Greek tragedy - Knowledge

572: 1139:. Each tetralogy was recited in one day, so that the recitation of tragedies lasted three days. The fourth day was dedicated to the staging of five comedies. At the end of these three days a jury of ten people chosen by lot from the body of citizens chose the best choir, best actor and best author. At the end of the performances, the judges placed a tablet inscribed with the name of their choice inside an urn, after which five tablets were randomly selected. The person who received the highest number of votes won. The winning author, actor and choir were thus selected not purely by lot, but chance did play a part. 995: 1978:

of the plays, and looks at oral tradition as the backdrop to the construction of these plays (e.g., oral tradition may play a role in the processes that lead to the creation of Greek Tragedy). Frendo draws on the notion that the experience of tragedy requires a theatrical performance and is in that sense, a separation of tragedy from literature. Further stating that it is essential to look at tragedy as pre-drama, that it does not fit with a more contemporary envisioning of "drama" as we would've seen under the Renaissance.

384: 259: 1963: 29: 1935:. The way he addresses the audience through his plays is usually implied and never made obvious, as that would not only break the narrative that is being constructed, it would also fail to subject the disbelief of the audience. The article notes how often the audience is incorporated as being representative of the expected demos, usually by having silent actors, or individuals who are part of the Tragedy, be seated with the audience, to ensure that the actor is engaging with the audience. 675: 623: 1954:, then one would refer to them as "Argive boys" (p. 66). However, a much clearer distinction is made with adult males, such as "jury-service-loving old men (Wasps)" (p. 66), which indicates that the chorus is composed entirely of older men who are part of a jury service, further indicating their role within the citizenry. The citizen chorus was not only distinguished by status but was also seen as a subset of the demos. 1027:, a semi-circular, curved bank of seats, resembling in some respects the closed end of a horseshoe stadium. ... Below him, in the best location in the theatre, is the throne of the priest of Dionysus who presides in a sense over the whole performance. The theatron is large-in fact, the one in Athens, in the Theatre of Dionysus, with its seats banked up on the south slope of the Acropolis, seated approximately 17,000 persons. 2546:’s world of representation. Metaphysically, it stands for the false, the illusory, for 'mere appearance.' Epistemologically, the Apollonian indicates a dreamlike state in which all knowledge is knowledge of surfaces. Aesthetically, the Apollonian is the beautiful, the world experienced as intelligible, as conforming to the capacities of the representing intellect." (Berys Gaut and Dominic McIver Lopes, editors, 796:), described as the most natural by Aristotle, while the choral parts rely on a variety of meters. Anapaests were typically used as the chorus or a character moved on or off the stage, and lyric metres were used for the choral odes. These included Dactylo-epitrites and various Aeolic metres, sometimes interspersed with iambics. Dochmiacs often appear in passages of extreme emotion. 2022:

themai, lust, the polar opposite to chastity. The play demonstrates how divine intervention sets in motion the main theme of the play, revenge, and how that leads to the downfall of a royal family. However, it is not until the end of the play, when Artemis intervenes to tell King Theseus that he has killed his son by cursing him, that he has fallen prey to the workings of Aphrodite.

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regard to gender distinctions, the author finds that despite the fact that females choruses existed within Greek plays in general, they, like other enslaved and foreign individuals lacked the same kind of status as male Greeks. Those not considered citizens were not representative of the demos. The author gives an example of how a female chorus in

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actually being conveyed, and not an attempt to approach Greek tragedy through context (e.g., conventions of performance, historical facts, etc.). Approaching antiquity from a contemporary outlook, especially with regard to the construction and form of the plays, hinders any understanding of classical Greek society.

1034:, which means literally the "dancing place". ... In the centre of the orchestra stands an altar. A part of the dramatic action will take place in the orchestra, as well as the manoeuvres and dance figures performed by the Chorus as they present their odes. To the right and left of the theatron are the 1101:

The bulk of the plays in this category are by Euripides. Strains of fifth-century Athenian rhetoric, sketches of political types, and reflections of Athens’ institutions and society lend plays of this category a distinctly fifth-century Athenian flavor. The emphasis in Euripides’ Orestes on political

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asserted that a play must be complete and whole, in other words, it must have unity, i.e. a beginning, a middle and an end. The philosopher also asserted that the action of epic poetry and tragedy differ in length, "because in tragedy every effort is made for it to take place in one revolution of the

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Three innovations must have taken place for tragedy as we know it to exist. First, somebody created a new kind of performance by combining a speaker with a chorus and putting both speaker and chorus in disguise as characters in a story from legend or history. Second, this performance was made part of

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The origins of Greek tragedy were mostly based on song or speech rather than written script. In this way, Frendo states that Tragedy by its nature, was performative. Frendo furthers his argument by drawing on previous research into Greek Tragedy. He elaborates on the musical, often sing-song nature

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or scene building. ... In most plays the skene represents the facade of a house, a palace, or a temple. The skene normally had three doors which served as additional entrances and exits for the actors. Immediately in front of the scene-building was a level platform, in the fifth century B.C. in all

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Both drives, so different from each other, go side by side, mostly in open discord and opposition, always provoking each other to new, stronger births, in order to perpetuate in themselves the struggle of opposites which is only apparently bridged over by the common word 'art'; until, finally, by a

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stems from his subsequent disparagement or denial of Aphrodite. In other words, because Hippolytus chooses to devote himself to the goddess, Artemis, whose themai, or divine domain, is chastity, for some reason, he decides to then deny the existence of another goddesses divine domain, Aphrodite's'

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After dialogue based interactions were eventually brought into development, the percentage of scripts read by the chorus tended to decrease in regards to their involvement in the play. Therefore, the author concludes that this not only demonstrates the performative nature of Greek tragedy but also

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Greek Tragedy can often become confusing when trying to assess it as a drama, a detailed event, a performance, or even as something conveying an underlying theme. An article by Mario Frendo, looks at the latter as a phenomenon of performance, a separation in the meaning of the play from what it is

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The theatre voiced ideas and problems from the democratic, political and cultural life of Athens. Tragedies can discuss or use the Greek mythical past as a metaphor for the deep problems of current Athenian society. In such plays, "the poet alludes directly to fifth-century events or developments,

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means 'answerer'. He answers the questions of the chorus and so evokes their songs. He answers with a long speech about his own situation or, when he enters as messenger, with a narrative of disastrous events ... Naturally, the transformation of the leader into an actor entailed a dramatization of

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In the work of Aeschylus, comparing the first tragedies with those of subsequent years, there is an evolution and enrichment of the proper elements of tragic drama: dialogue, contrasts, and theatrical effects. This is due to the competition in which the older Aeschylus was with other playwrights,

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Without this kind of divine intervention, Theseus would not have realized his mistakes and Hippolytus would not have been cursed. Without divine intervention, the events that transpired would not have been as effective in revealing certain truths to the audience if they were to have come from a

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Through further exploration into the role of the chorus, the author looks at what impact that may have had from the perspective of the demos. The author notes that it was often the case for tragic choruses to be of one type of social position (in both age, gender, nationality, and class). With

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Scholars have made a number of suggestions about the way the dithyramb changed into tragedy. "Somebody, presumably Thespis, decided to combine spoken verse with choral song. ... As tragedy developed, the actors began to interact more with each other, and the role of the chorus became smaller."

