Appendix: A Comparative Survey of Pindar’s Meters §1. In what follows, I offer a diachronic study of the two major types of meter inherited by Pindar, the so-called Aeolic and the dactylo-epitrite. My goal is to show the affinities between these meters in Greek song and the three major types of meter in Greek poetry, namely, the dactylic hexameter, the elegiac distich, and the iambic trimeter. Read more
Bibliography Alexiou, M. 1974. The Ritual Lament in Greek Tradition. Cambridge. Allen, T. W., ed. 1912. Homeri Opera V (Hymns, Cycle, fragments, etc.). Oxford. ———. 1924. Homer: The Origins and the Transmission. Oxford. Allen, W. S. 1973. Accent and Rhythm. Prosodic Features of Latin and Greek: A Study in Theory and Reconstruction. Cambridge. … Read more
Acknowledgments I have received a great deal of support during the writing of this book. A University of Houston New Faculty Research Grant and a summer grant from the University of Houston Women’s Studies Program allowed me to complete the bulk of the research and writing, and a Center for Hellenic Studies fellowship supported me in the final stages. Portions of the book began as conference… Read more
[In this on-line version, the page-numbers of the printed version are indicated within braces (“{” and “}”). For example, “{69|70}” indicates where p. 69 of the printed version ends and p. 70 begins. These indications will be useful to readers who need to look up references made elsewhere to the printed version of this book.] Introduction What a pitiful sorrow it would be to… Read more
Chapter 1. Men’s Songs and Women’s Songs Are the voices of women in men’s poetry representative of women’s independent song traditions? What role, if any, did women’s song traditions play in the shaping of men’s epic traditions (and later, tragedy)? In recent years scholars have begun to suggest that women’s lament traditions may have played a crucial role in the development of epic and tragedy, which were… Read more
Chapter 2. Identifying with the Enemy: Love, Loss, and Longing in the Persians of Aeschylus In the first two decades of the fifth century BC, the century in which Greek tragedy as we know it flourished, the Greeks were attacked twice by the vastly larger army and navy of the Persian Empire. Against all odds, they ultimately succeeded both times in fending them off. But the cost… Read more
Chapter 3. Athenians and Trojans Before we can examine the laments and plight of the captive Trojan women in Euripides’ Trojan War plays in a meaningful way, it is first necessary to establish the Athenians’ particular relationship with the Trojan War. What associations does the Trojan War as a theme carry with it? How are Trojans and the fall of Troy represented in Athenian literature and art?… Read more
Chapter 4. The Captive Woman’s Lament and her Revenge in Euripides’ Hecuba Hecuba, a wretch forlorn and captive, when she saw Polyxena first slaughtered, and her son, her Polydorus, on the wild sea-beach next met the mourning woman’s view, then reft of sense did she bark like a dog; such mighty power had grief to wrench her soul. Dante, Inferno Canto xxx,… Read more
Chapter 5. A River Shouting with Tears: Euripides’ Trojan Women The Trojan Women, first produced in 416 BC, is both the easiest and most difficult of the plays under discussion to interpret, and indeed it is this deceptive ease that prompted the writing of this book. The play is an unrelenting portrait of suffering, and has had a great deal of success in modern productions as… Read more
Chapter 6. The Captive Woman in the House: Euripides’ Andromache Euripides’ Andromache may not have been originally produced in Athens, if we may trust the comment of a scholiast at line 445 of the play, nor can we be certain of the date of its production, which is generally assumed to be the mid-420s. [1] It is, moreover, a complicated drama that… Read more
