In this paper I approach the relationship between one kind of choral ode and its play, through an analysis of two stasima and less detailed reference to their respective plays. The two odes, Hipp. 732–75 and Hel. 1451–1511, share the theme which has provoked comment on Euripides' use of ‘escapism’ to counteract the supposed reality of his tragedies. I prefer to see the escape-form as a reassertion of the themes and problems of the play in a different and distant context, (...) and to suggest that even in the ‘elsewhere’ of lyric song the dark features of life that mark the drama are not to be escaped. The winged boat in the Hippolytus, for instance, is parallel in the ode to the winged bird, symbol and vehicle of escape, but it is also the ship whose journey initiates the disaster of the play. (shrink)

In this paper I approach the relationship between one kind of choral ode and its play, through an analysis of two stasima and less detailed reference to their respective plays. The two odes, Hipp. 732–75 and Hel. 1451–1511, share the theme which has provoked comment on Euripides' use of ‘escapism’ to counteract the supposed reality of his tragedies. I prefer to see the escape-form as a reassertion of the themes and problems of the play in a different and distant context, (...) and to suggest that even in the ‘elsewhere’ of lyric song the dark features of life that mark the drama are not to be escaped. The winged boat in the Hippolytus, for instance, is parallel in the ode to the winged bird, symbol and vehicle of escape, but it is also the ship whose journey initiates the disaster of the play. (shrink)