The Stasimon Euripides, Hecuba 905–52

Collard, Christopher

doi:10.5949/liverpool/9781904675730.003.0010

Cited by 4 publications

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“…(tr. Collard (1991) adapted)Both Janko and Bremmer noted the verbal similarities but did not explore the importance of the context. There are several points of contact.…”

Section: The Hecuba Of Euripides and Carcinusmentioning

confidence: 99%

THEGETTY HEXAMETERSAND GREEK TRAGEDY

Battezzato

2022

Camb. class. j.

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The present article aims to show that several passages of Greek tragedy make use of language present in the Getty Hexameters, especially in contexts where incantations and protection of the city are mentioned. The Getty Hexameters were written on a lead tablet at the end of the fifth century BC in Sicily (Selinus or, more likely, Himera). The article argues that the composition of the text predates the lead tablet by several decades (section 2). It focuses on similarities in structure and language that involve Soph. fr. 535 (section 4), Aeschylus’ Oresteia (section 5), Sophocles’ Oedipus Tyrannus (section 6) and Euripides’ Hecuba (section 8). It also suggests that Plato (section 7) and late antique poetry and prose (section 9) reuse some of the linguistic elements of the incantatory tradition of the Getty Hexameters.

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“…(tr. Collard (1991) adapted)Both Janko and Bremmer noted the verbal similarities but did not explore the importance of the context. There are several points of contact.…”

Section: The Hecuba Of Euripides and Carcinusmentioning

confidence: 99%

THEGETTY HEXAMETERSAND GREEK TRAGEDY

Battezzato

2022

Camb. class. j.

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“…In the extant scenes of Greek drama that feature the return of a dead person from the underworld, namely the appearance of the ghost of Dareios in Aeschylus' Persians and that of the ghost of Polydoros in Euripides' Hekabe, there is no indication that the ekkyklema was ever used. Most commentators hold the view that Polydoros appeared on the skene roof, 43 whereas the staging of the appearance of the ghost of Dareios at Aeschylus' Persians 681 is far from certain. 44 Greek literature often describes death as the approaching of the 'gates of Hades', 45 ancient Greeks therefore pictured the underworld as an enclosed not beset by the Erinyes would anticlimactically dispel the tension created by the Pythia's description of the scene within the temple.'…”

Section: Staging the Arrival Of The Fourmentioning

confidence: 99%

The Resurrection of Aristeides, Miltiades, Solon and Perikles in Eupolis’Demes

Torello

2008

Antichthon

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The arrival of Aristeides, Miltiades, Solon and Perikles in Eupolis' Demes was arguably one of the most celebrated scenes of Attic Old Comedy. Platonios (diff. char. 13-4) praises Eupolis for ‘being capable of resurrecting (ἀνάγειν) from Hades the characters of lawgivers and through them to discuss the establishment or the repeal of laws.’ Aelius Aristides (3.365) observes that ‘a certain comic poet depicted four of the Athenian leaders as coming back to life (ἀνεστῶτας).’ Platonios uses the verb ἀνάγω to refer to the ascent of the four statesmen to the upper world, whereas Aelius Aristides chooses ἀνίστημι. Both ἀνάγω and ἀνίστημι describe an upwards movement, and suggest a return to the world of the living. Neither of them, however, specifies the nature of this journey.

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“… 88 For a summary of the solutions for Clytemnestra's entry in Eumenides, see Sommerstein (1989) 100–1; Podlecki (1989) 136; Mitchell-Boyask (2009) 51–2. For Polydorus' apparition, see Mastronarde (1990) 276; Mossman (1995) 50–1; Collard (1991) 130; Gregory (1999) 46; Brillante (1988) 434; Jouanna (1982) 51–2, all of whom support the roof theory, with use of crane possible; see, however, Hickman (1938) 53–4; Hourmouziades (1965) 159–60; and, more recently, Lane (2007), Matthiessen (2010) 261 and Scodel (2012) 59 and 185, who support use of the ground level. …”

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confidence: 99%

INTERIORITY, THE ‘DEEP EARTH’ AND THE SPATIAL SYMBOLISM OF DARIUS' APPARITION IN THEPERSIANSOF AESCHYLUS

Bakola

2014

Camb. class. j.

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This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus'Persians. Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building (skene). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that he emerged from the interior of theskene, whose existence at this date is often disputed. The article furthermore analyses the multifaceted concept of the earth in thePersians, to suggest new ways in which underground, ground and interior spaces can be connected holistically to other spatial and natural imagery.

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The Stasimon Euripides, Hecuba 905–52

Cited by 4 publications

References 0 publications

THEGETTY HEXAMETERSAND GREEK TRAGEDY

THEGETTY HEXAMETERSAND GREEK TRAGEDY

The Resurrection of Aristeides, Miltiades, Solon and Perikles in Eupolis’Demes

INTERIORITY, THE ‘DEEP EARTH’ AND THE SPATIAL SYMBOLISM OF DARIUS' APPARITION IN THEPERSIANSOF AESCHYLUS

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