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A. Ancient contexts and principles From the very establishment (probably 535–531 BC) of Greek T. as a constituent element in the City Dionysia (the festival founded by Peisistratus in honour of the god Dionysus and central to life in democratic 5th-cent. Athens), T. as a literary genre was to the utmost degree determined by processes of reception and intertextual references. The reasons for this are to be found on various levels. As a choral genre [45], it developed out of choral lyrical forms (accor…

A. Antike Kontexte und Grundlagen Seit die griech. T. als Bestandteil der von Peisistratos gestifteten Großen Dionysien in Athen – einem Fest zu Ehren des Gottes Dionysos, das im 5. Jh. zum zentralen Fest des demokratischen Athen wurde – etabliert war (wohl 535–531 v.Chr.), war sie als lit. Gattung in höchstem Maße durch Rez.-Vorgänge und intertextuelle Bezüge geprägt. Die Ursachen hierfür sind auf mehreren Ebenen zu suchen: Als eine chorische Gattung [45], die sich aus chorlyrischen Formen entwickel…

[English version] (Θεοδωρίδης). Griech. Tragiker (TrGF I 78 A), belegte an den athenischen Lenaia 363 v. Chr. den zweiten Platz mit einer ‘Medeia und einem ‘Phaethon (DID A 2b, 94). Zimmermann, Bernhard

[English version] (ἡ τριλογία). Seit der hell. Philologie Bezeichnung von drei anläßlich der Großen Dionysia in Athen aufgeführten Tragödien ohne das abschließende Satyrspiel (vgl. schol. Aristoph. Ran. 1124) [1. 80]. Tetralogie; Tragödie I. Zimmermann, Bernhard Bibliography 1 Pickard-Cambridge/Gould/Lewis.

[English version] (ἡ τετραλογία). Urspr. t.t. der Rhet., um vier denselben Fall aus unterschiedlichen Perspektiven behandelnde Reden zu bezeichen (Antiphon [4] A.), später auch verwendet, um die platonischen Dialoge in Vierergruppen zusammenzufassen (Diog. Laert. 3,57; Platon [1] C.1.-2.). Seit der hell. Philologie bezeichnet der Begriff v. a. vier in einem inhaltlichen Zusammenhang stehende Theater-Stücke: drei Tragödien (Trilogie) und ein Satyrspiel [2. 80 f.]. Als “Erfinder” der T. kann verm. A…

[English version] (Τιμησίθεος). In der Suda (τ 613) erwähnter, nicht datierbarer griech. Tragiker; nach Suda τ 613 Verf. von 11 Trag. (TrGF I 214). Zimmermann, Bernhard

[English version] (Ζωτίων) aus Ephesos. Nur der Name des griech. Tragikers aus der Mitte des 2. Jh. v. Chr. ist überl. (TrGF I 133). Zimmermann, Bernhard

[English version] (τὸ στάσιμον; abgeleitet von dem Adj. stásimos, “stehend”). In der Aufzählung der Bauformen (μέρη/ mérē) der Tragödie (I.) unterscheidet Aristoteles (poet. 1452b 22-24) unter den Chorpartien die párodos von den stásima, die er als Chorlieder ohne Anapäst und Trochäus definiert, also ohne rezitierte Verse, die bes. in der Parodos Verwendung finden [1]. Der Begriff s. ist keineswegs so zu verstehen, daß der Chor die Lieder “stehend” sang, sondern daß er sie, von Tanz begleitet, vortrug, nachdem er seinen “Standplatz” in der Orchestra …

(σατυρικὸν δρᾶμα, satyrikón dráma). [English version] A. Ursprungsprobleme Wie im Falle der griech. Tragödie bildet auch für das S. eine Stelle der aristotelischen ‘Poetik den Ausgangspunkt der Ursprungsdiskussion. Danach (Aristot. poet. 1449a 19 ff.) habe die Trag., von kleinen Stoffen und einer scherzhaften Sprache ausgehend, erst spät die ihr angemessene Erhabenheit erlangt, da sie sich aus dem Satyrhaften (ἐκ σατυρικοῦ, ek satyrikú) entwickelt habe und anfangs tänzerischer (ὀρχηστικωτέρα, orchēstikōtéra) gewesen sei. Aristoteles behauptet also keineswegs, d…

(Σωσιφάνης). [English version] [1] Tragiker, gest. 336/333 bzw. 324/321 v. Chr. S. aus Syrakus, Tragiker (TrGF I 92), gest. 336/333 bzw. 324/321 v. Chr. Die Suda (σ 863) schreibt ihm 73 Stücke und 7 Siege zu. Bezeugt ist als Titel Meléagros. Die Zuweisung zur trag. Pleias (TrGF T 1) bezieht sich auf S. [2]. Zimmermann, Bernhard [English version] [2] Tragiker, geb. 306/5 v. Chr. Tragiker (TrGF I 103), geb. 306/5 v. Chr., wird zur trag. Pleias gezählt. Zimmermann, Bernhard

[English version] (στιχομυθία). Form des Dialogs im ant. Drama, in der zwei - oder seltener drei - Personen in regelmäßigem Wechsel sprechen. Der Begriff ist als t.t. zuerst bei Poll. 4,113 belegt, eine Umschreibung der dramatischen Technik der “Gesprächsverdichtung” [6] jedoch bereits bei Aischylos [1] (Eum. 585 f.). Der Ursprung der S. liegt im dunkeln (Initiationsriten: [8. 201], volkstümliche Bräuche: [2. 95-106]). Zur Technik der S. im eigentlichen Sinn werden in der Forsch. bisweilen auch Formen des Dialogs hinzugenommen, in denen sich Personen in Halbversen ( antilabaí,…

[English version] (Θέσπις) aus Ikarion [1] im att. Demos Ikaria [1. 49], nach einer auf dem Marmor Parium (43) bezeugten Trad. “Erfinder” ( prṓtos heuretḗs ) der Tragödie (TrGF I 1 T 2), nach einer anderen (Suda θ 282 = T 1) sechzehnter oder zweiter Tragiker nach Epigenes von Sikyon. Er soll zw. 535/4 und 532/1 die erste Trag. an den Großen Dionysia in Athen aufgeführt haben (vgl. jedoch [3]) und gilt als Erfinder der Maske der Schauspieler (aus Leinen, T 1). Durch die Hinzufügung von Prolog ( prólogos) und rhḗsis machte er aus dem reinen Chorgesang drā́ma im eigentlich…

