Euripides and the Language of Craft Mnemosyne Supplements Monographs on Greek and Latin Language and Literature EditorialBoard G.J. Boter A. Chaniotis K.M. Coleman I.J.F. de Jong T. Reinhardt VOLUME327 Euripides and the Language of Craft By Mary Stieber LEIDEN•BOSTON 2011 Onthecover:Red-figureolpefromCapuashowingAthenafashioningahorse,ca.470B.C., (BerlinF2415).WithkindpermissionoftheBerlinerAntikenmuseum. Thisbookisprintedonacid-freepaper. LibraryofCongressCataloging-in-PublicationData Stieber,MaryC.(MaryClorinda) Euripidesandthelanguageofcraft/byMaryStieber. p.cm.–(Mnemosynesupplements.MonographsonGreekandRomanlanguageand literature,ISSN0169-8958;327) Includesbibliographicalreferencesandindex. ISBN978-90-04-18906-5(hardback:alk.paper) 1.Euripides–Literarystyle.2.Euripides–Language.3.Euripides–Knowledge–Art.4.Visual perceptioninliterature.5.Allusionsinliterature.I.Title. PA3992.S752011 882'.01–dc22 2010041730 ISSN 0169-8958 ISBN 9789004189065 Copyright2011byKoninklijkeBrillNV,Leiden,TheNetherlands. KoninklijkeBrillNVincorporatestheimprintsBrill,HoteiPublishing, IDCPublishers,MartinusNijhoffPublishersandVSP. Allrightsreserved.Nopartofthispublicationmaybereproduced,translated,storedin aretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical, photocopying,recordingorotherwise,withoutpriorwrittenpermissionfromthepublisher. AuthorizationtophotocopyitemsforinternalorpersonaluseisgrantedbyKoninklijkeBrillNV providedthattheappropriatefeesarepaiddirectlytoTheCopyrightClearanceCenter, 222RosewoodDrive,Suite910,Danvers,MA01923,USA. Feesaresubjecttochange. CONTENTS Acknowledgments..................................................... vii Preface ................................................................. ix Abbreviations ..........................................................xxv ChapterOne:Architecture ............................................ 1 Introduction......................................................... 1 TheTopographyoftheCity......................................... 12 Walls................................................................. 16 TheLanguageofArchitecture ...................................... 23 Foundations...................................................... 24 ColumnsandSupportingMembers............................. 36 Superstructures................................................... 48 τ(cid:3)(cid:4)(cid:5)(cid:3)ς/τε(cid:4)(cid:5)(cid:3)ς........................................................ 84 “Cyclopean”Masonry............................................... 90 πυργ(cid:12)ω.............................................................. 104 Conclusion.......................................................... 110 ChapterTwo:Sculpture ............................................... 115 Introduction......................................................... 115 (cid:14)γαλμαand(cid:17)γ(cid:18)λματα............................................. 116 TheAestheticsofStatuary .......................................... 145 HerLivingImage ................................................... 162 WipedClean ........................................................ 172 ACrownofGlory................................................... 178 TheWoodenHorse ................................................. 185 Conclusion.......................................................... 192 ChapterThree:Painting ............................................... 195 Introduction......................................................... 195 LandscapeinPhaethon’s“Dawn-song” ............................ 203 Polyxena,Again..................................................... 215 PaintingsasInstructors............................................. 218 FurtherTechnicalDevelopments................................... 232 Vase-painting ....................................................... 241 ThePortrayalofCharacter.......................................... 255 vi contents Ganymede........................................................... 267 Conclusion.......................................................... 273 ChapterFour:Ion...................................................... 275 Introduction......................................................... 275 IonandtheAcropolis............................................... 278 TheEkphrasisoftheParodos....................................... 284 TheTent............................................................. 302 TheArtofWeaving ................................................. 315 ThePeplos........................................................ 321 Many-coloredThreads........................................... 325 WeavingMetaphors.............................................. 331 Conclusion.......................................................... 334 ChapterFive:APracticedHand....................................... 337 Introduction......................................................... 337 IntheStudio ........................................................ 340 TheLanguageofArtCriticism ..................................... 360 σ(cid:5)(cid:20)μα............................................................. 361 (cid:21)υ(cid:22)μ(cid:12)ς/ε(cid:23)ρ(cid:24)(cid:22)μως............................................... 365 (cid:25)δ(cid:27)α............................................................... 371 παρ(cid:18)δειγμα...................................................... 