Home About Network of subjects Linked subjects heatmap Book indices included Search by subject Search by reference Browse subjects Browse texts

Tiresias: The Ancient Mediterranean Religions Source Database

   Search:  
validated results only / all results

and or

Filtering options: (leave empty for all results)
By author:     
By work:        
By subject:
By additional keyword:       



Results for
Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.

graph

graph

All subjects (including unvalidated):
subject book bibliographic info
drama Athanassaki and Titchener (2022) 35, 40, 51, 78, 88, 89, 93, 94, 134, 137, 138, 139, 192, 193, 210, 254, 265, 292, 295, 299, 300
Berglund Crostini and Kelhoffer (2022) 138, 143, 147, 204, 335, 338, 339, 340, 341
Clark (2007) 73, 74, 75, 78, 80, 83, 84, 85, 86, 87, 88, 89, 92, 93, 94, 95, 98, 99, 100, 102, 105, 106, 107, 108, 111, 112, 113, 220, 221, 222, 224
Kapparis (2021) 5, 16, 93, 160
Maier and Waldner (2022) 19, 74, 106, 152, 171, 184
Meister (2019) 4, 24
Pinheiro Bierl and Beck (2013) 76, 78
Poulsen and Jönsson (2021) 15, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218
Sorabji (2000) 76, 77, 80, 285, 286, 287, 289, 290, 291, 292, 293, 294, 295, 296, 297, 298, 299
Toloni (2022) 74, 75, 83, 84, 85, 95, 108, 217
drama, about nero, agrippina, and octavia praetexta, anonymous roman seneca Pinheiro et al (2018) 81
drama, acropolis, in republican Giusti (2018) 63, 66, 67, 68, 69, 72, 73, 74, 75
drama, alexander iii, ‘the great’, of macedon, and greek Csapo (2022) 74
drama, and autocrats, satyrplay/satyr Csapo (2022) 3, 71, 75, 76
drama, and circulation of in books Johnson and Parker (2009) 217
drama, and collectivity Giusti (2018) 48
drama, and egyptian artists satyrplay/satyr, technitai Csapo (2022) 78
drama, and narrative depends on attention to in the attention, effect of play, once upon a time Sorabji (2000) 80
drama, and nonelite parties Cosgrove (2022) 230, 231
drama, and the attalids, satyrplay/satyr Csapo (2022) 79, 80
drama, aqedah, in philo, a Feldman (2006) 269
drama, aristotle, pleasures of art and Sorabji (2000) 80
drama, as historical source Konrad (2022) 21, 22, 23, 28
drama, at cyzicus, satyrplay/satyr Csapo (2022) 80
drama, at magnesia, satyrplay/satyr Csapo (2022) 80
drama, at pergamum, satyrplay/satyr Csapo (2022) 80, 83
drama, at teos, satyrplay/satyr Csapo (2022) 79, 80
drama, at thespiae, satyrplay/satyr Csapo (2022) 122
drama, barbarians, in republican Giusti (2018) 63, 66, 67, 68, 69, 72, 73, 74, 75
drama, carthaginians, in republican Giusti (2018) 63, 66, 67, 68, 69, 72, 73, 74, 75
drama, catharsis, aristotle's application to Sorabji (2000) 24, 25, 80, 221
drama, choregos Humphreys (2018) 933
drama, choruses of satyrplay/satyr Csapo (2022) 11, 81, 82
drama, comedy Eidinow and Kindt (2015) 179, 180, 182, 199, 409, 512
drama, connections between the novel Pinheiro Bierl and Beck (2013) 240
drama, costume, satyrplay/satyr Csapo (2022) 77
drama, cyrene, dance, in Liapis and Petrides (2019) 206, 207, 209, 210, 211, 212, 213, 214, 215, 219, 220, 229, 230, 231, 236, 237, 238, 239, 240, 241, 342
drama, dates, start of roman Richlin (2018) 2, 12
drama, decadence/decline theory of Csapo (2022) 6, 11
drama, deidameia, tragic Csapo (2022) 170
drama, dionysos, in satyric Seaford (2018) 181
drama, divides year with apollo? and Parker (2005) 138
drama, ennius, quintus Giusti (2018) 63, 77, 91
drama, euripidess work regarded as, psychological Pucci (2016) 60, 61
drama, fabula praetexta Konrad (2022) 22
drama, festivals performed at satyrplay/satyr Csapo (2022) 72, 73
drama, fides, in Clark (2007) 73, 74, 75, 84, 94, 99, 100, 102, 105
drama, fortuna, in Clark (2007) 83, 84, 86, 87
drama, greece Nasrallah (2019) 44, 125
drama, helen, in Castagnoli and Ceccarelli (2019) 124, 132, 134, 265
drama, hellenistic Bloch (2022) 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 195
drama, in education, paideia, see also philhellenism , role of Csapo (2022) 163, 164
drama, in virgil’s aeneid Giusti (2018) 89, 91, 93, 94, 95, 96, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 118, 119, 120, 121, 122, 123, 124, 126, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146
drama, independence from tragedy, satyrplay/satyr Csapo (2022) 72, 73, 74, 77, 78, 81
drama, influence of on historiography Feldman (2006) 414, 415, 416, 417
drama, inventions in satyric Seaford (2018) 47
drama, libertas, in Clark (2007) 107, 220, 221, 222
drama, literature Huebner and Laes (2019) 12, 15, 171
drama, livius andronicus Giusti (2018) 67, 91
drama, masks Eidinow and Kindt (2015) 180, 187
drama, mens, and Clark (2007) 98, 100
drama, money, in satyric Seaford (2018) 45, 46, 47, 48, 49
drama, naevius, gnaeus Giusti (2018) 63, 67, 91
drama, novel, novels Pinheiro Bierl and Beck (2013) 240
drama, of gospel of john Azar (2016) 119, 161
drama, olympiodorus, knowledge of Joosse (2021) 192, 193, 194, 195, 196, 197
drama, performances of for entertainment Johnson and Parker (2009) 205
drama, pietas, in Clark (2007) 85, 88, 89, 92, 93, 94, 95, 98
drama, plain Heymans (2021) 214
drama, pleasure, aristotle on pleasures of art and Sorabji (2000) 80
drama, poetry Segev (2017) 69
drama, political Eidinow and Kindt (2015) 189
drama, reliance on passages from earlier Liapis and Petrides (2019) 80, 81, 82, 83
drama, restaging of plays Clark (2007) 220, 221
drama, ritual and relations with the gods Eidinow and Kindt (2015) 184, 187
drama, roman, drama, Giusti (2018) 63, 66, 67, 68, 69, 72, 73, 74, 75
drama, roman, satyrplay/satyr Csapo (2022) 83, 84
drama, salus, in Clark (2007) 83, 84, 85, 87, 105
drama, satyr Liapis and Petrides (2019) 35, 37, 50, 51, 53, 75, 80, 92, 97, 101, 120, 121, 122, 123, 153, 156, 168, 206, 211, 215, 219, 274, 339
drama, satyr-play, satyr Bernabe et al (2013) 41, 42, 150, 274, 293, 369, 374, 381
drama, satyric satyrs, captivity of Seaford (2018) 47
drama, satyrplay/satyr Csapo (2022) 3, 4, 22, 122, 216
drama, satyrplay/satyr professionalisation, absence of Csapo (2022) 81, 82
drama, scene and setting, reliance on passages from earlier Liapis and Petrides (2019) 66
drama, see also comedy, satyrplay, theatre, tragedy , excerpts/extracts of Csapo (2022) 99, 163
drama, see also comedy, satyrplay, theatre, tragedy , italic Csapo (2022) 88
drama, see also comedy, satyrplay, theatre, tragedy , private performances of Csapo (2022) 31, 88, 163