[English version] (Θεύδοτος). Griech. Tragiker (TrGF I 157), siegte mit dem Satyrspiel ‘Palamedes verm. im 1. Jh. v. Chr. in Magnesia [2] (DID A 13,5). Zimmermann, Bernhard

[English version] “Selbstgespräch” (“M.” ist nicht antik, erst Augustinus prägt den Begriff soliloquium, vgl. Aug. retract. 1,4,1), bes. Form der Rede ( rhḗsis ), die sich in verschiedenen literarischen Gattungen findet. Zur Unterscheidung von M. im eigentlichen Sinn von anderen Formen der rhḗseis wie des Botenberichts (Botenszenen) sollte nicht der Umfang des M., sondern nur die kommunikative Situation als Kriterium gelten [4. 180 f.]: die Einsamkeit bzw. Isoliertheit des Sprechenden, der seine Rede an keinen Ansprechpartner richtet. I…

[English version] (Σκληρίας) oder Sklerios (Σκλήριος), von Stobaios zitierter Tragiker (TrGF I 213), Lebenszeit unbekannt. Daß das nur von Stobaios (TrGF I 213 F 5) S. zugeschriebene Skolion (PMG 890) tatsächlich von ihm stammt, ist unwahrscheinlich (Testimonien in PMG 651). Zimmermann, Bernhard

[English version] (Σπίνθαρος). Tragiker (TrGF I 40), nach Suda σ 945 Verf. eines ‘Verbrannten Herakles und einer ‘Semele, vom Blitz getroffen. Da Herakleides [16] Pontikos (fr. 13 Wehrli) ihn als alten Mann bezeichnet, kann er nicht mit dem von Aristoph. Av. 762 erwähnten Phryger S. identisch sein, sondern muß im 4. Jh. v. Chr. gelebt haben. Zimmermann, Bernhard

Zimmermann, Bernhard [English version] A. Spätantike/Mittelalter (RWG) Zwar waren nach dem Verschwinden von Tragödie und Komödie aus dem Spielplan der röm. Kaiserzeit - Aufführungen griech. Trag. lassen sich vereinzelt bis ins 4. Jh. n. Chr. nachweisen, Stücke von Plautus und Terenz wurden noch im 3./4. Jh. n. Chr. aufgeführt - mit Mimus, Pantomimus und den fabulae cantatae, tragischen, von einem Solisten vorgetragenen Einzelszenen wie Hercules insanus (“Der rasende Hercules”), Canace parturiens (“Die gebärende Canace”), Oedipus excaecatus (“Der geblendete Ödipus”…

(Ἐπιγένης). [English version] [0] aus Sikyon, Tragiker, 6. Jh. v. Chr. E. aus Sikyon. Laut Suda s. v. Thespis (θ 282 = TrGF I 1 T 1) der erste Tragiker (6. Jh. v. Chr.). Das Publikum soll auf den mangelnden dionysischen Inhalt seiner Stücke mit dem sprichwörtlichen οὐδὲν πρὸς τὸν Διόνυσον ( udén pros ton Diónyson, ‘Das hat doch nichts mit Dionysos zu tun!’) reagiert haben (TrGF I 1 T 18,3). Vielleicht kann man E.' Tätigkeit im Zusammenhang mit den von Hdt. 5,67 für Sikyon bezeugten τραγικοὶ χοροί ( tragikoí choroí, “tragischen Chören”) sehen [2. 21-23]. Tragödie I. Zimmermann, Bernhard Bib…

[English version] (Σωσίθεος) aus Alexandreia [2] in der Troas, Satyrspieldichter und Tragiker der Pleias, 1. H. 3. Jh. v. Chr. (TrGF I 99). Laut Suda (σ 860) soll er auch Gedichte und Prosa geschrieben haben (T 1). Dioskurides [3] (Anth. Pal. 7,707 = T 2) preist ihn in einem fingierten Grabepigramm als Erneuerer des Satyrspiels, der sich an Pratinas orientiere. Erh. sind 24 Verse aus ‘Daphnis oder Lityerses, verm. einem Satyrspiel, in dem die Liebe von Daphnis und der Nymphe Thaleia, ihre Gefangennahme durch Lityerses und vermutlich ihre Befreiung durch Herakles behandelt wurde. Zimme…

[English Version] . Abgeleitet von dem griech. Adj. τραγικο´ς/tragikós, bez. »tragisch« urspr. nichts anderes als die Zugehörigkeit zur tragischen Kunst oder drückt aus, daß etwas nach Art der Tragödie ist. Nach Aristoteles, Poetica (13, 1453 a 30), ist Euripides der »tragischste« Dichter, da seine Stücke am meisten dem Endziel der Tragödie entsprechen, Furcht und Mitleid zu erwecken und zur Reinigung (Katharsis) dieser Affekte oder von diesen Affekten zu führen. In der Moderne können mehrere Konzeption…

[English Version] (497/96 Athen – 406 v.Chr.), Tragiker aus Athen (Debüt 470). Sieben von vermutlich 113 Stücken sind erhalten: »Aias«, »Trachinierinnen« (50er Jahre), »Antigone« (um 440), »König Oidipus« (436–433), »Elektra« (Spätwerk), »Philoktet« (409), »Oidipus auf Kolonos« (postum 401). In den Mittelpunkt seiner Tragödien stellt S. Menschen in Extremsituationen, deren Verhalten die Grenzen zur Hybris überschreiten kann. Den Protagonisten sind den Durchschnittsmenschen repräsentierende Kontras…

[English Version] . Das S. bildete an den Großen Dionysien (Dionysos), dem Hauptfest der Stadt Athen, an den letzten drei Tagen jeweils den burlesken Ausklang im Anschluß an die Aufführungen von je drei Tragödien. Während es bei Aischylos in einem inhaltlichen Zusammenhang mit der Trilogie stand, scheint dies bei Sophokles und bes. Euripides nicht der Fall gewesen zu sein, der bisweilen das S. durch eine Tragödie (Alkestis, 438 v.Chr.) ersetzte. Die Einführung in das Festprogramm muß nach archäolo…

[German Version] (497/496, Athens – 406 bce), Athenian tragedian, who had his debut in 470. Seven of his plays (out of probably 113) have survived: Ajax and the Trachinian Women, written in the 450s, Antigone (c. 440), Oedipus the King (436–433), Electra (a late work), Philoctetes (409), and Oedipus at Colonus (performed posthumously in 401). His tragedies present individuals in extreme situations, whose behavior can overstep the limits of hubris. The protagonists are contrasted with figures representing the average person (Chrysothemis, Ismene…

