The lecture had begun with a brief survey, for a largely non-Classical audience, of the survival of tragedy, and of its study in the ancient and modern worlds until about 1900. The text below has been partly reduced, and begins at p. 10 of the original.

Since the great German scholar Wilamowitz at the end of the 19th century set out his requirements for the modern study of Greek tragedy, in its cultural totality, what has been achieved? What may be hoped that lies within knowledge, and from new approaches?¹

The fundamental task remains that of the textual critic, editing...

Stichomythia is distinctive, even among the strongly formalised elements of Greek tragedy. It also appears limiting, as a dramatic means. For our understanding of it, however, we must first see its formality, its ‘artificiality’ as it can seem to us, in perspective with those other elements such as rhesis, agon, amoibaion, which may conflict with concepts of ‘natural’ drama but were historically of the essence of tragedy, and were neither more nor less difficult for its original audience than are modern theatrical conventions to ourselves: such a demand of the critic has become a welcome cliché. Further, we may agree,...

The original article was most unlucky in its timing: I completed it in 1969 and had already returned a proof when I first learnt of Prof. Bruno Snell’s imminent edition of Chaeremon inTragicorum Graecorum FragmentaI (1971¹) and his simultaneously revised appreciation of the poet inSzenen aus griechischen Dramen(Berlin, 1971) 158–69; we exchanged correspondence and he was kind enough to mention my article in both books. While much new work has since been done upon Chaeremon, my article seems to have held its place, and I judge it most practical here to correct errors; to revise,...

Bibliographical matter is placed at the end; reference from the text is by means of a bracketed number, e.g. (4), (21), etc.

1. The fragmentary texts attributed by modern scholarly consensus to a Pirithous drama composed near the end of the 5th century BC are assembled by B. Snell inTragicorum Graecorum FragmentaI (1971¹, 1981²). Snell has 10 ‘book fragments’ deriving from ancient citations and totalling about 35 verses (1); and 4 papyrus-based fragments (POxy2078, 2nd century AD) with remnants of about 500 verses, only 20 of any completeness (2). A further separated part ofPOxy2078 with 28...

The investigation reported here had as its aims: first, to comment upon the problematic relationship between Athenaeus’Deipnosophistaeand its Epitome; second, to assess the quality of the indirect transmission in Athenaeus of fragments of classical texts by comparison with the direct tradition or with quotations in other authors; third, from this evidence to form a view of the quality of the fragmentary texts which Athenaeus alone preserves.

The confinement of my study to tragic quotations needs defence. Quotations from tragedy are numerous¹ and appear regularly throughout Athenaeus, including books I and II and the beginning of III (1a–73e)...

This volume deserves a loud welcome and louder applause. It contains in under 200 pages almost all the major Tragic fragments, including satyrdrama, in bare scholarly essential: Greek texts with terse introductions, ancient secondary or orientatory matter (such ashypotheseis) andapparatus criticus. The technical precision with which the texts are presented, the clarity of theapparatusand the numerous and often convincing conjectural interventions are exactly as one would expect from the acclaimed editor of Euripides. ἄνδρα … στεφανωσάμενον αἰνέσω (for James Diggle is a crowned heavyweight in this particular ring …). When has there been such a full...

This note discusses an old problem in the composition of Laurentianus 32.2 (L), whether folios 157^r–193^r(top) were written by a third original scribe of the ms., or by its main scribe, who wrote 2^r–118^v(117^v–118^vare blank pages at the end of a quire) and 193^r(top: from Eur.Electra193 onwards) to 252^v.

The middle section of the ms. was written by a second scribe, whom A. Turyn has now identified as Nicolaus Triclines, collaborator with Demetrius Triclinius in a number of important manuscripts and possibly his younger brother.¹ The section runs from 119^r(the...

In this article I have thought it pragmatic to insert occasional corrections, qualifications and updatings in parenthesis in both main text and notes; and in the Endnote 2006 I collect reactions to the article.

Several features ofSupplicesgive it a problematic singularity among Euripides’ plays that has long attracted imaginative and sometimes bizarre speculation about his intentions. Part of the play’s major agon reviews in anachronistic detail the differences between democracy and tyranny (399–455); Evadne commits a stage suicide unique in extant tragedy by leaping into her husband Capaneus’ funeral-pyre (980–1071: cf. n. 39); in the fourth...

G. Zuntz,The Political Plays of Euripides(Manchester, 1963²) 4: ‘If the battle of Delion is taken to be re-enacted on the stage [that is, the conception ofSuppliantsmust be later than 424 bc], Aeschylus, in theEleusinianshad managed to visualise the same situation nearly fifty years before it became reality’; the parenthesis is mine.

C. Collard,Euripides: Supplices(Groningen, 1975) I.10: ‘It would be very remarkable indeed if a play which other indications place in the middle or late 420s, and which dramatises refusal of burial to slain warriors as a moral issue between Thebes and Athens,...

The stasimon is the last of the play’s three. The only other substantial choral passage is the parodos 98–152, in anapaestic recitative. There, the Chorus ‘narrate’ to Hecuba how the Achaeans in debate have resolved to sacrifice her daughter Polyxena to the dead Achilles. Narrative is a prominent mode of the play, both spoken and lyric. Talthybius 518–82 and Polymestor 1132–82 are given disguised messenger-speeches. Continuous narrative and evocative description of scene characterise all three stasima, which are similar in theme – sea-voyages, the destruction of Troy; in mood – the despair of women as war’s victims;...

