By Donald J. Mastronarde
During this publication Professor Mastronarde attracts at the seventeen surviving tragedies of Euripides, in addition to the fragmentary is still of his misplaced performs, to discover key subject matters within the interpretation of the performs. It investigates their relation to the Greek poetic culture and to the social and political buildings in their unique surroundings, aiming either to be conscious of the nice number of the corpus and to spot commonalities throughout it. In reading such issues as style, structural options, the refrain, the gods, rhetoric, and the portrayal of ladies and males, this research highlights the ways that viewers responses are manipulated by using plot buildings and the multiplicity of viewpoints expressed. It argues that the dramas of Euripides, via their dramatic procedure, pose a robust problem to basic formulations of norms, to the examining of constant human personality, and to the search for walk in the park and closure.
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62 It is essential to consider again the background of the poetic tradition as well as to take account of the controversies over education in the last third of the fifth century. 63 He delineates three senses. First, poets are wise because they display and reformulate the inherited “wisdom” and values of their culture, expressed more openly in traditional maxims (gnōmai) and more indirectly in stories (muthoi). Second, poets are wise because they learn and carry a mass of (supposedly) factual knowledge, such as the names of peoples and places, genealogies and aetiologies.
As the funeral procession leaves the palace, Admetus’ father, Pheres, arrives to pay his respects to the dead woman, but an acrimonious argument ensues between father and son. While the chorus and the funeral party are away, a servant emerges to complain of Heracles’ drunken celebration within the guestchambers; Heracles himself emerges, criticizing the servant’s gloomy demeanor, but is then informed of the true state of affairs and resolves to win Alcestis back from death. Admetus returns with the mourning chorus and recognizes that accepting the substitution of Alcestis has left him in a shameful position.
Now he has been married for a while to Hermione from Sparta, daughter of Menelaus and Helen, who has not yet borne a child. In the prologue, Andromache explains that she is a suppliant because, during a temporary absence of Neoptolemus to visit Delphi, Hermione has summoned Menelaus to help her kill Andromache and her son. A servant woman who had been a slave in Hector’s house at Troy agrees to carry a 78 Commentaries: Stevens 1971, Lloyd 1994; select studies: Burnett 1971: 130–56, McClure 1999: 158–204, Allan 2000, Hesk 2000: 64–84.