[German Version] Derived from the Greek adjective τραγικός/ tragikós, tragic originally suggested nothing more than association with the art of tragedy. According to Aristotle ( Poet. 13, 1453 a 30), Euripides was the “most tragic” playwright, since his plays reflect most closely the purpose of tragedy: to evoke pity and fear and lead to purification (Catharsis) of or from these emotions. In the modern period, several different conceptions of the tragic can be identified. At the center of the moralistic and theological …

[German Version] At the Great Dionysia (Dionysus), the most important festival of Athens, each of the final three days was marked by the performance of three tragedies followed by a satyr play as a burlesque conclusion. In the case of Aeschylus, the satyr play shared subject matter with the trilogy, but this does not seem to have been the case with Sophocles and especially Euripides, who sometimes substituted a tragedy for the satyr play ( Alcestis, 438 bce). Archaeological evidence indicates that the satyr play was introduced into the festival program between 520 and 510 bce; the first a…

[German version] (Θεύδοτος; Theúdotos). Greek tragedian (TrGF I 157), victorious with the satyr play Palamedes presumably in Magnesia [2] in the 1st cent. BC (DID A 13,5). Zimmermann, Bernhard (Freiburg)

[German version] (Φαράδας; Pharádas) from Athens; was successful with a satyr play after 85 BC at the Museia in Thespiae (Boeotia) (TrGF I 173). Zimmermann, Bernhard (Freiburg)

[German version] (Σπίνθαρος; Spíntharos). Tragic poet (TrGF I 40), according to Suda σ 945 author of a Heracles burned and a ‘ Semele struck by lightning. Since Heraclides [16] Ponticus (fr. 13 Wehrli) describes him as an old man, he cannot be identical to the Phrygian S. mentioned in Aristoph. Av. 762, but must have lived in the 4th cent. BC. Zimmermann, Bernhard (Freiburg)

[German version] (Κριτίας; Kritías) of Athens, born about 460 BC, descended from an old Attic noble family, on his mother's side he was an uncle of  Plato. Like  Alcibiades [3] he belonged to the circle around  Socrates. Politically he belonged to the antidemocratic forces: in 415 he was accused of participating in the mutilation of the  Herms, in 411 he was a member of the oligarchic council of the 400 ( Tetrakosioi). After the democratic restoration he stayed in Thessaly until 404, after the Athe…

Zimmermann, Bernhard (Freiburg) [German version] A. Antiquity and Middle Ages (CT) In contrast to Greek tragedies, where repeat performances had been officially permitted since 386 BC, there is no epigraphical evidence of any repeat performances of 'ancient' comedies prior to 339 BC. It appears, though, that not the 5th cent.-comedies, but those by contemporary authors or by poets of the immediate past, i.e. those from the periods of the Middle and New Comedy, were performed again.The Old Comedy of the 5th…

[German version] (ἡ πάροδος/ hē párodos, literally 'entrance, entry song of the chorus'). In his list of components common to all tragedies, Aristotle [6] defined parodos in his Poetics (12, 1452 b22f.) as the first chorus part, with an additional sense of 'entry song' or 'entry speech' (cf. Aristot. Eth. Nic. 1123 a23f.). However, structural analysis should not be limited to rigid, schematic definitions, but also consider the construction and development of dramatic action (σύστασις τῶν πραγμάτων, ibid.). In Attic tragedy, the parodos may open the play (Aesch. Pers. and Supp…

[German version] (τὸ μηχάνημα, τὸ τέχνημα; tò mēchánēma, tò téchnēma). Already Hom. Od., bks. 19-24 shows the close link between recognition scenes ( Anagnorisis) and intrigue that is typical of Attic tragedy. Locus classicus is Aesch. Cho. Intrigue is missing from almost none of Euripides' plays, so that Aristoph. Thesm. 94 can rightly call him the ‘master of the intrigue play’. Euripides composes anagnṓrisis-intrigue dramas especially in his later work. After the recognition, rescue is effected by an intrigue (e.g. Eur. IT 1017ff.; Eur. Hel. 1034ff.). In Ion there is a playful …

[German version] (ἔξοδος, generally ‘departure’, ‘end’). According to Aristot. Poet. 1452b 21f., the exodos is the part of a tragedy which is not followed by a chorus ( Stasimon) (concluding act). Moving from this broad definition, it probably makes more sense to define the exodos in a narrower sense as the exit of the chorus at the end of a drama (cf. Aristoph. Vesp. 582). The most frequent form in tragedy is the ‘ ecce conclusion’: the deed and the doer are presented in a pathos-laden concluding scene (initially usually indirectly by means of a messenger's report […

[German version] (ἡ κάθαρσις; hē kátharsis). Katharsis, derived from καθαίρειν ( kathaírein, purge), generally means any type of purgation and elimination of visible (dirt) and invisible uncleanliness (religious defilement: míasma, cf. Hdt. 1,35; Aristot. Poet. 17,1455b 15). In the 2nd half of the 5th cent. BC the term was used as medical term for the removal of harmful substances from the human body or soul (LSJ, s.v. κ. II). The cultic-ritual and medical-psychological meanings have merged in Aristotle's concept of katharsis, which of old has been a matter of scholarly con…

[German version] Greek tragedian, who enjoyed success at the Dionysia several times after 468 BC (TrGF I 11). Zimmermann, Bernhard (Freiburg)

[German version] Tragedian from the closing years of the 5th cent. BC; according to the scholia on Aristophanes he was known for his gluttony (TrGF I 30 T 1-3). Zimmermann, Bernhard (Freiburg)

[German version] (Πολυχάρης/ Polychárēs). Early 4th cent. BC poet, uncertain whether of tragedy or dithyramb (DID B 6). Zimmermann, Bernhard (Freiburg)

(Πολίτης/ Polítēs). [German version] [1] Son of Priamus Son of the Trojan king Priamus and Hecabe. During the Trojan War, he saves his wounded brother Deiphobus (Hom. Il. 13,533 ff.). The goddess Iris appears once in his guise (ibid. 2,786 ff.). He is killed at the altar in the palace of Neoptolemus [1] (Verg. Aen. 2,526 ff.). According to Cato (Orig. fr. 54 HRR), he reaches Latium with Aeneas (Aeneas [1]) and founds the city of Politorium. Zimmermann, Bernhard (Freiburg) [German version] [2] Companion of Odysseus According to Paus. 6,6,7 ff., one of the companions of Odysseus; r…

