Lament in Euripides' Trojan Women

Abstract

This article summarizes the ndings of an unpublished PhD dissertation, "The Form of Lament in Greek Tragedy" by E. Wright, which provide for the rst time objective criteria for identi cation of lamentation in tragedy. It applies these criteria to the Trojan Women, and argues, on the basis of metrical and stylistic devices, that virtually every scene in the Trojan Women shows the characteristics of lament. The play is, from both the minute technical, and the overall structural, point of view, a lament. This provides explanations for some of the long-standing critical issues of the play, e.g., no unity, no plot, an ill-conceived prologue. The article then considers also how the Trojan Women ts into current discussions of lament as a gendered genre. It replies especially to work on the development of 5th-century Athenian attitudes towards female lament, in which a pattern of increased criticism and restriction, it is argued, is re ected in the changing treatment of lament in Athenian tragedy. The treatment of lament in the Trojan Women does not conform to this perceived development. This suggests that there were still a variety of attitudes current and in uential in late 5th-century Athens towards female lamentation. This essay has two purposes: rst, to oVer an answer to what seems the eternal question of the unity, or lack of unity, or irrelevance of the lack of unity, of Euripides' Trojan Women, and second, to investigate the nature and implications of Euripides' use of lament in the Trojan Women in the context of current discussions of lament as a gendered voice. The play's laments have so far been studied only individually; 1 ) the formal structure of lament itself has not been seen as the model for the structure of the whole play.

Els laments d’Els Perses en les traduccions de Masriera (1898) i Riba (1932)

“…La tragèdia aprofita, així, el lament, per l'elevat potencial expressiu que ofereix per als personatges femenins, tanmateix, com a gènere lligat a la polis, el control (masculí) de la seva representació també el limita; just en aquest moment, a més, la legislació àtica mirava de controlar aquestes pràctiques per excessives, alhora que es promovia un lament cívic i racional mitjançant l'oratòria i el discurs fúnebre o ἐπιτάφιος (Foley 1993: 142;2001: 22-55;Loraux 1999: esp. 129-130;Suter 2003). Per a Librán Moreno (2005: 147), els perses es presenten seguint el model mític dels troians homèrics, amb un allunyament de la realitat històrica que els permet de plorar sense escarni.…”

Revolução Musical Em as Troianas De Eurípides

“…Tal recurso adquiriu especial notoriedade nas peças de Eurípides, a ponto de a autora considerar As Troianas um só lamento como um todo, dirigido ao cadáver de Astíanax exposto ao encerramento do drama. Sutter (2003) também salienta que o questionamento inicial, se deve cantar ou não, é uma marca discursiva dos versos associado aos cantos fúnebres. Além disso, a reincidente elocução de gemidos inarticulados (oimoi) introduzem o espetáculo da dor.…”

“…Elinor Wright (1986) defende que, por sua estrutura, a peça é toda um lamento feminino, o que, segundo Sutter (2003), soluciona a secular querela acerca da unidade da peça ou ausência dela. Sutter (2003) ainda defende que, embora a política oficial ateniense impusesse forte restrição aos lamentos funerários, a peça demonstra que havia outros tratamentos concedidos aos cantos fúnebres em Atenas no século V a.C. Ainda nesse sentido, Battezzato (2005) defende que a chegada da música frígia à Grécia é o grande tema unificador da peça.…”

Maternal Conceptions in Classical Literature and Philosophy

“…Quint 1991;cf. Quint 1993, 53-63. On the lines, see Nugent 1992 andthe commentators: Williams 1960, 160;Fratantuono and Smith 2015, 585-7. On the lament of the Trojan women in Euripides' Troades, see Suter 2003. Nugent 1992.…”