New PDF release: The Structure and Performance of Euripides' Helen
By C. W. Marshall
Utilizing Euripides' play Helen because the major aspect of reference, C. W. Marshall's particular research expands our realizing of Athenian tragedy and gives new interpretations of the way Euripides created that means in functionality. Marshall makes a speciality of dramatic constitution to teach how assumptions held via the traditional viewers formed which means in Helen and to illustrate how Euripides' play attracts widely at the satyr play Proteus, which was once a part of Aeschylus' Oresteia. constitution is gifted now not as a theoretical abstraction, yet as a very important section of the event of functionality, operating with song, the refrain and the opposite performs within the tetralogy. Euripides' Andromeda particularly is proven to have resonances with Helen now not formerly defined. Arguing that the position of the director is vital, Marshall indicates that the alternatives director could make approximately function doubling, gestures, blocking off, humour, and mask play a vital half in forming the that means of Helen.
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Extra info for The Structure and Performance of Euripides' Helen
35 The Servant repeats verbatim the words the reﬂected Helen spoke (608–15), but he fails to appreciate their signiﬁcance, apparently because he becomes distracted when he eventually notices Helen on stage. The audience might expect a messenger such as this to reﬂect on the words spoken, but the sight of Helen replaces the meaning of the words of the departed eidōlon, and so the Servant merely rebukes her for ‘her’ actions (616–21). The message does dispel Menelaus’ doubts (622–24) – dim as he is, he is at least cleverer than his servant: 35 The closest parallel for this speech is Carion’s pseudo-tragic messenger speech in Aristophanes’ Wealth; see Tordoﬀ 2012.
The tone of the play is generally positive, and, with the resolution focusing on a successful rescue, there is lightness to the dramatic narrative. I further believe that at times the play was laugh-out-loud funny. This is a claim about genre, and about the function and place of publicly performed poetry in Athens. Third, the world is protean. The mutability of fortune is a common theme in Greek literature, especially in the face of inscrutable and arbitrary gods. For Athens in 412, however, this general realization was taking ever harsher and desperate forms.
It was grievous enough for the state and for every man in his proper person to lose so many heavy infantry, cavalry, and able-bodied troops, and to see none left to replace them; but when they saw, also, that they had not suﬃcient ships in their docks, or money in the treasury, or crews for the ships, they began to despair of salvation. They thought that their enemies in Sicily would immediately sail with their ﬂeet against Piraeus, inﬂamed by so signal a victory; while their adversaries at home, redoubling all their preparations, would vigorously attack them by sea and land at once, aided by their own revolted confederates.
The Structure and Performance of Euripides' Helen by C. W. Marshall