New critical edition of Aeschylus' Theoroi fr. 78a, col. I.1-22 (= P.Oxy. 2162). The author suggests: a) how to reconstruct several lost sections, and fill gaps; b) that satyrs were not fixing masks or tablets on the front of the temple of Poseidon, as is commonly believed, but nailing a βασκάνιον, a particular kind of statue used as charm against the evil eye; c) that vv. 11-12 should be assigned to the same character speaking vv. 1-2; d) that this character, variously identified in past times, is actually a traveller; e) that Theoroi, far from being late, was an early Aeschylean play, whose staging was more similar to, e.g., Seven against Thebes (a play without the use of the skenè) than Agamemnon (where the skenè was used).
Rifugiarsi nel santuario di Poseidone. Note ai Theoroi di Eschilo (P.Oxy. 2162, Fr. IA. col. I.1-22 = Aesch. fr. 78A, vv. 1-22 R.) / Sonnino, Maurizio. - In: ZEITSCHRIFT FÜR PAPYROLOGIE UND EPIGRAPHIK. - ISSN 0084-5388. - STAMPA. - 200:(2016), pp. 39-60.
Rifugiarsi nel santuario di Poseidone. Note ai Theoroi di Eschilo (P.Oxy. 2162, Fr. IA. col. I.1-22 = Aesch. fr. 78A, vv. 1-22 R.)
SONNINO, MAURIZIO
2016
Abstract
New critical edition of Aeschylus' Theoroi fr. 78a, col. I.1-22 (= P.Oxy. 2162). The author suggests: a) how to reconstruct several lost sections, and fill gaps; b) that satyrs were not fixing masks or tablets on the front of the temple of Poseidon, as is commonly believed, but nailing a βασκάνιον, a particular kind of statue used as charm against the evil eye; c) that vv. 11-12 should be assigned to the same character speaking vv. 1-2; d) that this character, variously identified in past times, is actually a traveller; e) that Theoroi, far from being late, was an early Aeschylean play, whose staging was more similar to, e.g., Seven against Thebes (a play without the use of the skenè) than Agamemnon (where the skenè was used).File | Dimensione | Formato | |
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