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By Mary Stieber

This primary in-depth account of Euripides and the visible arts demonstrates how the tragedian used language to visible influence, no matter if via allusion or real references to things, motifs outfitted round actual or imaginary items, or using technical terminology. The facts provided during this learn corroborates the worry for realism and the style element for which Euripides is parodied in Aristophanes' Frogs and provides him as a guy of his time, like Socrates, totally versed within the methods and technique of the visible arts in addition to the verbal. In revealing the level of the visible inclination of Euripides' language, this research displays upon the bigger discussion among textual content and snapshot, photograph and textual content.

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28 Cf. Werner Biehl, Euripides Troades (Heidelberg, ), pp. –, commenting on the firing of Troy at Tr.  ff. ”29 I shall argue that the physical destruction of Troy is one unifying theme. The steady stream of architecturally inflected language in Trojan Women is not directed solely toward the enhancement of the audience’s sensation of visual reality; Aristotle (Po. a–b), after all, holds ψις to be the least important of his six conditions of tragic performance. On the contrary architectural language in Trojan Women represents much more than a literary mechanism whereby, absent the scenic resources of a modern-day opera stage, an audience might conjure up before its eyes an image of the falling city, as well as it succeeds in this essential, if secondary, task.

The reader is referred to Kurtz, Die bildliche Ausdrucksweise, pp. –. : Alc. (palace of Admetus at Pherae); Med. (Medea’s house in Corinth); Heracl. (temple of Zeus Agoraios at Marathon); Hipp. (palace of Theseus at Trozen); Andr. (Neoptolemos’ house in Thessaly); Hec. (Agamemnon’s tent in the Greek encampment on the coast of Thrace); Supp. (temple of Demeter and Persephone at Eleusis); El. (house of Electra and her husband); HF (house of Heracles at Thebes); IT (temple of Artemis at Tauris); Ion (temple of Apollo at Delphi); Hel.

63 Tr. ; Lee, Euripides Troades, p. . Cf. Paus. . . –; Th. . . 64 Tr. –, . 65 Tr. ; on the use of the word π λας, Lee, Euripides Troades, p. ” Craik, “Sexual Imagery,” pp. ” 66 Tr. –. 67 Tr. . 68 Easterling, “City Settings,” p. ] . ” On the significance of walls for Troy and for ancient cities in general, see Croally, Euripidean Polemic, pp. – . Scully, Homer and the Sacred City, pp. –, provides a useful overview of the ideological role of walls in the civilizations of the Ancient Near East.

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