372 τ(cid:24)π(cid:3)ς............................................................. 373 καν(cid:31)νandστ(cid:18)(cid:22)μη .............................................. 380 μ!μημαandμιμ(cid:27)(cid:3)μαι ............................................ 397 Wonderworking..................................................... 400 TheHandThatisΣ(cid:3)#(cid:12)ς............................................ 415 Conclusion.......................................................... 426 Epilogue................................................................ 429 WorksCited............................................................ 435 GeneralIndex.......................................................... 461 EuripidesPassageIndex ............................................... 485 ACKNOWLEDGEMENTS Iwishtoexpressmythankstovariousindividualsandgroupswho,over the years, have helped in one way or another to bring this project to fruition.Firstandforemost,forhissupportfromitsinceptionuntiljust short of its completion, to John Walsh, together with whom I read all ofEuripides’extantplaysandmostofthelongerfragmentsintheearly stagesofgatheringmaterial.IamalsoindebtedtoJohnfortheexample set by his own scholarship. To my colleague Brian Swann, for unflag- ging encouragement especially through the most trying of times and, though Greek is not his field, who gamely read several portions of the text and made useful suggestions from an experienced literary critical perspective. To the organizers of the Banff conference on Euripides in ,MartinCroppandthelateKevinLee,who,whenIhadjustbegun work,offeredmetheopportunitytopresentmypreliminaryfindingsat amajorinternationalconference,andencouragedmetofollowthrough ontheproject.TomyformerstudentEduardoEscobar,forreadingpor- tionsofthemanuscriptandtrackingdownsomelastminutereferences. Tothecountlesslibrarieswhowerewillingtolendtheirmaterials;with- outtheservicesofInterlibraryLoanIwouldnothavebeenabletocon- duct my research. At my home institution, for their assistance, advice, andunderstandinginthepublicationphaseoftheproject,specialthanks areduetoCatherineSiemann,myindexer,KatherineApolito,BillGer- mano, and Hadi Jammal. The editors at Brill, especially Caroline van Erp, were as efficient and patient as can be. Thanks also to Brill’s two anonymous referees, a philologist and an archaeologist, whose invalu- ablesuggestions,comments,andcorrectionshavebeenincorporatedinto thetextandnotes,withoutacknowledgement.Ihopetheywillnoticein the finished product where and how I have followed through on each one of their expert observations. Finally, to all the truly great Euripi- deans, whose work is acknowledged throughout, who have graciously maderoomforaninterdisciplinaryinterloper.Ihopethatmyowncon- tributionwillserveasanotunworthytributetotheirs. PREFACE The extant works of the three major fifth-century tragedians offer a rich and relatively untapped resource for understanding how Classical Greeks responded to their visual arts. While there have been many studies of the influences of contemporary politics, current events, and social issues on the Athenian dramatists,1 few have been devoted to if and how the material culture with which the playwrights interacted on a daily basis found its way into their works. This is a study of one tragic poet, Euripides, and his relationship with the visual arts. Why focus on Euripides, among the three great Athenian tragedians? The answer is simple: He refers or alludes to art and architecture more often, more tangibly, and with a keener eye for accuracy than either of his two compatriots, Aeschylus or Sophocles. For the dramatist most attuned to the expansive visual culture of his era, it offered an array of alternative aesthetic viewpoints, some convenient tropes and plot devices,andavocabularyrichwithmetaphoricandfigurativepotential. Weshallexploreallofthesecategoriesinthepagesthatfollow. Inthecourseofarelativelyshorthistory,researchontherelationships betweentheancientdramatistsandthevisualartshastendedtoconcen- trateontheidentificationandinterpretationofscenesfromplaysosten- sibly depicted in works of art, especially vase paintings, those from the Greek West in the fourth century bc being the richest in number and content.2WithEuripidesthemostpopularoftheplaywrights,itfollows thathisworksprovedmostpopularassubjectmatterforcontemporary andlaterartists.Studiesofthistypeassumethattheartistswereinspired bycontemporarypublicperformancesofplays,theirprimarygoalbeing to uncover evidence for the plots and action of plays both preserved and lost, for the costuming of actors, dancing, music, and other stage 1 E.g.,JustinaGregory,EuripidesandtheInstructionoftheAthenians(AnnArbor, );ChristianMeier,ThePoliticalArtofGreekTragedy,trans.AndrewWebber(Balti- more,MD,).DonaldJ.Mastronarde,TheArtofEuripides.DramaticTechniqueand SocialContext(Cambridge,Eng.,andNewYork,),cametomyattentiontoolateto consult. 2 See,mostrecently,OliverTaplin,Pots&Plays.InteractionsbetweenTragedyand GreekVase-PaintingoftheFourthCenturyB.C.(LosAngeles,CA,),whoacknowl- edges(p.x)thepioneeringworkofA.D.Trendallinthisfieldofstudy.