At the very end of Plato's Symposium our narrator awakes to find Socrates still hard at it, and making Agathon and Aristophanes agree that the composition of tragedy and comedy is really one and the same thing:… προсαναγκάӡειν τὸν Σωκράτη ὁμολογεῖν αὐτοὺс τοῦ αὐτοῦ ἀνδρὸс εἷναι κωμωιδίαν καὶ τραγωιδίαν ἐπἰсταϲθαι ποιεῖν, καὶ τὸν τέχνηι τραγωιδοποιὸν ὄντα καὶ κωμωιδοποιὸν εἷναι. ταῦτα δὴ ἀναγκαӡομένουϲ αὐτοὺϲ … the two playwrights succumb to sleep, leaving Socrates triumphant. Socrates had to ‘force’ his case; and it (...) is a fact that, though we know of well over 100 fifth-century playwrights, we do not know of a single one who produced both tragedy and comedy. In a famous fragment the comedian Antiphanes complains that the tragedians have an easy time—familiar stories, the deus ex machina etc.—ἡμῖν δὲ ταῦτ' οὐκ ἔсτιν … It is a matter of ‘them’ and ‘us’. Furthermore, there was an entire separate genre besides tragedy and comedy. As Demetrius put it, τραγωιδία χάριταϲ μὲν παραλαμβάνει ἐν πολλοῖϲ, ὁ δὲ γέλωϲ ἐχθρὸϲ τραγωιδίαϲ· οὐδὲ γὰρ ἐπινοήϲειεν ἄν τιϲ τραγωιδίαν παίӡουϲαν, ἐπεὶ ϲάτυρον γράψει ἀντὶ τραγωιδίαϲ. (shrink)

The plays of Menander have been largely absent from the recent critical attention given the metatheatrical aspects of ancient comedy because they avoid direct reference to performance and maintain dramatic illusion. But as readings of tragic self-reflexivity have shown, even consistently illusionistic drama can make reference to itself as drama so that the audience is encouraged to view the play in double focus, as both a pretense of reality and as an evident dramatic artifice. Metatheatricality in Menander has its basis (...) in the recurring view of the characters that life is like a tragedy. A number of characters state that the events at hand resemble a tragic situation, comment on events by quoting from a tragedy, or ask other characters to view the current situation through the lens of a particular tragic drama. In other instances, reference is made to aspects of dramatic staging or to the constitutive parts of plays. Such comments are realistic, or probable, because it is likely that Greeks of the fourth century regularly interpreted their own lives through the paradigm of myth, best known in dramatized form, and used theatrical metaphors to refer to everyday events. At the same time, however, audience members may experience a character's comparison of the dramatic situation to tragedy as humorously ironic because they know that the plot is destined to fulfill itself in a comic mode. Tragedy is in fact a mask worn by Menander's comedy, and the audience has a metadramatic experience whenever it focuses on the fact of masking. Analysis of passages from the Dyscolos, Epitrepontes, Perikeiromene, and Samia, as well as fuller discussion of the Aspis, demonstrates that Menader's plays invite metadramatic readings in which the plot develops through the struggles of characters to impose on themselves and others tragic readings of their comic situation. (shrink)

This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on (...) theatrical deception . The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice. (shrink)

En Heracles de Eurípides, el héroe en un ataque de locura mata a su familia. Una vez que toma conciencia de lo que ha hecho decide suicidarse, pero Teseo es capaz de persuadirlo para que no se quite la vida. Dada la particularidad de esta tragedia en comparación con otras que abordan la misma temática, analizaré la función curativa de la palabra en la recuperación de Heracles, para luego abordar la influencia del movimiento sofistico -en particular Protágoras y Gorgias- en (...) la obra de Eurípides, dado que propongo que la condición para el desarrollo de una cura por la palabra es el estudio de la función persuasiva del lógos que realizan los sofistas. On Euripides' Heracles, the Dorian hero kills his family in a fit of madness. Once he is aware of what he has done, he decides to commit suicide, but Theseus persuades him otherwise. Given the peculiarity of this tragedy -in comparison with others that raise the same subject- I will analyse the healing power of the word in Heracles' recovery. I will focus on the influence of the sophist movement, particularly the figures of Protagoras and Gorgias in Euripides' work since I consider that the condition to develop a cure using words is the study that the sophists do on the persuasive function of the lógos. (shrink)