Change of Mind in Greek Tragedy

Gibert, John

doi:10.13109/9783666252082

Cited by 8 publications

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The Co-Operative Temper: A Third Dramatic Role in Sophoclean Tragedy

Carter¹

2005

Mnemosyne

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This article identifies and defines a recurrent figure in Sophoclean tragedy, which I call the co-operator, distinct from the more familiar hero and adviser figures. This figure is distinguished primarily by his role (sic: the figure is typically male), which is to be someone on whom the hero must depend. He acts without obligation and frequently against expectation. This behaviour can therefore only be explained in terms of the character of the co-operator: a propensity to respect and sympathise with the hero. I use the term 'role' to mean the dramatic function assumed by a figure within the plot. A character can assume a role, or discard it, at various stages in a play. Hence, not all the co-operators begin as co-operators. An extreme example of a drama in which roles can be fluid is Antigone, which I discuss towards the end of the article. Significant variation on the theme of the co-operator is also found in the role of Hyllus in the exodos of Trachiniae.

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The Co-Operative Temper: A Third Dramatic Role in Sophoclean Tragedy

Carter¹

2005

Mnemosyne

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In the Footprints of Aeschylus: Recognition, Allusion, and Metapoetics in Euripides

Torrance¹

2011

ajp

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It is well known that Euripides responds to Aeschylus in several of his plays, most notably in Electra . In this article I suggest a new reading of the recognition scene in Euripides' Electra , comparing also the recognition sequence in Iphigenia among the Taurians , which alludes to the same Aeschylean model. I argue that through their allusions to Aeschylus, both scenes can be read as metapoetic reflections on the constraints and conventions of dramatic composition. The issue, therefore, is not one of criticism of or homage to Aeschylus (or Homer), as scholars have generally held. Rather I argue that Euripides presents his audience with an invitation to recognize and appreciate the poetic challenges of composing a dramatic performance, through metaphor, word-play and metapoetic suggestions. The poetic self-consciousness present in both scenes underlines the poet's awareness that he is following in the footsteps of mighty poetic predecessors.

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Athens in a Basket: Naming, Objects, and Identity in Euripides' Ion

Mueller¹

2010

are

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In this essay I explore two distinctly gendered strategies of recognition in Euripides' Ion. His human surrogate father, Xouthos, names Ion but fails to recognize him as Athens' lost son, whereas Athenian heirlooms-an olive wreath, golden snakes, and a woven aegis-restore Ion, via Kreousa's memory, to the city of his birth. These material and maternal symbols of identity enroll Ion into the elite ranks of autochthonous Athenians. As icons, moreover, of foundational moments in Athens' own history, the recognition tokens exert their "pull" on the play's Athenian audience, prompting them to see themselves in Ion and consequently to recognize their own Erechtheid origins.

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Change of Mind in Greek Tragedy

Cited by 8 publications

References 0 publications

The Co-Operative Temper: A Third Dramatic Role in Sophoclean Tragedy

The Co-Operative Temper: A Third Dramatic Role in Sophoclean Tragedy

In the Footprints of Aeschylus: Recognition, Allusion, and Metapoetics in Euripides

Athens in a Basket: Naming, Objects, and Identity in Euripides' Ion

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