By Ruth Scodel
"This booklet offers a quick and available creation to Greek tragedy for college students and common readers alike. no matter if readers are learning Greek tradition, appearing a Greek tragedy, or just attracted to analyzing a Greek play, this publication might help them to appreciate and revel in this hard and worthwhile style. An creation to Greek Tragedy offers heritage info; is helping readers get pleasure from, enjoy, and interact with the performs themselves; and provides them an idea of the real questions in present scholarship on tragedy. Ruth Scodel seeks to dispel deceptive assumptions approximately tragedy, stressing how open the performs are to diverse interpretations and reactions. as well as normal historical past, the e-book additionally contains chapters on particular performs, either the main popular titles and a few lesser-known performs - Persians, Helen, and Orestes - so that it will exhibit the range that the tragedies supply readers"-- Read more...
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Extra resources for An introduction to Greek tragedy
At the end of Sophocles’ Philoctetes, the deified Heracles appears and tells Philoctetes and Neoptolemus that they are to sail not to Philoctetes’ home in Greece but to Troy. Philoctetes has adamantly refused to go to Troy as the story demands, but once Heracles instructs him, mythological order is instantly restored. At the end of Euripides’ Orestes, Orestes, with his sister, Electra, and his friend, Pylades, beside him, along with his cousin, Hermione, whom he has taken hostage, is about to burn down the palace.
The Phoenician Women was about the Persian Wars and was set in Persia. His other plays, though, were mythological:Â€ Women of Pleuron (the story of Meleager), Egyptians and Danaids (like Aeschylus’s Suppliants, about the descendents of Io), Tantalus, Antaeus (a giant defeated in wrestling by Heracles), and Alcestis. Aristophanes was an admirer of Phrynichus, and this is interesting in itself, because Aristophanes was a very young man in 427 BCE and cannot have seen the first productions of plays by Phrynichus.
If that were so, tragedy was considerably older than the patriotic rituals, and, even more important, tragedy was not a product of the democracy. But, just as many recent scholars doubt that Aristotle had real knowledge about tragedy before the fifth century, some have suggested that all the sources that present information about tragedy before the inscriptional record began in 502–501 BCE are retailing guesses. So some think that tragedy began when it was recorded, under the democracy. The lost section of the inscription known as the Fasti did not go back before c.
An introduction to Greek tragedy by Ruth Scodel