drama, see also comedy, satyrplay, theatre, tragedy , written in greek by roman elites Csapo (2022) 98
drama, social Riess (2012) 22, 170
drama, sources, reliance on passages from earlier Liapis and Petrides (2019) 68, 69, 70, 71, 72
drama, spes, in cult and Clark (2007) 84, 85
drama, suppliant Barbato (2020) 127, 193
Meister (2019) 138
drama, supposed decline of satyrplay/satyr Csapo (2022) 71, 72
drama, thiasos in satyric Seaford (2018) 49
drama, tragedy Eidinow and Kindt (2015) 86, 93, 179, 180, 181, 182, 184, 187, 188, 189, 199
drama, tragedy, in republican Giusti (2018) 63, 66, 67, 68, 69, 72, 73, 74, 75
drama, tragic plots, muthoi Eidinow and Kindt (2015) 182
drama, troy, trojans, in republican Giusti (2018) 69
drama, victoria, and Clark (2007) 78, 107, 108, 222
drama, virtus, in Clark (2007) 85, 107, 108, 111, 112, 113, 222, 224
drama, εἴπερ Meister (2019) 157
drama, ἐκφορά Meister (2019) 66
drama, ἔα Meister (2019) 147
dramas, aeschylus, by , agamemnon Csapo (2022) 174, 200
dramas, aeschylus, by , choephoroe Csapo (2022) 201
dramas, aeschylus, by , eumenides Csapo (2022) 64, 201, 202, 203, 205, 206
dramas, aeschylus, by , oresteia Csapo (2022) 165, 179, 180, 203
dramas, aeschylus, by , persians Csapo (2022) 19, 23, 64, 201
dramas, aeschylus, by , prometheus vinctus Csapo (2022) 174, 179, 201
dramas, aeschylus, by , ransom of hector Csapo (2022) 170
dramas, aeschylus, by , seven against thebes Csapo (2022) 174, 179, 200
dramas, aeschylus, by , suppliant women Csapo (2022) 174, 206
dramas, aeschylus, by , women of aetna Csapo (2022) 19, 30, 32, 64, 221
dramas, euripides, by , aegeus Csapo (2022) 173, 177
dramas, euripides, by , aeolus Csapo (2022) 165, 177
dramas, euripides, by , alcamenes Csapo (2022) 173, 177
dramas, euripides, by , alcestis Csapo (2022) 71, 172, 175
dramas, euripides, by , alcmaeon Csapo (2022) 173, 177
dramas, euripides, by , alexander Csapo (2022) 173, 177
dramas, euripides, by , andromache Csapo (2022) 172, 175
dramas, euripides, by , andromeda Csapo (2022) 49, 173, 177
dramas, euripides, by , antigone Csapo (2022) 165, 177
dramas, euripides, by , antiope Csapo (2022) 170, 173, 177
dramas, euripides, by , archelaus Csapo (2022) 25, 169, 173, 177, 213, 221
dramas, euripides, by , auge Csapo (2022) 173, 177
dramas, euripides, by , autolycus Csapo (2022) 177
dramas, euripides, by , bacchae Csapo (2022) 172, 175
dramas, euripides, by , bellerophon Csapo (2022) 178
dramas, euripides, by , children of heracles Csapo (2022) 189, 190, 191, 195, 198
dramas, euripides, by , chrysippus Csapo (2022) 178
dramas, euripides, by , cresphontes Csapo (2022) 173, 178
dramas, euripides, by , cretans Csapo (2022) 173, 178
dramas, euripides, by , cyclops Csapo (2022) 71, 172, 175
dramas, euripides, by , danae Csapo (2022) 178
dramas, euripides, by , dictys Csapo (2022) 178
dramas, euripides, by , electra Csapo (2022) 172, 175
dramas, euripides, by , erechtheus Csapo (2022) 173, 178, 191, 192
dramas, euripides, by , hecuba Csapo (2022) 172, 175, 190, 191, 192, 198
dramas, euripides, by , helen Csapo (2022) 172, 175
dramas, euripides, by , heracles Csapo (2022) 169, 172, 175, 188, 189, 194, 198
dramas, euripides, by , hippolytus Csapo (2022) 172, 175, 178, 187, 188, 189, 192, 193, 198
dramas, euripides, by , hypsipyle Csapo (2022) 170, 173, 178, 204
dramas, euripides, by , ino Csapo (2022) 173, 178
dramas, euripides, by , ion Csapo (2022) 172, 175, 192, 193, 198, 199, 203, 204, 205
dramas, euripides, by , iphigenia at aulis Csapo (2022) 172, 176
dramas, euripides, by , iphigenia at taurus Csapo (2022) 172, 176
dramas, euripides, by , ixion Csapo (2022) 178
dramas, euripides, by , licymnius Csapo (2022) 178
dramas, euripides, by , medea Csapo (2022) 170, 172, 176
dramas, euripides, by , melanippe desmotis Csapo (2022) 173, 178
dramas, euripides, by , melanippe sophe Csapo (2022) 178
dramas, euripides, by , meleager Csapo (2022) 173, 178
dramas, euripides, by , oedipus Csapo (2022) 173, 178
dramas, euripides, by , oeneus Csapo (2022) 178
dramas, euripides, by , oenomaus Csapo (2022) 173, 178
dramas, euripides, by , orestes Csapo (2022) 165, 169, 173, 176, 203, 214
dramas, euripides, by , palamedes Csapo (2022) 173, 179
dramas, euripides, by , phaethon Csapo (2022) 173, 179
dramas, euripides, by , philoctetes Csapo (2022) 179
dramas, euripides, by , phoenissae Csapo (2022) 171, 172, 173, 176, 213, 214
dramas, euripides, by , phrixus Csapo (2022) 173, 179
dramas, euripides, by , pirithous Csapo (2022) 215
dramas, euripides, by , pleisthenes Csapo (2022) 209, 210
dramas, euripides, by , polyidos Csapo (2022) 173, 179
dramas, euripides, by , protesilaus Csapo (2022) 179
dramas, euripides, by , rhadamanthys Csapo (2022) 215
dramas, euripides, by , rhesus Csapo (2022) 173, 177, 219
dramas, euripides, by , sciron Csapo (2022) 173
dramas, euripides, by , scyrioi Csapo (2022) 179
dramas, euripides, by , sisyphus Csapo (2022) 215
dramas, euripides, by , stheneboea Csapo (2022) 179
dramas, euripides, by , suppliant women Csapo (2022) 173, 177, 183, 184, 185, 186, 187, 189, 190, 191, 193, 194, 198, 226
dramas, euripides, by , telephus Csapo (2022) 173, 179
dramas, euripides, by , tennes Csapo (2022) 215
dramas, euripides, by , theseus Csapo (2022) 173, 177, 179
dramas, euripides, by , thyestes Csapo (2022) 173, 179
dramas, euripides, by , trojan women Csapo (2022) 173, 177, 198
dramas, ritual Stavrianopoulou (2006) 99, 109
dramas, sacred Belayche and Massa (2021) 7, 126, 136, 139, 140
dramas, sophocles, by , ajax Csapo (2022) 174, 180, 228
dramas, sophocles, by , antigone Csapo (2022) 165, 172, 174, 180, 201, 206
dramas, sophocles, by , electra Csapo (2022) 95, 174, 180
dramas, sophocles, by , oedipus at colonus Csapo (2022) 165, 174, 180, 215, 219, 226
dramas, sophocles, by , oedipus tyrannus Csapo (2022) 165, 167, 174, 180, 201
dramas, sophocles, by , philoctetes Csapo (2022) 174, 180, 215
dramas, sophocles, by , tereus Csapo (2022) 227
dramas, sophocles, by , trachiniae Csapo (2022) 174, 180, 201, 202, 206
drama’, ezekiel, exagoge, ‘midrashic Liapis and Petrides (2019) 132
‘drama’, structure of Toloni (2022) 95
‘drama’, structure of in job, comedy Toloni (2022) 96
‘drama’, structure of in job, tragedy Toloni (2022) 96
‘drama’, structure of in tobit, comedy Toloni (2022) 95, 96, 217
‘drama’, structure of in tobit, novel Toloni (2022) 95
‘drama’, structure of in tobit, satire Toloni (2022) 95
‘drama’, structure of in tobit, tragedy Toloni (2022) 95

