The Cambridge Companion to Greek Tragedy (Cambridge Companions to Literature)
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This book presents ancient Greek tragedy in the context of late-twentieth-century reading, criticism and performance. The twelve chapters, written by seven distinguished scholars, cover tragedy as an institution in the civic life of ancient Athens, a range of approaches to the surviving plays, and changing patterns of reception, adaptation and performance from antiquity to the present.
Heracles' intervention as deus ex machina. But history is never simply overturned, as in the notorious modern example of Schiller's Maid of Orleans, in which Joan of Arc dies heroically on the field of battle. Athenaeus, Deipnosophistae VIII 347c 185 Cambridge Companions Online © Cambridge University Press, 2006 PETER BURIAN of myth have a certain prestige; they have become an integral part of the system of tragic discourse. As regards tragic plots based on recent history, the poets seem to
Persuasion, esp. in tragedy: Buxton (1982); Bers (1994); Meier (1990) ch. 5. See further Ch. 6 below. 20 Cambridge Companions Online © Cambridge University Press, 2006 'Deep plays': theatre as process in Greek civic life anachronistically to 'the sovereign hand of the People' of Argos. A similar procedure of antagonistic formal debate obtained in the People's Court, though usually before a much smaller audience of 500 or so; but the voting here was by secret ballot. Through Assembly and Court
inhibition against representing drama (both tragedy and comedy) in vase-painting at Athens. It strikes me that, more generally, the question of what subjects are and are not welcome in Athenian vase-paintings has not had the attention it deserves.25 Restricting the question to representations of the life of the polis, it would seem to be roughly true to say that religious and domestic subjects were welcome, while more directly 'political' subjects were not. I am aware of very little, for example,
exploration of the relation between words and the world, the (in)ability of contemporary public language to comprehend man's place in the city of words. The contests of authoritative explanation, the relation between present and past, the relation between words and the world, are, then, three major concerns fascinatingly brought to the fore by Euripides' use of contemporary, professionalised, rhetoric here - and in the rest of his corpus. This strongly marked turn to the art of rhetoric, however,
Actaeon (also Iophon, son of Sophocles, and Cleophon, fourth century), Sons of Aegyptus and Daughters ofDanaus (Aeschylus), Alcestis (Euripides), Antaeus (Aristias). For Phrynichus' tragedies on contemporary events, see Ch. i, p. 24. Including numerous plays bearing the same title as well as titles that certainly or probably belong to satyr plays. I hasten to point out that these figures are meaningful only in an exemplary way. It is not possible to be sure that plays with shared titles actually