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Charles W. Willink
PHAEDRA AND 'CHORUS' IN EURIPIDES' HIPPOLYTUS1
Few scenes in Greek tragedy are more tensely dramatic than
that
following the calamitous expos? of Phaedra's secret passion to
Hip poly tus by her well-meaning Nurse.
After ambiguous mention of cp?Xxpa &eXxTY?pi
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14 CHARLES W. WILLINK
Halleran properly focusses attention on the issue Throughout
this scene where is Phaedra?' A few commentators, notably including
Kovacs, take Phaedra offstage at 600,1 to re-enter at 679, where
she is addressed by the Chorus-leader and delivers an impassioned
rebuke to the Nurse in 682 ff.
Against this, Halleran rightly observes that ?there is no
parallel for Phae dra's "exit to death" and return?, and that ?the
scene is especially effective, if Phaedra ... is present, the
indirect but obvious target of Hippolytus' vi cious attack?. To
these arguments I have added that Phaedra cannot well exit 'into
the Palace' (Kovacs) at 600 by way of the very doors through
which Hippolytus is emerging; and that her subsequent shocking
recourse to a lying letter (accompanying her suicide) makes better
sense if she has heard what Hippolytus says at 604 and 612 about
his inability to keep silence and his cppirjv ?vwfjtoxoc, and
terminally at 664-668, all of which combine to
motivate Phaedra's further plan to preserve her reputation (cf.
688 ff. ?XX? Sel fxe 8t? xoavwv X?ycov* | ouxo? y?p opy/ji
o"uvt?^?)y^vo? ?p?va? | ?pel xa&' ifj[x?)v xtX.).2
Given then that Phaedra does not exit at 600, we need to account
for her
apparent invisibility to Hippolytus throughout 601-668.
Hippolytus might indeed refrain deliberately from addressing her;
but for that point we should
need something to that effect in the text. We must conclude that
he is either unaware of, or indifferent to, Phaedra's presence, and
the staging must be consistent with that.
Where then shall we locate Phaedra? According to Barrett, "we
must
imagine her cowering somewhere at the side"; a view which
Halleran quali fies with the suggestions "perhaps behind a leaf of
the outward-opening door or a statue on
stage". I had concurred with this
'cowering somewhere at the side', adding that the
'cowering' might well be associated with further veiling of the
head
(cf. 343 ff.) as a kind of concealment. But I now prefer a
different possibility, hitherto seemingly overlooked.
During lines 591-600, appalled by what she has heard within and
reported to the Chorus in 581-582 and 589-590, Phaedra recoils from
the increasingly audible fury of Hippolytus as he advances towards
the doors at which she
the 'suspicion of 664-668 first expressed by Valckenaer; though
only Kovacs has actually
deleted the lines Gr. Rom. Byz. Stud. 29,1988,125; not, as it
happens, in his subsequent Loeb
text). My emphatic defence (art. at. 414-415) has been warmly
endorsed in a letter by Nan Dunbar; for the suggested ^?yeiv (a
routinely easy emendation, meeting Kovacs' impugn
ing of the weak X?yeiv), cf. n. 2 p. 14. 1 Cf. W. D. Smith
(Trans. Am. Philol. Ass. 94, i960,162-177) and S. 0sterud (Gr. Rom.
Byz.
Stud. 11,1970, 307-320). 2
Kovacs' further argument, after Smith, that the content of
669-679 suits the Nurse
rather than Phaedra is variously misconceived (see below).
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PHAEDRA AND CHORUS IN EURIPIDES HIPPOLYTUS 15
has been listening. She will not move away to one side of the
acting area, but rather towards the sympathetic Chorus, with whom
she is already in dia
logue contact, and among whom she may hope for concealment.l She
may not indeed have to recoil far, since at least some of the
Chorus are likely to have moved towards her during the preceding
exchanges.
Thus, when Hippolytus enters followed by the Nurse, what he
sees, af ter his apostrophe of "Mother Earth" and
f avarc-ru^a? (unfoldings) of the
Sun", is simply a large group of ladies in front of the Palace
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now sixteen in number, but he will not stop to count. He duly
rages on the one hand
against the Nurse ("and your mistress"), and more
comprehensively against the whole female sex. Both the second
person plural in the curse ?Xotaik
(664) and the demonstrative pronoun in his concluding phrase
(...xouo-8' e7i?(jL?aiv?iv ?e?) are nicely ambiguous: referring at
once to women in gen eral (yuva?xa? 665, picked up by a?xa? 667),
but also, more narrowly, first to
"you and your mistress" (662) and finally, with a gesture, to
the ladies in view. The
'perpetual e7r.e[ji?oav?iv' thus terminally enunciated is
naturally heard by Phaedra as a declaration of hostile intent
against her, to be pursued by Hippolytus after his return a?v
rcocxpo? ?jioXwv 71081 (661).
Hippolytus' departure is then followed by the stanza 669-679 (~
362 372).
Xo. xaXave? co xaxoxu^cl? yuvaixwv tt?t[xol* 2cr S x?v5 Yj vuv
x?yyoLV e^ofjiev r? X?yov 670 88 acpaXelaoa x?&afjifjia X?eiv
^?you; SS ?t?xo[X?v Sixa?. 672a 8
a. ?0 Ta xal Oco?- 672b 2sp rcai tcox' ??aXu?w xu^a?; er 8
7tw? 8? TCYJfJLa xptKJxo, cptXoa; cr 8 xi? ?v ftewv ?pcoy?? r?
xl? ?v ?poxwv 675 3ia 7iape8po? r? ?uvepy?? ?8(,xwv Ipycov 88
cpavei?]; x? y?p rcap9 tquIv 7idc&o? 88 poic?v SuCTexTi?paxov
?pyszoLi ?ioir 3ia xaxoxir^eax?xa yuvoax?v ?yco. 88
Apart from the sigla Xo. and Oa. (considered further below), my
text of this iambo-dochmiac antistrophe differs at three points
from the vulgate,2 not
1 We may think of Br?nnhilde finding temporary concealment among
the other Valkyries as Wotan approaches furiously in Die Walk?re
Act 11. Another reason for not moving Phaedra to one side of the
acting area is that it will be by way of a lateral eisodos that
Hippolytus exits at 668 (cf. 659-660).
2 The vulgate (n. 2 p. 14) is not unanimous in 669-670. All but
Barrett (tlvoc? vuv t?xvoc?)
here rightly read xW r? vuv x?/vav (Page) for the mss' xiva vuv
(y?) xe^vav. Kovacs (after
Barthold) then surprisingly reads f? |... Xoyou?, losing the
genitive governed by x?^ajJLfxa (n. 2 p. 14).
