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By Rebecca Bushnell
A significant other to Tragedy is a vital source for somebody attracted 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 via 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 heritage
- Offers a clean evaluate of old Greek tragedy and demonstrates how the perform of analyzing tragedy has replaced appreciably some time past decades
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Extra resources for A Companion to Tragedy
Tragedy and Athenian Religion. Lanham, MD: Lexington Books. Stinton, T. C. W. (1976). ’’ Proceedings of the Cambridge Philological Society 22, 60–89. Taplin, O. (1995). ’’ Essays in Criticism 45, 93–120. -P. (1972). ‘‘Ambiguite´ et renversement. Sur la structure e´nigmatique de l’‘Oedipe roi’ ’’ [Ambiguity, and inversion. On the enigmatic structure of Oedipus the King]. In Mythe et trage´die en Gre`ce ancienne [Myth and tragedy in ancient Greece], ed. -P. Vernant and P. Vidal-Naquet. Paris: Maspe´ro, 99–131.
In Euripides, too, the resistant autocrat is punished by the Dionysiac frenzy that inspires the maenads, led by his own mother, to tear him apart. Homeric epic, by contrast, tends to avoid mention of frenzy (apart from the frenzy of battle) and of kin-killing. In Aeschylus the trilogy may have ended with the founding of cult, for Apollo or Dionysus. And in Euripides’ Bacchae it is virtually certain that Dionysus, in the lost part of his final speech, founded Dionysiac cult for the polis of Thebes (Seaford 2000: 83–91).
He makes three remarks of particular interest, that tragedy had an improvisatory beginning, that it came into being ‘‘from the leaders of the dithyramb,’’ and that it developed ek tou satyrikou – that is, from something like the satyric drama. , to be a reminder of tragedy’s humble origins. A satyr play was a boisterous drama, written by the author of the preceding tragedies, but with a chorus of satyrs – naked, hedonistic followers of Dionysus, with some equine characteristics. Only one satyr play survives complete, Euripides’ Cyclops.
A Companion to Tragedy by Rebecca Bushnell