List of validated texts:
30 validated results for "drama"
1. Hesiod, Theogony, 27-28 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • drama, tragedy • satyr drama

 Found in books: Eidinow and Kindt (2015) 93; Hesk (2000) 183


27. ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα,'28. ἴδμεν δʼ, εὖτʼ ἐθέλωμεν, ἀληθέα γηρύσασθαι. '. None		27. Those daughters of Lord Zeus proclaimed to me:'28. “You who tend sheep, full of iniquity, '. None
2. Homer, Iliad, 6.138, 10.329 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • Drama • reliance on passages from earlier drama, sources • satyr drama, satyr-play • satyr-dramas

 Found in books: Bernabe et al (2013) 150; Liapis and Petrides (2019) 69; Meister (2019) 4; Sommerstein and Torrance (2014) 81


6.138. τῷ μὲν ἔπειτʼ ὀδύσαντο θεοὶ ῥεῖα ζώοντες,
10.329. ἴστω νῦν Ζεὺς αὐτὸς ἐρίγδουπος πόσις Ἥρης''. None		6.138. But Dionysus fled, and plunged beneath the wave of the sea, and Thetis received him in her bosom, filled with dread, for mighty terror gat hold of him at the man's threatenings. Then against Lycurgus did the gods that live at ease wax wroth, and the son of Cronos made him blind; " '
10.329. For I will go straight on to the camp, even until I come to the ship of Agamemnon, where, I ween, the chieftains will be holding council, whether to flee or to fight. So spake he, and Hector took the staff in his hands, and sware to him, saying:Now be my witness Zeus himself, the loud-thundering lord of Hera, '". None
3. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • divides year with Apollo? and drama • drama, masks • drama, ritual and relations with the gods • drama, tragedy

 Found in books: Eidinow and Kindt (2015) 187; Parker (2005) 138
4. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Acropolis, in Republican drama • Carthaginians, in Republican drama • Drama, εἴπερ • reliance on passages from earlier drama

 Found in books: Giusti (2018) 63; Liapis and Petrides (2019) 81; Meister (2019) 157
5. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Aeschylus, dramas by\n, Eumenides • Aeschylus, dramas by\n, Suppliant Women • Sophocles, dramas by\n, Antigone • Sophocles, dramas by\n, Trachiniae • divides year with Apollo? and drama

 Found in books: Csapo (2022) 206; Parker (2005) 138
6. Euripides, Bacchae, 67-68, 75, 83, 129, 152-153, 443, 578, 582-584, 605, 623, 632, 683-688, 690, 735, 759, 940, 942, 946, 987, 998, 1020, 1029, 1089, 1093, 1124, 1131, 1145 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Drama, εἴπερ • chorus, in drama • money, in satyric drama • satyr drama • satyr drama, satyr-play • satyric drama, thiasos in

 Found in books: Bernabe et al (2013) 41; Liapis and Petrides (2019) 53; Lipka (2021) 112; Meister (2019) 157; Seaford (2018) 49


67. Βάκχιον εὐαζομένα. 68. τίς ὁδῷ τίς ὁδῷ; τίς;
75. θιασεύεται ψυχὰν
83. ἴτε βάκχαι, ἴτε βάκχαι,
129. χέρα θῆκαν, κτύπον εὐάσμασι Βακχᾶν·
152. Ὦ ἴτε βάκχαι, 153. ὦ ἴτε βάκχαι,
443.
578. τίς ὅδε, τίς ὅδε πόθεν ὁ κέλαδος
582. ἰὼ ἰὼ δέσποτα δέσποτα, 5
83. μόλε νυν ἡμέτερον ἐς 584. θίασον, ὦ Βρόμιε Βρόμιε. Διόνυσος
605. πρὸς πέδῳ πεπτώκατʼ; ᾔσθησθʼ, ὡς ἔοικε, Βακχίου
623. ἀνετίναξʼ ἐλθὼν ὁ Βάκχος δῶμα καὶ μητρὸς τάφῳ
632. πρὸς δὲ τοῖσδʼ αὐτῷ τάδʼ ἄλλα Βάκχιος λυμαίνεται· 6
83. ηὗδον δὲ πᾶσαι σώμασιν παρειμέναι, 684. αἳ μὲν πρὸς ἐλάτης νῶτʼ ἐρείσασαι φόβην, 685. αἳ δʼ ἐν δρυὸς φύλλοισι πρὸς πέδῳ κάρα 686. εἰκῇ βαλοῦσαι σωφρόνως, οὐχ ὡς σὺ φῂς 687. ᾠνωμένας κρατῆρι καὶ λωτοῦ ψόφῳ 688. θηρᾶν καθʼ ὕλην Κύπριν ἠρημωμένας.
690. σταθεῖσα βάκχαις, ἐξ ὕπνου κινεῖν δέμας,
735. βακχῶν σπαραγμόν, αἳ δὲ νεμομέναις χλόην

759. ἐς ὅπλʼ ἐχώρουν φερόμενοι βακχῶν ὕπο·
940. ὅταν παρὰ λόγον σώφρονας βάκχας ἴδῃς. Πενθεύς
942. ἢ τῇδε, βάκχῃ μᾶλλον εἰκασθήσομαι; Διόνυσος
946. αὐταῖσι βάκχαις τοῖς ἐμοῖς ὤμοις φέρειν; Διόνυσος
987. ἔμολεν, ὦ βάκχαι; τίς ἄρα νιν ἔτεκεν;
998. περὶ σὰ Βάκχιʼ, ὄργια ματρός τε σᾶς
1020. ἴθʼ, ὦ Βάκχε, θηραγρευτᾷ βακχᾶν'
1029. τί δʼ ἔστιν; ἐκ βακχῶν τι μηνύεις νέον; Ἄγγελος
1089. σαφῆ κελευσμὸν Βακχίου Κάδμου κόραι,
1093. πᾶσαί τε βάκχαι· διὰ δὲ χειμάρρου νάπης
1124. ἐκ Βακχίου κατείχετʼ, οὐδʼ ἔπειθέ νιν.
1131. ἐπεῖχε βακχῶν· ἦν δὲ πᾶσʼ ὁμοῦ βοή,
1145. τειχέων ἔσω τῶνδʼ, ἀνακαλοῦσα Βάκχιον '. None		67. having left sacred Tmolus, I am swift to perform for Bromius my sweet labor and toil easily borne, celebrating the god Bacchus Lit. shouting the ritual cry εὐοῖ . . Who is in the way? Who is in the way? Who? Let him get out of the way indoors, and let everyone keep his mouth pure E. R. Dodds takes this passage Let everyone come outside being sure to keep his mouth pure . He does not believe that there should be a full stop after the third τίς . ,
75. has his soul initiated into the Bacchic revels, dancing in inspired frenzy over the mountains with holy purifications, and who, revering the mysteries of great mother Kybele,
83. brandishing the thyrsos, garlanded with ivy, serves Dionysus.Go, Bacchae, go, Bacchae, escorting the god Bromius, child of a god,
129. covered with stretched hide; and in their excited revelry they mingled it with the sweet-voiced breath of Phrygian pipes and handed it over to mother Rhea, resounding with the sweet songs of the Bacchae;
152. casting his rich locks into the air. And among the Maenad cries his voice rings deep: This last phrase taken verbatim from Dodds, ad loc. Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with gold,
443. He remained still, making my work easy, and I in shame said: Stranger, I do not lead you away willingly, but by order of Pentheus, who sent me. And the Bacchae whom you shut up, whom you carried off and bound in the chains of the public prison,
578. Who is here, who? From what quarter did the voice of the Joyful one summon me? Dionysu
582. Io! Io! Master, master! Come now to our company, Bromius. Dionysu
605. o stricken with fear? You have, so it seems, felt Bacchus shaking the house of Pentheus. But get up and take courage, putting a stop to your trembling. Chorus Leader
623. breathing out fury, dripping sweat from his body, gnashing his teeth in his lips. But I, being near, sitting quietly, looked on. Meanwhile, Bacchus came and shook the house and kindled a flame on his mother’s tomb. When Pentheus saw this, thinking that the house was burning,
632. created a phantom in the courtyard. Pentheus rushed at it headlong, stabbing at the shining air, as though slaughtering me. Besides this, Bacchus inflicted other damage on him: he knocked his house to the ground, and everything was shattered into pieces, while he saw my bitter chains. From fatigue, 6
83. I saw three companies of dancing women, one of which Autonoe led, the second your mother Agave, and the third Ino. All were asleep, their bodies relaxed, some resting their backs against pine foliage, 685. others laying their heads at random on the oak leaves, modestly, not as you say drunk with the goblet and the sound of the flute, hunting out Aphrodite through the woods in solitude.Your mother raised a cry,
690. tanding up in the midst of the Bacchae, to wake their bodies from sleep, when she heard the lowing of the horned cattle. And they, casting off refreshing sleep from their eyes, sprang upright, a marvel of orderliness to behold, old, young, and still unmarried virgins.
735. from being torn apart by the Bacchae, but they, with unarmed hands, sprang on the heifers browsing the grass. and you might see one rending asunder a fatted lowing calf, while others tore apart cows.

