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This work challenges recent critical assessments that emphasize the allegedly subversive elements in Euripides' play. The Orestes is found to present a curious mélange of early and late Euripidean features, resulting in a drama where the tragic potential of Orestes' predicament becomes lost amid the moral, political and situational chaos that dominates the late Euripidean stage. Throughout, emphasis is placed on reading the Orestes in light of Greek stage conventions and the poet's own practice. Of particular interest are: an original examination, in light of Greek rhetorical practice, of Orestes' agon with Tyndareus; an analysis of the Phrygian's monody as a cunning hybrid of Timothean nome and traditional messenger speech; and a re-evaluation of the play's troubling deus ex machina.

Euripides --- Orestes (Greek mythology) --- Greek drama --- Oreste (Mythologie grecque) --- Théâtre grec --- Drama --- History and criticism --- Théâtre --- Histoire et critique --- Euripides. --- Orestes (Greek mythology) in literature. --- Orestes (Greek mythology) in literature --- Euripide --- Théâtre grec --- Théâtre --- Orestes, --- Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Authors --- Authorship --- Orest, --- Orestas, --- Oreste, --- Oresti, --- Oresto, --- Oresztész, --- Orestes (Euripides) --- Euripidis Orestes (Euripides) --- Philology

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Richard Wagner's knowledge of and passion for Greek drama was so profound that for Friedrich Nietzsche, Wagner was Aeschylus come alive again. Surprisingly little has been written about the pervasive influence of classical Greece on the quintessentially German master. In this elegant and masterfully argued book, renowned opera critic Father Owen Lee describes for the contemporary reader what it might have been like to witness a dramatic performance of Aeschylus in the theatre of Dionysus in Athens in the fifth century B.C. - something that Wagner himself undertook to do on several occasions, imagining a performance of The Oresteia in his mind, reading it aloud to his friends, providing his own commentary, and relating the Greek classic drama to his own romantic view. Father Lee also uses Wagner's writings on Greece and entries from his wife's diaries to cast new light on Tristan und Isolde, Die Meistersinger, Parsifal, and especially the mighty Ring cycle, where Wagner made extensive use of Greek elements to give structural unity and dramatic credibility to his Nordic and Germanic myths. No opera fan, argues Father Lee, can really understand Wagner saving Brünhilde without knowing the Athena who, in Greek drama, first brought justice to Athens.Written with a clarity and depth of knowledge that have characterized all Father Lee's books on the classics of Greece and Rome and made his six other volumes of opera bestsellers, Athena Sings traces the profound influence - an influence few music lovers are aware of - that Greek theatre and culture had on the most German of composers and his revolutionary musical dramas.

MUSIC --- Genres & Styles / Opera --- Greek drama --- Opera --- Appreciation --- Greek influences --- Wagner, Richard, --- Criticism and interpretation. --- Knowledge --- Greek drama. --- Wagner, Wilhelm Richard, --- Drach, Wilhelm, --- Fājner, Rītshārd, --- Vāgners, Richards, --- Vagner, Rikhard, --- Vagner, R. --- Wagner, R. --- Wagunā, R., --- Vagneri, Rihard, --- Wagner, Riccardo, --- ואגנר, ריכארד --- ואגנר, ריכרד, --- ואגנר, ריכארד, --- E-books --- Music --- Musique --- Critique et interprétation. --- Connaissance --- Drame grec. --- Drama --- Classical Greek literature --- Wagner, Richard --- Greek influences. --- Critique et interprétation. --- Et le théâtre grec.

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Emotion in Action: Thucydides and the Tragic Chorus offers a new approach to the tragic chorus by examining how certain choruses ‘act’ on their shared feelings. Eirene Visvardi redefines choral action, analyzes choruses that enact fear and pity, and juxtaposes them to the Athenian dêmos in Thucydides’ History . Considered together, these texts undermine the sharp divide between emotion and reason and address a preoccupation that emerges as central in Athenian life: how to channel the motivational power of collective emotion into judicious action and render it conducive to cohesion and collective prosperity. Through their performance of emotion, tragic choruses raise the question of which collective voices deserve a hearing in the institutions of the polis and suggest diverse ways to envision passionate judgment and action.

