By Casey Dué
The laments of captive ladies present in extant Athenian tragedy represent a essentially subversive point of Greek drama. In performances supported by means of and meant for the male electorate of Athens, the songs of the captive ladies on the Dionysia gave a voice to sessions who differently could were marginalized and silenced in Athenian society: girls, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the potential meanings old audiences may have hooked up to those songs. Casey Dué demanding situations long-held assumptions in regards to the competition among Greeks and barbarians in Greek idea by way 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 short assessment of the position of lamentation in either glossy and classical traditions, Dué makes a speciality of the dramatic portrayal of girls captured within the Trojan battle, tracing their portrayal via time from the Homeric epics to Euripides' Athenian degree. the writer indicates how those laments developed of their value with the expansion of the Athenian Empire. She concludes that whereas the Athenian polis can have created a cruel empire open air the theater, contained in the theater they discovered themselves faced by means of the fundamental similarities among themselves and people they sought to conquer.
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