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16 CHARLES w. willink
counting my relatively trivial preference for exclamatory w
(non-allocutory) rather than w in 669.* (1) ^ l?you in 671 is
Purgold's neglected emendation of fXoyouf.2 (11) w is restored (for
Heath's loi) in 672, with the exclamatory two spondees treated as a
self-contained colon (
~
wjjioi, cpz? cpe? in 365).3 (in) porc?v ("critical moment,
crisis") is my emendation of rcapov in 678/
Most editors, with Nauck, Weil and others, give the whole of
669-679 to
Phaedra, with A (and B in ras.) against the majority of the mss
(movelp).5 I have challenged that attribution (afortio? attribution
to the Nurse, as Ko
vacs has it), principally on the grounds that there is no
parallel for an actor singing the antistrophe to a choral strophe,
and that all the other instances in tragedy of widely separated
strophe and antistrophe (Or. 1353-1365/1537 1548, Rh.
454-468/820-832, Soph. Phil. 391-402/505-518, all in similar,
partly dochmiac metre) are 'choric' in both stanzas (by no means
necessarily as unison song; in this metre likely, rather, to have
been chanted with some divisions within the chorus, very possibly
including some solo utterance). Recognizably symmetrical
assignation, with at least some unison chanting, is the more to be
expected where strophe and antistrophe are thus widely
separated.
1 Art. dt. 417 n. 26 (referring there to p. 412 n. 17), cf. Cho.
466 (West), etc. 2 Only Stocken actually obelizes X?you (v.l.
Xoyou?), but the transmitted ... X?yov | ...
X?you(c) is obviously suspect. Stockert also deserves credit for
mentioning Purgold in his apparatus (and the source Observationes
criticae in Sophoclem, Euripidem, Anthologiam Grae cam et
Ciceronem, Jena 1802, in his bibliography), x?&a^a (corrupted
in several mss) Xueiv
(Musgrave, for X?cj(e)iv) is generally accepted. The precise
sense with dependent gen. is 'to undo the attachment of, and the
metaphor with 'blame, reproach' is reminiscent of the
epic (jLcofxov ?v?7TT?iv, cf. my commentary on Or. 828-830 y?.r?
. .. ??ava^i S?cjxXsiav ?? ade? ?L lengthily and superfluously
rehearses the story of the hard-to-undo Gordian knot). For the
'common confusion of X?y- and ^?y-, and similarly of X?y- and ^?y-,
cf. Collard on
Suppl. 564-565; also Garvie on Cho. 989 (but isometric variants
will doubtless have arisen as much due to interchangeability of
sense as to minuscule similarity of X and ^; very possibly
in antiquity). In this instance the preceding X?yov will have
exerted an influence. 3 As argued (art. cit. 412 and 417 n. 29),
corruption of w (w) to Lw is routinely common (as
at Cho. 466), not so the converse. The symmetrical spondaic
colon (-i-) is otherwise likely here, w (sic, not ?0) Ta xai Ow? is
an allocutory exclamation (like w Zeu, etc.). 4 Art. cit. 417 (the
proposal there offered more tentatively, with 'fort/); cf. Hel.
1090, Soph. Tra. 82 lv ponr?i xoiaiSe x?i[x?v(oi). O. C. 1508
(similarly with ?tou), etc. The vulgate 7r?pav (Wilamowitz),
applauded by Barrett, is barely intelligible, as is shown by
Halleran s
rendering ("my trouble goes across the boundary of life; a
difficult crossing"), quite apart from the uncertainty whether
7t?pav is to be taken as preposition or noun. The big epithet
occurs elsewhere only at at 883 (there with ?Xo?v xax?v), see art.
at. 420-421. porc?v is also closer to the transmitted letters
7capov, as an exact anagram. 5 Weil attributed both the strophe
(362-372) and the antistrophe (669-679) to soloists (respectively
the Chorus-leader and Phaedra). Barrett differs only slightly, by
giving the strophe to "a singer" who "addresses a friend in the
Chorus". Monk, Dindorf and Paley are among the few who have
accepted the sigla Xo. at 669 and a. at 672.
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PHAEDRA AND 'CHORUS' IN EURIPIDES' HIPPOLYTUS 17
I previously argued that everything in 669-679 can properly be
accounted for as
'sympathetic' choral utterance, identifying with Phaedra's
plight.1 The opening lines of the stanza are apt to the Chorus
prima facie, with the generalized sentiment x?Xavsc ?0 xaxoru^sx?
yuvoax?5v 7tox[jlol, shortly followed by the feminine plural
participle acpaXe?om.2 But, as Nan Dunbar
pointed out to me in her letter, the argument for sympathetic
utterance is less convincing in respect of 673 ff. It really must
be Phaedra alone who looks desperately for "escape" and for
"concealment of the t?t?\lol", and who
(significantly) mentions a8ix
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18 CHARLES W. WILLINK
A corollary of this revised assignation is that the following
distich 680-681
spoken by the Chorus-leader is no longer otiose, and I recant my
proposed excision (art. cit. 417-418).
Xo. cp?? ceo, 7t?7cpaxxoa, xou xax p&coxac x?^v?],1 S?
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PHAEDRA AND 'CHORUS' IN EURIPIDES' HIPPOLYTUS 19
naturally, as at 672b, initiate solo utterance. 366-372 could
indeed be fur ther divided among soloists; but I should be inclined
to give the whole of
365b-372 to the Chorus-leader, whose solo will then be in exact
responsion with Phaedra's solo at 672^679 (the latter as it were
usurping the role of Coryphaeus within the Chorus). That is
consistent with the absence here of a spoken distich for the
Chorus-leader, before Phaedra's much-discussed
big speech (373-430).
Highgate, London
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H?l?ne Perdicoyianni-Pal?ologou
THE EXOPHORIC AND ENDOPHORIC USAGES OF DEMONSTRATIVES IN
EURIPIDES5
AND S?NECAS TRAGEDIES. II
3. The Anaphora
3. 1.
We herein propose to study the anaphoric uses of the pronouns
adjectives 6, outo?, ?Se, ?xe?vo?, a?xo? / is, hic, iste, Ule and
to
single out their distribution and specificity in Euripides
and
Seneca, by using the following criteria:
The nature of the antecedent, which examines whether the
linguistic unit from which another unit derives its interpretation
(typically a later unit),1 is a noun, a nominal syntagm2 (adjective
4- noun), a prepositional syntagm (preposition + noun), a
subordinate clause, or a sentence.
The length of the textual space set by the relation between the
anaphoric and its antecedent.
The distinction between interphrasal anaphoras and extraphrasal
anaphoras. When anaphoric and antecedent appear within the same
sentence (whether simple
or complex), the anaphoric relationship established between them
is called "inter phrasal". On the other hand, the anaphoric
relationship is "extraphrasal".
The coreferentiality referring to those constituents in a
sentence which have the same reference.3
The first part of this section will deal with the coreferential
anaphoras and the second will examine the non-coreferential ones.
We will first start or
study with Euripides' texts and then with those of Seneca.
3. 2. Coreferential Anaphoras
3. 2. 1. Anaphoras of a Noun and a Nominal or Prepositional
Syntagm
3. 2.1.1. Sequence and Succession of Anaphoric Operators:
Pronominal Anaphoras
In order to outline the sequence of anaphoric operators within
the spoken 1 D. Chrystal, Dictionary of Linguistics and Phonetics,
London 1997, p. 20. 2
By "syntagm" we mean the constituents of a nominal or verbal
phrase which are
organised hierarchically according to the structural semantics.
