EPHEBEIA – The military service that young Athenian men needed to perform in
order to attain male citizenship. In Sophocles’ Philoctetes, Neoptolemus’
character is used to dramatize and reflect on an ephebe entering manhood.
STICOMYTHIA – Refers to play structure where dialogue is delivered between
two characters in alternating lines. Commonly used during an agon and
demonstrated in Sophocles’ Antigone. The exchange shows a peak of dramatic
conflict and heightened tension.
CHARIS – An act of charity; grace, kindness, or a favor. It can be used to
reference the gods’ graces toward men and reciprocal trust or generosity
between men (Segal). Friendship depends on charis. In Sophocles’ Oedipus at
Colonus the daughters are the only characters who demonstrate charis towards
NEW DITHYRAMB – Introduced in the late 5th century due to the increase in
number of strings on a lyre. Ushered in an era of lyric solos and musical
flourishes. In particular, it influenced Euripides and his use of monody.
WEEK 7 LECTURE 1
HIPPOLYTUS KALYPTOMENOS – Original version of Euripides’ Hippolytus
play that was debut in the late 430s- ―Hippolytus Veiled.‖ Kalypto refers to ―reveal‖
which alludes to the fact that in the play Phaedra directly propositions Hippolytus
to having sex, making her love more shameless and lie more tragic.
POTIPHAR MOTIF – A Judeo-Christian tradition where the wife becomes
sexually obsessed with a younger man and responds to rejection with
persecutory behavior. Example would be Hippolytus and the biblical story of
Potiphar and her love for Joseph.
WEEK 7 LECTURE 2
ALEXANDER – The first part of Euripides’ Trojan Trilogy where Hecuba
dreamed about giving birth to a torch that set fire to the entire world while
pregnant with Paris. Once grown, Paris takes part in competitions and defeats all other royal sons. Hecuba is asked in Trojan Women why she did not kill her baby,
a reference to Alexander.
PALAMEDES – The second part of Euripides’ Trojan Trilogy depicting the
internal strife of the Greek camp. Odysseus was pretending to acting possessed
to avoid entering Troy, so the clever Palamedes put a baby in front of his ply to
expose the fake acting. Odysseus never forgives him and Palamedes is
WEEK 8 LECTURE 1
AUTOCHTHONY – Acts as a justification to rule over the land and suggests unity
between citizens due to having a common origin. Used in Ion to show the
peaceful origins of Athens and that the men were not foreign but came from the
WEEK 9 LECTURE 1
VERTERE – Translates to ―turn‖ but in English means ―version.‖ Refers to the
Roman art of translating and adapting Greek drama into a Latin form. Does not
simply mean translating. It is an intertextual appropriation that involves
substantial reframing, reworking, and reworking of the Greek original.
IMITATIO – One of the three techniques used by Roman tragedy in adapting
Greek works. Translates to ―imitation‖. Of the three techniques, this one bears
the closest resemblance to direct translation.
AEMULATIO – One of three techniques used by Roman tragedy in adapting
Greek works. Translates to ―emulation or rivalry‖, where the translated version
has been modified in an attempt to outdo the original model
COTAMINATIO – One of the three techniques used by Roman tragedy in
adapting Greek works. Translates to combination, and refers to the mixing of
elements of two more source plays. Plautus is known for using this technique.
LIVIUS ADRONICUS – A Greek slave from Tarentum who translated the
Odyssey into Latin (Odusia) and produced the first Latin translations of Greek