759. and whatever they put on their shoulders, whether bronze or iron, was not held on by bonds, nor did it fall to the ground. They carried fire on their locks, but it did not burn them. Some people in rage took up arms, being plundered by the Bacchae,
940. when contrary to your expectation you see the Bacchae acting modestly. Pentheu
942. But shall I be more like a maenad holding the thyrsos in my right hand, or in my left? Dionysu
946. Could I carry on my shoulders the glens of Kithairon, Bacchae and all? Dionysu
987. Who is this seeker of the mountain-going Kadmeans who has come to the mountain, to the mountain, Bacchae? Who bore him? For he was not born from a woman’s blood, but is the offspring of some lione
998. Whoever with wicked mind and unjust rage regarding your rites, Bacchus, and those of your mother, comes with raving heart
1020. Go, Bacchus, with smiling face throw a deadly noose around the hunter of the Bacchae as he falls beneath the flock of Maenads. Second Messenger'
1029. What is it? Do you bring some news from the Bacchae? Messenger
1089. kept its leaves silent, nor would you have heard the sounds of animals. But they, not having heard the sound clearly, stood upright and looked all around. He repeated his order, and when the daughters of Kadmos recognized the clear command of Bacchus,
1093. they rushed forth, swift as a dove, running with eager speed of feet, his mother Agave, and her sisters, and all the Bacchae. They leapt through the torrent-streaming valley and mountain cliffs, frantic with the inspiration of the god.
1124. Pity me, mother, and do not kill me, your child, for my sins. But she, foaming at the mouth and twisting her eyes all about, not thinking as she ought, was possessed by Bacchus, and he did not persuade her.
1131. tearing his flesh, while Autonoe and the whole crowd of the Bacchae pressed on. All were making noise together, he groaning as much as he had life left in him, while they shouted in victory. One of them bore his arm, another a foot, boot and all. His ribs were stripped bare
1145. on the ill-fated prey, calling Bacchus her fellow hunter, her accomplice in the chase, the glorious victor—in whose service she wins a triumph of tears.And as for me, I will depart out of the way of this calamity before Agave reaches the house. '. None
7. Euripides, Hecuba, 121 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Euripides, dramas by\n, Children of Heracles • Euripides, dramas by\n, Erechtheus • Euripides, dramas by\n, Hecuba • Euripides, dramas by\n, Suppliant Women • satyr drama, satyr-play

 Found in books: Bernabe et al (2013) 41; Csapo (2022) 190, 191


121. τῆς μαντιπόλου Βάκχης ἀνέχων''. None		121. There was Agamemnon, all eagerness in your interest, because of his love for the frenzied prophetess; but the two sons of Theseus, scions of Athens , though supporting different proposals, yet agreed on the same decision, which was to crown Achilles’ tomb with fresh blood;''. None
8. Euripides, Children of Heracles, 849-850, 1030-1031 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Euripides, dramas by\n, Children of Heracles • suppliant drama

 Found in books: Barbato (2020) 127; Csapo (2022) 195


849. Παλληνίδος γὰρ σεμνὸν ἐκπερῶν πάγον' "850. δίας ̓Αθάνας, ἅρμ' ἰδὼν Εὐρυσθέως," "
1030. θανόντα γάρ με θάψεθ' οὗ τὸ μόρσιμον,"1031. δίας πάροιθε παρθένου Παλληνίδος: '. None		849. rend= When we had deployed our troops and marshalled them face to face with one another, Hyllus dismounted from his four-horsed chariot and stood midway betwixt the hosts. Then cried he, Captain, who art come from Argos, why cannot we leave this land alone? No hurt wilt thou do Mycenae, if of one man thou rob her; come! meet me in single combat, and, if thou slay me, take the children of Heracles away with thee, but, if thou fall, leave me to possess my ancestral honours and my home. The host cried yes! saying the scheme he offered was a fair one, both to rid them of their trouble and satisfy their valour. But that other, feeling no shame before those who heard the challenge or at his own cowardice, quailed, general though he was, to come within reach of the stubborn spear, showing himself an abject coward; yet with such a spirit he came to enslave the children of Heracles. Then did Hyllus withdraw to his own ranks again, and the prophets seeing that no reconciliation would be effected by single combat, began the sacrifice without delay and forthwith let flow from a human If βροτείων is correct, it would seem to refer to Macaria. Paley offers the ingenious suggestion βοτειων, i.e., throats of beasts but the word has no authority. Better is Helbig’s βοείων . throat auspicious streams of blood. And some were mounting chariots, while others couched beneath the shelter of their shields, and the king of the Athenians, as a highborn chieftain should, would exhort his host: Fellow-citizens, the land, that feeds you and that gave you birth, demands to-day the help of every man. Likewise Eurystheus besought his allies that they should scorn to sully the feme of Argos and Mycenae. Anon the Etrurian trumpet sounded loud and clear, and hand to hand they rushed; then think how loudly clashed their ringing shields, what din arose of cries and groans confused! At first the onset of the Argive spearmen broke our ranks; then they in turn gave ground; next, foot to foot and man to man, they fought their stubborn fray, many falling the while. And either chief cheered on his men, Sons of Athens! Ye who till the fields of Argos! ward from your land disgrace. Do all we could, and spite of every effort, scarce could we turn the Argive line in flight. When lo! old Iolaus sees Hyllus starting from the ranks, whereon he lifts his hands to him with a prayer to take him up into his chariot. Thereon he seized the reins and went hard after the horses of Eurystheus. From this point onward must I speak from hearsay, though hitherto as one whose own eyes saw. For as he was crossing Pallene’s hill, sacred to the goddess Athene, he caught sight of Eurystheus’ chariot, and prayed to Hebe and to Zeus, that for one single day he might grow young again and wreak his vengeance on his foes. Now must thou hear a wondrous tale: two stars settled on the horses’ yokes and threw the chariot into dark shadow, which—at least so say our wiser folk—were thy son and Hebe; and from that murky gloom appeared that aged man in the form of a youth with strong young arms; then by the rocks of Sciron the hero Iolaus o’ertakes Eurystheus’ chariot. And he bound his hands with gyves, and is bringing that chieftain once so prosperous as a trophy hither, whose fortune now doth preach a lesson, clear as day, to all the sons of men, that none should envy him, who seems to thrive, until they see his death; for fortune’s moods last but a day. Choru
849. to take him up into his chariot. Thereon he seized the reins and went hard after the horses of Eurystheus. From this point onward must I speak from hearsay, though hitherto as one whose own eyes saw. For as he was crossing Pallene’s hill, 850. acred to the goddess Athene, he caught sight of Eurystheus’ chariot, and prayed to Hebe and to Zeus, that for one single day he might grow young again and wreak his vengeance on his foes. Now must thou hear a wondrous tale: two stars settled on the horses’ yoke
1030. Bury my body after death in its destined grave in front of the shrine of the virgin goddess Pallas. at Pallene. And I will be thy friend and guardian of thy city for ever, where I lie buried in a foreign soil, but a bitter foe to these children’s descendants,'1031. rend= Bury my body after death in its destined grave in front of the shrine of the virgin goddess Pallas. at Pallene. And I will be thy friend and guardian of thy city for ever, where I lie buried in a foreign soil, but a bitter foe to these children’s descendants, whensoe’er Referring to invasions by the Peloponnesians, descendants of the Heracleidae. with gathered host they come against this land, traitors to your kindness now; such are the strangers ye have championed. Why then came I hither, if I knew all this, instead of regarding the god’s oracle? Because I thought, that Hera was mightier far than any oracle, and would not betray me. Waste no drink-offering on my tomb, nor spill the victim’s blood; for I will requite them for my treatment here with a journey they shall rue; and ye shall have double gain from me, for I will help you and harm them by my death. Alcmena 1031. Bury my body after death in its destined grave in front of the shrine of the virgin goddess Pallas. at Pallene. And I will be thy friend and guardian of thy city for ever, where I lie buried in a foreign soil, but a bitter foe to these children’s descendants, '. None
9. Euripides, Hercules Furens, 822-873 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus, in drama • satyr drama