3 Chrystal, at. p. 94; G. Fauconnier, La conf?rence: syntaxe ou
s?mantique, Paris 1974.
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22 HELENE PERDICOYIANNI-PAL?OLOGOU
sequence, we will single out all kinds of chains made by them.
Within these chains, we will attempt to explain the cohesiveness
and the semantic function of anaphoras.
3. 2.1.1. 1. The Pronominal Anaphoras in Euripides
3. 2. 1. 1. 1. 1. (J ... 0
This chain of anaphoric operators is characterized by a long
coreferential
ity.1 Indeed, five anaphoric operators follow one another in a
textual space containing 35 lines. The long textual distance
between the anaphorized seg
ment and the anaphoric proves that 6 is used as a reminder
anaphoric.The context in which the chain of anaphoric pronouns
appears refers to facts that took place in the past. The anaphoras
are constantly extraphrasal.
The last two characteristics also appear in chains made by one
anaphoric operator which appears in a short textual distance after
its antecedent. This is either a noun2 or a NS.3 It is noteworthy
that in the overwhelming majority of those chains the antecedent
denotes a human being.
3. 2. 1. 1. 1. 2. "OSs ... 08s
This anaphoric chain forms coreferential sequences each
comprising two
extraphrasal anaphoras covering frequently a short textual
space.4 The ana
phoric pronoun is either a noun or a NS. The NS entails the
anaphoric adjective 6Se followed by a synonym with the anaphorized
segment5 or by a N(oun) appearing in the first anaphorized text.6
In these passages 6
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DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 23
number of anaphorized N(ouns)1 and NS,2 the very small quantity
of in traphrasal anaphoras3 and of anaphoras covering a long
textual space.4 It is noteworthy the desagreement in number in
Phoen. 1465: axpaxou ... 1466: o? 8s. This desagreement is
justified by an inference type-class or class-type (the N ...
they), in which a generic singular, named type is anaphorized by a
pronoun in the plural, referring extensively to the corresponding
class.5
3. 2.1. 1. 1. 3. Ouxo?
The anaphoric chain made by ouxo? is characterized by its short
coreferen
tiality. In fact, we did not singled out any anaphoric chain
made by more than one anaphoric operator. In the overwhelming
majority of occurrences, the antecedent is a noun denoting human
beings;6 the anaphoras are mainly extraphrasal.7 The length of the
textual space set by the relationship be tween ouxo? and its
antecedent is constantly short.The anaphora made by ouxo? appears
in contexts referring to a narration of facts which took place in
the past. We ought to indicate an use of ouxo? within a sentence
with identificator function.8
3. 2. 1. 1. 1. 4. 'Exelvo? ... ?xetvo?
The antecedent of the anaphoric chain ?? ?xeivwv ... ?xetva?
denotes a
group of people ranking highly in the socio-political ladder,
i.e. the daugh ters of the ex-Queen of Ilion, Hecuba.9 From this
denotation results the laudative meaning of anaphorics. 'E?
?xeivcov anaphorizes a noun situated in a long distance and makes
an extraphrasal anaphora. In turn, ?xeivoc?
1 Troad. 299: TpwaSa? ... 304: xalaSe, 451: Gxe^y\ ... 454:
xaS?, 1169: y?jjiwv ... 1170: xwvSe; Phoen. 8: Aa?Saxov ... 9: ex
Se xouSe, 767: Teipeaia? ... 768: xouS', 1237: Xoyou? ... 1238:
xaS?;
Med. 116: TcalSa? ... 117: xo?aSe, 139: S?fxoc ... 139: x?Se;
Hipp. 48: a?Spa ... 48: xY?aSe, 394: ?S?v ... 394: tyjvSe, 695:
x?p.a ... 697: x?Ss. 2 Troad. 273: 'AvSpojx?^a x?Xaiva ... 274:
xy^vS', 663: xw &av?vxi ... 663: x?vSe, 890: S?jxapxa aiQv ...
891: tyjvSe, 911: to Swpov ... 913: x?S'; Phoen. 550: xyjv
Tupavv?Sa ... 550: x?Se; Med. 64: xa Ttp?a^' ELpY){jL?va ...66:
xwvSe, 198: Ssival t?/ou ... 199: xaSs; Hipp. 499: ala^axou? Xoyou?
... 500: x?S?.
3 Troad. 1170; Phoen. 9, 550, 768; Hipp. 394. 4 Troad. 299:
Tpw?Sac ... 304: xalaS', 451: ax?^r? ... 454: x?Ss. 5 M.-J.
Reichler-B?guelin, ?naphores associatives non lexicales:
incompl?tude macrosyn
taxique?', in S. Karolak-T. Muryn (eds.), Compl?tude et
incompl?tude dans les langues romanes et slaves. Actes du 6e
Colloque international de Linguistique romane et slave (Cracovie,
29 sept.-3 oct. 1991), Cracovie 1993, p. 338.
6 Troad. 262: IloXu??vYjv ... 263: xa?xav; Phoen. 12: 'IoxaaxYjv
... 12: xouxo, 134: TuSeu? ...
135: ouxo?, 417: aXXo? ... 418: ouxo?, 617: xaaiyvYjxai ... 617:
xauxa?; Hipp. 448: KUTcpi? ...
448: xauxYj?, 888: ?pa? ... 889: xo?xwv. We detect only two uses
of ouxo? anaphorizing a NS (Phoen. 1425: xaxwv awv ... 1427: rcpo?
xouxoi?; Here. F. 503: xou ?iou ... 504: xouxov).
7 We detect only two uses of ouxo? making intraphrasal anaphoras
(Hipp. 448, 889). 8 Phoen. 418,135. 9 Troad. 484: ?? ... 487: ??
execvwv ... 488: Ixecva?.
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24 HELENE PERDICOYIANNI-PAL?OLOGOU
anaphorizes a Prep.S. situated within a short textual distance
and makes an intraphrasal anaphora.
On the other hand, the anaphoric chains made by one anaphoric
opera tor are characterized by the frequent anaphora of a noun1
- in fact, the
anaphora of a NS is rare2 -, denoting primarily a human being,
the short textual space set by the relationship between the
anaphoric pronoun and its antecedent, the use of extraphrasal
anaphoras, and, finally, the lauda
tory meaning, in this case ?xslvo? denotes a person ranking
highly in the
socio-political ladder, i. e. a king,3 and the meaning
expressing aversion,
hostility, in this case ?xelvo? denotes a people hostile to the
locutor's city,4 a husband who commited adultery, i.e. Jason,5 his
new wife whom the locutor, i.e. Medea, loathes,6 or, finally, a
person who defiled the paternal
bed.7 These two meanings are derived from the fundamental
meaning of
?xelvo? referring to a distant item.8
3. 2. 1. 1. 1. 5. A?xo? ... a?xo?
A?xo? ... a?xo? appears in two passages9 and is used to
anaphorize either a
N(oun) or a NS. This anaphoric chain forms extraphrasal
anaphoras which cover a short (1-2 lines) or long ( (5-7 lines)
textual space. We should note that in Med. 385/398, oc?xou? /
oc?x?v bear a meaning expressing the locutor's aversion for
abominable persons, i.e. his enemies.