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not only for the crime of giving humanity divine knowledge, but also for believing that by doing so, humanity would, in some way, praise Prometheus as a champion for justice and see Zeus as nothing more than a tyrant. Through this the author notes how Aeschylus' play relates to this notion of

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Katharsis, on this reading, will denote the overall ethical benefit that accrues from such an intense yet fulfillingly integrated experience. Exempt from the stresses that accompany pity and fear in social life, the audience of tragedy can allow these emotions an uninhibited flow that ... is

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means a certain emotional cleansing of the spectator. What exactly is meant by "emotional cleansing" (κάθαρσις των παθήματων) however, remains unclear throughout the work. Although many scholars have attempted to define this element vital to the understanding of Aristotle's

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notes that, due to lack of evidence and doubtful reliability of sources, we know nearly nothing about tragedy's origin. Still, R.P. Winnington-Ingram points out that we can easily trace various influences from other genres. The stories that tragedy deals with stem from

2044:, the Titan god of forethought and the inventing fire, stole the inventing flame from Hephaestus and gave it to humanity. Thereby, bestowing upon humanity knowledge of the arts, angering the gods. The idea behind this Greek tragedy is that Prometheus is punished by 709:

with which the playwright portrays his characters' psychological dynamics. The hero described in his tragedies is no longer the resolute character as he appears in the works of Aeschylus and Sophocles, but often an insecure person, troubled by internal conflict.

660:, the chorus repeats "not to be born is best." The events that overwhelm the lives of the heroes are in no way explained or justified, and in this we see the beginning of a painful reflection on the human condition, still current in the contemporary world. 639:, recounts the first triumph of the young talented Sophocles against the famous and hitherto unchallenged Aeschylus. This competition ended in an unusual manner, without the usual draw for the referees, and caused the voluntary exile of Aeschylus to 522:, author of fifty works, of which thirty-two are satyr plays. We have little record of these works except their titles. At this time, satyr plays were presented alongside tragedies. Pratinas definitely competed with Aeschylus and worked from 499 BC. 969:

at the end of the 19th century highlighted the contrast between the two main elements of tragedy: firstly, the Dionysian (the passion that overwhelms the character) and the Apollonian (the purely pictorial imagery of the theatrical spectacle).

2737: 585:, a series of three tragedies that tell one long story, and introduced the second actor, making the dramatization of a conflict possible. Trilogies were performed in sequence over a full day, sunrise to sunset. At the end of the last play, a 2286: 691:

The experimentation carried out by Euripides in his tragedies can be observed mainly in three aspects that characterize his theater: he turned the prologue into a monologue informing the spectators of the story's background, introduced the

2708: 1996:. This is a technique in which an action is halted by the appearance of an unforeseen character or through the intervention of a god, that essentially brings about a conclusion to a play. One such example can be seen with Euripides' play, 1142:

The passion of the Greeks for the tragedy was overwhelming: Athens, said the critics, spent more on theatre than on the fleet. When the cost for the shows became a sensitive subject, an admission fee was instated, alongside the so-called

1094:"The possibility that a reflection of Athens is to be seen in Aeschylus’ Persian mirror could explain why the poet asks his audience to look at Salamis through Persian eyes and elicits great sympathy for the Persians, including Xerxes." 752:(στάσιμoν, stasimon), choral interludes explaining or commenting on the situation developing in the play. In the episode, there is usually interaction between characters and the chorus. The tragedy ends with the 892:

Lear promotes as "the most sophisticated view of katharsis", the idea that it "provides an education for the emotions." "Tragedy ... provides us with the appropriate objects towards which to feel pity or fear."

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of drama are the unities of time, place and action. While Aristotle did emphasize the unity of action, the idea of three unities as hard rules of dramatic art appeared only much later, during the Renaissance.

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The poet, who first tried his skill in tragic verse for the paltry prize of a goat, soon after exposed to view wild satyrs naked, and attempted raillery with severity, still preserving the gravity of tragedy.

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The role of the audience in a Greek Tragedy is to become part of that theatrical illusion, to partake in the act as if they were part of it. "The Demos in Greek Tragedy", frequently addresses the works of

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the number of comedies was reduced to three, to be performed once a day, at the end of the tetralogies. It has been argued, the Athenians took this decision due to their financial situation at the time.

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fellow human. In this way, such a technique is essential to the mechanisms of Greek Tragedy and the capabilities of the tragedian in conveying their play as more than just a story or detailed event.

643:. Many innovations were introduced by Sophocles, and earned him at least twenty triumphs. He introduced a third actor, increased the number of chorus members to fifteen; he also introduced 1950:

The author further notes how male based choruses were designated by name based on their "factions within the citizenry" (p. 66). For example, if the chorus were composed of boys from

1169:' works are known (out of about ninety works), both tragedies and satyr plays. Seven of these have survived, including the only complete trilogy which has come down from antiquity, the 1157:

Of the many tragedies known to have been written, just 32 full-length texts by only three authors, Aeschylus, Sophocles and Euripides, survive. More than 300 are known from fragments.

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An article by Thomas Duncan discusses the impact of dramatic technique on the influence of Tragic plays and conveying important or essential outcomes, particularly through the use of

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Aeschylus was at least partially receptive to Sophocles' innovations, but remained faithful to a very strict morality and a very intense religiosity. So, for instance, in Aeschylus,

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character identification, as it depicts a being who is not necessarily acting out of selfish intention but in many ways was willing to be punished for the betterment of Humanity.

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the City Dionysia at Athens. Third, regulations defined how it was to be managed and paid for. It is theoretically possible that all these were simultaneous, but it is not likely.

1114:, who picked three of the richest citizens to pay for the drama's expenses. In the Athenian democracy wealthy citizens were required to fund public services, a practice known as 2269: 1038:, which are used not only by the spectators for entering and leaving the theatre, but also for the entrances and exits of actors and the Chorus. Directly beyond the circular 684:

The peculiarities that distinguish the Euripidean tragedies from those of the other two playwrights are the search for technical experimentation, and increased attention for

1073:, it was performed in 472 BC in Athens, eight years after the battle of Salamis, when the war with Persia was still in progress. It tells the story of the Persian fleet's 2498: 2246: 366:, and the choral songs' dialect, meter and vocabulary seem to originate in choral lyric. How these have come to be associated with one another remains a mystery however. 133:. These tragedians often explored many themes of human nature, mainly as a way of connecting with the audience but also as way of bringing the audience into the play. 324:," and later on, it was extended to other meanings of the same name. She writes: "Tragedy I believe to be not the 'goat-song', but the 'harvest-song' of the cereal 2337: 164:, which is inaccessible to scholars today. His work is therefore invaluable for the study of ancient tragedy, even if his testimony is open to doubt on some points. 2676: 985:

wonderful act of Hellenic 'will,' they seem to pair up and in this pairing, at last, produce Attic Tragedy, which is as much a Dionysian as an Apollonian artwork.

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In ancient Greek culture, says Nietzsche, "there is a conflict between the plastic arts, namely the Apollonian, and non-plastic art of music, the Dionysian."

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Compared to Aeschylus, the chorus became less important in explaining the plot and there was a greater emphasis on character development and conflict. In

1059:. It must be remembered that the skene, since at first it was only a wooden structure, was flexible in its form, and was probably modified frequently. 2089:

The Dionysia was also called Great Dionysia, to distinguish them from rural areas, plays a minor that took place in winter in countries around Athens.

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The performances of the tragedies took place in Athens on the occasion of the Great Dionysia, feasts in honor of Dionysus celebrated in the month of

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These unities were considered key elements of the theatre until a few centuries ago, although they were not always observed (such as by authors like

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Other hypotheses have included an etymology that would define the tragedy as an ode to beer. Jane Ellen Harrison pointed out that Dionysus, god of

919:: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place. 2626: 2399: 297:), which refers to "adolescent voice-change" referring to the original singers as "representative of those undergoing social puberty". 597:, who introduced a third actor, increased plot complexity and developed more human characters, with which the audience could identify. 543:

and including female characters for the first time, Phrynichus also introduced historical content to the genre of tragedy (e.g. in the

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is said to be the inventor of the dithyramb. The dithyramb was originally improvised, but later written down before performance. The

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Further reading section includes extensive references to commentaries and interpretations for all extant ancient Greek tragedies.