 Found in books: Farrell (2021) 177; Lipka (2021) 98


822. Courage, old men! she, whom you see, is Madness, daughter of Night, and I am Iris, the handmaid of the gods. We have not come to do your city any hurt,'823. Courage, old men! she, whom you see, is Madness, daughter of Night, and I am Iris, the handmaid of the gods. We have not come to do your city any hurt, 825. but our warfare is against the house of one man only, against him whom they call the son of Zeus and Alcmena. For until he had finished all his grievous labors, Destiny was preserving him, nor would father Zeus ever suffer me or Hera to harm him. 830. But now that he has accomplished the labors of Eurystheus, Hera wishes to brand him with the guilt of shedding kindred blood by slaying his own children, and I wish it also. Come then, unwed maid, child of black Night, harden your heart relentlessly, 835. end forth frenzy upon this man, confound his mind even to the slaying of his children, drive him, goad him wildly on his mad career, shake out the sails of death, that when he has conveyed over Acheron ’s ferry that fair group of children by his own murderous hand, 840. he may learn to know how fiercely against him the wrath of Hera burns and may also experience mine; otherwise, if he should escape punishment, the gods will become as nothing, while man’s power will grow. Madne 843. of noble parents was I born, the daughter of Night, sprung from the blood of Ouranos; 845. and these prerogatives I hold, not to use them in anger against friends, nor do I have any joy in visiting the homes of men; and I wish to counsel Hera, before I see her make a mistake, and you too, if you will hearken to my words. This man, against whose house you are sending me, has made himself a name alike in heaven 850. and earth; for, after taming pathless wilds and raging sea, he by his single might raised up again the honors of the gods when sinking before man’s impiety; . . . wherefore I counsel you, do not wish him dire mishaps. Iri 855. Spare us your advice on Hera’s and my schemes. Madne 856. I seek to turn your steps into the best path instead of into this one of evil. Iri 857. It was not to practice self-control that the wife of Zeus sent you here. Madne 858. I call the sun-god to witness that here I am acting against my will; but if indeed I must at once serve you and Hera 860. and follow you in full cry as hounds follow the huntsman, then I will go; neither ocean with its fiercely groaning waves, nor the earthquake, nor the thunderbolt with blast of agony shall be like the headlong rush I will make into the breast of Heracles; through his roof will I burst my way and swoop upon his house, 865. after first slaying his children; nor shall their murderer know that he is killing the children he begot, till he is released from my madness. Behold him! see how even now he is wildly tossing his head at the outset, and rolling his eyes fiercely from side to side without a word; nor can he control his panting breath, like a fearful bull in act to charge; he bellows, 870. calling on the goddesses of nether hell. Soon will I rouse you to yet wilder dancing and pipe a note of terror in your ear. Soar away, O Iris, to Olympus on your honored course; while I unseen will steal into the halls of Heracles. Choru '. None
10. Euripides, Hippolytus, 1334 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Euripides, dramas by\n, Heracles • Euripides, dramas by\n, Hippolytus • chorus, in drama

 Found in books: Csapo (2022) 188; Lipka (2021) 109


1334. θανεῖν ἐᾶσαι. τὴν δὲ σὴν ἁμαρτίαν''. None		1334. his neighbour’s will, but ever we stand aloof. For be well assured, did I not fear Zeus, never would I have incurred the bitter shame of handing over to death a man of all his kind to me most dear. As for thy sin,''. None
11. Euripides, Ion, 184-218 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • drama • drama, comedy • drama, tragedy

 Found in books: Chaniotis (2021) 357, 358, 359, 360, 361, 362; Eidinow and Kindt (2015) 199


184. — οὐκ ἐν ταῖς ζαθέαις ̓Αθά-'185. ναις εὐκίονες ἦσαν αὐ-' "186. λαὶ θεῶν μόνον, οὐδ' ἀγυι-" '187. άτιδες θεραπεῖαι: 188. ἀλλὰ καὶ παρὰ Λοξίᾳ 189. τῷ Λατοῦς διδύμων προσώ- 190. πων καλλιβλέφαρον φῶς.' "190. — ἰδοὺ τάνδ', ἄθρησον," '191. Λερναῖον ὕδραν ἐναίρει 192. χρυσέαις ἅρπαις ὁ Διὸς παῖς:' "193. φίλα, πρόσιδ' ὄσσοις." '194. — ὁρῶ. καὶ πέλας ἄλλος αὐ- 195. τοῦ πανὸν πυρίφλεκτον αἴ-' "196. ρει τις — ἆρ' ὃς ἐμαῖσι μυ-" '197. θεύεται παρὰ πήναις, 198. ἀσπιστὰς ̓Ιόλαος, ὃς 199. κοινοὺς αἰρόμενος πόνους 200. Δίῳ παιδὶ συναντλεῖ;' "201. — καὶ μὰν τόνδ' ἄθρησον" '202. πτεροῦντος ἔφεδρον ἵππου: 203. τὰν πῦρ πνέουσαν ἐναίρει 204. τρισώματον ἀλκάν. 205. — πάντᾳ τοι βλέφαρον διώ- 206. κω. σκέψαι κλόνον ἐν τείχες- 207. σι λαί̈νοισι Γιγάντων. 208. — ὦ φίλαι, ὧδε δερκόμεσθα.' "209. — λεύσσεις οὖν ἐπ' ̓Εγκελάδῳ" '210. γοργωπὸν πάλλουσαν ἴτυν —' "211. — λεύσσω Παλλάδ', ἐμὰν θεόν." '212. — τί γάρ; κεραυνὸν ἀμφίπυρον 213. ὄβριμον ἐν Διὸς 214. ἑκηβόλοισι χερσίν; 215. — ὁρῶ: τὸν δάϊον 216. Μίμαντα πυρὶ καταιθαλοῖ. 217. — καὶ Βρόμιος ἄλλον ἀπολέμοι- 218. ἐναίρει Γᾶς τέκνων ὁ Βακχεύς. '. None		184. It is not in holy Athen'185. only that there are courts of the gods with fine colonnades, and the worship of Apollo, guardian of highways; but here, too, at the shrine of Loxias, son of Latona, shines the lovely eye of day on faces twain. (Second) Choru 190. Just look at this! here is the son of Zeus killing with his scimitar of gold the watersnake of Lerna. Do look at him, my friend! (First) Choru 194. Yes, I see. And close to him stands another 195. with a blazing torch uplifted; who is he? Can this be the warrior Iolaus whose story is told on my broidery, who shares with 200. the son of Zeus his labours and helps him in the moil? (Third) Choru 201. Oh! but look at this! a man mounted on a winged horse, killing a fire-breathing monster with three bodies. (First) Choru 205. I am turning my eyes in every direction. Behold the rout of the giants carved on these walls of stone. (Fourth) Choru 208. Yes, yes, good friends, I am looking. (Fifth) Choru 210. Dost see her standing over Enceladus brandishing her shield with the Gorgon’s head? (Sixth) Choru 211. I see Pallas, my own goddess. (Seventh) Choru 212. Again, dost see the massy thunderbolt all aflame in the far-darting hands of Zeus? (Eighth) Choru 215. I do; ’tis blasting with its flame Mimas, that deadly foe. (Ninth) Choru 217. Bromius too, the god of revelry, is slaying another of the sons of Earth with his thyrsus of ivy, never meant for battle. (First) Choru '. None
12. Euripides, Orestes, 1496, 1539-1540 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Cyrene, dance, in drama • Euripides, dramas by\n, Archelaus • Euripides, dramas by\n, Heracles • Euripides, dramas by\n, Orestes • Euripides, dramas by\n, Phoenissae

 Found in books: Csapo (2022) 169, 214; Liapis and Petrides (2019) 229


1496. ἄφαντος, ὦ Ζεῦ καὶ γᾶ'
1496. ξυνήρπασαν: πάλιν δὲ τὰν Διὸς κόραν
1539. φοβερὸν ἀμφὶ τοὺς ̓Ατρείδας πίτνει. 1540. ἢ σῖγ' ἔχωμεν; ἀσφαλέστερον, φίλαι." '1540. — τί δρῶμεν; ἀγγέλλωμεν ἐς πόλιν τάδε;' "'. None		1496. passing right through the house, O Zeus and Earth and light and night! whether by magic spells or wizards’ arts or heavenly theft.'
1539. What are we to do? Carry tidings to the town? 1540. Or hold our peace? It is safer, friends. '. None
13. Euripides, Phoenician Women, 344-354, 1489 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Aeschylus, dramas by\n, Ransom of Hector • Cyrene, dance, in drama • Deidameia (tragic drama) • Euripides, dramas by\n, Antiope • Euripides, dramas by\n, Hypsipyle • Euripides, dramas by\n, Medea • satyr drama, satyr-play