As mentioned above, the meaning of a?xo? expressing aversion is
sub derived from the derived meaning denoting a distant item, which
is, in turn, derived from the fundamental meaning expressing
separation.10 The ana
phoric chains comprising one anaphoric operator prove that from
the de rived meaning denoting a distant item also results a second
meaning express ing laudatory emphasis (sub-derived meaning 2), in
this case a?xo? denotes a person ranking highly in the
socio-political ladder, i.e. a king.11 Neverthe
less, in the whole of the anaphoric chains comprising one
anaphoric opera tor the meaning expressing aversion is by far the
more frequent. So a?xo? expresses the moral repugnance of the
locutor, i.e. Hippolytus, for a divin
ity, i.e. Cypris, goddess of love,12 or denotes an impious
person, i.e. Hip
1 Troad. 622: IloXu^?vY] ... 641: xe?vy), 655: rc?aiv ... 656:
xetvw, 1044: au{x?x?^ouc ... 1045: 7cp? xs?vwv Phoen. 96: 'Apye?wv
... 98: xe?vw; Med. 74: 'I?awv ... 77: Ixe?voc, 155:n?oic, ... 157:
x?tvw, 963: yuvY^ ... 966: xecvYj?; Hipp. 320: ?Yjaeu? ... 321:
?xeIvov, 1318: Tcax^p ... 1320: ev x' exeivw.
2 Med. 970: v?av yuvaXxav rcaxpoc ... 97^: exslvyjv, 1252: xov
aov TcaxSa ... 1258: exeIvov. 3 Troad. 656; Hipp. 321,1320.
4 Phoen. 98. 5 Mea. 77,157. 6 Med. 966, 973. 7 Htpp. 1258.
8 Cf. supra. 9 Her. F. 712: M?yapa ... 713: a?x^v ... 720:
a?xTQv; Med. 383: xoX? ?fxol? ?^pot? ... 385:
a?xou? ... 398: a?xwv. 10 Cf. supra.
11 Troad. 255, 347; Hipp. 1320.
12 Hipp. 102.
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DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 25
polytus who defiled the paternal bed,1 amoral young men who fall
in love, whenever Cypris stirs up a young mind,2 a woman who
commited adultery,
i.e. Helen,3 a hero full of pride, i.e. Polynices4 or, finally,
persons hostile to the city of the locutor.5 The meaning expressing
aversion also appears in contexts
evoking facts which cause horror and repulsion, such as death,
as sassination and despair. So, Jocasta uses a?xol? in order to
denote her two sons, whom she will join in death, if they die at
the time of the battle:
Phoen. 1280-1283:
"E^eiy' STcsLye, tWyaxep* ?>?, ?)v [jlsv cp&?aw 7ial8a?
7ipo X?y^Yjc, oufx?? ?v cp?ei ?toc*
^avouai 8' a?xol? auv&avo?aa xe?aofxoa.
Moreover, Medea uses a?xol? in order to denote her three
enemies, whom she is
going to assassinate, i.e. her husband, his new wife and her
father:
Medea 374-376: ... ?v y? xpel? xtov ?uuv ?^&pcov vexpo??
ah?a?), Tcax?pa xe xal xop?jv tuoctiv x' ?[xov
FloXX?? 8' e^ouaa &avaaifxou? a?xol? oSou? ...
In Phoen. 398, by the means of ot?x?? Jocasta refers to hopes
which time reveals as empty:
Phoen. 396-398: 10. Al 8' eXrctSec ?oaxouai cpuyaSa?, ?? Xoyo?.
fio. KaXol? ?XsTCouaoa y' ?[xu,aaiv, (iiXXouai S?. 10. O?8' ?
XP0V?? a?x?? Siea?cpYjO"' ouaa? xeva?;
All the anaphoras made by one anaphoric operator are
extraphrasal. The number of anaphoras covering a short textual
distance is almost equal to the number of anaphoras whose
antecedent is situated within a long textual distance. Most of the
antecedents, which are most often a noun,6 denote a
1 Hipp. 895,1172.
2 Hipp. 970. 3Troad. 873, 881. 4 Phoen. 703.
5 Phoen. 718, 724,1156.
6 Troad. 381: x?xva... 382: a?xoi?, 870: Sajxapxo? ...
873*a?xY^v, 877: 'EXevyj? ... 881: a?xiqv; Phoen. 82: rcatSa ...
83: a?xov, 396: eX?tcSec ... 398: a?x??, 541: [i?pr? I
x?pc&fx?v ... 545: a?xwv, 702: IloXuvELXEL ... 703: aux?v, 770:
Tsipsa?av ... 773: icp?? a?xov, 1281: rcaiSa? ... 1283: a?xoi?;
Here. F. 243: ?uXa ... 244: a?xwv; Med. 7: M^Ssia ... 13:
auxVjv, 343: x?xvoi? ... 344: a?xo??, 485: ?lsX?av ... 486: un
a?xou, 774: 'I?aova ... 776: a?xw Hipp. 101: Kurcpic ... 102:
auxVjv, 967: v?ou? ... 970: a?xou?, 1162: 'I?tTcoXuxo? ... 1166:
a?xov, 1168: ?taiSo? ... 1172: a?xov.
We single out very few anaphoric chains in which the antecedent
is a NS (Troad. 249:
'Ayajxsfjivwv ava? ... 255: a?xov, 358: ? xwv 'A^aiwv xXelvo?
'Ayajiip-vwv ava? ... 359: a?xov, 426: xy)v ?(xy]v pLYjx?pa ...
429: a?x7]v, 1125: a?xo? N?07txoX?(jlo? ... 1130: [jiex a?xou;
Phoen. 388: xo
ax?psa&ai naxpiSo? ... 390: a?xou, 846: a?v TtalSa ... 846:
a?xou, 872:7iaiSs? OISltcou ... 876:
a?xoX?, 1153: 'AxaXavxY)? yovo? ... 1156: a?xov; Med. 375:
rcaxspa xe xal x?pY]v ?t?aiv x' ?fx?v ...
376: a?xoX?; Hipp. 38: xa?xfj ... 41: r? x?Xacva, 441: xol?
?pwac ... 442: a?xou?, 889: xov e(jlov TCalSa ... 895: a?xov.).
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26 HELENE PERDICOYIANNI-PAL?OLOGOU
human being. Furthermore, we detect two occurrences in which the
ante cedent denotes a fact,1 a feeling2 or an item.3 It is
noteworthy the lack of
agreement in number in Phoen. 720: axpaxov ... 724: a?xol? and
717: xapyo? ... 718: a?xcov. In this passage, the disagreement in
number is explained by the inference place-occupants (N of place
... they).4
3. 2. 1. 1. 1. 6. 'Exe?vo? ... vs ... auxo?
