By Simon Goldhill
This publication is anxious with the complexity and hassle of studying the Oresteia. it's not a standard observation, even though it is frequently fascinated about difficulties of interpretation and language, neither is it easily what's regularly understood via a literary research, even though it usually discusses the broader subject matters of the narrative. it's a shut interpreting of the textual content targeting the constructing meanings of phrases in the structuring of the play. particularly, Simon Goldhill specializes in the text's pursuits in language and its keep watch over, in sexuality and sexual distinction, and within the development and outline of occasions. Dr Goldhill hyperlinks a legitimate philological wisdom with fabric drawn generally from glossy literary thought and anthropological stories. the result's a not easy and provocative e-book, which deals for the intense pupil of Greek drama an exhilarating variety of insights into the most very important texts of the traditional global.
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Extra resources for Language, Sexuality, Narrative: The Oresteia
Fraenkel glosses 6 OfjAus opos with TO OTTO yuvociKos cbpia|j£vov, yet calls for then the interpretation 'rule of conduct', regardless of recognising using opi^eiv as 'decree', 'lay down' (cf. Wilamowitz on Eur. Ion 1222) even within the Oresteia itself (Cho. 927). Fraenkel's personal gloss would appear to argue opposed to the understanding with which he rejects the fewer particular 'ruling', 'determination', in favour of his personal designated 'rule of conduct', relating the sacrifices of thanksgiving. The oxymoronic conjunction of opos 'boundary-(stone)' and 67Tiv6|i£Tai, 'transgress', 'graze over', 'spread', with its suggestive diversity of attainable metaphorisation turns out a notably Aeschylean conjunction to me. the traditional interpretation interprets 'spreads abroad', concerning the unfold of hearsay over town, cf. 476-7. there's, in spite of the fact that, a substantial distinction among opos and KASOS, which shouldn't be conflated to harmonise the expression right into a easy general approximately women's gossip: KAEOS is an further slur to color opos, drawing its strength from yet no longer easily repeating the 'sexist' regular. Or you could say relatively that using the extraordinary be aware opos extends the potential connection with the former scene, the place a woman's selection was once so very important. Headlam notes that E7Tiv£iJEa0ai used to be ' so more often than not utilized' to fireside ' that the unique metaphor used to be forgotten'. if that is so, the overlaid institutions among 'fire' (i. e. the beacons) and 'a woman's choice' right here make this utilization a great deal a 'live metaphor' as regards to the beacon-speeches. forty two verbal exchange and trade within the Agamemnon the beacon-speeches scene, we are going to see Clytemnestra's strength throughout the manipulation of signification. i'm going to presently convey how this end is approached within the lyrics of the refrain - yet first there are 3 ultimate issues I desire to make approximately Clytemnestra's speech (320—50), which echoes in its story of seize the language of the parodos, the story of the expedition's structure and departure. First there's an emphasis at the reciprocal nature of the motion which i discussed in regards to the energetic/ passive senses of TEKVOTTOIVOS, yuvaiKOTioivov, and so as to go back within the first stasimon. this is often noticeable really within the word ou TOCV eAovTes ccuOis dvOaAoiev av. This use of OCVTI- with reference to the competition and exclusion of revenge has been commented on above (p. 13). there's additionally a subtext of reversal, issues twisting again on themselves and repeating themselves in contrary kinds: Kd|jvyai 6iauAou (344), 6cva|iTrAdKT|TOS (345). This, too, is visible back within the lyrics that stick to. Secondly, the process praying that anything won't take place which briskly is noticeable to take place, is a strategy just like that obvious with Calchas' oTov \xr\ TIS KTA. (13 iff. ). Praying for that which doesn't take place, praying opposed to that which does ensue: such makes an attempt at ordering, directing the longer term element to the will for narrative regulate - yet a hope that is blocked. Thirdly, there are photos of combining, relatively of careworn sound, 'shouting', 'groaning'.