By Poulheria Kyriakou
The e-book reviews the earlier of the characters in Aeschylus and Sophocles, a overlooked yet an important subject. The charactersÂ´ ideals, values, and feelings undergo on their view of the prior. This view reinforces their ideals and their perception of themselves and others as brokers of unfastened will and contributors of a relations and/or neighborhood. The examine unearths that, even supposing the charactersÂ´ proposal of the earlier is mounted, the impression of the prior isn't really. The characters reflect on, assessment, and build narratives of it, as they search to mildew a destiny they understand as morally only for themselves and others.
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Additional info for The Past in Aeschylus and Sophocles (Trends in Classics: Supplementary Volumes)
22 I. 11 Even if valid, it should not lead to the conclusion that Greek authors and audiences did not share, or held in contempt, the views expressed by Persian characters. 14 Inﬂuenced by evil companions or not, Xerxes’ damningly hubristic mistake, which doomed his campaign, destroyed his army, and caused terrible woe to his people, was to insult the gods by bridging over the Hellespont (744–50). 15 This view 11 For a good discussion of the presentation of the Queen in Persae see McClure (2006), esp.
883, 906–9, 941–44). In the second part of the play, Eteocles the competent king and commander-in-chief becomes also Eteocles the accursed son of Oedipus and brother of the accursed Polyneices. This quite belated association between family and city, centered on the ﬁgure of Eteocles, presents two interpretive puzzles: ﬁrst, why Aeschylus suppresses the history of the family for so long and, second, how he interlinks the fate of family and city in the second part of the play. I will start with the second issue because the text provides some explicit clues to its elucidation, which may serve as a basis for suggesting a solution to the ﬁrst.
Patzer (1958) 103–5. For Eteocles’ treatment of the chorus see Just (1989) 198–204, Zeitlin (1990) 106–9, and Foley (2001) 46–48. Cf. also n. 17 below. 2. 12 It would also have to include Oedipus’ and perhaps Jocasta’s death. It seems a lot for one play, but the revelation of Oedipus’ identity would not necessarily be as protracted as in Sophocles’ O T. 2. The work of Ares and Erinys 43 the association, to which I will return below. For now, it is important not to gloss over the fact that in Septem the curse and the past will reappear only at 653–55.