 Found in books: Bernabe et al (2013) 41; Csapo (2022) 170; Liapis and Petrides (2019) 229


344. ἐγὼ δ' οὔτε σοι πυρὸς ἀνῆψα φῶς" '345. νόμιμον ἐν γάμοις 346. ὡς πρέπει ματέρι μακαρίᾳ:' "347. ἀνυμέναια δ' ̓Ισμηνὸς ἐκηδεύθη" '348. λουτροφόρου χλιδᾶς, ἀνὰ δὲ Θηβαίαν 349. πόλιν ἐσιγάθη σᾶς ἔσοδοι νύμφας.' "350. ὄλοιτο, τάδ' εἴτε σίδαρος" "351. εἴτ' ἔρις εἴτε πατὴρ ὁ σὸς αἴτιος," '352. εἴτε τὸ δαιμόνιον κατεκώμασε 353. δώμασιν Οἰδιπόδα:' "354. πρὸς ἐμὲ γὰρ κακῶν ἔμολε τῶνδ' ἄχη." '
1489. αἰδομένα φέρομαι βάκχα νεκύ-'". None		344. and are courting a foreign alliance, a ceaseless regret to me your mother and to Laius your ancestor, ruin brought by your marriage. I was not the one who lit for you the marriage-torch, 345. the custom in marriage for a happy mother; Ismenus had no part at your wedding in supplying the luxurious bath, and there was silence through the streets of Thebes , at the entrance of your bride. 350. Curses on them! whether the sword or strife or your father that is to blame, or heaven’s visitation that has burst riotously upon the house of Oedipus; for on me has come all the anguish of these evils. Chorus Leader
1489. I do not veil my tender cheek shaded with curls, nor do I feel shame, from maiden modesty, at the dark red beneath my eyes, the blush upon my face, as I hurry on, in bacchic revelry for the dead,''. None
14. Euripides, Rhesus, 595-674, 816, 972 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus, in drama • reliance on passages from earlier drama • reliance on passages from earlier drama, sources • satyr drama • satyr drama, satyr-play • satyr-dramas

 Found in books: Bernabe et al (2013) 41; Liapis and Petrides (2019) 68, 69, 71, 72, 75, 80; Lipka (2021) 98; Sommerstein and Torrance (2014) 20