748:(πάροδος), after which the story unfolds through three or more episodes (ἐπεισόδια, epeisodia). The episodes are interspersed by 2495: 2243: 2120:

Some scholars equate the two sources, assuming an error of Aristophanes, of 17 instead of 7. Cf. Rossi & Nicolai 2006, p 93.

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Other tragedies avoid references or allusions to 5th century BC events, but "also draw the mythological past into the present."

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where much of the dramatic action of the plays takes place. Flanking the proskenion were two projecting wings, the so-called

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as a "song for the sacrifice of the goat" or "song for the goat", believing the animal was a prize in a race, as attested by

2010:, his step-mother. However, Queen Phaedra commits suicide due to unwanted desire for Hippolytus (instigated by the goddess, 2334: 245: 1019:

A spectator of a Greek dramatic performance in the latter half of the fifth century B.C. would find himself seated in the

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The structure of Greek tragedy is characterized by a set of conventions. The tragedy usually begins with a prologue, (from

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does not mean simply "song of the goats", but the characters that made up the satyr chorus of the first Dionysian rites.

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Hippolytus' demise is brought forth by a god, Aphrodite, whose hatred of Hippolytus' and his unending devotion to

121:. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are 3136: 3195: 2854:

Frendo, Mario (February 2019). "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic".

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As to the reason of the name, many theories have been offered, some even disputing the connection with ‘goat’.

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has been a matter of discussion from ancient times. The primary source of knowledge on the question is the

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Apart from the plays that have survived in their entirety, we also possess a large part of the satyr play

1015:. It took place in a sacred, consecrated space (the altar of the god stood at the center of the theatre). 508:, a writer of the 4th century AD, reports that Thespis invented the prologue as well as the spoken part ( 2381: 1685: 1220: 316:(a drink of the working classes). Athenian beer was obtained from the fermentation of barley, which is 2981: 1009:

Greek tragedy as we understand it today, was not merely a show, but rather a collective ritual of the

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For Sophoclean theatrical inventions, see: Easterling (1989) 43-63; Sinisi & Innamorati (2003) 3.

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but moves them back into the mythological past. In this category Aeschylus’ Persians and Oresteia."

275: 851:, "cleansing") to explain the function of tragedy. He writes: "Tragedy is, therefore, an imitation ( 756:(ἔξοδος), concluding the story. Some plays do not adhere to this conventional structure. Aeschylus' 2458: 1115: 957: 884:

satisfyingly attuned to its contemplation of the rich human significance of a well-plotted play. A

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and that, according to Aristotle, he was the first to win a dramatic contest, and the first actor (

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wrote either 75 or 92 plays, of which survive eighteen tragedies and the only complete surviving

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was staged to revive the spirits of the public, possibly depressed by the events of the tragedy.

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Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of

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The presence of attacks on Zeus casts doubt onto the authorship of Aeschylus's Prometheus Bound.

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and the transformation of pity and fear into essentially pleasurable emotions in the theater".

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and gradually diminished the choir's prominence from the dramatic point of view in favor of a

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Aeschylus was to establish the basic rules of tragic drama. He is credited with inventing the

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as the first person to represent a character in a play. This took place in 534 BC during the

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always has the role of ethical thinking and action. Musically Aeschylus remains tied to the

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presents him as a radical democrat close to Themistocles. Besides introducing dialogues in

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Some discussion exists on the function of satyr plays, however. See: Griffith (2002).

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probability only a single step above the level of the orchestra. This was called the

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brings forth the possibility that dialogic based strategies may have been employed.

518:, author of probably one hundred and sixty tragedies (with thirteen victories), and 205:) competed in the first tragic competition for the prize of a goat (hence tragedy). 160:. Aristotle was able to gather first-hand documentation from theater performance in 3200: 2863: 2801: 2076: 2036: 2029: 1625: 1405: 1365: 1323: 1111: 819:

As already mentioned, Aristotle wrote the first critical study of the tragedy: the

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Nel nome di Dioniso. Il grande teatro classico rivisitato con occhio contemporaneo

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Gregory, for instance, argues that there is "a close relationship between tragic

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of up to 50 men and boys danced and sang in a circle, probably accompanied by an

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Duncan, Thomas Shearer (January 1935). "The Deux ex Machina in Greek Tragedy".

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in Greek. Thus, it is likely that the term was originally meant to be "odes to

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lexicon counted 123. Of all Sophocles's tragedies, only seven remain intact:

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MISERY AND FORGIVENESS IN EURIPIDES: Meaning and Structure in the Hippolytus

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Ley, G. (2015) 'Acting Greek Tragedy' (Exeter: University of Exeter Press).

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of this kind is not reducible to either ‘‘purgation’’ or ‘‘purification.’’

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Character identification can be seen in many of Aeschylus' plays, such as

2002:. In the play, Hippolytus is cursed with an untimely death by his father, 3178: 1865: 1425: 937: 789: 781: 780:

for the parts spoken or recited by individual characters, and a literary

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Storia del teatro: lo spazio scenico dai greci alle avanguardie storiche

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The Cambridge History of Classical Literature Vol. 1 Pt. 2: Greek Drama

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J. Winkler proposed that "tragedy" could be derived from the rare word

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For the character of Euripidean Tragedy, see: Easterling (1989) 64-86.

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factions, for example, is directly relevant to the Athens of 408 BCE.

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Harvey, A. E. (1955) "The Classification of Greek Lyric Poetry" in:

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Storia e forme della letteratura greca. Età arcaica ed età classica

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For Aeschylus' innovation of Tragedy, see: Easterling (1989) 29–42.

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Nothing to Do With Dionysus?: Athenian Drama in Its Social Context

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Aeschylus: Human Identification through Character Representation

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For a detailed study of the metric, see: Brunet (1997) 140–146.

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The spectator sees before him a level circular area called the

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The origin of Greek tragedy is one of the unsolved problems of

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in the 5th century BC, the works of which are sometimes called

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Demos: An Exploration of People and Democracy in Greek Tragedy

688:, as a mechanism to elaborate the unfolding of tragic events. 193:"song", means "song of the goats," referring to the chorus of 2689: 1985: 1916: 1910: 1896: 1890: 1876: 1870: 1856: 1850: 1836: 1830: 1816: 1810: 1796: 1790: 1776: 1770: 1756: 1750: 1736: 1730: 1716: 1710: 1696: 1690: 1676: 1670: 1656: 1650: 1636: 1630: 1616: 1610: 1596: 1590: 1576: 1570: 1556: 1550: 1506: 1496: 1490: 1476: 1470: 1456: 1450: 1436: 1430: 1416: 1410: 1396: 1390: 1376: 1370: 1339:) of uncertain date and considered spurious by some scholars. 1334: 1328: 1312: 1306: 1292: 1286: 1272: 1266: 1252: 1246: 1231: 1225: 1211: 1205: 1191: 1185: 1011: 846: 830: 722: 509: 499: 495: 445: 437: 391: 363: 321: 292: 217: 188: 182: 176: 553:

was in 510 BC. At this time, the organization of plays into

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Easterling (1989) 2; Sinisi & Innamorati (2003) 3. Cf.

