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The chorus’ leader of the drama “Electra” in two vase paintings

PART 2

Notes
  1. Pollux, Onomastikon D 105.
  2. Pollux, Onomastikon D 106.
  3. I. McPhee, LIMC III, 1 (1986), s.v. «Elektra», p. 716, fig. 66/ J. D. Beazley, Etruscan Vase-painting (1947), p. 66.
  4. Op. cit. Beazley (n. 3), p. 66.
  5. -Electra: Hail, black-winged Night, nurse of the golden stars, wherein this pitcher poised upon mine head. I bear, to bring the river’s fountain-flow (Euripides, Electra 54-56). [English translation: A.S. Way, Euripides Plays, Introduction by J. Warrington (1959), vol.1].
  6. -Electra: Woe’s me, friends! Needs must I break off my moan! Lo, yonder strangers ambushed nigh the house. Out of their hiding place are rising up! (Euripides, Electra 215-217 and 215 sq.) [English translation: Cf. Way (n.5)].
  7. See the depiction on a red-figured Apulian panathenaic amphora dated to 400 B.C. and attributed to the “Sisyphus Painter” (fig. 2): Cf. McPhee (n. 3) p. 710, fig. 2 and A.D. Trendall - A. Cambitoglou, The red-figured vases of Apulia (1978), vol. I, p. 22, 97. See also Sophocles, Electra 77 sq. There also exist vase-paintings in which Orestes brings to Electra an urn, in order to prove that her brother is dead, although there is no grave for people who are alive, as he admits: -Ὀρέστης: Οὐκ ἔστι. Τοῦ γάρ ζῶντος οὐκ ἔστιν τάφος: Sophocles, Electra 1219: -Orestes: Nowhere. There is no grave for a man who is alive. [English translation: J. March, Sophocles Electra: Edited with introduction, translation and commentary by J. March (2001)]. See the iconographical synthesis on a red-figured Lucanian bell- crater dated to 360-350 B.C. and attributed to the “Sydney Painter” (fig. 3): O. Taplin, Pots and Plays: Interactions between Tragedy and Greek Vase – painting of the Fourth Century B.C. (2007), p. 96-97, fig. 25.
  8. A. Cambitoglou, «Iphigeneia in Tauris», AntK 18 (1975), p. 56.
  9. -Electra: Mine hands on mine head smiting fall- Mine head for thy death shorn (Euripides, Electra 148) [English translation: Cf. Way (n. 5)].
  10. -Orestes: Who on shorn head her burden from the spring (Euripides, Electra 108-110) [English translation: Cf. Way (n. 5)].
  11. -Electra: Say, if a princess this beseemeth, daughter to Agamemnon born (Euripides, Electra 185-187) [English translation: Cf. Way (n. 5)].
  12. For the chorus’ members see above note 2.
  13. See above note 6.
  14. For the tragic dance see above note 1.
  15. The red-figured Attic volute crater by the “Pronomos Painter” (fig. 5) is the most representative vase in which the theatre’s influence in art is obvious. The figures of Dionysos and Ariadne predominate the upper part of crater’s body while actors, dancers and musicians dressed in embroidered theatric costumes and accessories, such as masks, have been placed around them. For Pronomos’ vase see S. Melchinger, Das Theater der Tragödie. Aischylos, Sophokles, Euripides auf der Bühne ihrer Zeit (1974), p. 204, fig. 15, cf. Taplin (n. 7), p. 31, fig. 12, R. Krumeich – N. Pechstein – B. Seidensticker, Das griechische Satyrspiel (1999), p. 55, fig. 8, 9/ R. Green – E. Handley, Images of the Greek Theatre (1995), p. 23, 25, fig. 5.
  16. See above note 6.
  17. R.M. Gais, LIMC I, 1 (1981), s.v. «Aigisthos», p. 374, fig. 15 and J. M. Moret, L’Ilioupersis dans la céramique Italiote. Les Mythes et leur expression figure au IVe siècle (1975), vol.Ι, p. 172-173, no. 112, fig. 92, I.
  18. -Messenger: And thus spake, on the altars casting it ... Then, when his thralls heaved shoulder high the calf, severed the throat and to thy brother spake. (Euripides, Electra 804, 813-814) [English translation: Cf. Way (n. 5)].
  19. Op. cit. Moret (n. 17), p. 173.
  20. Op. cit. Gais (n. 17), p. 374.
  21. See above note 19.
  22. See Euripides, Electra 774-858.
  23. See above note 19.
  24. See Euripides, Electra 774-858.
  25. -Chorus: Crown him, the conqueror, garlands upraise. Thy thanksgiving oblation! To the dance that the Muses love forth will we pace. Now shall rule o’er our nation. Her kings well beloved whom of old she hath known; for the right is triumphant, the tyrant o’ erthrown: -Ring, joy’s exultation! : Euripides, Electra 873-880. [English translation: Cf. Way (n. 5)].
  26. See above note 1
Bibliography
AntK: Antike Kunst
Beazley 1947: Beazley J.D., Etruscan Vase-painting.
Cambitoglou 1975: Cambitoglou A., «Iphigeneia in Tauris», AntK 18 (1975), p. 56.
Gais 1981: Gais R.M., LIMC I, 1 (1981), s.v. «Aigisthos», p. 374, fig. 15.
Green, Handley 1995: Green R., Handley E., Images of the Greek Theatre.
Krumreich, Pechstein, Seidensticker 1999: Krumreich R., Pechstein N., Seidensticker B., Das griechische Satyrspiel.
LIMC: Lexicon Iconographicum Mythologiae Classicae.
March 2001: March J., Sophocles Electra: Edited with introduction, translation and commentary by J. March.
McPhee 1986: McPhee I., LIMC III, 1 (1986), s.v. «Elektra», p. 716, fig. 66.
Melchinger 1974: Melchinger S., Das Theater der Tragödie. Aischylos, Sophokles, Euripides auf der Bühne ihrer Zeit.
Moret 1975: Moret J.M., L’Ilioupersis dans la céramique Italiote. Les Mythes et leur expression figure au IVe siècle, vol. Ι.
Taplin 2007: Taplin O., Pots and Plays: Interactions between Tragedy and Greek Vase-painting of the Fourth Century B.C.
Trendall, Cambitoglou 1978: Trendall A.D., Cambitoglou A., The red-figured vases of Apulia, vol. I.
Way 1959: Way A.S., Euripides Plays, Introduction by J. Warrington, vol. 1.