Le prologue des Choéphores est-il composé ...
Type de document :
Article dans une revue scientifique: Article original
URL permanente :
Titre :
Le prologue des Choéphores est-il composé en anneau ?
Auteur(s) :
Titre de la revue :
Lexis : poetica, retorica e comunicazione della tradizione classica
Pagination :
151-167
Éditeur :
Adolf M Hakkert
Date de publication :
2012
Mot(s)-clé(s) en anglais :
Aeschylus
Choephori
Prologue
ring composition
Orestes’ revenge
Choephori
Prologue
ring composition
Orestes’ revenge
Discipline(s) HAL :
Sciences de l'Homme et Société/Etudes classiques
Résumé en anglais : [en]
This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means ...
Lire la suite >This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means of composition inherited from oral poetry. Grammatical, lexical, semantic and metric repetitions are analysed, as well as the significant variations that we can observe within these repetitions. An analysis of the occurrence of ring composition in lines 10 to 18a explains how Orestes recognises Electra in the procession of the women leading to Agamemnon’s tomb. Recognising that ring composition shapes the whole prologue (lines 1-19) explains why Orestes’ call to vengeance is successively placed under the protection of Hermes (lines 1 f.) and Zeus (lines 18 f.). This leads to the conclusion that Orestes’ vengeance is made legitimate from both points of view: that of the dead – namely of his father –, and that of the living who have been deprived by their mother’s crime of their regal prerogatives – namely himself and his sister. Thus, the core of this ring composition, which introduces the character of Electra, gives a new dimension to Orestes’ revenge, which was at first presented as being undertaken in the interests of Agamemnon.Lire moins >
Lire la suite >This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means of composition inherited from oral poetry. Grammatical, lexical, semantic and metric repetitions are analysed, as well as the significant variations that we can observe within these repetitions. An analysis of the occurrence of ring composition in lines 10 to 18a explains how Orestes recognises Electra in the procession of the women leading to Agamemnon’s tomb. Recognising that ring composition shapes the whole prologue (lines 1-19) explains why Orestes’ call to vengeance is successively placed under the protection of Hermes (lines 1 f.) and Zeus (lines 18 f.). This leads to the conclusion that Orestes’ vengeance is made legitimate from both points of view: that of the dead – namely of his father –, and that of the living who have been deprived by their mother’s crime of their regal prerogatives – namely himself and his sister. Thus, the core of this ring composition, which introduces the character of Electra, gives a new dimension to Orestes’ revenge, which was at first presented as being undertaken in the interests of Agamemnon.Lire moins >
Langue :
Français
Comité de lecture :
Oui
Audience :
Internationale
Vulgarisation :
Non
Collections :
Source :
Date de dépôt :
2025-01-24T04:32:48Z