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FIVE TRAGEDY A CTORS on the tragic and comic stage performed with their heads, hands, and bodies as well as their voices. Because they all wore masks, they could not convey added sense by means of facial expression. Effects had to be achieved by voice and by nonverbal communication, and a poet who like Sophocles acted in his own productions had this requirement as an informing principle of composition. Why then have editors of ancient Greek drama not taken into account systematically the implications of such activity? 1 A tentative answer to this question may be couched in the single word particles. The Classical Greek language is so rich in modal particles that impart tone, sense, and direction to most utterances that we latecomers, once we begin to apprehend the wonderful variety and flexibility of these small parts of speech, can easily tell ourselves that the particles express anything at all that needs to be said. No need consequently, if the particles are there, to look for other aids to communication. So the line of assumptions might go. But faith in any single approach is limiting. What follows is notice of some representative instances where a reader, by imagining the acto

Author

Alan L. Boegehold

Publisher

Princeton University Press

Published

2022

Language

EN

ISBN

9780691002637

Subjects

History, Literary Fiction, Arts