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By Andreas Markantonatos, Bernhard Zimmermann

This quantity explores the relationships among masterworks of Sophocles, Euripides and Aristophanes and important occasions of Athenian historical past, through bringing jointly foreign students with services on assorted points of old theatre. It increases questions about how tragic and comedian performs composed in past due 5th century reflect the extreme political and social main issue unfolding in Athens within the wake of the army disaster in 413 BCE and the oligarchic revolution in 411 BCE. it truly is of specific curiosity to professional classical students in addition to to these drawn to Greek drama and Athenian historical past.

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1 (cf. om as a major part of t¹ eqgh]r, simplicity of mind or good character48 – surely not tied to any one class – and laments its obliteration by the cruelties of the Peloponnesian War. or in its extended sense, then, is to resemble the ideal aristocrat: as Philoctetes says, a man who shuns what is shameful and honours what is good (Ph. 475), and one who is enduring,49 honest, courageous, and self-sufficient. In the Philoctetes, the word bridges both its aristocratically oriented and its more inclusive senses.

The quality is visible to those who do not view the disadvantaged in a purely instrumental manner, and those who have it can see through others’ material 50 Cf. Avery 1965, 285; Bowie 1997, 60. The fatherhood/v}sir theme shapes Odysseus’ portrayal also: at 625 (cf. 633), he is claimed to resemble his father, the cheating Sisyphus, not Laertes (cf. 1310 and 384). 51 Torrance 1965, 284 – 288. 52 Moreover, and crucially in these tragedies, it is often a somewhat paradoxical designation, because it can be ascribed as often to those such as Oedipus who, though once prosperous, are now despised, as much as it is to the ‘winners’ in society like Theseus and Neoptolemus.

Wiles 1997, 207 – 211, 114 – 115 takes a less isolationist view. ’ 18 Pl. R. 492a, Lg. 700c-701a; D. 33; Csapo/Slater 1995, 290 – 305. 19 Plu. Pel. 4 – 6; cf. Isoc. 168. I have argued this at greater length in Mills 2010. 20 Sourvinou-Inwood 1989, 136. 21 Cf. Oatley 1994, 66. 22 A play can contain different degrees of ‘truth’ at different times and such truths may be different for different members of the audience. For example, most veterans in the audience would probably have disputed Medea’s claim that childbirth is worse than fighting (E.

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