AESCHYLEAN TRAGEDY SECOND EDITION ALAN H SOMMERSTEIN B S B RY
Bloomsbury Academic print of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London WC1B 3DP NY1001 USA ww.bloomsbury.com First published in 2010 by Bristol Classical Press an imprint of Gerald Duckworth Co Ltd printed by Bristol Classical Press 2012 Reprinted by Bloomsbury Academic 2013 O Alan H Sommerstein, 2010 Alan H Sommerstein has asserted his right under the Copyright, Designs and Patents act. 1988. to be identified as author of this work All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by bloomsbury or the author British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: PB. 78-0-7156-3824-8 Epub:978-1-8496-67968 Epdf:978-1-8496-6795-1 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the library of Congress
Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com First published in 2010 by Bristol Classical Press an imprint of Gerald Duckworth & Co. Ltd. Reprinted by Bristol Classical Press 2012 Reprinted by Bloomsbury Academic 2013 © Alan H Sommerstein, 2010 Alan H Sommerstein has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identi! ed as Author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: PB: 978-0-7156-3824-8 E-pub: 978-1-8496-6796-8 E-pdf: 978-1-8496-6795-1 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress
Contents Preface Second edition First edition Note to 1. The life and Times of Aeschylus 2. Aeschylus'Theatre 2.1. The performing space 2.2. Performers and properties 2.3. The spectators 3. The Tetralogy Appendix: Scenes, time intervals and choruses in Aeschylean trilogies 4. The persians 4.1. The play 4.2. The tetralogy The Theban Plays 5. 1. Seven against Thebes 5.2. Steps to catastrophe 5. 3. Character and curse 5.4. Oikos and polis 5.5. The tetralogy 5.6. The ending of Seven 6. The Danaid Play 6. 1. The Suppliant maidens 6.2. The tetralogy 100 6.3. Lyrical tragedy? 6.4. Movement and spectacle 112 6.5.1o 114
Contents Preface to the Second Edition viii Preface to the First Edition ix Note to the Reader x 1. The Life and Times of Aeschylus 1 2. Aeschylus’ Theatre 17 2.1. The performing space 17 2.2. Performers and properties 23 2.3. The spectators 28 3. The Tetralogy 32 Appendix: Scenes, time intervals and choruses in Aeschylean trilogies 42 4. The Persians 45 4.1. The play 45 4.2. The tetralogy 62 5. The Theban Plays 68 5.1. Seven against Thebes 68 5.2. Steps to catastrophe 72 5.3. Character and curse 76 5.4. Oikos and polis 80 5.5. The tetralogy 84 5.6. The ending of Seven 90 6. The Danaid Plays 96 6.1. The Suppliant Maidens 96 6.2. The tetralogy 100 6.3. Lyrical tragedy? 108 6.4. Movement and spectacle 112 6.5. Io 114 v
Contents 7. The Oresteia 7.1. Agamemnon 7. 2. Choephoroi 125 7. 3. Eumenides 131 7.4. Aeschylus and his predecessors 136 7. 5 Metre and music 7.6. Visual dimensions 154 7. 6.1. The house 7.6.2. Tableaux and scene changes 157 7.6.3. Clothing 15 7.6.4. Weapons and implement 162 7.6.5. Silent performers 165 7.6.6. The murder scene in Choephorot 167 7.7. Imagery 171 7. 8. Male and female 7. 9. Justice and the gods 193 7.10.A tale of three cities 204 8. The Prometheus Plays 8. 1. Prometheus bound 213 8.2. Structure, logic and action 215 8.3. Problems of staging 221 8.4. The Prometheus trilogy? 224 8.5. The question of authenticity 228 9. Aeschylean Satyr-drama 10. Slices from Homeric feasts 241 10.1. The Iliadic tetralogy 242 10.2. The Odyssean tetralogy 249 11. Aeschylus, the gods and the World 254 11.1. Puppets of the gods? 254 11.2. Agamemnons dilemma 11.3. Maradona and Farmer ones 11.4. Niobe and divine malevolence 115. The ultimate realities behind the universe 11.6. Evolutionary theology 12. Aeschylean Drama and the Political moment 12.1. Eumenides and 459/8 12.2. The Suppliant maidens 289 12.3. The persians and 473/2 12.4. Aeschylus, prophet of democracy 294
7. The Oresteia 121 7.1. Agamemnon 121 7.2. Choephoroi 125 7.3. Eumenides 131 7.4. Aeschylus and his predecessors 136 7.5. Metre and music 146 7.6. Visual dimensions 154 7.6.1. The house 154 7.6.2. Tableaux and scene changes 157 7.6.3. Clothing 159 7.6.4. Weapons and implements 162 7.6.5. Silent performers 165 7.6.6. The murder scene in Choephoroi 167 7.7. Imagery 171 7.8. Male and female 181 7.9. Justice and the gods 193 7.10. A tale of three cities 204 8. The Prometheus Plays 213 8.1. Prometheus Bound 213 8.2. Structure, logic and action 215 8.3. Problems of staging 221 8.4. The Prometheus trilogy? 224 8.5. The question of authenticity 228 9. Aeschylean Satyr-drama 235 10. Slices from Homeric Feasts 241 10.1. The Iliadic tetralogy 242 10.2. The Odyssean tetralogy 249 11. Aeschylus, the Gods and the World 254 11.1. Puppets of the gods? 254 11.2. Agamemnon’s dilemma 258 11.3. Maradona and Farmer Jones 262 11.4. Niobe and divine malevolence 267 11.5. The ultimate realities behind the universe 270 11.6. Evolutionary theology 274 12. Aeschylean Drama and the Political Moment 281 12.1. Eumenides and 459/8 281 12.2. The Suppliant Maidens 289 12.3. The Persians and 473/2 292 12.4. Aeschylus, prophet of democracy 294 Contents vi