Kelvo? ... a?xo?5 form a short anaphoric chain and are endowed
with a
meaning (derived meaning 2 for xelvo?; sub-derived meaning 1 for
a?xo?) conveying the locutor's aversion, i. e. Menelas, for the
abductor of his wife, i.e. Paris, responsible for his family
misfortune. KeTvo? anaphorizes a NS and forms an extraphrasal
anaphora, whereas a?xo? anaphorizes a noun and makes an
intraphrasal anaphora.
3. 2. 1. 1. 1. 7. 'ExeTvo? ... vs ... auxo? ... vs ... 68e
The meaning indicating the locutor's aversion reappears in the
uses of x? xelvou ... a?x?? in Hippolytus 666-667 where the said
hero indicates his moral
repugnance for the feminine sex.6 The antecedent of the first
two anaphoric operators is a noun situated within a short textual
distance; the anaphoras are
extraphrasal. In the last sentence, a?x?? is anaphorized by
xala8' which
appears in the next line.
3. 2. 1. 1. 1. 8. A?xo? ... vs ... 68e
This anaphoric chain7 is characterized by a long
coreferentiality, the pre ponderance of anaphoras made by a noun
over those made by a NS and
Prep.S. and, finally, the long textual space set by the
relationship between the anaphoric and its antecedent. The
anaphoric operators denote persons commiting shameless and immoral
acts, such as the conjugal murder com
mited by Medea or the infanticide commited by Hercules.
3. 2. 1. 1. 1. 9. "0 8'... vs ... IxsTvo?
The antecedents of ot 8' and that of xeivoo? are nouns and the
anaphoras made are extraphrasal.8 The differences between them lie,
on the one hand,
1 Phoen. 390. 2 Phoen. 398.
3 Here. F. 244. 4
M.-J. Reichler-B?guelin, cit. pp. 339-340. 5 Troad. 864-865 :
etc' avSp' ?? ?l; efxwv / S?fjiwv S?jxapxa ^EvarcaxYj? ?XVjaaxo ...
866: KeZvo? ... 867: a?xo?.
6 Hipp. 665: yuvalxa? ... 666: x?xsXvac ... 667: a?x?? ... 668:
xalaS'. 7 Here. F. 825: svo? S' etc' avSpo? ... 827: viv ... 831:
a?xw ... 835: en ?vSpl xwSe ... 840: a?xw
... 849: ?vY)p ?S'; Med. 34: r? x?Xaiva ... 37: auxVjv ... 39:
xtqvSe. 8 Phoen. 711: 'ApysLwv ... 715: 01 S'... 716: ...
xeLvou?.
-
demonstratives in Euripides' and seneca's tragedies 27
in the length of the textual space set by the relationship
between the ana
phoric and its antecedent, and on the other hand, in the meaning
of the two
anaphoras. In fact, ot 8' anaphorizes 'Apyeiwv, a noun situated
within a long textual distance and which is in opposition to the
Thebans denoted by the
expression a?juxp?v to tcX?j&o? yrj? which appears at the
beginning of the sentence. On the other hand, the anaphora made by
xeivou? covers a short textual distance and expresses the locutores
aversion denoted by ot 8'.
3. 2. 1. 1. 1. 10. Ouxo? ... vs ... ?xe?vo?
This anaphoric chain1 is characterized by the short textual
distance set by the relationship between toot5 and its antecedent,
which denotes an ab
straction, i.e. the Power, and the long textual distance which
separates this from its anaphoric ?xe?vo. The use of ?xe?vo is
justified by both its aptitude to
anaphorize segments situated within a long textual distance and
by the
perseverance of the locutor to safeguard the Power.
3. 2.1. 1.1. 11. Outo? ... ?Se
This chain appears in contexts in which it is a question of the
identification of a character2 or to express the misfortune which
the locutor suffers.3 The
anaphoras are extraphrasal, the anaphorized segment is a noun or
a Prep. S. located, in most occurrences, near the anaphoric. In the
first case, outo? is used in a direct interrogative sentence
whereas 6Se appears in a sentence
which serves as a response to the direct interrogative sentence.
In the sec ond case, Creon s misfortune (xaxwv), i.e. Jocasta's
death, is anaphorized by Tcpo? To?Toiai (1347) and TwvSe (1348).
Both anaphorics are endowed with a possessive connotation for the
fact that npoq TouToiat designates the
interlocutor's sphere and T?5vSe indicates the locutores
sphere.
3. 2. 1. 1. 1.12. "O &? .... vs ... Prep. + a?TO? + N
The differences between the two anaphorics making the chain
lie,4 firstly, in the textual distance between the first and the
second anaphoric: "0 8' is situated within a short textual distance
whereas 7cap5 oc?t?v SeaTc?TYjv ap pears in a textual space
comprising 9 lines and, secondly, in their uses: the first
anaphoric is a pronoun and the second appears within a Prep.S.
which entails a N denoting the social status of the denoted person,
i.e. Hippolytus, in comparison with the status of locutor, i. e.
the messenger.
1 Phoen. 506: Tupavv?8a ... 507: Tout' ... 519: ?xeXvo. 2 Phoen.
145: ouxo? ... 150: 68', 171: ouxo? ... 173: 68e.
3 Phoen. 1346: xaxwv ... 1347: rcpo? to?tolctl ... 1348:
xwv8e.
4 Hipp. 1177: 'IkttoXuto? ... 1178: '0 8' ... 1187: reap'aux?v
8ecrrc?xY)v.
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28 HELENE PERDICOYIANNI-PAL?OLOGOU
3. 2. 1. 1. 2. The pronominal anaphoras in Seneca
3. 2. 1. 1. 2. 1. Hie ... hie
This chain1 is characterized by extraphrasal anaphoras and the
short tex tual distance set by the relationship between the
anaphoric and the ana
phorized segment, leaving out Troades 651 where hie anaphorizes
a segment in a long textual distance. Hie is also the only lexeme
to anaphorize a NS.
The last characteristic of the anaphoric chain is the possessive
connotation
(fundamental meaning) which hie bears in the passages of
Phoenicians and Troades.
When the anaphoric chain comprises only one anaphoric operator,2
ex
traphrasal anaphoras of nouns,3 a short textual distance covered
by the
anaphoric and the anaphorized segment,4 the possessive
connotation5 of hie and the connotation expressing the proximity of
the locutor to the item denoted6 (derived meaning 1) are the main
features. We should indicate that in Med. 516 his is a pronominal
inferential anaphoric without lexical
recategorization. His anaphorizes rex and the disagreement in
number is
justified by inference individual -
class (one N ... they), "wherein mention of an individual is
followed by an anaphoric concerning the class to which it
belongs".7
3. 2. 1. 1. 2. 2. Ille ... ille
This anaphoric chain8 is interesting in the fact that ille, used
either as a pro noun or an adjective, provides us with the main
characteristics of its usage: a long textual distance between the
antecedent and the anaphoric (Phoen.
1 Here. F. yo: haec ... hanc circa; Phoen. 56: pater ... 56:
hunc ... 58: hunc; Troad. 646: meo nato ... 650: hic ... 655: /ne
... 659: hic.
