to the Present

Il sacrilegio di Vanni Fucci pistoiese e bestia nella Divina Commedia

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