I have to state at the outset that I shall no longer be able to compile a Lexicon myself. When I made the ‘Proposal’ more than thirty years ago, I was expecting to turn to the work quite soon (and indeed started collecting material); but two things quickly delayed me and in the end other factors stopped me entirely. First, almost at once I learned that James Diggle was to prepare a newOCTof Euripides and it became sensible to wait until its completed publication in order to use it as the base-text (see § III (i) below); its...

The last complete critical edition of Euripides, by Murray (1902¹–1913³), immediately became standard, and remained unthreatened by later collaborative enterprises, chiefly the Budé edition, two-thirds of which was published in the 1920s and was completed in 2004 (but which included four volumes of fragments), and the Teubner series begun in 1964 and completed in 1995. The years since Murray have brought a vast range of individual editions, commentaries and important textual, formal and dramatic studies of all kinds involving all drama, not just Euripides, so that the challenge to a fresh, single editor is as enormous as it will...

This is a most impressive volume, deserving again the warm congratulation I offered in reviewing Diggle’s Tomus II (CR34 (1984) 9–15; above pp. 169–78).

Comparison with Murray’s Tomus I, which it again directly replaces, is less straightforward. First, five of the seven plays,Alc., Med., Hipp., And.andHec. are ‘select’, or have scholia, onlyCyc. andHcld. belonging to the ‘alphabetical’ group; [[18]] it is in the ‘select’ plays that the greatest advances have been made in elucidating their manuscript tradition, principally by Turyn (1957), Barrett (1964), di Benedetto and Zuntz (1965), Matthiessen (various papers since...

The article has been revised and reduced, with updating of some references; the numeration of the notes remains the same. Some biographical matter upon Joshua Barnes has been added as an Endnote; two major deletions from the original are also noted there.

J.A. Gruys drew attention in 1981 to the remarkable collection of Greek poetic fragments made in the late 16th century by Dirk Canter, and to its equally remarkable history: never published, little known or used even in its day, subsequently scattered and partly lost, passing through various ownerships, almost disappearing from scholarly record since the middle 18th century.¹...

No judgement of Markland’s scholarship will be better founded than this, written by A.E. Housman in 1920.² The surmise of Bentley’s jealousy gives it special colour, but there is little record of what passed between the two men. In 1718 Markland, then a newly elected Fellow of Peterhouse, represented the Regent Masters when the Caput of the University voted to deprive Bentley of his degrees. It is not known whether Markland himself thought Bentley’s conduct contumelious,³ and within a few years, when Markland published his first book, he was writing with proper deference to the age’s greatest scholar. The book...

Samuel Musgrave was born in Washfield, Devon on 29 September 1732 and died in London on 5 July 1780. The son of Richard Musgrave, gentleman, he attended Barnstaple Grammar School before being entered at The Queen’s College Oxford in 1749, but he moved to Corpus Christi College in 1750, graduating BA in 1753 and taking his MA in 1756. Elected in 1754 to a Travelling Fellowship at University College, he spent some dozen years mostly in France and Holland, not only reading Greek manuscripts in Paris but studying medicine and taking the degree of MD at Leiden in 1763. During...

Peter Elmsley, of Scottish descent, was born in Hampstead, London on 5 February 1774. He was the younger son of Alexander; his uncle was the famous London bookseller Peter Elmsley, who in 1802 bequeathed him considerable wealth. Educated at Westminster School, he entered Christ Church, Oxford in 1791, graduating BA in 1794 and proceeding MA in 1797. Strong hopes of an Oxford Fellowship foundered upon academic jealousy, or suspicion of his genial ways; so in 1797 he took holy orders and the benefice of Great Horkesley, Essex. His uncle’s bequest enabled him to live independently from 1802 (and he deputed...

J.H. Monk was born at Huntingford, Hertfordshire early in 1784 and died in Stapleton, Bristol on 6 June 1856. He was the son of Charles, an army officer, who died when he was one year old. His uncle, George Waddington, a fellow of Trinity College Cambridge, arranged his education, privately in Norwich, then at Charterhouse (1796–1800), and lastly at Trinity, where he graduated BA as Seventh Wrangler in the Mathematical Tripos in 1804. His other degrees were MA (1807), BD (1808) and, by Royal Letter, DD (1822). He was Fellow of Trinity from 1805, Assistant Tutor from 1807, Tutor...

If F.A. Paley was doomed be an ‘outsider’ by the scandal in 1846 at Cambridge which cost him his teaching and residence in his own college, St John’s (see the following paper, this volume pp. 246–67), his contemporary Badham was a still more unfortunate victim of mid-century Anglican conformism as well as of his own moral principles and difficult personality.

The beginning of Badham’s life and career was already unusual for a Briton. As a child he was sent by his father, for most of his life a physician attending Britons travelling in Europe but subsequently a medical professor...

This essay has been lightly supplemented, especially in Section I, from my earlier ‘A Victorian classical “outsider”: F.A. Paley (1816–88)’,Tria Lustra. Essays in honour of John Pinsent,Liverpool Classical Papers No. 3, ed. H.D. Jocelyn (Liverpool, 1993) 329–41. That paper was a largely biographical account of the man; in order to avoid as far as possible duplicating references made there to unpublished and published matter, I often cite sources in the simple form ‘Outsider …’.*

I begin with a brief review of the unusual career of Frederick Apthorp Paley (1816–88), since its course determined both the...