[German version] (Σκληρίας/ Sklērías) or Sclerius (Σκλήριος/ Sklḗrios), tragic poet cited by Stobaeus (TrGF I 213), dates unknown. It is unlikely that the Skolion (PMG 890) which only Stobaeus ascribes to S. (TrGF I 213 F 5) is in fact by him (testimonies in PMG 651). Zimmermann, Bernhard (Freiburg)

[German version] [1] Tragedian (Τιμησίθεος; Timēsítheos). Greek tragedian, mentioned in the Suda (τ 613), not datable. According to Suda τ 613, author of 11 tragedies (TrGF I 214). Zimmermann, Bernhard (Freiburg) [German version] [2] see Furius [II 5] see Furius [II 5]

[German version] (Κλεαίνετος; Kleaínetos). Tragedian (TrGF I 84), won the 3rd place at the Lenaeans in 363 BC; mocked by  Alexis as not exacting (Fr. 268 PCG), by  Philodemus (84 T 3 TrGF I) as a worse poet than Euripides. ‘Hypsipyle’ is attested as a title. Zimmermann, Bernhard (Freiburg)

[German version] (Θεοδωρίδης; TheodōrÍdēs). Greek tragedian (TrGF I 78 A), took second place at the Athenian Lenaea in 363 BC with a Medea and a Phaethon (DID A 2b, 94). Zimmermann, Bernhard (Freiburg)

[German version] (Μόρσιμος; Mόrsimos). Son of Philocles, great-nephew of Aeschylus [1] (TrGF I 12 T 3), middle of the 5th cent. BC, oculist (TrGF I 29 T 2) and tragedian, the latter according to Aristophanes (Equ. 401, Pax 802, Ran. 151) of particularly poor quality. Zimmermann, Bernhard (Freiburg)

Zimmermann, Bernhard (Freiburg) [German version] A.Late Antiquity/ Middle Ages (CT) There is, to be sure, evidence for the existence of sporadic performances of Greek tragedies up into 4th cent. AD and plays by Plautus and Terence continued to be performed as late as the 3rd/4th. cents., but on the whole, tragedies and comedies had largely disappeared from the theatre programme of the Roman Imperial Age. The stage of that age, however, was not devoid of dramatic, sub-literary genres [5]. They included mimes, pantomimes and the fabulae cantatae, i.e. tragic isolated scenes perfor…

[German version] (Πολυφράσμων/ Polyphrásmōn). Son of Phrynichus [1], tragedian, first victory between 482 and 471 (DID A 3a, 13), successful at the Dionysia in 471  (DID A 1, 22). In 467 he is recorded as third to Aeschylus [1], who won with his Theban trilogy, and Pratinas' son Aristias [2] with his trilogy Lykourgeia (TrGF I 7). Zimmermann, Bernhard (Freiburg)

[German version] (στιχομυθία/ stichomythía). A form of dialogue in ancient drama in which two persons - or, more rarely, three -  speak in regular turns. It was first documented as a technical term in Poll. 4,113, but a description of the dramatic technique of 'dialogue intensification' [6] appears as early as in Aeschylos [1] (Eum. 585 f.). The origins of stichomythia are unknown (initiation rites: [8. 201], folk customs: [2. 95-106]). Under the general heading of the technique of stichomythia, sc…

[German version] (ἡ ῥῆσις/ hē rhêsis), generally 'speech' (Hom. Od. 21,291). As early as the 5th cent. BC, rhesis was a technical term for a speech in a play, especially in a tragedy (for the concept cf. Aristoph. Ach. 416, Nub. 1371, Vesp. 580, Ran. 151; Aristot. Poet. 1454a 31, 1456a 31). The length of a rhesis varies from c. 7 to over 100 verses (Eur. Ion 1122-1228, Phoen. 1090-1199, Bacch. 1043-1152). The most important function of rhḗseis in the context of the storyline is to supply information. The requisite details which are important for the storyline are frequen…

[German version] (Φανόστρατος; Phanóstratos) of Halicarnassus. Tragedian, probably successful at the Attic Lenaea in 306 BC. TrGF I 94 = DID B7. Zimmermann, Bernhard (Freiburg)

[German version] (Νεόφρων; Neóphrōn) of Sicyon. Tragedian, 2nd half of 5th cent. BC; according to the Suda (TrGF I 15 T 1) the author of 120 plays, and the first to depict tutors and the torture of slaves on the stage. According to the hypothesis of Euripides' [1] ‘Medea arising from the Peripatetic tradition, the Euripidean drama is said to have derived from N. The 24 surviving verses show clear concordances with Euripides (esp. Medea's monologue in N. fragment 2, cf. Eur. Med. 1021ff., 1236ff.); …

[German version] (τὸ στάσιμον /tò stásimon; derived from the adjective stásimos, 'standing'). In the list of structural forms (μέρη/ mérē) of the tragedy (I.), Aristotle (Poet. 1452b 22-24) distinguishes - among the chorus parts - the párodos from the stasima, which he defines as chorus songs that have no anapest or trochee, thus no recited verses, which are used primarily in the parodos [1]. The term stasimon must not be understood in the sense that the chorus was 'standing' while it sang the song, rather that the chorus performed i…

[German version] (ἡ τριλογία/ hē trilogía). From Hellenistic philology onwards a term for three tragedies, without the concluding satyr play, performed during the Great Dionysia at Athens (cf. Schol. Aristoph. Ran. 1124) [1. 80]. Tetralogy; Tragedy I. Zimmermann, Bernhard (Freiburg) Bibliography 1 Pickard-Cambridge/Gould/Lewis.