595. ποῖ δὴ λιπόντες Τρωικῶν ἐκ τάξεων'596. χωρεῖτε, λύπῃ καρδίαν δεδηγμένοι,' "597. εἰ μὴ κτανεῖν σφῷν ̔́Εκτορ' ἢ Πάριν θεὸς" "598. δίδωσιν; ἄνδρα δ' οὐ πέπυσθε σύμμαχον" '599. Τροίᾳ μολόντα ̔Ρῆσον οὐ φαύλῳ τρόπῳ.' "600. ὃς εἰ διοίσει νύκτα τήνδ' ἐς αὔριον," "601. οὔτε σφ' ̓Αχιλλεὺς οὔτ' ἂν Αἴαντος δόρυ" "602. μὴ πάντα πέρσαι ναύσταθμ' ̓Αργείων σχέθοι," '603. τείχη κατασκάψαντα καὶ πυλῶν ἔσω 604. λόγχῃ πλατεῖαν ἐσδρομὴν ποιούμενον.' "605. τοῦτον κατακτὰς πάντ' ἔχεις. τὰς δ' ̔́Εκτορος" '606. εὐνὰς ἔασον καὶ καρατόμους σφαγάς: 607. ἔσται γὰρ αὐτῷ θάνατος ἐξ ἄλλης χερός.' "608. δέσποιν' ̓Αθάνα, φθέγματος γὰρ ᾐσθόμην" '609. τοῦ σοῦ συνήθη γῆρυν: ἐν πόνοισι γὰρ' "610. παροῦς' ἀμύνεις τοῖς ἐμοῖς ἀεί ποτε:" "611. τὸν ἄνδρα δ' ἡμῖν, ποῦ κατηύνασται, φράσον:" '612. πόθεν τέτακται βαρβάρου στρατεύματος;' "613. ὅδ' ἐγγὺς ἧσται κοὐ συνήθροισται στρατῷ," "614. ἀλλ' ἐκτὸς αὐτὸν τάξεων κατηύνασεν" '615. ̔́Εκτωρ, ἕως ἂν νὺξ ἀμείψηται φάος. 616. πέλας δὲ πῶλοι Θρῃκίων ἐξ ἁρμάτων 617. λευκαὶ δέδενται, διαπρεπεῖς ἐν εὐφρόνῃ:' "618. στίλβουσι δ' ὥστε ποταμίου κύκνου πτερόν." '619. ταύτας, κτανόντες δεσπότην, κομίζετε,' "620. κάλλιστον οἴκοις σκῦλον: οὐ γὰρ ἔσθ' ὅπου" "621. τοιόνδ' ὄχημα χθὼν κέκευθε πωλικόν." '622. Διόμηδες, ἢ σὺ κτεῖνε Θρῄκιον λεών,' "623. ἢ 'μοὶ πάρες γε, σοὶ δὲ χρὴ πώλους μέλειν." '624. ἐγὼ φονεύσω, πωλοδαμνήσεις δὲ σύ: 625. τρίβων γὰρ εἶ τὰ κομψὰ καὶ νοεῖν σοφός.' "626. χρὴ δ' ἄνδρα τάσσειν οὗ μάλιστ' ἂν ὠφελοῖ." "627. καὶ μὴν καθ' ἡμᾶς τόνδ' ̓Αλέξανδρον βλέπω" '628. στείχοντα, φυλάκων ἔκ τινος πεπυσμένον 629. δόξας ἀσήμους πολεμίων μεμβλωκότων. 630. πότερα σὺν ἄλλοις ἢ μόνος πορεύεται;' "631. μόνος: πρὸς εὐνὰς δ', ὡς ἔοικεν, ̔́Εκτορος" '632. χωρεῖ, κατόπτας σημανῶν ἥκειν στρατοῦ. 633. οὐκ οὖν ὑπάρχειν τόνδε κατθανόντα χρή; 634. οὐκ ἂν δύναιο τοῦ πεπρωμένου πλέον. 635. τοῦτον δὲ πρὸς σῆς χειρὸς οὐ θέμις θανεῖν.' "636. ἀλλ' ᾧπερ ἥκεις μορσίμους φέρων σφαγάς," "637. τάχυν': ἐγὼ δέ, τῷδε σύμμαχος Κύπρις" "638. δοκοῦς' ἀρωγὸς ἐν πόνοις παραστατεῖν," "639. σαθροῖς λόγοισιν ἐχθρὸν ἄνδρ' ἀμείψομαι." "640. καὶ ταῦτ' ἐγὼ μὲν εἶπον: ὃν δὲ χρὴ παθεῖν," "641. οὐκ οἶδεν οὐδ' ἤκουσεν ἐγγὺς ὢν λόγου." '642. σὲ τὸν στρατηγὸν καὶ κασίγνητον λέγω, 643. ̔́Εκτορ, καθεύδεις; οὐκ ἐγείρεσθαί σε χρῆν; 644. ἐχθρῶν τις ἡμῖν χρίμπτεται στρατεύματι, 645. ἢ κλῶπες ἄνδρες ἢ κατάσκοποί τινες.' "646. θάρσει: φυλάσσει ς' ἥδε πρευμενὴς Κύπρις." "647. μέλει δ' ὁ σός μοι πόλεμος, οὐδ' ἀμνημονῶ" "648. τιμῆς, ἐπαινῶ δ' εὖ παθοῦσα πρὸς σέθεν." "649. καὶ νῦν ἐπ' εὐτυχοῦντι Τρωικῷ στρατῷ" "650. ἥκω πορεύους' ἄνδρα σοι μέγαν φίλον," '651. τῆς ὑμνοποιοῦ παῖδα Θρῄκιον θεᾶς 652. Μούσης: πατρὸς δὲ Στρυμόνος κικλήσκεται.' "653. αἰεί ποτ' εὖ φρονοῦσα τυγχάνεις πόλει" "654. κἀμοί, μέγιστον δ' ἐν βίῳ κειμήλιον" '655. κρίνας σέ φημι τῇδε προσθέσθαι πόλει.' "656. ἥκω δ' ἀκούσας οὐ τορῶς — φήμη δέ τις" '657. φύλαξιν ἐμπέπτωκεν — ὡς κατάσκοποι' "658. ἥκους' ̓Αχαιῶν. χὣ μὲν οὐκ ἰδὼν λέγει," "659. ὃ δ' εἰσιδὼν μολόντας οὐκ ἔχει φράσαι:" "660. ὧν οὕνεκ' εὐνὰς ἤλυθον πρὸς ̔́Εκτορος." '661. μηδὲν φοβηθῇς: οὐδὲν ἐν στρατῷ νέον: 662. ̔́Εκτωρ δὲ φροῦδος Θρῇκα κοιμήσων στρατόν. 663. σύ τοί με πείθεις, σοῖς δὲ πιστεύων λόγοις' "664. τάξιν φυλάξων εἶμ' ἐλεύθερος φόβου." "665. χώρει: μέλειν γὰρ πάντ' ἐμοὶ δόκει τὰ σά," "666. ὥστ' εὐτυχοῦντας συμμάχους ἐμοὺς ὁρᾶν." '667. γνώσῃ δὲ καὶ σὺ τὴν ἐμὴν προθυμίαν.' "668. ὑμᾶς δ' ἀυτῶ τοὺς ἄγαν ἐρρωμένους," '669. Λαερτίου παῖ, θηκτὰ κοιμίσαι ξίφη. 670. κεῖται γὰρ ἡμῖν Θρῄκιος στρατηλάτης,' "671. ἵπποι τ' ἔχονται, πολέμιοι δ' ᾐσθημένοι" "672. χωροῦς' ἐφ' ὑμᾶς: ἀλλ' ὅσον τάχιστα χρὴ" '673. φεύγειν πρὸς ὁλκοὺς ναυστάθμων. τί μέλλετε' "674. σκηπτοῦ 'πιόντος πολεμίων σῷσαι βίον;" "
816. εὖ νυν τόδ' ἴστε — Ζεὺς ὀμώμοται πατήρ —" '
972. Βάκχου προφήτης ὥστε Παγγαίου πέτραν '. None		595. What make ye, from these sleepers thus to part'596. Desponding and with sorrow-wounded heart 597. If Hector be not granted you to slay 598. Nor Paris? Little know ye what great stay 599. of help is found for Troy. This very night 600. Rhesus is come; who, if he see the light 601. of morning, not Achilles nor the rack 602. Ere wall and gate be shattered and inside 603. Your camp a spear-swept causeway builded wide 604. To where beached galleys flame above the dead. 605. Him slay, and all is won. Let Hector’s head 606. Sleep where it lies and draw unvexèd breath; 607. Another’s work, not thine, is Hector’s death. ODYSSEUS. 608. Most high Athena, well I know the sound 609. of that immortal voice. ’Tis ever found 610. My helper in great perils.—Where doth lie 611. Rhesus, mid all this host of Barbary? numeration out of sync: 612 omitted ATHENA. 613. Full near he lies, not mingled with the host 614. of Troy, but here beyond the lines—a post 615. of quiet till the dawn, that Hector found. 616. And near him, by his Thracian chariot bound, 617. Two snow-white coursers gleam against the wan 618. Moon, like the white wing of a river swan. 619. Their master slain, take these to thine own hearth, 620. A wondrous spoil; there hides not upon earth 621. A chariot-team of war so swift and fair. ODYSSEUS. 622. Say, Diomede, wilt make the men thy share, 623. Or catch the steeds and leave the fight to me? DIOMEDE. 624. I take the killing, thou the stablery: 625. It needs keen wit and a neat hand. The post 626. A man should take is where he helpeth most. ATHENA. 627. Behold, ’tis Paris, hasting there toward 628. This tent. Methinks he knoweth from the guard 629. Some noise of prowling Argives hither blown. DIOMEDE. 630. Comes he alone or with his guards? ATHENA. 631. Alone; 632. His message. He hath heard some tale of spies. DIOMEDE. 633. Then he shall be the first dead Trojan! ATHENA. 634. No; 635. Fate hath not willed that Paris by thy deed 636. Shall die; it is another who must bleed 637. To-night. Therefore be swift! Exeunt ODYSSEUS and DIOMEDE. 638. And help in need, that meets him in the night, 639. And soft shall be my words to him I hate. 640. So speak I; but on whom my spell is set 641. He hears not, sees not, though so near I stand. She becomes invisible where she stands. Enter PARIS. PARIS. 642. Ho, Hector! Brother! General of the land! 643. Sleepest thou still? We need thy waking sight. 644. Our guards have marked some prowler of the night, 645. We know not if a mere thief or a spy. ATHENA becomes visible again, but seems changed and her voice softer. ATHENA. 646. Have comfort thou! Doth not the Cyprian’s eye 647. Thy battles? How shall I forget the love 648. I owe thee, and thy faithful offices? 649. To crown this day and all its victories, 650. Lo, I have guided here to Troy a strong 651. Helper, the scion of the Muse of song 652. And Strymon’s flood, the crownèd stream of Thrace . PARIS. (standing like one in a dream) 653. Indeed thy love is steadfast, and thy grace 654. And jewel of my days, which I to Troy 655. Have brought, and made thee hers.—O Cyprian, 656. I heard, not clearly,—’twas some talk that ran 657. Among the pickets—spies had passed some spot 658. Close by the camp. The men who saw them not 659. Talk much, and they who saw, or might have seen, 660. My purpose to find Hector where he lay. ATHENA. 661. Fear nothing. All is well in Troy’s array. 662. Hector is gone to help those Thracians sleep. PARIS. 663. Thy word doth rule me, Goddess. Yea, so deep 664. My trust is, that all thought of fear is lost 665. Go. And remember that thy fortunes still 666. Are watched by me, and they who do my will 667. Prosper in all their ways. Aye, thou shalt prove 668. Ere long, if I can care for those I love. Exit PARIS. She raises her voice. 669. Back, back, ye twain! Are ye in love with death? 670. Laertes ’ son, thy sword into the sheath! 671. Our golden Thracian gaspeth in his blood; 672. The steeds are ours; the foe hath understood 673. And crowds against you. Haste ye! haste to fly,— 674. Ere yet the lightning falleth, and ye die! ATHENA vanishes; a noise of tumult is heard. Enter a crowd of Thracians running in confusion, in the midst of them ODYSSEUS and DIOMEDE. VOICES. (amid the tumult)
816. For this deed—I have sworn by Zeus our Lord !—
972. As under far Pangaion Orpheus lies, '. None
15. Herodotus, Histories, 1.60 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus, in drama • drama

