By Casey Dué
The laments of captive girls present in extant Athenian tragedy represent a essentially subversive point of Greek drama. In performances supported by way of and meant for the male electorate of Athens, the songs of the captive girls on the Dionysia gave a voice to periods who differently might were marginalized and silenced in Athenian society: ladies, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the prospective meanings old audiences may need hooked up to those songs. Casey Dué demanding situations long-held assumptions in regards to the competition among Greeks and barbarians in Greek suggestion by means of suggesting that, in viewing the plight of the captive girls, Athenian audiences prolonged pity to these least like themselves. Dué asserts that tragic playwrights usually used the lament to create an empathetic hyperlink that blurred the road among Greek and barbarian.
After a quick assessment of the function of lamentation in either sleek and classical traditions, Dué specializes in the dramatic portrayal of ladies captured within the Trojan struggle, tracing their portrayal via time from the Homeric epics to Euripides' Athenian degree. the writer indicates how those laments advanced of their value with the expansion of the Athenian Empire. She concludes that whereas the Athenian polis could have created a cruel empire outdoors the theater, contained in the theater they discovered themselves faced via the fundamental similarities among themselves and people they sought to conquer.
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