[German version] (Πλειάς/ Pleiás). The 'Constellation of Seven' Greek tragic poets during the reign of Ptolemy Philadelphus (Ptolemaeus [I 3] II Philadelphus) (285-246 BC). The list of names varies (as with those of the Seven Sages and the Seven Wonders of the World); certain are: Alexander [21] Aetolus, Lycophron [5] of Chalcis, Homerus [2] of Byzantium,  Philicus of Corcyra and Sositheus of Alexandria; also mentioned are: Sosiphanes [2] of Syracuse, Aeantides, Dionysiades of Tarsus and Euphronius…

[German version] (Σωσίθεος/ Sōsítheos) from Alexandria [2] in the Troad, Satyr playwright and tragedian of the Pleias, first half of the 3rd century BC (TrGF I 99). According to the Suda (σ 860) he is also supposed to have written poetry and prose (T 1). In a fictitious burial epigram Dioscurides [3] (Anth. Pal. 7,707 = T 2) praises him as a reviver of the satyr play, taking his direction from Pratinas. 24 verses survive from Daphnis or Lityerses, presumably a satyr play, about the love of Daphnis and the nymph Thalia, their being taken prisoner by Lityerses and presumabl…

[German version] (also anagnorismos: ἡ ἀναγνώρισις, ὁ ἀναγνωρισμός; hē anagnṓrisis, ho anagnōrismós). According to Aristot. Poet. 11,1452a-b, anagnorisis is the technical term for the ‘Recognition’ in drama. Aristotle defined anagnorisis as a transition from unknowing into knowing, with the effect that friendship is changed into enmity and vice versa. To him, that anagnorisis is the most dramatic, which occurs simultaneously with   peripeteia . Aristotle differentiated three varieties of anagnorisis with reference to the object: the recognition of persons, of ina…

[German version] (Φιλοξενίδης; Philoxenídēs) from Oropos, writer of satyr plays; after 85 BC he achieved success at the Amphiaraea and Romaea festivals in Oropus (TrGF I 170). Zimmermann, Bernhard (Freiburg)

[German version] ‘Soliloquy’ (the term ‘monologue’ is not of ancient origin; it was only Augustinus who coined the term soliloquium, cf. Aug. retract. 1,4,1), special form of speech ( rhḗsis ) found in various literary genres. In distinguishing monologue in its proper sense from other forms of rhḗseis, such as a messenger's report (messenger scenes), the criterion should not be the length of the monologue, but only the communication situation [4. 180 f.]: the solitude or isolation of the speaker, who is not addressing his speech to a listene…

[German version] (Ζωτίων; Zōtíōn) from Ephesus. Only the name of this Greek tragic poet from the middle of the 2nd cent. BC is recorded (TrGF I 133). Zimmermann, Bernhard (Freiburg)

[German version] (ἡ περιπέτεια/ hē peripéteia). Literally 'turn-about, reversal' of a situation, mostly of fate, often unexpected and as a rule from good to bad (e.g. Aristot. Rhet. 1371b 10). The concept is central to Aristotle's Poetics (Poet. 11,1452a 22-29), where P. is defined as the reversal of what was to be achieved into its opposite. This should happen by probability (κατὰ τὸ εἰκός) or by necessity (κατὰ τὸ ἀναγκαῖον). Together with  anagnorisis P. is a characteristic of complex narrative structures ('plots', μῦθοι πεπλεγ…

[German version] (ὁ διθύραμβος; dithýrambos). Choral song in honour of  Dionysus. The origin and meaning of this term has caused much speculation since ancient times. The word itself is certainly not a Greek, perhaps a Phrygian composition; most likely from a combination of íambos (ἴαμβος; two-step) and thríambos (θρίαμβος; three-step) [1]. In a contested passage of his Poetics (Aristot. Poet. 4,1449a 10-13) Aristotle makes the dithyramb the harbinger of tragedy ─ or, say others [2], of comedy. Three phases can be distinguished in the history of the genre: the pre-litera…

[German version] (ἡ τετραλογία/ hē tetralogía). Originally a technical term in rhetoric to describe four speeches treating the same case from different perspectives (Antiphon [4] A.), later also used to summarize the Platonic dialogues in groups of four (Diog. Laert. 3,57; Plato [1] C. 1. - 2.). Since the Hellenistic era, philology has used the term primarily for four theatre pieces connected by content: three tragedies (Trilogy) and one satyr play [2. 80 f.]. The 'originator' of the tetralogy was probably Aeschylus [1]; his Oresteia (458 BC) survives (without the satyr play)…

[German version] (μονῳδία; m onōidía). Monody and the verb μονῳδεῖν ( monōideîn) are found already in the 5th century BC as technical terms used to describe solo arias by actors in drama (Aristoph. Pax 1012; Aristoph. Thesm. 1077; Aristoph. Ran. 849; 944; 1330). Occasionally they are equated with Threnos, as a notable component of the arias, the complaint (see Aristoph. Vesp. 317-323), was transferred to the whole structural element, as is also the case with antiphonal songs (Kommos [2], Amoibaion). M. are the musical high points in the tragedies of Euripides [1] in particular. According…

[German version] This item can be found on the following maps: Theatre | Lycii, Lycia | Education / Culture (Ἀντίφελλος; Antíphellos). Lycian harbour town, modern Kas̨; it may have originally been named Habesos (Plin. HN 5,100). In the 5th/4th cents. BC, A. belonged to  Phellus, was listed in Ps.-Scyl. 100 as πόλις καὶ λιμήν ( pólis kai limḗn, town and port), and, in the 2nd cent. BC, minted its own coins as an independent polis within the Lycian Confederacy [1; 2]. Municipal offices and institutions reveal Rhodian influence, originating from the Rhod…

[German version] Generally antiphonal singing (Theoc. 8,31), also dialogue in tragedy (Pl. Resp. 394b), today terminologically established as antiphonal singing in the drama. In the listing of the components of the tragedy in ‘Poetics’ (12,1452b 22) Aristotle differentiates songs for the stage (τὰ ἀπὸ τῆς σκηνῆς) and kommoi as special cases. Whereas in the first instance only the actors are involved (monodies, duets), with the kommoi the collaboration of actors and chorus is decisive. As, however, not all antiphonal singing between choir and actor(s) can be d…

[German version] The return of the chorus after it had left the orchestra during the performance of a play (μετάστασις χοροῦ; metástasis choroû, cf. Poll. 4,108), as in: Aesch. Eum. 231, 244; Soph. Aj. 814, 866 ; Eur. Alc. 746, 861, Hel. 385, 515, Rhes. 564, 674 ; Aristoph. Eccl. 310, 478.  Parodos Zimmermann, Bernhard (Freiburg) Bibliography O. Taplin, The Stagecraft of Aeschylus, 1977, 377-381.