 Found in books: Athanassaki and Titchener (2022) 137; Lipka (2021) 96


1.60. μετὰ δὲ οὐ πολλὸν χρόνον τὠυτὸ φρονήσαντες οἵ τε τοῦ Μεγακλέος στασιῶται καὶ οἱ τοῦ Λυκούργου ἐξελαύνουσί μιν. οὕτω μὲν Πεισίστρατος ἔσχε τὸ πρῶτον Ἀθήνας, καὶ τὴν τυραννίδα οὔκω κάρτα ἐρριζωμένην ἔχων ἀπέβαλε. οἳ δὲ ἐξελάσαντες Πεισίστρατον αὖτις ἐκ νέης ἐπʼ ἀλλήλοισι ἐστασίασαν. περιελαυνόμενος δὲ τῇ στάσι ὁ Μεγακλέης ἐπεκηρυκεύετο Πεισιστράτῳ, εἰ βούλοιτό οἱ τὴν θυγατέρα ἔχειν γυναῖκα ἐπὶ τῇ τυραννίδι. ἐνδεξαμένου δὲ τὸν λόγον καὶ ὁμολογήσαντος ἐπὶ τούτοισι Πεισιστράτου, μηχανῶνται δὴ ἐπὶ τῇ κατόδῳ πρῆγμα εὐηθέστατον, ὡς ἐγὼ εὑρίσκω, μακρῷ, ἐπεί γε ἀπεκρίθη ἐκ παλαιτέρου τοῦ βαρβάρου ἔθνεος τὸ Ἑλληνικὸν ἐὸν καὶ δεξιώτερον καὶ εὐηθείης ἠλιθίου ἀπηλλαγμένον μᾶλλον, εἰ καὶ τότε γε οὗτοι ἐν Ἀθηναίοισι τοῖσι πρώτοισι λεγομένοισι εἶναι Ἑλλήνων σοφίην μηχανῶνται τοιάδε. ἐν τῷ δήμῳ τῷ Παιανιέι ἦν γυνὴ τῇ οὔνομα ἦν Φύη, μέγαθος ἀπὸ τεσσέρων πηχέων ἀπολείπουσα τρεῖς δακτύλους καὶ ἄλλως εὐειδής· ταύτην τὴν γυναῖκα σκευάσαντες πανοπλίῃ, ἐς ἅρμα ἐσβιβάσαντες καὶ προδέξαντες σχῆμα οἷόν τι ἔμελλε εὐπρεπέστατον φανέεσθαι ἔχουσα, ἤλαυνον ἐς τὸ ἄστυ, προδρόμους κήρυκας προπέμψαντες· οἳ τὰ ἐντεταλμένα ἠγόρευον ἀπικόμενοι ἐς τὸ ἄστυ, λέγοντες τοιάδε· “ὦ Ἀθηναῖοι, δέκεσθε ἀγαθῷ νόῳ Πεισίστρατον, τὸν αὐτὴ ἡ Ἀηθναίη τιμήσασα ἀνθρώπων μάλιστα κατάγει ἐς τὴν ἑωυτῆς ἀκρόπολιν.” οἳ μὲν δὴ ταῦτα διαφοιτέοντες ἔλεγον· αὐτίκα δὲ ἔς τε τοὺς δήμους φάτις ἀπίκετο ὡς Ἀθηναίη Πεισίστρατον κατάγει, καὶ οἱ ἐν τῷ ἄστεϊ πειθόμενοι τὴν γυναῖκα εἶναι αὐτὴν τὴν θεὸν προσεύχοντό τε τὴν ἄνθρωπον καὶ ἐδέκοντο Πεισίστρατον.''. None		1.60. But after a short time the partisans of Megacles and of Lycurgus made common cause and drove him out. In this way Pisistratus first got Athens and, as he had a sovereignty that was not yet firmly rooted, lost it. Presently his enemies who together had driven him out began to feud once more. ,Then Megacles, harassed by factional strife, sent a message to Pisistratus offering him his daughter to marry and the sovereign power besides. ,When this offer was accepted by Pisistratus, who agreed on these terms with Megacles, they devised a plan to bring Pisistratus back which, to my mind, was so exceptionally foolish that it is strange (since from old times the Hellenic stock has always been distinguished from foreign by its greater cleverness and its freedom from silly foolishness) that these men should devise such a plan to deceive Athenians, said to be the subtlest of the Greeks. ,There was in the Paeanian deme a woman called Phya, three fingers short of six feet, four inches in height, and otherwise, too, well-formed. This woman they equipped in full armor and put in a chariot, giving her all the paraphernalia to make the most impressive spectacle, and so drove into the city; heralds ran before them, and when they came into town proclaimed as they were instructed: ,“Athenians, give a hearty welcome to Pisistratus, whom Athena herself honors above all men and is bringing back to her own acropolis.” So the heralds went about proclaiming this; and immediately the report spread in the demes that Athena was bringing Pisistratus back, and the townsfolk, believing that the woman was the goddess herself, worshipped this human creature and welcomed Pisistratus. ''. None
16. Sophocles, Antigone, 1115-1125 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus, in drama • satyr drama, satyr-play

 Found in books: Bernabe et al (2013) 41, 274; Lipka (2021) 112


1115. God of many names, glory of the Cadmeian bride and offspring of loud-thundering Zeus, you who watch over far-famed Italy and reign'1116. God of many names, glory of the Cadmeian bride and offspring of loud-thundering Zeus, you who watch over far-famed Italy and reign 1120. in the valleys of Eleusinian Deo where all find welcome! O Bacchus, denizen of Thebes , the mother-city of your Bacchants, dweller by the wet stream of Ismenus on the soil 1125. of the sowing of the savage dragon’s teeth! '. None
17. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • satyr drama • satyr-dramas

 Found in books: Liapis and Petrides (2019) 75; Sommerstein and Torrance (2014) 20
18. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Drama, εἴπερ • chorus, in drama • divides year with Apollo? and drama

 Found in books: Lipka (2021) 96, 106, 123; Meister (2019) 157; Parker (2005) 138
19. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Cyrene, dance, in drama • satyr drama, satyr-play

 Found in books: Bernabe et al (2013) 42; Liapis and Petrides (2019) 229
20. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • chorus, in drama • satyr drama, satyr-play

 Found in books: Bernabe et al (2013) 42, 381; Lipka (2021) 112
21. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • psychological drama, Euripidess work regarded as • satyr-dramas

 Found in books: Pucci (2016) 61; Sommerstein and Torrance (2014) 82
22. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • money, in satyric drama • satyr drama, satyr-play • satyr-dramas • satyric drama, inventions in • satyric drama, satyrs, captivity of • satyric drama, thiasos in

 Found in books: Bernabe et al (2013) 41; Seaford (2018) 47, 48, 49; Sommerstein and Torrance (2014) 118, 242
23. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus, in drama • reliance on passages from earlier drama

 Found in books: Liapis and Petrides (2019) 82; Lipka (2021) 121
24. None, None, nan (4th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Aristotle, Pleasures of art and drama • Attention, Effect of drama and narrative depends on attention to in the play, once upon a time • Catharsis, Aristotle's application to drama • Cyrene, dance, in drama • Drama • Pleasure, Aristotle on pleasures of art and drama

 Found in books: Liapis and Petrides (2019) 212; Sorabji (2000) 24, 80, 291
25. None, None, nan (3rd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: • Acropolis, in Republican drama • Carthaginians, in Republican drama • chorus, in drama

 Found in books: Giusti (2018) 75; Lipka (2021) 87
26. None, None, nan (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: • drama • virtus, in drama

 Found in books: Clark (2007) 113; Poulsen and Jönsson (2021) 210
27. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: • comedy, comic, relation to satyr drama • satyr drama

 Found in books: Farrell (2021) 170; Liapis and Petrides (2019) 121
28. Tacitus, Annals, 14.20 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • drama • drama see also comedy, satyrplay, theatre, tragedy\n, excerpts/extracts of • drama, performances of for entertainment

 Found in books: Csapo (2022) 99; Johnson and Parker (2009) 205; Poulsen and Jönsson (2021) 203


14.20. \xa0In the consulate of Nero â\x80\x94 his fourth term â\x80\x94 and of Cornelius Cossus, a quinquennial competition on the stage, in the style of a Greek contest, was introduced at Rome. Like almost all innovations it was variously canvassed. Some insisted that "even Pompey had been censured by his elders for establishing the theatre in a permanent home. Before, the games had usually been exhibited with the help of improvised tiers of benches and a stage thrown up for the occasion; or, to go further into the past, the people stood to watch: seats in the theatre, it was feared, might tempt them to pass whole days in indolence. By all means let the spectacles be retained in their old form, whenever the praetor presided, and so long as no citizen lay under any obligation to compete. But the national morality, which had gradually fallen into oblivion, was being overthrown from the foundations by this imported licentiousness; the aim of which was that every production of every land, capable of either undergoing or engendering corruption, should be on view in the capital, and that our youth, under the influence of foreign tastes, should degenerate into votaries of the gymnasia, of indolence, and of dishonourable amours, â\x80\x94 and this at the instigation of the emperor and senate, who, not content with conferring immunity upon vice, were applying compulsion, in order that Roman nobles should pollute themselves on the stage under pretext of delivering an oration or a poem. What remained but to strip to the skin as well, put on the gloves, and practise that mode of conflict instead of the profession of arms? Would justice be promoted, would the equestrian decuries better fulfil their great judicial functions, if they had lent an expert ear to emasculated music and dulcet voices? Even night had been re­quisitioned for scandal, so that virtue should not be left with a breathing-space, but that amid a promiscuous crowd every vilest profligate might venture in the dark the act for which he had lusted in the light." <''. None
29. None, None, nan
 Tagged with subjects: • Alexander III (‘the Great’) of Macedon, and Greek drama • satyr drama • satyrplay/satyr drama, festivals performed at • satyrplay/satyr drama, independence from tragedy

 Found in books: Csapo (2022) 73, 74; Liapis and Petrides (2019) 121
30. None, None, nan
 Tagged with subjects: • satyr drama • satyrplay/satyr drama, festivals performed at • satyrplay/satyr drama, independence from tragedy

 Found in books: Csapo (2022) 73; Liapis and Petrides (2019) 168



Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.