Choral Voice and Narrative in the First Stasimon of Aeschylus "Agamemnon"

  title={Choral Voice and Narrative in the First Stasimon of Aeschylus "Agamemnon"},
  author={Judith Fletcher},
WHOSE VOICE DO WE HEAR in a choral ode? For many it is the "voice of the poet," and if we define the poet as the speaker of truth and ultimate narrative authority, we can indeed hear the chorus making authorial-sounding comments.1 But does the chorus always speak the truth? The chorus is in the drama, and has a well-defined persona which often reveals a limited understanding of dramatic events.2 Does this mean then that everything it says derives from its role as a character in the drama, that… Expand
Choral Identity in Greek Tragedy
G eorge Walsh, in whose honor I presented this lecture in February 2001, has written memorably on the Greek chorus, above all in his 1984 book The Varieties of Enchantment . Walsh’s eloquentExpand
Melizein Pathe or the Tonal Dimension in Aeschylus’ Agamemnon: Voice, Song, and Choreia as Leitmotifs and Metatragic Signals for Expressing Suffering
The article opens out the ways in which voices of both characters and chorus struggle to express hope for order and renewal at Argos even as so many forces threaten to tear the society apart.Expand
The Oresteia ends with the trial of Orestes for matricide, a foundation myth of the first homicide court in Athens. The court of the Areopagus replaces a form of justice that consisted of individualExpand
Uses and interpretations of ritual terminology : goos, oimoge, threnos and linos in ancient Greek literature
The purpose of my thesis is to study the lament in ancient Greek culture, and to show how its ritual meaning is interpreted by literature. The terms goos, oimoge, threnos and linos not only indicateExpand
Code-Switching: Male Crossing into Female Speech Domain
In the Clerk’s Tale of Chaucer’s Canterbury Tales, Griselda’s silence has long been the subject of intense scholarly interest; however, neither Griselda’s speech nor her silence is the focus here.Expand
'The flower of suffering' : a study of Aeschylus' Oresteia in the light of Presocratic ideas
My PhD thesis, The Flower of Suffering, offers a philosophical evaluation of Aeschylus' Oresteia in light of Presocratic ideas. By examining several aspects of the tragic trilogy in relation to someExpand
The Mortal Voice in the Tragedies of Aeschylus
Did the nightingale torture the ear, Pack the heart and scratch the mind? And does the ear Solace itself in peevish birds? Is it peace, Is it a philosopher’s honeymoon, one fi nds On the dump? Is itExpand
The Prophecies of Calchas in the Aulis Narrative of Aeschylus’ Agamemnon
Dans Agamemmnon 104–263, le chœur relate les événements qui se sont déroulés à Aulis. Nous proposons une nouvelle lecture de ce passage et avançons plusieurs nouvelles interprétations syntaxique,Expand
Klytaimestra: Genetic and Gender Conflict in Greek Tragedy
Script and Song in Pindar and Aeschylus


Point of View in a Text
INCE ONLY SOMETHING which has an antithesis can act as a sign,' any compositional device becomes semantically distinctive once it is juxtaposed with a contrasting system. When a whole text isExpand
Towards a pragmatics of represented discourse: Narrative, speech and context in Woolf's between the acts
Abstract Standard descriptions of represented discourse in narrative are viated by a lack of general postulates about the role of context in the design and processing of the discourseExpand
Some neglected aspects of Agamemnon's dilemma
Interpretation of the Agamemnon in general and of its first choral sequence in particular has tended to proceed on two assumptions: first, that Aeschylus could have given an answer (not necessarily aExpand
Aeschylus' Oresteia: A literary commentary
Traditionally, books on Greek tragedy tend to fall into two classes: scholarly editions with commentaries on textual, linguistic, and detailed interpretive points, and literary-critical studies whichExpand
Speech in speech : studies in incorporated Oratio recta in Attic drama and oratory
This volume explores the techniques by which classical Greek texts written primarily for public performance incorporate direct quotations (oratio recta) of 'other voices' - imagined or real.
The Guilt of Agamemnon
In recent years the general view of the theology and morality of Aeschylus which we still find expressed in the most popular handbooks of Greek tragedy has come under fire; fire which its defendersExpand
On Story-Telling: Essays in Narratology
A readable and absorbing volume of annotated essays illustrating the approach of Mieke Bal to story-telling. Essays include reflections and background on methodology, theory of narrative, andExpand
Reading Greek Tragedy
Preface 1. The drama of logos 2. The language of appropriation 3. The city of words 4. Relations and relationships 5. Sexuality and reference 6. Text and tradition 7. Mind and madness 8. BlindnessExpand
Studies in Aeschylus
Preface Bibliography of short titles Part I. The Earlier Plays: 1. Zeus in Persae 2. Septem contra Thebas 3. The Danaid trilogy Part II. Oresteia: 4. Oresteia: introductory 5. Agamemnon and theExpand
Gentler Medicines in the Agamemnon
In over thirty lines of the Agamemnon I think I discern lurking in the apparatus of modern editions truths unnoticed by recent editors, and needing for the most part merely redivision, repunctuation,Expand