[German version] (τὸ ἐπεισόδιον; tó epeisódion, from the adjective ἐπεισόδιος; epeisódios, ‘inserted’). According to Aristot. Poet. 12,1452b 20f. part of a tragedy between two entire chorus parts (that is between the  parodos and the first   stasimon or between two stasima). The term epeisodion is found as a technical term only in the Poetica, other authors speak of a méros or mórion. Aristotle also uses the terminus epeisodion in the Poetica in a more general sense for ‘section’, ‘episode’ (e.g. 17,1455b 13 Aristot. Poet. 17,1455b 2.15.18.27.). In the Old Comedy,…

[German version] (Πρατίνας/ Pratínas) of Phlius (in the Peloponnese), according to the Suda π 2230 (TrGF I 4 T 1) the inventor of the satyr play; son of a Pyrrhonides or Encomius (descriptive names: son of a 'red-head' or of 'a member of a - Dionysian - komos'; on the red hair and beards of satyrs cf. Dioscorides, Anth. Pal. 7,707,3 and  Soph. Ichn. 358). Two dates are attested for his life: between 499 and 496 he entered a tragedic agon against Aeschylus [1] and Choerilus [2] (T 1); and 467 is a  terminus ante quem for his death: that year his son Aristias [2] entered with plays by P. ('…

[German version] (Νόθιππος; Nóthippos). Athenian tragedian (TrGF I 26), mentioned by the comic poet Hermippus in his Moîrai (prob. performed 430 BC) (Fr. 46 PCG). Zimmermann, Bernhard (Freiburg)

[German version] (Περεύς; Pereús). Son of the Arcadian king Elatus [3] and Laodice; father of Neaera [3] who was the wife of Aleus [1], the founder of Tegea (Paus. 8,4,4; Apollod. 3,102). Zimmermann, Bernhard (Freiburg)

(σατυρικὸν δρᾶμα, satyrikòn drâma). [German version] A. Origins As in the case of Greek tragedy, the debate on the origins of the SP also starts with an observation in Aristotle's Poetics. According to Aristot. Poet. 1449a 19 ff., tragedy had initially dealt with minor topics in a humorous language and only later acquired its appropriate solemnity, because it had developed from the satyresque (ἐκ σατυρικοῦ, ek satyrikoû) and its original nature had been more that of a dance (ὀρχηστικωτέρα, orchēstikōtéra). Aristotle thus did not claim in any way that tragedy had developed…

(ὁ πρόλογος/ ho prólogos, Lat. prologus, prologium). [German version] A. Concept In his list of the individual elements (μέρη/ mérē) of tragedy in the 'Poetics', Aristotle defines the prologue as a complete section of a tragedy preceding the chorus' párodos (Aristot. Poet. 13,1452b 22 f.) [9. 471 f.]. However, the term prólogos was already in use in the technical sense before Aristotle: in 'The Frogs', Aristophanes subtitles the prologue the 'first part of a tragedy' (Aristoph. Ran. 1120: τὸ πρῶτον τῆς τραγῳδίας μέρος/ tò prôton tês tragōidías méros), which, however, can have ref…

[German version] Derived from the verb δρᾶν ( drân), predominantly attested in Attic, the noun δρᾶμα ( drâma; ‘action’, ‘deed’ in a general sense) is the antonym of ‘what is experienced’ (πάθος/ páthos) (Aesch. Ag. 533); it can also mean ‘duty’, ‘task’ (Pl. Tht. 150a, Resp. 451c ). For the most part, though, drama is a technical term meaning ‘theatrical play’ (tragedy, comedy, satyr play) in the context of its performance (Aristoph. Ran. 920); it appears in the plural form in the title of Aristophanes' play Δράματα ἢ Νίοβος ( Drā́mata ē Níobos; fr. 289-298 PCG III2; fr. 299-304 PCG III2), in T…

[German version] of Olynthus (TrGF 1, 118; FGrH 74), end of the 4th, beginning of the 3rd cent. BC; according to Diog. Laert. 2,110 teacher of  Antigonus [2] Gonatas, to whom he dedicated a work ‘On the Rule of Kings’ (Περὶ βασιλείας; Perì basileías). Writer of a history of the Diadochi period and of several successful tragedies. Zimmermann, Bernhard (Freiburg)

Zimmermann, Bernhard (Freiburg) [German version] A. Antiquity and Middle Ages (CT) The following article is only concerned with the performance of plays by the three main Greek tragedians and the various tendencies of their productions in modern times. It is not possible in this context to deal with adaptations, new arrangements or reworkings, nor with the reception of Greek tragedy as a whole in the history of European cultural and intellectual history. The seminal year marking a decisive change in the practice of performing dramatic plays in Athens was 386 BC, bec…

(Εὐριπίδης / Euripídēs) [German version] [1] Tragedian The Attic Tragedian. Zimmermann, Bernhard (Freiburg) [German version] A. Biography The most important evidence comes from the vita passed down to us in several MSS, the  Marmor Parium, the  Suda, Gell. NA 15,20 and the vita by  Satyrus. Only a few details of E.'s life can be considered certain: born between 485 and 480 BC on Salamis, son of a Mnesarchus or Mnesarchides. He took part in the Great Dionysia for the first time in 455, achieving his first victory in 441. During his lifet…

[German version] Derived from tó epírrhēma (τό ἐπίρρημα, ‘that which is said afterwards’), i.e. the speech following a lyric part. The succession of lyrical and spoken (or rather recited) parts is referred to as an epirrhematic composition. Aeschylus frequently used this form in semi-lyrical  amoibaia. In the Old Comedy, epirrhematic composition can be found in the  parabasis and in the epirrhematic agon. Zimmermann, Bernhard (Freiburg) Bibliography Th. Gelzer, Der epirrhematische Agon bei Aristophanes, 1960 B. Zimmermann, Unt. zur Form und dramatischen Technik der Ar…

[German version] (Πυθάγγελος; Pythángelos). Tragedian of the 5th cent. BC, mentioned only in Aristoph. Ran. 87. Zimmermann, Bernhard (Freiburg)

[German version] (Greek Σίνις/Sínis, robber). One of the scoundrels who are killed by Theseus in their own vicious manner ( e.g. Bacchyl. 18,19-22): S., a son of Poseidon with the cognomen Pityokámptēs ('spruce bender'), is a brigand on the Corinthian Isthmus who ties the arms and legs of travellers to spruce trees that he bent down before. When he lets the trees shoot up, the victims are torn apart. He dies in the same fashion following the principle of Talion Law. Zimmermann, Bernhard (Freiburg)

[German version] Longer rhesis in drama, in which other characters or the chorus are informed, either behind or off scene, of events that have taken place before or during the dramatic action and that could not represented on stage either because of the means or the conventions of Attic drama. These reports, furnished with all available rhetorical means, are usually presented by a main or a supporting figure (Eur. Heraclid. 389ff; Soph. El. 680ff.), but often by a nameless messenger specifically introduced for this purpose (ἄγγελοι/ ángeloi or ἔξαγγελοι/ éxangeloi, if the message co…

