Read e-book online Narrative, Intertext, and Space in Euripides' Phoenissae PDF
By Anna A. Lamari
This publication applies the fundamental rules of narratology to an historic Greek tragedy, specifically Euripides?? Phoenissae. In a play with an extremely wealthy plot, a narratological examine yields fascinating interpretive effects concerning the use of delusion, narrators, narrative degrees, time and house, in addition to the relation of the Phoenissae with past remedies of the Theban legendary saga.
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Additional info for Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes - Volume 6)
Given the nature of drama, embedded narratives must be spoken by an onstage character. With respect to the time of the story, embedded narratives usually provide temporal detours to the past or to the future. 119 That is, the agent of the focalization or narrative viewpoint. Focalizers serve as filters through which the events and participants of a narrative are perceived [de Jong, Nünlist & Bowie (2004) xvi], while ‘[f]ocalization denotes the perspectival restriction and orientation of narrative information relative to some- 22 Chapter 2: Retelling the past, shaping the future rators, being thus filtered through a multiplicity of perspectives.
In a play with a tendency of creating a panorama of the Theban mythical past, the distinction between the ‘nontemporal’ myth and the ‘temporal’ world of the play122 is stretched to its limits. By infusing almost every aspect of the Theban saga into the Phoenissae, Euripides adds to the play’s pathos, as he invites his audience to ‘see’ past, present and future events as belonging to a continuum of time. 1. The labyrinthine path of myth (Prologue, Phoenissae 1-201) The Phoenissae starts with a sonorous mythical outburst.
1-6 (TrGF); OC 1081-1084; E. Med. 1296-1298; Andr. 862; Hec. 1099-1106; HF 1157-1158; Ion 796-799, 1238-1243; Hel. 1478-1486; Phaeth. fr. 61-64 (TrGF)] and Mastronarde (1994) 196. 38 Chapter 2: Retelling the past, shaping the future Antigone will meet Polynices, but only after his death. Clasping the neck or embracing is, of course, a typical gesture pertaining to a meeting –or recognition scene, but Euripides may very well be playing with a rather stark patterning of this gesture as a sign of grief and lamentation.
Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes - Volume 6) by Anna A. Lamari