By Victoria Wohl
How will we make feel of the cutting edge constitution of Euripidean drama? And what political function did tragedy play within the democracy of classical Athens? those questions tend to be thought of to be together particular, yet this ebook exhibits that they could purely be competently replied jointly. offering a brand new method of the aesthetics and politics of Greek tragedy, Victoria Wohl argues that the poetic type of Euripides' drama constitutes a method of political concept. via readings of decide upon performs, she explores the politics of Euripides' radical aesthetics, exhibiting how formal innovation generates political passions with real-world outcomes.
Euripides' performs have lengthy at a loss for words readers. With their disjointed plots, comedian touches, and widespread chuffed endings, they appear to stretch the limits of tragedy. however the performs' formal traits--from their exorbitantly attractive lyrics to their arousal and backbone of suspense--shape the audience's political sensibilities and ideological attachments. Engendering civic passions, the performs enact in addition to show political rules. Wohl attracts out the political implications of Euripidean aesthetics via exploring such issues as narrative and ideological hope, the politics of pathos, realism and its utopian chances, the good judgment of political allegory, and tragedy's relation to its ancient moment.
Breaking in the course of the deadlock among formalist and historicist interpretations of Greek tragedy, Euripides and the Politics of Form demonstrates that aesthetic constitution and political which means are at the same time implicated--and that to learn the performs poetically is unavoidably to learn them politically.
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Extra info for Euripides and the Politics of Form
The play stages Ion’s assumption of his 22 ••• c hapt er 1 identity as forebear of Athens’s pure autochthonous lineage and Ionian empire. The muthos is governed by tukhē: a circuitous tale of abandoned babies, mistaken identities, and failed murder plots. 8 But the telos is pure anankē: no less than in Sophocles’ Oedipus Tyrannus, that end is written from the start. We know all along that Ion is really the progenitor of Athens and its Ionian empire: his destiny is fixed in advance and the only question is how he will fulfill it.
809), but Admetus defends himself on the grounds of xenia. Would you praise me if I drove away a xenos? Sending away Heracles would not lighten my grief but would only add to it by earning me a reputation for being a bad host (axenōteros, 556; ekhthroxenous, 558). No, he says, my house does not know how to dishonor a xenos (566–67). The chorus quickly come around and praise Admetus extravagantly in the ode that follows (569–605). ” (ō poluxeinos kai eleutherou andros aei pot’ oikos, 569). They go on to explain how Admetus had offered hospitality to Apollo when he was living among mortals.
Like Ion’s song, Creusa’s is framed as a hymn, beginning with an invocation to Apollo as god of the lyre and “the beautiful-resounding hymns of the Muses” (881–86). Instead of calling on the god to come to her, though, this bitter hymn describes how he came: ἦλθές μοι χρυσῶι χαίταν μαρμαίρων, εὖτ’ ἐς κόλπους d r amat i c m e a n s a n d i d e o l o g i c a l e n ds ••• 35 κρόκεα πέταλα φάρεσιν ἔδρεπον †ἀνθίζειν† χρυσανταυγῆ· λευκοῖς δ’ ἐμφὺς καρποῖσιν χειρῶν εἰς ἄντρου κοίτας κραυγὰν Ὦ μᾶτέρ μ’ αὐδῶσαν θεὸς ὁμευνέτας ἆγες ἀναιδείαι Κύπριδι χάριν πράσσων.
Euripides and the Politics of Form by Victoria Wohl