I argue in this dissertation that the plays of Aeschylus are best understood as appeals to their predominantly male fifth-century Athenian audience centered around the presentation of dramatic character. I maintain that an examination of the Persians, Seven against Thebes, and Suppliants in these terms reveals that these plays are not primitive, static, or simplistic plays from early in Aeschylus’ career, but rather dramatically complex and mature works. More broadly, I assert that character studies are not hopelessly outdated nor at odds with audience-centered and cultural studies. By combining these approaches, we gain a fuller understanding of how playwrights composed the plays and how spectators responded to them. I also assert that divergent responses to dramas based on individual experiences are not only the rule for spectators of tragedy, but directly influence how playwrights approached their dramatic characters. The Introduction includes theoretical background for spectators’ relationship to dramatic characters culled from film theory and an application of its general principles to the Oresteia. In chapter 1, I examines how the Persians invites spectators to experience a range of potentially contradictory emotional states that include fear of the Persian invaders and sympathy with the inhabitants of the Persian Empire, with the men who fought against them in the war, and perhaps even with Xerxes himself. In Chapter 2, I show how, initially, the Seven against Thebes strongly implies, but does not establish beyond a doubt, that Eteocles is a paragon of Greek manhood and a noble defender of his city with whom Athenian spectators could identify. Questions about Eteocles emerge, however, when the play introduces Polyneices’ accusations of injustice against him, points to increasing similarities between the brothers, and shows how their fates have long since been sealed by their father’s curse and by the will of Apollo. In Chapters 3 and 4, I argue that the portrayal of the Danaids in the Suppliants is intentionally ambiguous. Spectators may have known that the Danaids would kill the Aegyptids, but the play offers vague and contradictory evidence regarding them and their situation to generate suspense in this early play of the trilogy. / text

Thesis--Université de Paris. / Erratum slip inserted. Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaf 61). Available online via OhioLINK's ETD Center

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Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (doctoral), Bayerische Julius-Maximilians-Universität Würzburg, 1992. / Includes bibliographical references (p. [262]-284) and index.

The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metatheatrical language. This dissertation seeks to establish a new approach to ancient dramatic song by demonstrating that the linguistic pitch accents of tragic lyrics often trace the melodic contours of their lost musical settings. In the papyri and inscriptions that preserve music notation alongside Greek lyrics, intonation and melody are often coordinated according to set principles, which are well established by previous scholarship. Through the creation of software that applies these historical principles to tragic texts, I demonstrate that stanzas sung to the same melody are significantly more similar in their accentual contours than control groups that do not share a melody. In many instances, the accents of these paired texts consistently trace the same pitch contours, allowing us to reconstruct the shape of the original melody with a high degree of confidence.After a general introduction, the dissertation’s first two chapters address the historical basis for this approach. Chapter 1 reviews the evidence for the musical structure of tragic song, confirming the widely held view that paired stanzas were generally set to the same melody. Chapter 2 turns to the evidence for the role of pitch accents in ancient Greek song, including the ancient testimony and musical documents, and a computational study of accent patterns across all the lyrics of Aeschylus’ surviving tragedies. The methodology developed in these first two chapters is applied in two case studies, in which I reconstruct and interpret the accentual melodies of select tragic lyrics. Chapter 3 analyzes the musical design of the chorus’ entrance song in Aeschylus’ Agamemnon, along with sections of the Kommos from Choephori. In both cases, I argue, melody would play an integral role in highlighting the themes of repetition and reversal within the Oresteia. Chapter 4 turns to the music of Euripides’ Medea, a play that has been central to previous discussions of accent in tragic music. Reading the lyrics and accentual melodies within the framework of musical history as understood in the fifth century bce, I argue that Euripides uses a contrast between ‘old’ and ‘new’ melodic styles to position his chorus at a turning point within literary history. In the dissertation’s final chapter, I address the reception of Medea’s music in a fragmentary comedy, the so-called Alphabet Tragedy of Callias. Together, these interpretive chapters provide a template for future work applying methods of musical analysis to the accentual melodies of ancient Greek song.

D.Litt. et Phil. / In the Oresteia of Aeschylus, the female characters meet with one of five different fates: vilification, silencing or erasure from the text, metamorphosis, sacrifice or murder. In Ancient Greek culture, ideas of the female corresponded to the following archetypes: Virgin and Wife/Mother. There exists, in mythology, another repository of archetypes which we may categorise as a group of women not connected to the household, functioning on the level of legend or the supernatural, who represent negative degrees of aberration of the feminine. The first two categories, Virgin and Wife/Mother, therefore, are integral to the Greek concept of the oikos (household) whilst the third category, Female Aberrations or Monsters, are seen as a direct threat to the oikos. I postulate a connection between the female characters of Aeschylus’ drama, the mythical archetypes of women found in myth and the fates suffered by each character. My focus in this dissertation, Archetypal Simulacra—Women in Aeschylus’ Oresteia is the depiction of female characters in the Oresteia and how the mythological archetypes of women as described above have influenced this depiction. I aim to determine how Aeschylus used traditional myths and depictions and what the extent and purpose was of his mythopoesis. I first offer a preliminary exploration of women as defined by social practice and various canonical literary works which served to define many mythological precedents for how women were conceived in later literature. This task I divide into two aspects: firstly in an assessment of the archetypes appearing in Greek mythology to which the female characters in the Oresteia correspond; and secondly in an exploration of how these characters were ‘scripted’ into the trilogy and to what extent they supported or undermined their societal ‘script’. In my aim to discover the connection between the portrayal of the female characters, their mythical determinants and the fates they suffer in the course of the drama I conclude that Aeschylus adapts myth in such a way that it underpins and justifies the patriarchal structures. He changes or eradicates his female characters who threaten to reject these strictures. He supplies us with female figures who support the male cause while he violently negates those women who threaten to damage male authority. The playwright has used the plasticity of traditional myth to support the society of Athens with its attitudes and fears regarding the feminine Other who exists in its shadows.

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Thesis (Ph. D.)--University of Chicago, 1941. / Reproduced from type-written copy. Bibliography: p. 96-97.