Contents 13. Of An Age, or For All Time? 302 13. 1. War and Peace 30 13.2. Gender and hybris 13.3. Justice deterrence and retribution 309 13.4. The good society 315 317 Bibliographical Guide 319 References Index of Passages Cited 349 General Index 365
13. Of An Age, or For All Time? 302 13.1. War and Peace 302 13.2. Gender and hybris 307 13.3. Justice, deterrence and retribution 309 13.4. The good society 315 Genealogies 317 Bibliographical Guide 319 References 329 Index of Passages Cited 349 General Index 365 Contents vii
Preface to the second edition This new edition has been thoroughly revised to take account of develop ments in scholarship, and in my own thinking on Aeschylus, since the first edition was published in 1996. In contrast to the policy adopted in the first edition, important references to modern scholarship are now given in the text or endnotes in the conventional way(though the Bibliographica Guide at the end of the book should be treated as an essential complement to these). a sentence of my original preface(below)has thus been rendered obsolete and misleading, and has been deleted I am most grateful to Duckworth for agreeing to publish the volume, to Deborah Blake for the most helpful role she has played throughout as editorial director, and to the original publishers, Levante Editori of Bari for giving permission for the republication Alan Sommerstein Nottingham, September 2009
Preface to the Second Edition This new edition has been thoroughly revised to take account of developments in scholarship, and in my own thinking on Aeschylus, since the first edition was published in 1996. In contrast to the policy adopted in the first edition, important references to modern scholarship are now given in the text or endnotes in the conventional way (though the Bibliographical Guide at the end of the book should be treated as an essential complement to these). A sentence of my original preface (below) has thus been rendered obsolete and misleading, and has been deleted. I am most grateful to Duckworth for agreeing to publish the volume, to Deborah Blake for the most helpful role she has played throughout as editorial director, and to the original publishers, Levante Editori of Bari, for giving permission for the republication. Alan Sommerstein Nottingham, September 2009 viii
Preface to the first edition As I complete this book I think of all the teachers, colleagues and students who have helped me to love and, so far as i have been able, to understand Aeschylus, from Martin Lowry who gave me my first acquaintance with him thirty years ago to Elizabeth randle who, by reaching the same conclusions independently, made me feel that there might be something in the reconstruction of the Danaid trilogy which will be found in Chapter 6. I think also of all the great scholars whose ideas likewise underlie what is here presented and whom I have never had the privilege of meeting The book is intended for all who are interested, from whatever angle, in the tragedies of Aeschylus, a majority of whom will not be in a position to read his plays in greek. Accordingly, all quotations, both from eschylus and from other authors are given in translation. For the same reason no attempt has been made here to offer a systematic discussion of Aeschylus language and I am grateful to Cambridge University Press for granting me permis- sion to include in Chapters 7 and 12 adapted versions of parts of the introduction to my edition of Eumenides, published by the Press in 1989 I thank especially Alex Garvie and Bernhard Zimmermann, who read the whole book in its penultimate draft and many of whose suggestions I have incorporated. Neither of them is to be held responsible for any shortcomings in the book, which are due entirely to my own oversight, obstinacy, or obtuseness I dedicate this book to my students, past present and future, and to all those like them throughout the world, who, often in face of the ignorant obloquy of their peers (and sometimes of the ignorant obstruction of schools, education authorities and governments) have chosen to study the world of antiquity. I wrote it for their sake, and i hope it does for them a ittle of what the scholars of whom I spoke before have done for me Alan Sommerstein Nottingham, September 1994
