LEADER 03877nam 2200469 450 001 9910792752303321 005 20230213222744.0 010 $a0-292-74972-4 024 7 $a10.7560/732988 035 $a(CKB)3710000001085425 035 $a(MiAaPQ)EBC4825860 035 $a(Au-PeEL)EBL4825860 035 $a(CaPaEBR)ebr11507325 035 $a(OCoLC)1022786150 035 $a(DE-B1597)586590 035 $a(DE-B1597)9780292749726 035 $a(EXLCZ)993710000001085425 100 $a20180226h19631963 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe masks of tragedy $eessays on six Greek dramas /$fThomas G. Rosenmeyer ; decorations by Donald L. Weismann 210 1$aAustin, [Texas] :$cUniversity of Texas Press,$d1963. 210 4$dİ1963 215 $a1 online resource (263 pages) 311 $a0-292-73298-8 327 $tFrontmatter -- $tForeword -- $tCONTENTS -- $tA Note on the Translations -- $tSeven Against Thebes: The Tragedy of War -- $tPrometheus Bound: Tragedy or Treatise? -- $tBacchae and Ion: Tragedy and Religion -- $tAjax: Tragedy and Time -- $tAlcestis: Character and Death 330 $a"What matters about a play is not the extent to which it is like any other play, but the way in which it is different," writes Thomas G. Rosenmeyer. "This is, I suggest, how the ancient audiences received the performances. My purpose, then, in writing these essays is twofold: . to devote enough space to the discussion of each play to allow its special tone and texture to emerge without hindrance and at leisure . and to include in one collection analyses of plays so different from one another that the accent will come to rest on the variety of the tragic experience rather than on any one narrowly defined norm." Greek tragedy is a vehicle for many different ideas and many different intentions. From the wealth of material that has come down to us the author has chosen six plays for analysis. He reminds us that the plays were written to be seen and heard, and only secondarily to be studied. The listeners expected each play to have a specific objective, and to exhibit its own mood. These the author attempts to recover for us, by listening to what each play, in its own right, has to say. His principal concern is with the tragic diction and the tragic ideas, designed to release certain massive responses in the large theater-going group of ancient Athens. In exploring the characters and the situations of the plays he has chosen, the author transports his reader to the world of fifth-century B.C. Greece, and establishes the relevance of that world to our own experience. The essays are not introductory in nature. No space is given, for instance, to basic information about the playwrights, the history of Greek drama, or the special features of the Attic stage. Yet the book addresses itself to classicists and nonclassicists alike. The outgrowth of a series of lectures to nonspecialists, its particular appeal is to students of literature and the history of Western thought. Parallels are drawn between the writings of the philosophers and the tragedies, and attention is paid to certain popular Greek beliefs that colored the tragic formulations. Ultimately, however, the approach is not historical but critical; it is the author's intention to demonstrate the beauty and the craftsmanship of the plays under discussion. 606 $aGreek drama (Tragedy)$xHistory and criticism 615 0$aGreek drama (Tragedy)$xHistory and criticism. 676 $a882.09 700 $aRosenmeyer$b Thomas G.$0155651 702 $aWeismann$b Donald L. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910792752303321 996 $aThe masks of tragedy$93812439 997 $aUNINA