By Rebecca Bushnell
A better half to Tragedy is an important source for someone drawn to exploring the position of tragedy in Western background and tradition.
- Tells the tale of the historic improvement of tragedy from classical Greece to modernity
- Features 28 essays through well known students from a number of disciplines, together with classics, English, drama, anthropology and philosophy
- Broad in its scope and ambition, it considers interpretations of tragedy via faith, philosophy and background
- Offers a clean review of historical Greek tragedy and demonstrates how the perform of studying tragedy has replaced considerably some time past decades
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Extra resources for A Companion to Tragedy
Wilson, P. (2000). The Athenian Institution of the Khoregia. The Chorus, the City and the Stage. Cambridge: Cambridge University Press. Wilson, P. and Taplin, O. (1993). ’’ Proceedings of the Cambridge Philological Society 39, 169–80. Winkler, J. J. (1990). , ed. J. J. Winkler and F. Zeitlin. Princeton, NJ: Princeton University Press, 20–62. Zeitlin, F. I. (1965). ’’ Transactions of the American Philological Association 96, 463–508. 2 Tragedy and Dionysus Richard Seaford In Athens of the classical period tragedy (as well as comedy and satyric drama) was performed at the theater of the god Dionysus, in his cult.
The idea ‘‘maenad of the dead’’ occurs also, in a slightly different form, as ‘‘maenads of Hades’’ in Euripides’ Hecuba (1076), of the ‘‘mothers’’ (1157) who killed Polymnestor’s children, and should, in Aeschylus’ Agamemnon (1235), be restored, as ‘‘maenad of Hades,’’ of Clytemnestra. , Cassandra and Iole). To these we should add the real maenad Agave as well as the male Heracles (and probably Lycurgus). The ‘‘maenadism’’ of another male kin-killer, Orestes in Euripides’ Orestes, is the frenzy of remorse.
In some tragedies the family destroys itself under the influence of another deity, such as Aphrodite in Euripides’ Hippolytus. In Euripides’ Medea, where we might have expected that for a mother to kill her children was possible only in the frenzy inspired by Dionysus (as in Bacchae), the autonomous sanity of Medea adds pathos. Whatever terminology we decide to use, I maintain that the pattern I have identified, which is alien to, for example, Homeric epic, derives from the genesis of tragedy in Dionysiac cult.
A Companion to Tragedy by Rebecca Bushnell