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Another novelty of Euripidean drama is represented by the

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and fear produces purification of the passions." Whereas

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According to Aristotle, tragedy evolved from the satyr

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Nietzsche, F. (1962) 'La nascita della tragedia' in:

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Carter, D. M. (2010). "The demos in Greek tragedy*".

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Corso integrato di letteratura greca. L'età classica

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Storia del Teatro drammatico, parte I: Grecia e Roma

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adds to the standard reference to "goat song", that:

19:"Greek Tragedy" redirects here. For other uses, see 952:

Apollonian and Dionysian: the analysis of Nietzsche

799: 269:There are other suggested etymologies for the word 2006:, for the supposed rape and subsequent suicide of 1947:, is criticized for being bad for citizen morale. 713:He uses female protagonists of the plays, such as 448:, relating to some event in the life of Dionysus. 3083:Lear, J. (1992) 'Katharsis' in: A.O. Rorty (ed.) 3040:Break of de la littérature dans la Grèce ancienne 1969:, fragment of an Attic red-figure cup, c. 480 BC. 1149:, a special fund to pay for festival's expenses. 3187: 2451: 2197:(Princeton: Princeton University Press). p. 420. 855:) of a noble and complete action which through 369:Speculating on the problem, Scodel writes that: 2217:(Cambridge, Cambridge University Press). p. 33. 1957: 1356:wrote 130 plays, 17 of which are spurious; the 468:There is .. much to be said for the view that 40:of ancient Greece c. 200 BC – 1 BC, now at the 2312: 2310: 2171:(Princeton: Princeton University Press) p. 60. 2167:Winkler, J.J. & Zeitlin, F. (eds.) (1992) 1127:took place between three plays, chosen by the 560: 3100:Privitera, G.A & Pretagostini, R. (1997) 2114: 2080:, in which Zeus strikes tyrannical attitudes. 533:sings his praises in his plays: for example, 3115: 2756: 2695: 2234: 2232: 2014:) and thus, blames her death on Hippolytus. 2356: 2347: 2307: 2105: 2068: 1091:against the Greeks for waging war on them. 933:sun, while the epic is unlimited in time." 663: 611: 328:, the form of spelt known as 'the goat'." 265:dancing, bringing a sacrificial lamb or kid 105:, and it heavily influenced the theatre of 3025:La tragedia greca: Guida storica e critica 2721: 2675:, Aeschylus wrote ninety plays. See: Suda 2485: 2430: 2421: 2412: 2365: 2220: 2195:Prolegomena to the Study of Greek Religion 1986:Deus Ex Machina: An Intervention Technique 1152: 378: 141: 113:. Tragic plots were most often based upon 90:. It reached its most significant form in 2614: 2440:(Madison: University of Wisconsin Press) 2389: 2256: 2229: 2209: 2207: 2205: 2203: 2083: 2059: 1077:and how the ghost of former Persian King 208: 3087:(Princeton: Princeton University Press). 3049:(Cambridge: Cambridge University Press). 2979: 2943: 2727:Privitera & Pretagostini (2006) 276. 2513: 2511: 2374: 2316:Harvey (1955); Easterling e.a. (1989) 4. 2187: 2143:(Los Angeles: Getty Publications). p. 9. 2092: 1961: 993: 804: 673: 621: 570: 382: 362:—owed much to the political rhetoric of 257: 27: 3158:. Oxford, UK: Oxford University Press. 3134:Sinisi, S. & Innamorati, I. (2003) 3097:L. Scalero (trans.) (Milan: Longanesi). 3052: 2608: 2593: 2578: 2530: 2517:For a discussion of different views on 2476: 2319: 2161: 989: 863:implies an imitation of human affairs, 406:that, in the beginning, tragedy was an 3188: 3156:Greek Tragedy: Suffering Under the Sun 2907: 2853: 2791: 2787: 2785: 2645: 2565: 2200: 2174: 872:, they remain divided on the subject. 514:). Other playwrights of the time were 477: 2975: 2973: 2971: 2969: 2967: 2939: 2937: 2935: 2933: 2931: 2903: 2901: 2899: 2897: 2895: 2893: 2849: 2847: 2845: 2843: 2841: 2839: 2837: 2835: 2833: 2831: 2783: 2781: 2779: 2777: 2775: 2773: 2771: 2769: 2767: 2765: 2730: 2701: 2665: 2508: 2279: 3150: 2133: 1135:consisting of three tragedies and a 896: 117:from the oral traditions of archaic 2671:According to the Byzantine lexicon 2646:Halley, Catherine (15 April 2023). 2575:(New York: Random House). p. 14-17. 2459:"Typical Structure of a Greek Play" 2146: 301:, on the other hand, suggests that 253: 16:Form of theatre from Ancient Greece 13: 3144: 2964: 2928: 2890: 2828: 2762: 2571:Oates, W. & O'Neil, E. (1938) 2438:Euripides and the Tragic Tradition 1067:In the case of Aeschylus' tragedy 788:, the spoken parts mainly use the 436:and later sources, the lyric poet 248:(Smart & Buckley translation). 14: 3212: 3116:Rossi, L.E.; Nicolai, R. (2006). 2584:Sinisi & Innamorati (2003) 3. 2548:Routledge Companion to Aesthetics 2296:(α.3886 Adler); Joannes Diaconus 764:, for example, have no prologue. 2215:An Introduction to Greek Tragedy 2141:The art of ancient Greek theatre 800:Greek tragedy in dramatic theory 70:) is one of the three principal 3002: 2794:The Cambridge Classical Journal 2639: 2553: 2536: 746:(entry of the characters/group) 201:(the root for the English word 3045:Easterling e.a. (eds.) (1989) 1175:, and some papyrus fragments: 456:The Greek word for “actor” is 21:Greek Tragedy (disambiguation) 1: 3085:Essays on Aristotle's Poetics 2944:Nikolsky, Boris (June 2015). 