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"Garvie, A. F"
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Closure or Indeterminacy in Septem and Other Plays?
I accept the general consensus that the transmitted end of Septem is not by Aeschylus; his play, as he wrote it, ends by giving an overwhelming impresssion that, while the brothers have killed each other, the city of Thebes has been saved. There are, however, three passages which seem to contradict that impression, by alluding to the usual version of the story in which the city will be destroyed by the Successors of the Seven in the next generation. I argue that all attempts by scholars to explain away this contradiction have been unsuccesssful. Aeschylus deliberately reminded his audience of the alternative version, and the question to be considered is why he did so.
Journal Article
Persians
In the middle of the fourth century BCE Aristotle declared in his Poetics that the best kind of tragedy is that in which someone who enjoys great good fortune and reputation falls into the opposite unhappy state. Aeschylus was not to know that modern historians would be tempted to treat Persians as if it were primarily a source of information for us about the events of 480 BCE. Persians should be described as a tragedy based on history rather than as a historical tragedy. Nostos poetry has its own conventional themes and motifs, the significance of which in Persians would certainly be clearly understood by the original audience. It is now that Aeschylus's reliance on the audience's understanding of the conventions of nostos poetry becomes particularly crucial. It may be difficult for most modern readers or audiences to appreciate fully the ritual lamentation with which the play ends.
Book Chapter
A NEW ENGLISH ORESTEIA
This excellent and scholarly translation by C. Collard, \"Aeschylus: Oresteia\", has an unusually full Introduction and no fewer than 115 pages of Explanatory Notes. The translation renders the dialogue into English prose, with a more heightened style reserved for the lyric passages. The translation for the most part reads well, and there are many fine turns of phrase.
Journal Article
A Note on the Deity of Alcman's Partheneion
The recurrence of horse-imagery in Alcman's Partheneion (47 ff., 50, 58-59, 92) suggested to Bowra that the chorus may have been the guild of priestesses called Leucippides, who seem from a mysterious gloss in Hesychius to have been known as It is true that the comparison of girls with fillies is common enough in Greek, but the appearance of Helen as of girls like at Ar. Lys. 1308–15 seems, as Bowra says, ‘to hide a ritual use of ’. The existence of this guild of priestesses appears to be established from Paus. 3. 16. 1 and 3. 13. 7. In the latter passage they join with the in offering sacrifice to Dionysus and the unnamed hero who first guided him to Sparta, but it seems reasonable to assume that their principal concern was with the cult of the goddesses Phoebe and Hilaeira, the daughters of Leucippus, from whom, as Pausanias explicitly says (3. 13. 7), they took their name.
Journal Article