(Μνησίλοχος/ Mnēsílochos). [German version] [1] see Mnasilochus See Mnasilochus Zimmermann, Bernhard (Freiburg) [German version] [2] Father-in-law of Euripides Father-in-law of Euripides [1], of the deme of Phlya. In our sources, the daughter's name varies between Choerile and Melito. In the hypothesis to Aristophanes' ‘Thesmophoriazousai the kēdēstḗs (close relative) of Eupolis is incorrectly identified with M. (also in manuscript R). Zimmermann, Bernhard (Freiburg) Bibliography U. v. Wilamowitz-Moellendorff, Euripides, Herakles I 1895, 7. [German version] [3] Secon…

(ὑπόθεσις; hypóthesis). Introduction, summary. [German version] A. History of literature Three types can be distinguished in tragedy: 1. The hypothéseis of  Aristophanes [4] of Byzantium found in the Peripatetic tradition ( Dicaearchus fr. 78 Wehrli); they contain a brief summary, point to the treatment of the same material by another tragedian, name the setting, the identity of the chorus and the speaker of the prologue and give further information on the play's performance (dating, title of the author's other p…

[German version] (Πέρδιξ/ Pérdix , also called Talus or Calus), great-grandson of Erechtheus, nephew of  Daedalus [1], whose skill he surpassed - he is considered the inventor of, among other things, the saw and the compass (Ov. Met. 8,246ff.; Hyg. Fab. 39; Verg. G. 1,143) - and who therefore threw him to his death from the Acropolis  (Soph. fr. 323 TrGF; Hyg. Hab. 39). In Ov. Met. 8,251-253 P. is rescued by Athena, who turns him into a partridge ( perdix), which watches the burial of Daedalus's son Icarus [1], who also fell to his death, maliciously applauding with its wings ( ibid. 236ff.). Ac…

(αἱ διδασκαλίαι; hai didaskalíai). [German version] I. Greek Derived from the verb διδάσκειν, the singular didaskalía has the general meaning of ‘teaching’, ‘instruction’ (Pind. Pyth. 4,102; Xen. Cyr. 8,7,24) and in a special sense of ‘choral training’ (Pl. Grg. 501e); in the plural it is a technical term for lists of dramatic and choral productions with associated details: year of performance (archon), poet, title, festival, choregos, actors. The entries were made in the archive of the authority responsible for the production, such at least was the case in A…

[German version] (Θέσπις; Théspis) from Icarium [1] in the Attic deme of Icaria [1. 49], according to one tradition attested on the  Marmor Parium (43) the ‘inventor’ ( prôtos heuretḗs ) of tragedy (TrGF I 1 T 2), according to another (Suda θ 282 = T 1) the sixteenth or second tragedian after Epigenes [0] of Sicyon. Between 535/4 and 532/1, he is supposed to have presented the first tragedy at the great Dionysia in Athens (but cf. [3]) and is considered to be the inventor of theatrical masks (made of linen, T 1). By adding a prologue ( prólogos) and a  rhêsis , he transf…

[German version] (Θεὸς ἀπὸ μηχανῆς; theòs apò mēchanês). Crane-like stage machinery (μηχανή, γέρανος, κράδη; mēchanḗ, géranos, krádē) that became proverbial as early as the 4th cent. BC, by which a deity could suddenly appear hovering and traversing the air, and imbue the plot with fresh momentum or bring it to an end (cf. Pl. Cleit. 407a; Crat. 425d; Antiphanes 189,13-16 PCG; Alexis 131,9 PCG; Men. Theophorumene fr. 5 Sandbach = 227 Körte; Cic. Nat. D. 1,53). Its use in the parodies of Aristophanes (Pax 174ff.…

[German version] (ἡ χορηγία; hē chorēgía). Office of the choregos; from c. 500 BC a special form of   leitourgia in Athens. The choregia was imposed on prosperous citizens by the appropriate archon, and young notables were glad to use this kind of leiturgia in order to win political esteem (in 472 Pericles was choregos for Aeschylus' ‘Persians; cf. also Thuc. 6,16,3 on Alcibiades). The political significance of the choregia becomes especially clear in the dithyrambic agon, where it is not the poet but the choregos who is named in the inscription ( Didaskaliai). Towards the end o…

(Σωσιφάνης; Sōsiphánēs). [German version] [1] Tragedian, died 336/333 or 324/321 BC S. of Syracuse, tragedian (TrGF I 92), died 336/333 or 324/321 BC. The Suda (σ 863) credits him with 73 plays and 7 victories. Meléagros is attested as a title. Inclusion in the Pleiad of tragic poets (TrGF T 1) relates to S. [2]. Zimmermann, Bernhard (Freiburg) [German version] [2] Tragedian, born 306/5 BC Tragedian (TrGF I 103), born 306/5 BC, numbered among the Pleiad of tragic poets. Zimmermann, Bernhard (Freiburg)

[German version] (Φίλικος; Phílikos) of Corcyra (Corfu). Poet and tragedian, priest of Dionysus at Alexandria in the reign of Ptolemy II Philadelphus (285-246 BC). Member of the Pleias, often confused with Philiscus [4] of Aegina (TrGF I 89; I 104 T1, T4). Nothing survives of the 24 tragedies attributed to him. A large section is preserved of a hymn to Demeter in stichic catalectic choriambic hexameters (SH 676-680). In it, Demeter is consoled for the loss of her daughter with the prospect of cultic honours at Eleusis and by the wit of the maiden Iambe (in direct speech). Zimmermann, Bernhar…

[English version] (Μόρσιμος). Sohn des Philokles, Großneffe des Aischylos [1] (TrGF I 12 T 3), Mitte 5. Jh.v.Chr.; Augenarzt (TrGF I 29 T 2) und Tragiker, letzteres nach Aristophanes (Equ. 401, Pax 802, Ran. 151) von bes. schlechter Qualität. Zimmermann, Bernhard (Freiburg)

[English version] Abgeleitet von dem vorwiegend im Att. belegten Verb δρᾶν ist das Subst. τὸ δρᾶμα (“Handlung”, “Tat” im allg. Sinne) dem “Leid” (πάθος/ páthos) entgegengesetzt (Aischyl. Ag. 533); ferner kann es “Pflicht”, “Aufgabe” bedeuten (Plat. Tht. 150a, rep. 451cPlat. rep. 451c). Vorwiegend jedoch bedeutet D. als t.t. “Theaterstück” (Trag., Komödie, Satyrspiel) im Hinblick auf seine Aufführung (Aristoph. Ran. 920); als Stücktitel im Pl. erscheint D. in Aristophanes' Δράματα ἢ Νίοβος ( Drā́mata ē Níobos; fr. 289-298 PCG III2; fr. 299-304 PCG III2), bei Telekleides fr. 41…

