By Anna A. Lamari
This e-book applies the fundamental rules of narratology to an historical Greek tragedy, specifically Euripides´ Phoenissae. In a play with a really wealthy plot, a narratological learn yields fascinating interpretive effects concerning the use of delusion, narrators, narrative degrees, time and area, in addition to the relation of the Phoenissae with prior remedies of the Theban legendary saga.
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Extra info for Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes, Volume 6)
Her wish to be transferred by the air, like a cloud, to her brother’s arms is typical in tragic lyric and is found in cases where one wishes to escape from an intolerable situation, or to be transferred to where one cannot be:178 ἀνεμώκεος εἴθε δρόμον νεφέλας ποσὶν ἐξανύσαιμι δι’ αἰθέρος πρὸς ἐμὸν ὁμογενέτορα – περὶ δ’ ὠλένας δέραι φιλτάται βάλοιμι χρόνωι – φυγάδα μέλεον. ’ by a lyrical hexameter) pointing to the future death of Parthenopaeus is cut short by a sequence of cretics and dochmiacs (153), hightening the pitch in a stark expression of agony.
El. 715. On fabula, see above, n. 117. 143 The translation is by Fyfe (1995) 247. v. ἐναγώνιος III2, πρᾶγμα II2. 151 From this vantage point, in the narrative of Jocasta’s monologue, Euripides uses the historical present to accentuate events explaining the misfortunes of the house of the Labdacids (patricide, incest, curse) or emphasizing Jocasta’s current problems (fraternal strife, expedition against the city). Apart from the narrative effects mentioned above, the historical presents additionally create a feeling of extratemporal oscillation between past and present.
Both types of anachronies [Genette (1980) 35-36] can be: (i) according to their relation to the main story, (a) internal –when they narrate events that happen within the limits of the main story–, (b) external –when they narrate events that surpass the limits of the main story–, or (c) mixed –when they are both internal and external–; (ii) according to their content, (a) repeating –when they narrate events that are also narrated elsewhere–, or (b) completing –when they narrate events for the first time, or they fill in gaps of previous narratives–; (iii) according to the secondary story they introduce, (a) heterodiegetic –when they introduce a story which is different from the main storyline and creates a new narrative level–, or (b) homodiegetic –when they refer to the main storyline–; (iv) according to the agent who communicates them, (a) narratorial –when they are uttered by the main narrator–, or (b) actorial –when they are uttered by one of the characters– [Genette (1980) 40, 67-76; Reichel (1994) 47-98; Bal (1997) 84; de Jong (2001) xi, xvi; de Jong, Nünlist & Bowie (2004) xv, xvii-xviii].