2 Here. F. 115: Herculis ... 117: hie, 153: navita ... 154: hie,
852: uirgines I 853: ephebi I 854:
tn/?ns ... 855: h?, 1188: moda ... 1190: his, 1264: genitore ...
1264: hune, 1266: criminis ... 1268:
hoc; Phoen. 27: aZius Zocas ... 28: hunc, 67: alta rupes ... 69:
hanc, 70: setssa teHws ... 71: hanc, 71: rapax torrens ...73: hunc,
240: lacrimae ... 240: h?u, 374: g?ner ..375: hic, 470: clipeus ...
471:
hunc, 593: c?wa ... 594: hanc; Troades 101: einis... 103: hoc,
271: sceptra ... 273: haee, 700: iuuenis tuus ... 704: hic; Med.
48: leuia ... 49: haee, gr.femina
... 93: haee, 125: coniunx ... 125: in hanc, 143: Creontis ...
146: hic, 233: ducem ... 234: hune, 283: natos insontes ... 284:
has, 487: artus ...
487: has, 516: rex ... 516: his, 526: Creo atque Acastus ...
527: his, 541... Ziheras ... 547: haec. 3 We single out anaphoras
of NS in the following passages: Phoen. 28, 69, 71; Troad. 704;
Mea. 704, 284. 4 We
single out anaphoras situated within a long textual distance in
Troad. 704; Med. 146,547. 5 Here. F. 1264; Phoen. 240, 594; TroaiZ.
273; Med. 547.
6 Phoen. 69, 71, 73.
7 M.-J. Reichler-B?guelin, cit. p. 338. 8 Phoen. 289: natos...
295/296: Ulis I auidis cruoris, imperi, armorum, doli,/diris,
scelestis, ...
meis ... 299: illos ... 301: illos.
-
DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 29
289-295/296), denigrative connotation linked with the aversion
(derived meaning 2) of the locutor, i.e. Oedipus, as well as for
the persons denoted, namely his sons, and, finally, its use in
opposition to a possessive adjective
which does not correspond to the person, i.e. the first person
indicated by meis. Ulis (295) marks a certain contradiction with
meis (296). In fact, Ulis expresses the Oedipus' repugnance for the
infamies commited by his sons,
whereas meis refers to his kinship bonds with them. The
anaphoric chains comprising one anaphoric operator are
character
ized by the preponderant extraphrasal anaphoras of a noun,1 the
short textual distance between the antecedent and anaphoric,2 and
the use of Ule with either a denigrative3 or laudatory connotation
denoting a hero,4 a god,5 a person ranking highly in the
socio-political ladder6 or a personal item symbolizing the supreme
authority of the holder.7 We should also indicate certain uses of
Ule in exclamatory sentences in order to convey the locutor's
astonishment at an unusual situation or a fact.8 This connotation
is considered as a third derived meaning from the fundamental
meaning of Ule denoting a distant item.
3. 2.1.1. 2. 3. Iste
The anaphoric sequences made by iste9 lead to a greater
frequency of short
coreferentiality - in fact, we did not detect anaphoric chains
made by more
than one anaphoric -, the preponderant extraphrasal anaphoras of
a noun over those of a NS, situated mainly within a short textual
distance, and,
finally, of the denigrative connotation (derived meaning 1)
appearing in passages referring to immoral acts and abominable
mythic characters, i.e.
1 Here. F. 41: Herculi... 57: Ule, 422: coniunx ... 424: ii?um,
722:
-
30 H?L?NE PERDICOYIANNI-PAL?OLOGOU
Anteus, the giant, Busiris, a legendary Egyptian king,
habitually slaughtered foreigners entering Egypt at the altar of
Zeus, Cycnus, son of Ares who robbed travellers bringing offerings
to Delphi.
3. 2. 1. 1. 2. 4. Hie ... ille
This anaphoric sequence appears in two passages. In Seneca
Phaedra 299: huius functions a deictic reminder indicating
Hippolytus and is anaphorized by hunc (233). The interchangeability
of hunc I ille (236) is justified by the fact that ille is the
pronoun most easily used in a sentence denoting acts or facts that
are hypothetical or unrealized at the moment of the utterance. In
fact, when such a sentence is uttered, the locutor either cannot
know
whether what he says will be realized or he knows for a fact
that what he utters is false. In this passage, when the nurse
utters the hypothetical clause, she knows full well that Hippolytus
will never give up his chastity for the shameless love of Phaedra,
hence the ironic nuance which this sentence
bears.
In contrast, the convergence of ilium (Phoenissae 108) / hunc
(109) denoting notum/ensem (106/107) is justified, on the one hand,
by the real uncertainty of the locutor, i. e. Oedipus, whether his
sons have already seized the illus trious sword of his father's
assassination at the same time as his kingdom, and, on the other
hand, by the possessive connotation whereby hunc ("my illustrious
sword") is endowed.
All anaphoras are extraphrasal, their antecedent in most often a
noun and the number of antecedents located within a short or long
textual dis tance is equal.
3. 2. 1. 1. 3. Conclusion on the Pronominal Anaphoras in
Euripides and Seneca
In light of the above data, we may draw the following
conclusions:
"0 is the aptest lexeme to make anaphoras with the longest
coreferentiality Then, 68e, hic, ?xelvo?, Ule, a?xo? follow;
indeed, they form coreferential chains comprising two or three
anaphoric operators. Outo? and iste make coreferential chains
containing only one anaphoric operator.
In both Greek and Latin, most of the anaphoras are extraphrasal
and the textual space between the antecedent, which is mainly a
noun, and the anaphoric is short.
We have to note that the usages of ocuto? covering a short
textual space is equal in number to that covering a long textual
space.
Both oOto? and 68s are used in contexts referring to the
identification of a person or disastrous events. In this context,
a?ro? also appears.
All the anaphoric operators, leaving out 0, are also endowed
with a deictic func tion. Thus laudatory connotation is common in
?xetvo? / Ule (derived meaning 1) and oca-roc (sub-derived meaning
2). The denigrative connotation linked with
-
DEMONSTRATIVES IN EURIPIDES' AND SENECA^ TRAGEDIES 31
aversion and moral repugnance is common in ?xslvo? / Ule
(derived meaning 2), and a?To? (sub-derived meaning 1) / iste
(derived meaning 1). We have to men tion the use of Ule bearing a
third meaning expressing astonishment and its use in sentences
denoting hypothetical or unrealized acts or facts at the moment
of
speaking. Finally, 68e / hie appear with their fundamental
meaning denoting what
belongs to the locutores sphere; hie is also used with its
derived meaning i express ing proximity.