2542:"The Apollonian...belongs to 2127: 784:for the choral odes. For the 3055:A Companion to Greek Tragedy 2353:Easterling e.a. (1989) 3, 5. 1958:Greek Tragedy: A Performance 1917: 1897: 1877: 1857: 1837: 1817: 1797: 1777: 1757: 1737: 1717: 1697: 1677: 1657: 1637: 1617: 1597: 1577: 1557: 1520: 1497: 1477: 1457: 1437: 1417: 1397: 1377: 1343: 1335: 1313: 1293: 1273: 1253: 1232: 1212: 1192: 1160: 728: 331: 136: 66: 7: 3042:(Paris: Le Livre de Poche). 2226:Easterling e.a. (1989) 1-6. 767: 561:Aeschylus: the codification 10: 3217: 2362:Easterling e.a. (1989) 5f. 1257:), 458 BC, consisting of: 955: 847: 831: 823:. He uses the concepts of 808: 667: 615: 564: 549:). His first victory in a 510: 500: 410:"by those who led off the 293: 218: 189: 183: 177: 55: 18: 3140:(Bruno Mondadori: Milan). 2868:10.1017/S0266464X18000581 2806:10.1017/S1750270500000282 2743:24 September 2015 at the 2682:24 September 2015 at the 2298:Commentaria in Hermogenem 2292:24 September 2015 at the 2153:Oxford English Dictionary 1738:Iphighèneia he en Taurois 1350:Aristophanes of Byzantium 336: 276:Oxford English Dictionary 3182:, Methuen & Co. Ltd. 3120:. Grassina: Le Monnier. 3104:(Einaudi Scuola: Milan) 2757:Rossi & Nicolai 2006 2696:Rossi & Nicolai 2006 2573:The Complete Greek Drama 2501:18 February 2021 at the 2405:18 February 2021 at the 2249:18 February 2021 at the 2052: 973:Contrasted with that is 958:Apollonian and Dionysian 702:sung by the characters. 664:The realism of Euripides 612:The reforms of Sophocles 402:Aristotle writes in the 2436:Michelini, A.N. (2006) 2340:27 January 2022 at the 1911: 1891: 1871: 1858:Iphighèneia h en Aulìdi 1851: 1831: 1811: 1791: 1771: 1751: 1731: 1711: 1691: 1671: 1651: 1631: 1618:Ippolytos stephanoforos 1611: 1591: 1571: 1551: 1525:According to the Suda, 1507: 1491: 1471: 1451: 1431: 1411: 1391: 1371: 1329: 1307: 1287: 1267: 1247: 1226: 1206: 1186: 1165:Seventy-nine titles of 1153:The surviving tragedies 525:Another playwright was 464:Also, Easterling says: 379:From dithyramb to drama 214:Alexandrian grammarians 146:The origin of the word 142:Aristotelian hypothesis 2910:Philological Quarterly 2193:Harrison, J.E. (1922) 1970: 1921:) (possibly spurious). 1732:Ἰφιγένεια ἡ ἐν Ταύροις 1612:Ἱππόλυτος στεφανοφόρος 1540:His extant works are: 1123:During the Dionysia a 1104: 1061: 1006: 987: 890: 681: 629: 578: 475: 462: 399: 376: 285: 266: 251: 209:Alexandrian hypothesis 44: 3196:Ancient Greek theatre 2856:New Theatre Quarterly 2714:11 September 2012 at 2272:2 August 2021 at the 1965: 1852:Ἰφιγένεια ἡ ἐν Αὐλίδι 1099: 1017: 997: 982: 881: 805:Mimesis and catharsis 677: 625: 593:especially the young 574: 482:Tradition attributes 466: 454: 398:cup interior, 480 BC. 386: 371: 343:classical scholarship 281: 261: 234: 31: 3065:Griffith, M. (2002) 3059:Blackwell Publishing 3053:Gregory, J. (2005). 2560:The Birth of Tragedy 1945:Seven against Thebes 1806:The Phoenician Women 1498:Oidipous epi Kolōnōi 1201:Seven Against Thebes 990:As a mass phenomenon 962:The Birth of Tragedy 942:Calderón de la Barca 903:Aristotelian unities 835:, "imitation"), and 762:Seven Against Thebes 452:Scodell notes that: 422:to the more prosaic 216:understood the term 78:and Greek inhabited 3078:Classical Quarterly 3071:Classical Antiquity 2632:14 May 2021 at the 2521:, see: Lear (1992). 2180:D'Amico, S. (1960) 1798:Herakles mainomenos 1726:Iphigenia in Tauris 1492:Oἰδίπoυς ἐπὶ Κολωνῷ 1336:Prometheus desmotes 1236:), probably 463 BC; 1000:theatre of Dionysus 967:Friedrich Nietzsche 478:The first tragedies 420:trochaic tetrameter 171:, an Ancient Greek 3038:Brunet, P. (1997) 3012:(Milan: Garzanti) 3008:Albini, U. (1999) 2986:Ancient Literature 2302:Rheinisches Museum 2213:Scodel, R. (2011) 2184:(Milan: Garzanti). 2139:Hart, M.L. (2010) 1971: 1846:Iphigenia in Aulis 1792:Ἡρακλῆς μαινόμενος 1486:Oedipus at Colonus 1330:Προμηθεὺς δεσμώτης 1007: 682: 657:Oedipus at Colonus 630: 579: 546:Capture of Miletus 520:Pratinas of Phlius 400: 267: 45: 3127:978-88-00-20328-9 3027:(Rome: Laterza) 2648:"Pieces and Bits" 2100:Peloponnesian War 1438:Oidipous Tyrannos 1432:Οἰδίπoυς τύραννoς 1075:defeat at Salamis 897:The three unities 438:Arion of Methymna 64: 3208: 3169: 3131: 3062: 2997: 2996: 2994: 2992: 2977: 2962: 2961: 2941: 2926: 2925: 2905: 2888: 2887: 2851: 2826: 2825: 2789: 2760: 2754: 2748: 2734: 2728: 2725: 2719: 2705: 2699: 2698:, p. 27-28. 