By Anna A. Lamari
This publication applies the fundamental rules of narratology to an historic Greek tragedy, particularly Euripides´ Phoenissae. In a play with an extremely wealthy plot, a narratological learn yields fascinating interpretive effects in regards to the use of fantasy, narrators, narrative degrees, time and house, in addition to the relation of the Phoenissae with earlier 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)
10); καλοῦσι δ’ Ἰοκάστην με (12); τί τἀκτὸς τῶν κακῶν με δεῖ λέγειν; (43); ζῶν δ’ ἔστ’ ἐν οἴκοις (66); Ζεῦ, σῶισον ἡμᾶς, δὸς δὲ σύμβασιν τέκνοις (85). ’ (τί τἀκτὸς τῶν κακῶν με δεῖ λέγειν;), and thus avoids a detailed description of the event, which she then narrates in just two sentences ‘the son killed the father, took his chariot, and gave it to Polybus his foster father’ (44-45). e. a purely past narrative. Her words reveal somebody who does not just know what is relevant or irrelevant to the disaster, but also somebody who has the authority to omit the irrelevant issues (τἀκτὸς τῶν κακῶν).
Euripides aspires to create a Theban panorama, in which an abundance of mythical information is at the audience’s disposal. Admirably, his abundant presentation of the myth is delivered so dexterously that it can cater to all different tastes of the audience. Being well aware of previous literary treatments of the Theban myth, Euripides is both repetitive and innovative, endorsing or rejecting preceding variations. In this way he manages to create a narrative that informs those who are not familiar with all the details of the story of the Theban royal family, while he can still keep the suspense for those who are mythical experts.
190 Cf. Arist. Rh. 1394a21, ἔστι δὴ γνώμη ἀπόφανσις, οὐ μέντοι οὔτε περὶ τῶν καθ᾽ ἕκαστον, οἷον ποῖός τις Ἰφικράτης, ἀλλὰ καθόλου, οὔτε περὶ πάντων, οἷον ὅτι τὸ εὐθὺ τῶι καμπύλωι ἐναντίον, ἀλλὰ περὶ ὅσων αἱ πράξεις εἰσί, καὶ <ἃ> αἱρετὰ ἢ φευκτά ἐστι πρὸς τὸ πράττειν. 191 Following the dramatic economy, each action coming from an actor must derive from specific dramatic necessities and must lead to specific dramatic results. On the contrary, the Chorus do not have to follow dramatic necessities so strictly.
Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes, Volume 6) by Anna A. Lamari