Paths of Song: The Lyric Dimension of Greek Tragedy

Description

Paths of Song: The Lyric Dimension of Greek Tragedy analyzes the multiple and varied evocations of choral lyric in fifth-century Greek tragedy using a variety of methodological approaches that illustrate the myriad forms through which lyric is present and can be presented in tragedy. This collection focuses on different types of interaction of Greek tragedy with lyric poetry in fifth-century Athens: generic, mythological, cultural, musical, and performative. The collected essays demonstrate the dynamic and nuanced relationship between lyric poetry and tragedy within the larger frame of Athenian song- and performance-culture, and reveal a vibrant and symbiotic co-existence between tragedy and lyric. Paths of Song illustrates the effects that this dynamic engagement with lyric possibly had on tragic performances, including performances of satyr drama, as well as on processes of survival and reputation, selection and refiguration, tradition and innovation. The volume is of particular interest to scholars in the field of classics, cultural studies, and the performing arts, as well as to readers interested in poetic transmission and in cultural evolution in antiquity. Preface Table of Contents Abbreviations Introduction I Tragic and Lyric Poets in Dialogue Stesichorus and Greek Tragedy ‘Stesichorean’ Footsteps in the Parodos of Aeschylus’ Agamemnon Pindar at Colonus: A Sophoclean Response to Olympians 2 and 3 Talking Thalassocracy in Fifth-century Athens: From Bacchylides’ ‘Theseus Odes’ (17 & 18) and Cimonian Monuments to Euripides’ Troades II Refiguring Lyric Genres in Tragedy Competing Generic Narratives in Aeschylus’ Oresteia How Sophocles Begins: Reshaping Lyric Genres in Tragic Choruses Constructing Chorality in Prometheus Bound: The Poetic Background of Divine Choruses in Tragedy Epinician Discourse in Euripides’ Tragedies: The Case of Alexandros III Performing the Chorus: Ritual, Song, and Dance Theoric song and the Rhetoric of Ritual in Aeschylus’ Suppliant Women What melos for Troy? Blending of Lyric Genres in the First Stasimon of Euripides’ Trojan Women Hyporchematic Footprints in Euripides’ Electra Dancing in Delphi, Dancing in Thebes: The Lyric Chorus in Euripides’ Phoenician Women Performing the Wedding Song in Euripides’ Iphigenia in Aulis New Music in Sophocles’ Ichneutae Afterword: On the Nonexistence of Tragic Odes Bibliography Notes on Contributors Index of Proper Names and Subjects Index Locorum