2693: 2687: 2669: 2663: 2662: 2660: 2658: 2643: 2637: 2624:Life of Pericles 2618: 2612: 2606: 2597: 2591: 2585: 2582: 2576: 2569: 2563: 2557: 2551: 2540: 2534: 2528: 2522: 2515: 2506: 2489: 2483: 2480: 2474: 2473: 2471: 2469: 2463:web.eecs.utk.edu 2455: 2449: 2434: 2428: 2425: 2419: 2416: 2410: 2393: 2387: 2378: 2372: 2369: 2363: 2360: 2354: 2351: 2345: 2323: 2317: 2314: 2305: 2283: 2277: 2260: 2254: 2236: 2227: 2224: 2218: 2211: 2198: 2191: 2185: 2178: 2172: 2165: 2159: 2150: 2144: 2137: 2121: 2118: 2112: 2109: 2103: 2096: 2090: 2087: 2081: 2077:Prometheus Bound 2074:An exception is 2072: 2066: 2063: 2040:. In this play, 2037:Prometheus Bound 1920: 1914: 1900: 1894: 1880: 1874: 1860: 1854: 1840: 1834: 1820: 1814: 1800: 1794: 1780: 1774: 1760: 1754: 1740: 1734: 1720: 1714: 1700: 1694: 1680: 1674: 1661:), date unknown; 1660: 1654: 1640: 1634: 1626:The Trojan Women 1620: 1614: 1600: 1594: 1580: 1574: 1560: 1554: 1510: 1500: 1494: 1480: 1474: 1461:), date unknown; 1460: 1454: 1441:) around 430 BC; 1440: 1434: 1421:), date unknown; 1420: 1414: 1406:Women of Trachis 1400: 1394: 1381:) around 445 BC; 1380: 1374: 1338: 1332: 1324:Prometheus Bound 1316: 1310: 1296: 1290: 1276: 1270: 1256: 1250: 1235: 1229: 1215: 1213:Hepta epi Thebas 1209: 1195: 1189: 1129:archon eponymous 1112:eponymous archon 1081:accuses his son 850: 849: 834: 833: 513: 512: 503: 502: 358:, its meter—the 296: 295: 254:Other hypotheses 249: 221: 220: 192: 191: 186: 185: 180: 179: 69: 59: 57: 3216: 3215: 3211: 3210: 3209: 3207: 3206: 3205: 3186: 3185: 3174:Gilbert Norwood 3166: 3147: 3145:Further reading 3128: 3005: 3000: 2990: 2988: 2978: 2965: 2958: 2942: 2929: 2906: 2891: 2852: 2829: 2790: 2763: 2755: 2751: 2747:(ε.3695 Adler). 2745:Wayback Machine 2735: 2731: 2726: 2722: 2706: 2702: 2694: 2690: 2686:(αι.357 Adler). 2684:Wayback Machine 2670: 2666: 2656: 2654: 2644: 2640: 2634:Wayback Machine 2619: 2615: 2607: 2600: 2592: 2588: 2583: 2579: 2570: 2566: 2558: 2554: 2541: 2537: 2529: 2525: 2516: 2509: 2503:Wayback Machine 2490: 2486: 2481: 2477: 2467: 2465: 2457: 2456: 2452: 2435: 2431: 2426: 2422: 2417: 2413: 2407:Wayback Machine 2394: 2390: 2380:Italica.rai.it 2379: 2375: 2370: 2366: 2361: 2357: 2352: 2348: 2342:Wayback Machine 2324: 2320: 2315: 2308: 2294:Wayback Machine 2284: 2280: 2274:Wayback Machine 2261: 2257: 2251:Wayback Machine 2237: 2230: 2225: 2221: 2212: 2201: 2192: 2188: 2179: 2175: 2166: 2162: 2151: 2147: 2138: 2134: 2130: 2125: 2124: 2119: 2115: 2110: 2106: 2097: 2093: 2088: 2084: 2073: 2069: 2064: 2060: 2055: 2032: 1993:Deus Ex Machina 1988: 1960: 1928: 1821:) circa 408 BC; 1523: 1346: 1163: 1155: 992: 964: 956:Main articles: 954: 911:Unity of action 899: 817: 809:Main articles: 807: 802: 794:iambic trimeter 770: 731: 695:deus ex machina 672: 666: 647:and the use of 620: 614: 569: 563: 541:iambic trimeter 490:established by 480: 424:iambic trimeter 381: 360:iambic trimeter 339: 334: 256: 250: 240: 211: 181:, derived from 144: 139: 38:Myrina (Aeolis) 24: 17: 12: 11: 5: 3214: 3204: 3203: 3198: 3184: 3183: 3171: 3165:978-0199232512 3164: 3146: 3143: 3142: 3141: 3132: 3126: 3113: 3098: 3091: 3088: 3081: 3074: 3063: 3050: 3043: 3036: 3021: 3004: 3001: 2999: 2998: 2980:ancientadmin. 2963: 2956: 2927: 2889: 2827: 2761: 2759:, p. 184. 2749: 2729: 2720: 2718:(σ.815 Adler). 2700: 2688: 2664: 2638: 2613: 2598: 2586: 2577: 2564: 2552: 2535: 2533:, p. 405. 2523: 2507: 2484: 2475: 2450: 2429: 2420: 2411: 2388: 2373: 2364: 2355: 2346: 2318: 2306: 2304:63 (1908) 150. 2278: 2255: 2228: 2219: 2199: 2186: 2173: 2160: 2145: 2131: 2129: 2126: 2123: 2122: 2113: 2104: 2091: 2082: 2067: 2057: 2056: 2054: 2051: 2031: 2028: 1987: 1984: 1959: 1956: 1927: 1924: 1923: 1922: 1902: 1882: 1862: 1842: 1822: 1802: 1782: 1762: 1742: 1722: 1702: 1682: 1662: 1642: 1622: 1602: 1582: 1562: 1522: 1519: 1503: 1502: 1482: 1462: 1442: 1422: 1402: 1382: 1345: 1342: 1341: 1340: 1320: 1319: 1318: 1298: 1278: 1237: 1217: 1207:Ἑπτὰ ἐπὶ Θήβας 1197: 1162: 1159: 1154: 1151: 991: 988: 953: 950: 927: 926: 920: 917:Unity of place 914: 898: 895: 806: 803: 801: 798: 774:Greek dialects 769: 766: 730: 727: 668:Main article: 665: 662: 616:Main article: 613: 610: 565:Main article: 562: 559: 479: 476: 390:surrounded by 380: 377: 338: 335: 333: 330: 255: 252: 238: 210: 207: 143: 140: 138: 135: 76:Ancient Greece 15: 9: 6: 4: 3: 2: 3213: 3202: 3199: 3197: 3194: 3193: 3191: 3181: 3180: 3179:Greek tragedy 3175: 3172: 3167: 3161: 3157: 3153: 3149: 3148: 3139: 3138: 3133: 3129: 3123: 3119: 3114: 3111: 3110:88-286-0352-6 3107: 3103: 3099: 3096: 3092: 3089: 3086: 3082: 3079: 3075: 3072: 3068: 3064: 3060: 3056: 3051: 3048: 3044: 3041: 3037: 3034: 3033:88-420-3206-9 3030: 3026: 3022: 3019: 3018:88-11-67420-4 3015: 3011: 3007: 3006: 2987: 2983: 2976: 2974: 2972: 2970: 2968: 2959: 2957:9781910589076 2953: 2949: 2948: 2940: 2938: 2936: 2934: 2932: 2923: 2919: 2915: 2911: 2904: 2902: 2900: 2898: 2896: 2894: 2885: 2881: 2877: 2873: 2869: 2865: 2861: 2857: 2850: 2848: 2846: 2844: 2842: 2840: 2838: 2836: 2834: 2832: 2823: 2819: 2815: 2811: 2807: 2803: 2799: 2795: 2788: 2786: 2784: 2782: 2780: 2778: 2776: 2774: 2772: 2770: 2768: 2766: 2758: 2753: 2746: 2742: 2739: 2733: 2724: 2717: 2716:archive.today 2713: 2710: 2704: 2697: 2692: 2685: 2681: 2678: 2674: 2668: 2653: 2649: 2642: 2635: 2631: 2628: 2625: 2622: 2617: 2610: 2605: 2603: 2595: 2590: 2581: 2574: 2568: 2561: 2556: 2549: 2545: 2539: 2532: 2527: 2520: 2514: 2512: 2504: 2500: 2497: 2494: 2488: 2479: 2464: 2460: 2454: 2447: 2443: 2439: 2433: 2424: 2415: 2408: 2404: 2401: 2398: 2397:Life of Cimon 2392: 2385: 2384: 2377: 2368: 2359: 2350: 2343: 2339: 2336: 2333: 2332: 2328: 2322: 2313: 2311: 2303: 2299: 2295: 2291: 2288: 2282: 2275: 2271: 2268: 2265: 2259: 2252: 2248: 2245: 2241: 2235: 2233: 2223: 2216: 2210: 2208: 2206: 2204: 2196: 2190: 2183: 2177: 2170: 2164: 2158: 2154: 2149: 2142: 2136: 2132: 2117: 2108: 2101: 2095: 2086: 2079: 2078: 2071: 2062: 2058: 2050: 2047: 2043: 2039: 2038: 2027: 2023: 2020: 2015: 2013: 2009: 2008:Queen