By Luschnig, C. A. E.; Euripides, Euripides.; (Greek mythological figure) Electra; Roisman, Hanna
Electra's gripping tale and nearly modern believe help in making the play obtainable and engaging to fashionable audiences. The liberties Euripides took with the conventional fable and the playwright's attitudes towards the gods can encourage fruitful lecture room dialogue approximately fifth-century Athenian notion, manners, and morals. Roisman and Luschnig invite readers to check Euripides' therapy of the parable with these of Aeschylus and Sophocles and with variation displays in epic and lyric poetry, later drama, and glossy movie. The advent additionally areas the play in ancient context and describes conventions of the Greek theater particular to the work.
Extensive appendices offer a whole metrical research of the play, priceless notes on grammar and syntax, an index of verbs, and a Greek-English word list. briefly, the authors have integrated every little thing scholars have to help and improve their interpreting of Electra in its unique language.
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Additional resources for Euripides' Electra : a commentary
6. Jebb 1894, lii–lvi. Some years later, Wilamowitz 1899, 57–8 n2, changed his view. For a thorough discussion of the various views with the assumption that Euripides’ Electra must be placed in 413 and that of Sophocles in 418–415, see Vögler. Cf. Leimbach. INTRODUCTION 31 than as the later Electra reacting to the earlier. The fact that there was probably a revival of the Oresteia in the 420s may support this position. Although we share this view, we would like to convey our own sense, based on the two plays’ relation to the Choephori, that Sophocles’ Electra was written first.
The Text. We have followed the Oxford Classical Texts of Gilbert Murray (vol. 2,1913) and James Diggle (vol. 2, 1983) with some alterations in matters of punctuation, stichometry, and reading. There are many places where we have chosen to keep the mss. reading over the emendation preferred by Diggle. We have also used extensively Martin Cropp (1988), J. D. Denniston (1939), and F. A. Paley (1874). The places where we differ substantially from Murray and Diggle are noted in the commentary. 5. Meter and Prosody Classical Greek plays are written in verse.
Drawing by A. L. H. Robkin. Me\chane\ (“flying machine”: cf. deus ex machina): a crane used to fly in gods who take part in the plays. It was possibly used in Euripides’ Medea, Orestes, IT, Helen, Heracles, and Bacchae and Sophocles’ Philoctetes, as well as in Electra of Euripides. The uncertainty concerning its use comes about because, though gods appear in tragedy, they remain aloft and do not come down on stage to take part in the action on the human level as they sometimes do in comedy. 4 10.