3. 2.1. 2. Sequence and Succession of Anaphoric Operators: the
Nominal Anaphoras
3. 2.1. 2.1. The Nominal Anaphoras in Eu?pides
3. 2.1. 2.1.1. The Consistent Nominal Anaphoras
By "consistent nominal anaphoras" we mean the anaphoric
sequences in which the noun (N) that the anaphoric nominal syntagm
(NS) comprises has the same signifier as that appearing in the
anaphorized segment. In
Euripides, the most widely used lexeme is 88s.1
3. 2. 1. 2. 1. 2.The Inconsistent Nominal Anaphoras
By "inconsistent nominal anaphoras" we mean the anaphoric
sequences in which the noun (N) that the anaphoric nominal syntagm
(NS) comprises does not have the same signifier as that appearing
in the anaphorized seg
ment. These anaphoras permit the locutor to avoid a lexical
repetition and, sometimes, add to the denoted item new aptitudes,
which have not already
been validated in the "m?moire discursive". Within this category
appear anaphoras made by hypernymy, hyponymy, synonymy or
quasi-synonymy,
metaphor, "qualifying adjective" or, finally, synecdoche.
3. 2.1. 2.1. 2.1. The Inconsistent Nominal Anaphoras by
Hypernymy
According to A. Berrendonner's theory,2 there are two
inferential processes. According to the first process, a specific
piece of information derives from a more general; we will call this
kind of inference "descendant" or simply "inference". In contrast,
when a specific piece of information is derived from a more general
one, we will call the inference either "ascendant" or
"contre-inference".
The descendant inferences are a "natural" type of inference,3
which is "in accordance with the normative principles of the
logical deduction, which,
1 Troad. 347, 852-853; Phoen. 586; Here. F. 96, Hipp. 41, 479,
796, 875 etc.
2 A. Berrendonner, 'Note sur la contre-inf?rence', Cahiers de
Ling. Franc. 7,1986, p. 263; on
the relationship hyponymy / hypernymy, see M.-J.
Reichler-B?guelin, Alternatives et d?ci sions lexicales dans
l'emploi des expressions d?monstratives', Pratiques 85,1995, pp.
68-69. 3 On the natural inference, see A. Berrendonner, cit. pp.
262-263.
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32 HELENE PERDICOYIANNI-PAL?OLOGOU
in case of an implicative law p ?> q, do not permit another
route but that from the antecedent to the consequent".1 This type
of anaphora is limited in Euripides (3 occurrences). ex. 1. Eur.
Hipp. 310: 'Itctc?Xutov
... 312: touS' ?vSpo?.
The denoted person is absent from the scene. 'Itctt?Xutov is
anaphorized by a NS comprising the anaphoric adjective touo0 with
the replacement of N by a hypernym.
The anaphora of el7t7roXuTov (p) by ?v&p?c (q) presupposes
an indica tion of this person in the preceding context which can be
formulated as
follows:
q = there is a man who is mentioned at this point of
discourse.
"Consequently, the anaphoric confirms the presence in "m?moire
discur sive" (M) of the piece of information q. Thus, q was not
mentioned ex plicitly in the preceding context, and we may admit
that its presence in "m?moire discursive" (M) derives from an
inferential process. This is obvi ously of a descendant type.2 ex.
2. Eur. Hipp. 451: x?? ypatp?? twv 7?aXaioT?pcov
... 451: xo?aSe vo(jlou?.
As v?jjiouc was not mentioned explicitly in the preceding
context, wa can assert that its presence in the text is interpreted
in comparison to an implied content in ypacp?? but deductible by
means of reasoning and its presence in "m?moire discursive" (M).
This inferential process is in accordance with the lexical rule
maintaining that vojxou? is an hypernym of ypa???
- in fact, vojjLoo? indicates both verbal and written laws
-
and, therefore, it is appar ently of descendant type.
ex. 3. Eur. Hipp. 295: auuxpop? ... 296:7tpay[jia x?Se
The anaphora of oufjicpop? by rcpayfxa is justified by the
lexical rule accord ing to which repay [xa ("case") is the hypernym
of aufxcpopa ("misfortune", "calamity").
In conclusion, we may confirm that the anaphoras made by
hypernymy denote persons, abstract, real and true entities of
facts. We have to observe that these anaphoras are formed by means
of the adjective 6$e anaphorizing segments situated within a short
textual distance.
3. 2.1. 2.1. 2. 2. The Inconsistent Nominal Anaphoras by
Synonymy We detect certain passages in which the anaphora is made
by means of an
anaphoric adjective and the replacement of a lexical unit (i.e.
a noun) ap
1 A. Berrendonner, cit. p. 264. 2Ibidem.
-
demonstratives in Euripides' and seneca's tragedies 33
pearing in the anaphorized segment by a synonym, i.e. another
lexical unit
sharing an identical meaning with the anaphorized lexical unit.1
The anaphorized segment denotes one's feelings2 or an act, i.e.
that of
speech.3 The adjective 88e anaphorizes either a noun or NS; the
anapho ras are
mainly extraphrasal and the length of the textual space set by
the
relationship between the anaphoric and its anteceding is
long.
3. 2. 1. 2. 1. 2. 3. The Inconsistent Nominal Anaphoras by
Metaphor
The metaphor is a figure of speech in which a word normally used
for one kind of object or action is extended to another. The
extension is made from one feeling to another4 or from a brutal act
to a divinity.5 f'08e is the most
widely used anaphoric adjective, the anaphoras are extraphrasal
and the length of the textual space set by the relationship between
the anaphoric and its antecedent is long.
3. 2.1. 2.1. 2. 4. The Inconsistent Nominal Anaphoras by
Synecdoche
This extraphrasal anaphora is made by means of 88s appears in
Phoenicians
939: o-Tocxuv arcocpTtov ... 940: ?x y?vou? touSs. The anaphora
is justified by an inferential process in which an expression
denoting a part, i.e. from the
plurality of individuals (aTa^uv arcapTwv: "sown men"), is used
to refer to a whole, a collectivity, i.e. the race.
3. 2.1. 2. 2. The Nominal Anaphoras in Seneca
3. 2.1. 2. 2.1. The Consistent Nominal Anaphoras
This type of anaphora is made mainly by hie.6 Nevertheless, we
single out
sequences made by iste7 and Ule.8 All anaphoras are extraphrasal
and the
length of the textual space set by the relationship between the
anaphoric and its antecedent is rarely long (hie 3 passages, iste I
ille: 2 passages). The
1 On the use of synonymy as a phenomenon of semantic proximity
between certains
sentences or terms, see O. Ducrot-S. Todorov, Dictionnaire
encyclop?dique des sciences du lan
guage, Paris 1972, pp. 302-303 = O. Ducrot - J.-M. Schaef?er,
Nouveau dictionnaire des sciences
encyclop?diques des sciences du langage, Paris 1995, p. 398. 2
Hipp. 363: (xeX?a Tc?&ea ... 366: twvS' ?Xy?wv, 714: xaxwv awv
... 716: x^aSe aujicpopa?, 729:
xoT? ?jjLoT? xaxol? ... 730: tyj? v?aou T^aSe, 1289: octyjv ...
1293: Tnqjxaxoc touSe. On the meaning of Tca&o?, see Fr. Mawet,
Le vocabulaire hom?rique de la douleur, Bruxelles 1977, pp.
288-289; on the uses of ?Xyo? in Homer, see pp. 157-252; on the
meaning of ?rrj, see pp. 140-141.