Phaedra 2005: 2001: 2000: 1995: 1994: 1983: 1979: 1975: 1968: 1964: 1955: 1953: 1948: 1946: 1942: 1936: 1934: 1919: 1913: 1908: 1907: 1903: 1899: 1893: 1888: 1887: 1883: 1879: 1873: 1868: 1867: 1863: 1859: 1853: 1848: 1847: 1843: 1839: 1833: 1828: 1827: 1823: 1819: 1813: 1808: 1807: 1803: 1799: 1793: 1788: 1787: 1783: 1779: 1773: 1768: 1767: 1763: 1759: 1753: 1748: 1747: 1743: 1739: 1733: 1728: 1727: 1723: 1719: 1713: 1708: 1707: 1703: 1699: 1693: 1688: 1687: 1683: 1679: 1673: 1668: 1667: 1663: 1659: 1653: 1648: 1647: 1643: 1639: 1633: 1628: 1627: 1623: 1619: 1613: 1608: 1607: 1603: 1601:), c. 430 BC; 1599: 1593: 1588: 1587: 1583: 1579: 1573: 1568: 1567: 1563: 1559: 1553: 1548: 1547: 1543: 1542: 1541: 1538: 1536: 1532: 1528: 1518: 1516: 1515: 1509: 1499: 1493: 1488: 1487: 1483: 1479: 1473: 1468: 1467: 1463: 1459: 1453: 1448: 1447: 1443: 1439: 1433: 1428: 1427: 1423: 1419: 1413: 1408: 1407: 1403: 1399: 1393: 1388: 1387: 1383: 1379: 1373: 1368: 1367: 1363: 1362: 1361: 1359: 1355: 1351: 1348:According to 1337: 1331: 1326: 1325: 1321: 1315: 1309: 1304: 1303: 1299: 1295: 1289: 1284: 1283: 1279: 1275: 1269: 1264: 1263: 1259: 1258: 1255: 1249: 1244: 1243: 1238: 1234: 1228: 1223: 1222: 1218: 1214: 1208: 1203: 1202: 1198: 1194: 1188: 1183: 1182: 1178: 1177: 1176: 1174: 1173: 1168: 1158: 1150: 1148: 1147: 1140: 1138: 1134: 1130: 1126: 1121: 1119: 1118: 1113: 1109: 1103: 1098: 1095: 1092: 1090: 1089: 1084: 1080: 1076: 1072: 1071: 1065: 1060: 1058: 1054: 1050: 1045: 1041: 1037: 1033: 1028: 1026: 1022: 1016: 1014: 1013: 1005: 1001: 996: 986: 981: 978: 976: 971: 968: 963: 959: 949: 947: 943: 939: 934: 931: 924: 923:Unity of time 921: 918: 915: 912: 909: 908: 907: 904: 894: 889: 887: 880: 878: 873: 871: 866: 862: 858: 854: 844: 840: 839: 828: 827: 822: 816: 812: 797: 795: 791: 787: 783: 782:Doric dialect 779: 778:Attic dialect 776:used are the 775: 765: 763: 759: 755: 751: 747: 745: 740: 736: 726: 724: 720: 716: 711: 708: 703: 701: 697: 696: 689: 687: 680: 676: 671: 661: 659: 658: 652: 650: 646: 642: 638: 637:Life of Cimon 634: 628: 624: 619: 609: 607: 603: 598: 596: 590: 588: 584: 577: 573: 568: 558: 556: 552: 548: 547: 542: 538: 537: 532: 528: 523: 521: 517: 507: 497: 493: 489: 485: 474: 471: 465: 461: 459: 453: 449: 447: 443: 439: 435: 434: 429: 425: 421: 417: 413: 409: 408:improvisation 405: 397: 393: 389: 385: 375: 370: 367: 365: 361: 357: 353: 348: 344: 329: 327: 323: 319: 315: 311: 306: 304: 300: 290: 284: 280: 278: 277: 272: 264: 260: 247: 244: 237: 233: 231: 230: 225: 215: 206: 204: 200: 196: 174: 170: 165: 163: 159: 155: 154: 149: 134: 132: 128: 124: 120: 116: 112: 108: 104: 99: 97: 96:Attic tragedy 93: 89: 85: 82:, along with 81: 77: 73: 68: 62: 53: 52:Ancient Greek 49: 48:Greek tragedy 43: 39: 35: 30: 26: 22: 3177: 3155: 3135: 3117: 3101: 3095:Opere scelte 3094: 3084: 3077: 3073:21: 195–258. 3070: 3054: 3046: 3039: 3024: 3009: 3003:Bibliography 2989:. Retrieved 2985: 2946: 2913: 2909: 2862:(1): 19–32. 2859: 2855: 2797: 2793: 2752: 2732: 2723: 2703: 2691: 2667: 2655:. Retrieved 2651: 2641: 2623: 2616: 2611:, p. 8. 2609:Gregory 2005 2596:, p. 5. 2594:Gregory 2005 2589: 2580: 2572: 2567: 2559: 2555: 2547: 2544:Schopenhauer 2538: 2531:Gregory 2005 2526: 2518: 2492: 2487: 2478: 2468:23 September 2466:. Retrieved 2462: 2453: 2437: 2432: 2423: 2414: 2396: 2391: 2382: 2376: 2367: 2358: 2349: 2329: 2321: 2301: 2300:ed. H. Rabe 2297: 2281: 2263: 2258: 2239: 2222: 2214: 2194: 2189: 2181: 2176: 2168: 2163: 2156: 2155:, entry for 2152: 2148: 2140: 2135: 2116: 2107: 2094: 2085: 2075: 2070: 2061: 2035: 2033: 2024: 2016: 1997: 1991: 1989: 1980: 1976: 1972: 1949: 1944: 1937: 1929: 1904: 1884: 1864: 1844: 1824: 1804: 1784: 1764: 1744: 1724: 1704: 1684: 1664: 1644: 1624: 1604: 1584: 1564: 1544: 1539: 1534: 1524: 1512: 1504: 1484: 1464: 1444: 1424: 1404: 1384: 1364: 1347: 1322: 1300: 1280: 1260: 1240: 1219: 1199: 1181:The Persians 1179: 1170: 1164: 1156: 1144: 1141: 1128: 1122: 1116: 1108:Elaphebolion 1105: 1100: 1096: 1093: 1086: 1070:The Persians 1068: 1066: 1062: 1056: 1052: 1048: 1043: 1039: 1035: 1031: 1029: 1024: 1020: 1018: 1010: 1008: 983: 979: 974: 972: 965: 935: 928: 922: 916: 910: 900: 891: 885: 882: 876: 874: 869: 864: 860: 852: 842: 836: 824: 820: 818: 771: 761: 758:The Persians 757: 753: 742: 738: 734: 732: 712: 704: 693: 690: 683: 655: 653: 636: 631: 605: 599: 591: 580: 544: 534: 531:Aristophanes 524: 492:Peisistratus 481: 469: 467: 463: 457: 455: 450: 442:Greek chorus 431: 403: 401: 372: 368: 356:lyric poetry 340: 325: 317: 307: 302: 288: 286: 282: 274: 270: 268: 242: 235: 227: 212: 202: 166: 151: 147: 145: 107:Ancient Rome 100: 95: 74:genres from 47: 46: 25: 3152:Hall, Edith 3023:Beye, C.R. 2991:17 November 2738:"Euripides" 2709:"Sophocles" 2677:"Aeschylus" 2652:JSTOR Daily 2496:1449b 24-28 2331:Ars Poetica 2238:Aristotle, 2098:During the 1866:The Bacchae 1598:Herakleìdai 1586:Heracleidae 1478:Philoktētēs 1466:Philoctetes 1426:Oedipus Rex 1239:The trilogy 938:Shakespeare 473:the chorus. 