[English version] (Θεὸς ἀπὸ μηχανῆς). Bereits im 4. Jh.v.Chr. sprichwörtlich gewordene kranartige Bühnenmaschine (μηχανή, γέρανος, κράδη), an der schwebend und die Luft durchquerend eine Gottheit plötzlich erscheinen und der Handlung neue Impulse verleihen oder sie zu Ende bringen konnte (vgl. Plat. Kleit. 407a; Krat. 425d; Antiphanes 189,13-16 PCG; Alexis 131,9 PCG; Men. Theophorumene fr. 5 Sandbach = 227 Körte; Cic. nat. deor. 1,53). Ihr Einsatz ist durch die Parodien des Aristophanes (Pax 174ff…

[English version] (Μάμερκος). Bei Plut. Timoleion 31,1 erwähnter Tragiker des 4. Jh.v.Chr. (TrGF I 87). Zimmermann, Bernhard (Freiburg)

[English version] aus Olynthos (TrGF 1, 118; FGrH 74), Ende 4., Anf. 3. Jh. v.Chr.; nach Diog. Laert. 2,110 Lehrer des Antigonos [2] Gonatas, dem er eine Schrift ‘Über die Königsherrschaft (Περὶ βασιλείας) widmete. Verf. einer Gesch. über die Diadochenzeit und mehrerer erfolgreicher Tragödien. Zimmermann, Bernhard (Freiburg)

(αἱ διδασκαλίαι). [English version] I. Griechisch Abgeleitet von dem Verb διδάσκειν, bedeutet didaskalía (Sg.) allg. “Unterricht”, “Unterweisung” (Pind. P. 4,102; Xen. Kyr. 8,7,24), speziell “Einstudierung eines Chores” (Plat. Gorg. 501e); im Plur. ist d. t.t. für die Listen von Dramen- und Choraufführungen mit den relevanten Informationen: Aufführungsjahr (Archon), Dichter, Titel, Fest, Chorege, Schauspieler. Die Daten wurden wohl in den Archiven der spielleitenden Behörden gespeichert (so jedenfalls in Athen). Aristoteles sam…

[English version] (Πλειάς). Das “Siebengestirn” der griech. tragischen Dichter zur Zeit des Ptolemaios Philadelphos (285-246 v.Chr.). Die Namenslisten divergieren (wie bei den Sieben Weisen oder den Sieben Weltwundern): Als feste Namen erscheinen Alexandros [21] Aitolos, Lykophron [5] aus Chalkis, Homeros [2] aus Byzantion, Philikos aus Kerkyra, Sositheos aus Alexandreia; dazu kommen Sosiphanes aus Syrakus, Aiantides, Dionysiades aus Tarsos und Euphronios. Mit der Liste wird dem…

[English version] Allg. Wechselgesang (Theokr. 8,31), auch Dialog in der Tragödie (Plat. rep. 394b), h. terminologische Festlegung auf Wechselgesang im Drama. In der Aufzählung der Bauteile der Trag. in der ›Poetik‹ (12,1452b 22)unterscheidet Aristoteles als bes. Fälle Bühnenlieder (τὰ ἀπὸ τῆς σκηνῆς) und kommoí. Während im ersten Fall nur die Schaupieler beteiligt sind (Monodien, Duette), ist bei den kommoí die Mitwirkung von Schauspielern und Chor entscheidend. Da jedoch bei weitem nicht alle Wechselgesänge zwischen Chor und Schauspieler(n) als Klage…

[English version] (Κλεαίνετος). Tragiker (TrGF I 84), belegte an den Lenäen 363 v.Chr. den 3. Platz; von Alexis als nicht anspruchsvoll (Fr. 268 PCG), von Philodemos (84 T 3 TrGF I) als schlechterer Dichter als Euripides verspottet. Als Titel ist ‘Hypsipyle bezeugt. Zimmermann, Bernhard (Freiburg)

[English version] (τὸ ἐπεισόδιον, von dem Adj. ἐπεισόδιος, “eingeschoben”). Nach Aristot. poet. 12,1452b 20f. Teil einer Trag., der zw. zwei ganzen Chorpartien (d.h. zw. Parodos und erstem Stasimon oder zw. zwei Stasima) steht. Der Begriff E. findet sich als t.t. nur in der Poetica, andere Autoren sprechen von méros oder mórion. Aristoteles verwendet den Terminus E. in der Poetica auch im allgemeineren Sinn für “Abschnitt”, “Episode” (z.B. 17,1455b 13Aristot. poet. 17,1455b 2.15.18.27.). In der Alten Komödie läßt sich oft der zweite Teil der Stücke in …

[English version] (Νόθιππος). Athen. Tragiker (TrGF I 26), von dem Komiker Hermippos in den Moírai (aufgeführt wohl 430 v.Chr.) erwähnt (Fr. 46 PCG). Zimmermann, Bernhard (Freiburg)

[English version] (Νεόφρων) aus Sikyon. Tragiker, 2. H. 5. Jh. v.Chr., nach der Suda (TrGF I 15 T 1) Verf. von 120 Stücken, der als erster Pädagogen und die Folterung von Sklaven auf die Bühne gebracht haben soll. Nach der auf peripatetischer Trad. beruhenden Hypothesis zu Euripides' [1] ‘Medea soll das euripideische Drama von N. abhängig sein. Die erh. 24 Verse weisen deutliche Übereinstimmungen mit Euripides auf (bes. Medeas Monolog bei N., Fr. 2 mit Eur. Med. 1021ff., 1236ff.), die Priorität is…

[English version] (ἡ πάροδος, wörtl. “Einzug, Einzugslied des Chors”). In seiner Aufzählung der allen Tragödien gemeinsamen Bauteile definiert Aristoteles [6] in der ‘Poetik (12, 1452 b22f.) die p. als erste Chorpartie, wobei die Bedeutung “Einzugslied” bzw. “-vortrag” (vgl. Aristot. eth. Nic. 1123 a23f.) mitklingt. Bei der Strukturanalyse sollte man sich jedoch nicht an starre, schematische Abgrenzungen halten, sondern die Konstruktion und Entwicklung der dramatischen Handlung (σύστασις τῶν πραγμάτων, ebd.) beachten. In der att. Tragödie kann die p. das Stück eröffnen …