Download El Dominical. Edición especial: Martín Adán, 80 años de La by Alonso Rabí do Carmo (Editor) PDF

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Additional resources for El Dominical. Edición especial: Martín Adán, 80 años de La casa de cartón y un centenario anunciado (Peruvian Literature)

Sample text

On Asclepius, see mainly Edelstein & Edelstein (19982). 15 Contra Dindorf, Earle, Hayley, Diggle, and Kovacs, I agree with Dale, Conacher, Parker, and Iakov that line 16 should be retained. This information about the refusal of Admetus’ father and mother to sacrifice their lives for their son is absolutely essential for setting the scene at the beginning of the play; in fact, as Iakov rightly notes (2012 ad 16), Apollo’s stress upon the refusal of Admetus’ aged parents to die for their son is the first indication that the divine plan is not without problems given the unpredictability of human emotion.

19 Moreover, the impending disaster is thrown into sharp relief by the awe-inspiring figure taking for granted that it is indeed Admetus who props up Alcestis with his hands, while Kirchhoff implausibly suggested a lacuna after line 19. Both Parker (2007) ad 19–20 and Diggle (19872) accept Usener’s conjecture (cf. also Hadley 1896 ad 19, who retains the lectio tradita, whilst assuming that Alcestis is supported by the hands of Admetus) but fail to offer an adequate explanation for the unparalleled middle form of βαστάζω especially in view of the use of the active voice in lines 40 and 917, while missing what appears the most notable reinforcement for their theory, namely the telling echo of ἐν χεροῖν in line 201 (cf.

Erbse (1984) and esp. 23–33 on Alcestis; Halleran (1985) 8–10; Saïd (1989); G. Markantonatos (1991) 160; Kuntz (1993) esp. 99– 100; Easterling (1993); Allan (2000) 50–53; Dunn (2007) 71, who tries to see the issue of tragic prologue speakers from a different perspective, arguing (rather tendentiously, in my view) that ‘in Euripides the power of the past over the present recedes’ in view of his strong preference for narrative information overkill at the beginning of his plays; Lloyd (2007) 304 and (2012) on Euripidean scene-setting.

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