396:red-figured 347:Ruth Scodel 243:Ars Poetica 229:Ars Poetica 187:"goat" and 111:Renaissance 3190:Categories 3057:. Oxford: 2922:1290993493 2491:Aristotle 2446:0299107647 2262:Herodotus 2128:References 2042:Prometheus 1999:Hippolytus 1901:) (satyr); 1881:), 406 BC; 1861:), 410 BC; 1841:), 408 BC; 1818:Phoinissai 1781:), 412 BC; 1701:), 414 BC; 1686:Suppliants 1681:), 423 BC; 1658:Andromache 1646:Andromache 1641:), 415 BC; 1621:), 428 BC; 1606:Hippolytus 1592:Ἡρακλεῖδαι 1581:), 431 BC; 1561:), 438 BC; 1531:satyr play 1501:), 406 BC. 1481:), 409 BC; 1472:Φιλοκτήτης 1418:Trachiniai 1401:), 442 BC; 1294:Choephοroi 1282:Choephoroi 1221:Suppliants 1216:), 467 BC; 1196:), 472 BC; 1137:satyr play 1057:paraskenia 1049:proskenion 901:The three 857:compassion 715:Andromache 587:satyr play 527:Phrynichus 506:Themistius 470:hypokrites 458:hypocrites 416:satyr play 88:satyr play 72:theatrical 2884:191998802 2876:0266-464X 2822:170211365 2814:2047-993X 2800:: 47–94. 2519:katharsis 2395:Plutarch 2383:Aeschylus 2264:Histories 2012:Aphrodite 1941:Aeschylus 1933:Euripides 1812:Φοινίσσαι 1698:Hiketides 1652:Ἀνδρομάχη 1527:Euripides 1521:Euripides 1412:Tραχίνιαι 1354:Sophocles 1344:Sophocles 1314:Eumenides 1308:Εὐμενίδες 1274:Agamemnon 1268:Ἀγαμέμνων 1262:Agamemnon 1233:Hiketides 1167:Aeschylus 1161:Aeschylus 1146:theorikon 1133:tetralogy 1042:lies the 1040:orchestra 1032:orchestra 930:Aristotle 886:katharsis 877:katharsis 865:catharsis 843:katharsis 838:catharsis 815:Catharsis 729:Structure 679:Euripides 670:Euripides 635:, in the 627:Sophocles 618:Sophocles 595:Sophocles 576:Aeschylus 567:Aeschylus 555:trilogies 536:The Wasps 516:Choerilus 501:ὑποκριτής 433:Histories 428:Herodotus 412:dithyramb 332:Evolution 303:tragoidía 294:τραγίζειν 289:tragizein 169:dithyramb 158:Aristotle 137:Etymology 131:Euripides 127:Sophocles 123:Aeschylus 67:tragōidía 61:romanized 36:found at 3176:(1920), 3154:(2010). 2918:ProQuest 2741:Archived 2712:Archived 2680:Archived 2630:Archived 2621:Plutarch 2499:Archived 2403:Archived 2338:Archived 2290:Archived 2270:Archived 2247:Archived 1786:Heracles 1692:Ἱκέτιδες 1558:Alkestis 1552:Ἄλκηστις 1546:Alcestis 1514:Trackers 1508:Ἰχνευταί 1398:Antigone 1392:Ἀντιγόνη 1386:Antigone 1288:Χοηφόροι 1254:Oresteia 1248:Ὀρέστεια 1242:Oresteia 1227:Ἱκέτιδες 1172:Oresteia 1021:theatron 848:κάθαρσις 768:Language 686:feelings 633:Plutarch 488:Dionysia 394:. Attic 388:Dionysus 241:Horace, 239:— 219:τραγῳδία 203:thespian 178:τραγῳδία 109:and the 103:Dionysus 86:and the 80:Anatolia 56:τραγῳδία 34:Dionysus 32:Mask of 3201:Tragedy 2493:Poetics 2287:"Arion" 2240:Poetics 2157:tragedy 2019:Artemis 2004:Theseus 1898:Kuklops 1886:Cyclops 1878:Bakchai 1838:Orestes 1832:Ὀρέστης 1826:Orestes 1758:Elektra 1752:Ἠλέκτρα 1746:Electra 1638:Troades 1632:Τρώαδες 1535:Cyclops 1458:Elektra 1452:Ἠλέκτρα 1446:Electra 1125:contest 1117:liturgy 1053:logeion 1036:parodoi 975:nemesis 946:Moliere 870:Poetics 861:mimēsis 853:mimēsis 832:μίμησις 826:mimesis 821:Poetics 811:Mimesis 750:stasima 744:parodos 719:Phaedra 707:realism 645:scenery 583:trilogy 557:began. 551:contest 484:Thespis 404:Poetics 299:D'Amico 271:tragedy 263:Maenads 199:Thespis 153:Poetics 148:tragedy 63:: 3162: 3124: 3108: 3031: 3016: 2954: 2920: 2916:: 16. 2882: 2874: 2820: 2812: 2444: 2327:Horace 1967:Maenad 1952:Argive 1906:Rhesus 1892:Κύκλωψ 1872:Βάκχαι 1778:Helene 1678:Hekabe 1666:Hecuba 1578:Medeia 1572:Μήδεια 1533:, the 1302:Furies 1193:Persai 1187:Πέρσαι 1088:hubris 1083:Xerxes 1079:Darius 1025:koilon 1004:Athens 790:iambic 754:exodus 700:monody 649:scenes 641:Sicily 496:Satyrs 392:satyrs 337:Origin 326:tragos 318:tragos 273:. The 224:Horace 195:satyrs 184:τράγος 162:Attica 129:, and 92:Athens 84:comedy 42:Louvre 2880:S2CID 2818:S2CID 2736:Suda 2707:Suda 2657:8 May 2562:, § 1 2335:275ff 2285:Suda 2244:1449a 2053:Notes 1918:Resos 1912:Ῥῆσος 1772:Ἑλένη 1766:Helen 1672:Ἑκάβη 1566:Medea 1044:skene 1023:, or 1012:polis 786:metre 739:logos 723:Medea 606:nomoi 511:ῥῆσις 446:aulos 426:. In 364:Solon 322:spelt 119:epics 115:myths 3160:ISBN 3122:ISBN 3106:ISBN 3069:in: 3029:ISBN 3014:ISBN 2993:2019 2952:ISBN 2872:ISSN 2810:ISSN 2673:Suda 2659:2023 2470:2021 2442:ISBN 2400:8.7f 2267:I.23 2046:Zeus 1378:Aias 1372:Αἴας 1366:Ajax 1358:Suda 998:The 960:and 944:and 813:and 772:The 760:and 721:and 602:Zeus 354:and 352:epic 314:beer 310:wine 173:hymn 2864:doi 2802:doi 2627:9.1 1718:Ion 1712:Ἴων 1706:Ion 1511:or 1085:of 1051:or 1002:in 948:). 841:or 737:and 735:pro 430:'s 246:220 226:'s 190:ᾠδή 156:of 3192:: 3080:5. 2984:. 2966:^ 2950:. 2930:^ 2914:14 2912:. 2892:^ 2878:. 2870:. 2860:35 2858:. 2830:^ 2816:. 2808:. 2798:56 2796:. 2764:^ 2650:. 2601:^ 2510:^ 2461:. 2309:^ 2242:, 2231:^ 2202:^ 1943:' 1915:/ 1895:/ 1875:/ 1855:/ 1815:/ 1801:); 1795:/ 1775:/ 1761:); 1755:/ 1741:); 1735:/ 1721:); 1715:/ 1695:/ 1675:/ 1635:/ 1615:/ 1595:/ 1575:/ 1555:/ 1537:. 1495:/ 1475:/ 1455:/ 1435:/ 1415:/ 1395:/ 1375:/ 1352:, 1333:/ 1317:); 1311:/ 1297:); 1291:/ 1277:); 1271:/ 1251:/ 1230:/ 1210:/ 1190:/ 1120:. 940:, 717:, 651:. 529:. 345:. 232:: 125:, 98:. 58:, 54:: 3168:. 3130:. 3112:. 3061:. 3035:. 3020:. 2995:. 2960:. 2924:. 2886:. 2866:: 2824:. 2804:: 2661:. 2636:. 2505:. 2472:. 2448:. 2409:. 2386:. 2344:. 2276:. 2253:. 1909:( 1889:( 1869:( 1849:( 1835:/ 1829:( 1809:( 1789:( 1769:( 1749:( 1729:( 1709:( 1689:( 1669:( 1655:/ 1649:( 1629:( 1609:( 1589:( 1569:( 1549:( 1489:( 1469:( 1449:( 1429:( 1409:( 1389:( 1369:( 1327:( 1305:( 1285:( 1265:( 1245:( 1224:( 1204:( 1184:( 845:( 829:( 792:( 291:( 50:( 23:.

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