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Theatre

By Justina Gregory

The Blackwell spouse to Greek Tragedy presents readers with a basic grounding in Greek tragedy, and in addition introduces them to some of the methodologies and the full of life serious discussion that symbolize the research of Greek tragedy this day.

Comprises 31 unique essays through a world forged of members, together with up-and-coming in addition to unusual senior scholars.
Pays recognition to socio-political, textual, and function features of Greek tragedy
All historic Greek is transliterated and translated, and technical phrases are defined as they appear.
Includes feedback for additional examining on the finish of every bankruptcy, and a beneficiant and informative mixed bibliography.

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Extra resources for A Companion to Greek Tragedy (Blackwell Companions to the Ancient World)

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By 413 the Athenians seemed to be on the brink of defeat. 1) and for two years had been helping the enemy. 3–5). 87) and feared both a direct attack on the city and revolt among their allies. 3). 2). Over the final seven years of the war the Athenians showed remarkable resilience. Although consistently short of funds, they rebuilt their navy. 81), the Athenians would go on to win a number of impressive victories in the east. 4), but his recall was a mixed blessing. 64–70). Their violent reign was unstable and short-lived.

6). If given their due, the chthonic goddesses will guarantee the fecundity of the city. If dishonored, they will bring disease and its political analogue, civil war. Aeschylus’ myth of the origins of the cult of the Semnai is yet another link to the world of fifth-century Athens, since it reflects contemporary Athenian religious practices. , Pelling 2000, 171–77), in particular by avoiding exact correspondences with contemporary Athenian events or institutions. The terms of Orestes’ alliance, for example, are not those of Athens’ alliance in 462 (cf.

1449a9–23) . . As for the number of episodes and the other elements, how they are said to have been embellished, let us take all these things as read, for it would perhaps be a big task to go through them one by one. (1449a28–31) 24 Scott Scullion . . The changes in tragedy and those who made them have not been forgotten, but no attention was paid to comedy at first because no one took it seriously. It was, indeed, some time late in its development that the archon ‘‘granted a chorus’’ of comedians; until then they were volunteers.

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