Preface to the First Edition As I complete this book I think of all the teachers, colleagues and students who have helped me to love and, so far as I have been able, to understand Aeschylus, from Martin Lowry who gave me my first acquaintance with him thirty years ago to Elizabeth Randle who, by reaching the same conclusions independently, made me feel that there might be something in the reconstruction of the Danaid trilogy which will be found in Chapter 6. I think also of all the great scholars whose ideas likewise underlie what is here presented and whom I have never had the privilege of meeting. The book is intended for all who are interested, from whatever angle, in the tragedies of Aeschylus, a majority of whom will not be in a position to read his plays in Greek. Accordingly, all quotations, both from Aeschylus and from other authors, are given in translation. For the same reason no attempt has been made here to offer a systematic discussion of Aeschylus’ language and style. I am grateful to Cambridge University Press for granting me permission to include in Chapters 7 and 12 adapted versions of parts of the introduction to my edition of Eumenides, published by the Press in 1989. I thank especially Alex Garvie and Bernhard Zimmermann, who read the whole book in its penultimate draft and many of whose suggestions I have incorporated. Neither of them is to be held responsible for any shortcomings in the book, which are due entirely to my own oversight, obstinacy, or obtuseness. I dedicate this book to my students, past, present and future, and to all those like them throughout the world, who, often in face of the ignorant obloquy of their peers (and sometimes of the ignorant obstruction of schools, education authorities and governments) have chosen to study the world of antiquity. I wrote it for their sake, and I hope it does for them a little of what the scholars of whom I spoke before have done for me. Alan Sommerstein Nottingham, September 1994 ix
Note to the reader Greek names and words No rigid convention for the representation of greek names in English is capable of being maintained. By one possible convention we would be forced to call Athens 'Athenai,, and the greatest greek philosophers 'Pla ton and 'Aristoteles; by another, to speak of the goddesses of destiny as the 'Moerae', and those of death, at much risk of confusion, as the 'Ceres In this book, names of people and places have in general been latinized in the manner which has long been customary in works not designed exclu sively for specialists, but a closer transliteration has been used where thought desirable in the interest of communicative efficiency. On the other hand Greek words, other than proper names, are precisely transliterated (and printed in italics). The main conversion-equivalences between the two conventions are as follows Latinized Transliterated k kh(or ch) u(or y) um -0n Translations All translations in this book are my own, unless otherwise stated fragme Fragments of Aeschylus and other tragedians are cited from Tragicorum Graecorum Fragmenta(Gottingen, 1971-2005); if a fragment is numbered differently in my Loeb edition (Sommerstein 2008), both numbers are given. Fragments of comedy are cited from Poetae Comici graeci(Berlin, 1983-) Fragments of lyric poets included in D A Campbell, Greek Lyric vols II-V(Cambridge MA, 1988-93)are cited by the continuous numbering
Note to the Reader Greek names and words No rigid convention for the representation of Greek names in English is capable of being maintained. By one possible convention we would be forced to call Athens ‘Athenai’, and the greatest Greek philosophers ‘Platon’ and ‘Aristoteles’; by another, to speak of the goddesses of destiny as the ‘Moerae’, and those of death, at much risk of confusion, as the ‘Ceres’. In this book, names of people and places have in general been latinized in the manner which has long been customary in works not designed exclusively for specialists, but a closer transliteration has been used where thought desirable in the interest of communicative efficiency. On the other hand Greek words, other than proper names, are precisely transliterated (and printed in italics). The main conversion-equivalences between the two conventions are as follows: Latinized Transliterated c k ch kh (or ch) ae ai oe oi u ou y u (or y) -us -os -um -on Translations All translations in this book are my own, unless otherwise stated. Fragments Fragments of Aeschylus and other tragedians are cited from Tragicorum Graecorum Fragmenta (Göttingen, 1971-2005); if a fragment is numbered differently in my Loeb edition (Sommerstein 2008), both numbers are given. Fragments of comedy are cited from Poetae Comici Graeci (Berlin, 1983- ). Fragments of lyric poets included in D.A. Campbell, Greek Lyric vols II-V (Cambridge MA, 1988-93) are cited by the continuous numbering x
