GREEK 228: Attic Drama

Spring 2003 - Wheaton College

1:00 - 1:50 MWF - Meneely Hall 303

Professor Mulligan - Knapton Hall 119

E-Mail: bmulliga@wheatonma.edu - Tel: x3661

Office Hours: M W F 9.30-10.20; M W 2-3 & by appointment

Course Description and Objectives:

Greek 228 is an intermediate-level Greek literature course focusing on Attic Drama. This semester, we will approach this expansive topic through the life, times, and plays of Euripides (c. 485 - 406 BCE), a great Athenian tragedian who also appeared as a character in two plays by the comic playwright Aristophanes (448-380 BCE). Special attention will be paid to the historical context of the Ògolden ageÓ of Attic Drama and the distinguishing characteristics of EuripidesÕs tragedies. 

Weeks 1-11:  Our most significant project will be a close reading of the Greek text of EuripidesÕs Medea. In addition to developing your ability to read and appreciate ancient Greek literature, every week we will examine a topic pertinent to the study of Ancient Drama, such the representation of Medea in other ancient and modern works, the role of the gods in tragedy, and the production and performance of Athenian drama. To better understand Euripides as an artist, every week we will read one of his plays in translation that demonstrates the issues under consideration for that week. Once we have a grasp of the particulars of Attic Drama in general, and of the style of Euripides in particular, we broaden our investigation to include the other great tragedians of Fifth century Athens: Aeschlyus (525 - 456 BCE) and Sophocles (497 - 405 BCE). By reading AeschylusÕs Choephoroi and SophoclesÕs Electra in translation and comparing these settings of the Electra-myth to Euripides own Electra, we will see how the styles and treatments of these playwrights differ.

An aside: I cannot recommend enough Deborah WarnerÕs current production of Medea. If you missed Fiona ShawÕs incredible performance during the playÕs stay in Boston, the play is running on Broadway until February 22. For ticket information, see: http://www.playbill.com/events/event_detail/1266.html

Weeks 12-13: In the second section of this course we will encounter Euripides as a character in the comedies of Aristophanes. In the Thesmophoriazusae, Euripides appears in his most (in)famous role, that of arch-misogynist. In the Frogs, Dionysius, disgusted by the degenerates practicing the tragic art in Athens, descends to Hades to resurrect Euripides but is drawn into a contest between Aeschylus and Euripides for supremacy of the tragic art. Reading these plays in translation and apposite selections in Greek will introduce us to the form and language of Attic Comedy and to contemporary representations of Euripides and his work.

Course Goals:

-   Competence in translating prepared passages of Euripidean Greek accurately

-   Acquaintance with the structural elements of Greek tragedy

-   Knowledge of the rules of Greek scansion and competence in scanning iambic trimeter

-   Familiarity with aspects of ancient Greek theater, dramatic performance and conventions, and tragedy's use of myth

-   Understanding of the cultural climate and intellectual temper of Athens, reflected in drama produced in the last half of the 5th century BCE

-   Appreciation of Euripides' dramatic achievement, his position among the Greek dramatists of 5th and 4^th century BCE, and his influence on Western drama

-  Ability to reference on-line and print resources for independent research

Course Format, Requirements, Grading:

Much of our class time will be devoted to reading and examining prepared texts and in developing skills and strategies for accurately reading Greek. This requires consistent, diligent preparation of the assigned material. I encourage you to make use of multiple translations in preparing assignments but incorporate the interpretations therein in your own interpretation of the work. You will be expected to have read and re-read Greek assignments until you can explain - preferably from an unmarked text - both what is being said and how the language of the passage creates that meaning.

I will evaluate you based on your performance in class, on written homework assignments, and on frequent announced and unannounced quizzes. Throughout the semester, there will be several short projects and presentations culminating in an 8-10 page final project. This will allow the class to gain a broader understanding of the culture and literature under consideration.

In order to target the pace of the class as accurately as possible, a syllabus for the following week will be provided every Friday. Assignments are due on the day listed in the syllabus. Adequate advanced notice of exams and papers will be provided.

As you well know, language acquisition and cultivation requires daily preparation, attendance, and participation. Because of the unavoidable vicissitudes of fate and health, I will excuse up to 2 absences in the course of the semester. Additional absences without my prior approval will result in a reduction of your course grade by 3 points. Your final grade will be calculated based on the following formula:

Your final grade will be calculated by the following formula:

-       Class preparation & Assignments               40%

-       In-semester exams & Quizzes                     20%

-       Final paper:                                            20%   

-       Short papers and presentations:                   10%

-       Attendance                                              +/-

Required Texts (228)

• Medea = Euripides. Medea. M. Kwintner ed. Bryn Mawr Commentaries. ISBN: 0-929524-92-6
• Hadas = Euripides. Ten Plays by Euripides. M. Hadas trans. Bantam Classics, 1984. ISBN: 0-553213-63-6
• Ley = Ley, Graham, A Short Introduction to the Ancient Greek Theater. University of Chicago Press (Third Edition), 1991. ISBN: 0-226477-60-6