Drama --- Emotions in literature. --- Théâtre (Genre littéraire) --- Emotions dans la littérature --- Chorus (Greek drama) --- Choeur de théâtre grec --- Thucydides --- Criticism and interpretation. --- Criticism and interpretation --- Théâtre (Genre littéraire) --- Emotions dans la littérature --- Choeur de théâtre grec --- Chorus (Drama) --- Greek drama --- Chorus --- Thucydide --- Thukydides --- Thoukudides --- Drama - Chorus (Greek drama) --- Thucydides - Criticism and interpretation --- Tucidide --- Fukidid --- Tucídides --- Thoukydidēs --- תוקידידיס --- Θουκυδίδης

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Menander --- Greek drama (Comedy) --- Drama --- Théâtre grec --- --Ménandre, --- Comédie --- --History and criticism --- Technique --- 875 MENANDER --- -Greek drama (Comedy) --- -Drama --- Drama, Modern --- Plays --- Stage --- Literature --- Acting --- Dialogue --- Griekse literatuur--MENANDER --- History and criticism --- Philosophy --- Menander of Athens --- -Technique --- Drama in Greek --- History and criticism. --- Technique. --- 342-292 B.C. --- Menander, --- -Griekse literatuur--MENANDER --- 875 MENANDER Griekse literatuur--MENANDER --- Closure (Rhetoric) --- Openings (Rhetoric) --- Rhetoric, Ancient --- Ancient rhetoric --- Classical languages --- Greek language --- Greek rhetoric --- Latin language --- Latin rhetoric --- Beginnings (Rhetoric) --- First lines (Rhetoric) --- Opening sentences --- Rhetoric --- Dramaturgy --- Authorship --- Playwriting --- Endings (Rhetoric) --- Last lines (Rhetoric) --- Peroration --- Menandros, --- Athens, Menander of --- Menandro, --- Ménandre, --- Menandorosu, --- מינאנדרוס --- Менандр, --- Greek drama (Comedy) - History and criticism --- Drama - Technique --- Menander - Technique --- Ménandre, 342-292 av JC --- Menander Comicus --- Menandro --- Ménandre --- Menandros

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Dionysia --- Dionysus (Greek deity) --- Greek drama --- Literature and society --- Social problems in literature --- Theater --- Orphisme --- Dionysos (Divinité grecque) --- Théâtre grec --- Littérature et société --- Problèmes sociaux dans la littérature --- Théâtre --- History and criticism --- Social aspects --- History --- Histoire et critique --- Histoire --- Athens (Greece) --- Athènes (Grèce) --- Social conditions --- In literature --- Conditions sociales --- Dans la littérature --- Dionysia. --- Dionysus (Greek deity). --- Social problems in literature. --- History and criticism. --- Dionysos (Divinité grecque) --- Théâtre grec --- Littérature et société --- Problèmes sociaux dans la littérature --- Théâtre --- Athènes (Grèce) --- Dans la littérature --- Athene in de literatuur --- Athens (Greece) in literature --- Athènes dans la littérature --- Dionysies --- Dionysus (Griekse godheid) --- Sociale problemen in de literatuur --- -Social problems in literature --- Orphic mysteries --- Orphism --- -Athens (Greece) --- -Orphic mysteries --- Cults --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Aḟiny (Greece) --- Atene (Greece) --- Atʻēnkʻ (Greece) --- Ateny (Greece) --- Athen (Greece) --- Athēna (Greece) --- Athēnai (Greece) --- Athènes (Greece) --- Athinai (Greece) --- Athīnā (Greece) --- In literature. --- Intellectual life. --- Social conditions. --- Sociology of literature --- Classical Greek literature --- Drama --- Greece --- Dionysus --- Αθήνα (Greece)