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Article

Isabelle Torrance

Euripides was a key figure in the development of ancient drama, and the continuing impact of his work on modern forms of theatre cannot be underestimated. His tragedies were dramaturgically innovative and intellectually challenging. Divine epiphanies, emotionally charged debate scenes, and novel musical performances are all typical in Euripides. Several of his plays exploit the sort of disaster-averted scenario that was one of Aristotle’s favourite plot types and that flourished in operatic adaptations of classical myths. Pointed theological and philosophical questions are raised by characters in Euripides’ plays, and this radical aspect of Euripidean drama explains both why he was a target for contemporary comedians, notably Aristophanes, and why he was dismissed by Nietzsche and others in the nineteenth century. The past century, however, has seen a renewed and reinvigorated appreciation for Euripides, whose dramas have provided a valuable medium not only for artistic expression and experimentation but also for engaging with pressing contemporary social and political issues such as racial discrimination, warfare, postcolonialism, gender fluidity, and PTSD.

Article

Anna Tiziana Drago

The collection of fifty fictitious love letters (epistulae amatoriae) subdivided into two books contained in a single Greek manuscript (codex unicus) copied in the south of Italy around 1200 ce and now housed in Vienna (V = Cod. Vindobonensis phil. Graec. 310) has had a curious history. This manuscript identifies its epistolographer as a certain Aristaenetus, but in fact the author’s name is as uncertain as his birthplace and the dates of his career. The corpus might have been composed between the end of the 5th and the beginning of the 6th centuries ce, and its author could be an epistolographer belonging to the literary humanist circles formed in the imperial atmosphere of Constantinople under Justinian I (including Procopius, Agathias, and Paulus Silentiarius). The letters are written from a variety of senders to diverse addressees, including historical or literary figures (often professional epistolographers: Alciphron, Aelian, Philostratus, but also Lucian, Stesichorus, Eratosthenes, Archilochus, and Terpander). Aristaenetus’ epistolary collection has a dominant thematic nucleus: the description, conquest, and defence of love. This thematic nucleus gathers around itself conventional amatory topics: the flame of love; love at first sight; servitium amoris (“love slavery”); love-sickness; the erōtodidaskalos (teacher of love); the paraclausithyron (lover’s lament by a locked door).