Note to the reader of that collection(abbreviated as GL); those of Sappho and Alcaeus are cited from Campbell,s vol I(Cambridge MA, 1982). Where fragments of other authors are referred to the editor s name is given (Fowler'refers to R L. Fowler, Early Greek Mythography 1: Texts [Oxford, 2000; Jacoby refers to F. Jacoby et a e Fra igmente der griechischen Historiker Berlin/Leiden, 1923-]). In general, the names of ancient authors and texts are written out in full with the exception of the surviving plays of the Aeschylean corpus, which may be abbreviated as(The) Pers ( ians), Seven(against Thebes),(The Supp. iant Maidens), Ag(memnon ), Cho(ephoroi), Eum.enides), and Prom. etheus Bound). In Chapter 8, however, which is concerned with several plays all of whose titles include the name Prometheus, the title of the surviving play is abbreviated as bound Other abbreviations used(mainly of journal titles in the bibliography) are as follows AJP American Journal of philology BCH Bulletin de Correspondance hellenique BICS Bulletin of the Institute of classical Studies, University of London BMCR Bryn Mawr Classical review Classical antiquity CAG Commentaria in Aristotelem Graeca(Berlin, 1882-1909) CGITa Cahiers du group interdisciplinaire du Theatre antique Classical Journal c&M Classica et mediaevalia Classical Philology Classical quarterly Classical revie CSCA California Studies in Classical antiquity GeR Greece and rome D.A. Campbell, Greek Lyric vols. II-V(Cambridge MA, 1988-93) GRBS Greek, Roman and Byzantine Studies HSCP Harvard Studies in Classical Philology IcS llinois classical studies Inscriptiones graecae JHS Journal of hellenic studies LCM Liverpool Classical Monthly LIMC Lexicon 1conographicum Mythologiae Classica(Zurich, 1981-99)
of that collection (abbreviated as GL); those of Sappho and Alcaeus are cited from Campbell’s vol. I (Cambridge MA, 1982). Where fragments of other authors are referred to, the editor’s name is given (‘Fowler’ refers to R.L. Fowler, Early Greek Mythography I: Texts [Oxford, 2000]; ‘Jacoby’ refers to F. Jacoby et al., Die Fragmente der griechischen Historiker [Berlin/Leiden, 1923- ]). Abbreviations In general, the names of ancient authors and texts are written out in full, with the exception of the surviving plays of the Aeschylean corpus, which may be abbreviated as (The) Pers.(ians), Seven (against Thebes), (The) Supp.(liant Maidens), Ag.(amemnon), Cho.(ephoroi), Eum.(enides), and Prom.(etheus Bound). In Chapter 8, however, which is concerned with several plays all of whose titles include the name Prometheus, the title of the surviving play is abbreviated as Bound. Other abbreviations used (mainly of journal titles in the Bibliography) are as follows: AJP American Journal of Philology BCH Bulletin de Correspondance Hellénique BICS Bulletin of the Institute of Classical Studies, University of London BMCR Bryn Mawr Classical Review CA Classical Antiquity CAG Commentaria in Aristotelem Graeca (Berlin, 1882-1909) CGITA Cahiers du Group Interdisciplinaire du Théâtre Antique CJ Classical Journal C&M Classica et Mediaevalia CP Classical Philology CQ Classical Quarterly CR Classical Review CSCA California Studies in Classical Antiquity CW Classical World G&R Greece and Rome GL D.A. Campbell, Greek Lyric vols. II-V (Cambridge MA, 1988-93) GRBS Greek, Roman and Byzantine Studies HSCP Harvard Studies in Classical Philology ICS Illinois Classical Studies IG Inscriptiones Graecae JHS Journal of Hellenic Studies LCM Liverpool Classical Monthly LIMC Lexicon Iconographicum Mythologiae Classicae (Zürich, 1981-99) Note to the Reader xi
Note to the reader MH Museum helveticum M-W R Merkelbach and M L. West, Fragmenta Hesiodea( ox PCA Proceedings of the Classical association Proceedings of the Cambridge Philological society QCC Quaderni urbinati di cultura Classica REG Revue des etudes grecques rhM Rheinisches Museum fuir Philologie SBAW Sitzungsberichte der Bayerischen Akademie der wissen schatten TAPA Transactions of the American Philological association WA Wurzburger Jahrbucher fuir die altertumswissenschaft Yale classical studies Zeitschrift fuir Papyrologie und epigraphik note The notes to the text are placed at the end of each chapter
MH Museum Helveticum M-W R. Merkelbach and M.L. West, Fragmenta Hesiodea (Oxford, 1967) PCA Proceedings of the Classical Association PCPS Proceedings of the Cambridge Philological Society QUCC Quaderni Urbinati di Cultura Classica REG Revue des Études Grecques RhM Rheinisches Museum für Philologie SBAW Sitzungsberichte der Bayerischen Akademie der Wissenschaften TAPA Transactions of the American Philological Association WJA Würzburger Jahrbücher für die Altertumswissenschaft YCS Yale Classical Studies ZPE Zeitschrift für Papyrologie und Epigraphik Notes The notes to the text are placed at the end of each chapter. Note to the Reader xii