Neoptolemus and the bow: ritualtheaand theatrical vision in Sophocles'Philoctetes

Abstract

Much has been written in recent years on the ways in which ritual forms, patterns and sequences are remoulded into the imagery and action of classical Greek plays. A tragedy which offers exceptionally fertile ground for studies on ‘ritual and drama' is Sophocles’ Philoctetes, since theatrical and ritual strands are so intimately interwoven in its plot as to create an inextricable knot. In forthcoming work I explore in full both the ritual liminality of Philoctetes' and Neoptolemus' existence as well as the subtle ways in which the vital dramatic experiences of ‘acting’ and ‘viewing’ are inherently intertwined in this play with the initiatory strands of rites of maturation. The present note, conversely, is less ambitious in its scope, as its exclusive focus is one pivotal moment of the play's action, namely the dramatic exhibition of the bow to Neoptolemus' and the spectator's eyes. No matter how inherently interwoven with the action Philoctetes' bow is, Neoptolemus' close look, as he accepts it in his hands (Phil. 776), ‘theatricalises’ the object by converting it into a dramatic spectacle, a thea. But even before being formally delivered to Neoptolemus' custody (Phil. 762-78), the bow is prominently singled out as the prime focus of attention, becoming, as it does, a stage-prop uniquely capturing the boy's concentrated sight.

Prostheses in Antiquity

“…50 Thanatos questions the presence of the bow, which draws the attention of the spectators on this weapon ; see Monbrun 2007;Noel 2014. 51 See Harsh 1960;Musurillo, 1967: 121;Lada-Richards 1997;Taplin 1971 and1978: 77-100;Segal 1980-81: 125-42;Gill: 1980;Mueller 2016: 38-9. 52 Iliad 4.122;4.125;15.463 and 469. Accepted author manuscript/Pre-print Noel, A.-S., 2019.…”

Dramatic versions of Philoctetes Myth in the Western European and Serbian literature

“…52 За реконструкцију Есхилове и Еурипидове верзије, осим сачуваних фрагмената, незаобилазни и најзначајнији извор су говори Диона Хризостома, 53 грчког ретора, филозофа и историчара из првог века. Дионови говори број 52 и 59 посвећени су Филоктету: у првом од њих, Дион упоређује све три верзије, дајући критичко мишљење и указујући делимично на ток радње, док је други парафраза пролога Еурипидовог Филоктета.…”

“…Иако више говори о томе како трагедије почињу него како се завршавају, 56 Дион ствара полазиште у тумачењу дела Есхила и Еурипида, а његове критичке оцене, и поред уопштености, не заслужују да буду одбачене као нетачне. 52 William M. Calder, "Aeschylus' Philoctetes", Greek, Roman and Byzantine Studies 11 (1970): 171. 53 Дион Хризостом (Δίών Χρυσόστομος, Dio Chrysostomus, познат и као Dio Prusaeus, Dio Cocceianus), рођен је око 40 г. н. е. у Пруси, у римској провинцији Битинији.…”