3 Hipp. 602: X?ywv ... 609:6 fxu&o? ?Se.
4 Hipp. 510: ?pwxo? ... 512: v?aou rrjaSe.
5 Here. F. 555: ?ia ... 557: r/jaSe ty)? #eou. 6 Phaedr. 857;
Phoen. 153,163,167, 203; Troad. 229. 7 Here. F. 431; Troad. 40;
Phoen. 169.
8 Phoen. 177; Troad. 344, 796,1097.
-
34 H?L?NE PERDICOYIANNI-PAL?OLOGOU
last two anaphoric operators are used in certain passages
endowed with an affective meaning, indeed pejorative or
laudatory.
3. 2. 1. 2. 2. 2. The Consistent Nominal Anaphoras
3. 2. 1. 2. 2. 2. 1. The Consistent Nominal Anaphoras by
Hypernymy The anaphoras by hypernymy1 are characterized by the
denigrative use of ille through which the locutor expresses his
aversion for Hell, the deictic
gestural use of hie, the use of anaphoric and antecedent within
the same sentence and the short length of the textual space set by
the relationship between the anaphoric and its antecedent.
3. 2.1. 2. 2. 2. 2. The Consistent Nominal Anaphoras by Hyponymy
Within the extraphrasal anaphoric sequence appearing in Here. F.
763: undae
... 764: hunc amnem, undae is identified by the inferential
process of hypon ymy, i.e. the relationship between two lexical
units by which the meaning of the first is included in that of the
second.2 The textual space set by the relation between the two
lexical units is short.
3. 2. 1. 2. 2. 2. 3. The Consistent Nominal Anaphoras by
Synonymy The anaphoras by synonymy3 leads a greater frequency of
the short tex tual space set by the relationship between anaphoric
and antecedent, the use of hie with a connotation referring to the
first person and that of ille with a denigrative connotation as
well as the appearance of anaphoric and antecedent in two distinct
sentences.
3. 2. 1. 2. 2. 2. 4. The Consistent Nominal Anaphoras by
Metaphor In Phaedra 207: libido, a feeling expressing love, is
anaphorized metaphori cally by means of haec pestis (210), moral
suffering.
3. 2.1. 2. 2. 2.5. The Consistent Nominal Anaphoras by
Qualifying Adjective In Phaedra 559: femina, a. generic noun
referring to a whole class of women, is anaphorized by haec
artifex, appearing in the same line but in another clause and
designating the evil nature of the feminine sex.
3. 2.1. 2. 2. 2. 6. The Consistent Nominal Anaphoras by
Synecdoche The anaphora by synecdoche appears in two passages. In
Phoen. 614 where haec regna, an anaphoric resumptive extraphrasal
expression,4 is ana
1 Here. F. 1339-1399: infernis/umbris ... 1340: Ule locus;
Troad. 91: palla ... 93: hic habitus. 2 Cf. A. Berrendonner, cit.
p. 263. 3 Troad. 665: sepulchra... 667: tumulus hic, 720: trucis
Alcidae... 721: Ule, illeferox, 910: servitia ... 910: hoc iugum,
1119: Achivum turba ... 1120: illepopulus.
4 Phoen. 601-613.
-
DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 35
phorized, in turn, by in hos populos, appearing within the same
line. The
anaphora is justified by a synecdochic relationship: from the
whole, i.e. a collectivity, we pass by anaphora to the part, i.e.
the inhabitants of the king doms. In hos populos is anaphorized in
the following lines by the synonymy has gentes (615/616). In
Phaedra 576 illae feroces, with a laudatory meaning, anaphorizes
regna materna (575) denoting the kingdom of Amazons, from
whom Hippolytus' mother is descended. The anaphora by synecdoche
is
justified by the same inferential process.
3. 2.1. 2. 3. Conclusion on the Pronominal and Nominal Anaphoras
of a Noun and a nominal or prepositional syntagm in Euripides and
Seneca
In Euripides, consistent and inconsistent anaphoras are made by
means of oSe. On the other hand, in Seneca we find three lexemes:
hie, which is the most frequent, ille and iste, which are endowed
with an affective, indeed
denigrative or laudatory, meaning. Anaphoras by hypernymy
function by recurrence of lexical traits.1 Ana
phoras by hyponymy "seize the r?f?rant as a sub-class".2 The
anaphoras based on synonymy relationships are used to identify the
r?f?rant under a new name.3 Anaphoras by metaphor "exploit a
reminder of seme(s) within the discursive chain by introducing a
rupture of isotopy".4 Finally, anapho ras by synecdoche are built
by a sliding from a whole to apart.
3. 2. 2. Anaphoras of Sentences and Clauses
Thus far, we have examined anaphoras whose antecedents are a
lexical unit. However, such a consideration does not permit taking
into account a
variety of referential phenomena attested in discourse. These
phenom ena do not operate on literal signifiers but on information
which is given by sentences and texts5 or clauses, of which the
great part belongs to the correlation system.
In Euripides and Seneca, the "objet-de-discours" represents, in
its materi ality, either a short (11.
-
21.), or a long (more than 3 1.) message and refers to facts,
events or "general truths". We propose to study the relevant or
irrelevant similarities and oppositions
of anaphoric operators, i.e. those of pronouns and adjectives
anaphorizing the
"objets-de-discours".
3. 2. 2.1. Anaphoras of Sentences and Clauses in Euripides
3. 2. 2. 1. 1. Most of the uses of anaphoric pronouns and
adjectives refer back to information already given in sentences.
"O&e is the most widely
1 See M.-J. Reichler-B?guelin, cit. p. 68. 2 M.-J.
Reichler-B?guelin, at. p. 69. 3
See, M.-J. Reichler-B?guelin, dt. p. 71. 4 See M.-J.
Reichler-B?guelin, cit. p. 76. 5
By "text" we mean the "objet- de-discours" containing more than
one sentence.
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36 H?L?NE PERDICOYIANNI-PAL?OLOGOU
used to anaphorize sentences.l The anaphoras of sentences are
also made
by outo?2 and ?xe?vo?,.3 Most of those uses anaphorize a single
sentence. Nevertheless, we find
uses anaphorizing information given by more than one consecutive
sen
tences, i.e. a text. The study of the frequency of those uses
proves that 68e is the most appropriate anaphoric operator to
function with a resumptive role, i.e. to condense or to summarize a
fairly long utterance. In the major ity of the resumptive uses, 68e
anaphorizes texts containing entire tirades. It is noteworthy that
the anaphoric deictic expression to8s 7ipay[jia (Med. 1419) is used
to sum up the content of the whole play.
In all uses, anaphorics refer back to '
objets-de-discours" situated within a short textual distance and
the anaphoras are extraphrasal. The content
given by sentences anaphorized refers mainly to facts,
processes, situations located in time and space. Nevertheless, we
single out anaphorized sen tences alluding to "general truths",
which can be confirmed or denied.4
In reference to nominal anaphoras, the discursive context evokes
an act which is afterwards anaphorized by T?8e or To8e followed by
a noun ex
pressing the act of speech (Xoyo?, ?xii^o?, ?kolivo?, ?pxo?)5 or
denoting acts accomplished by a person (spyov, cp?vov),6 the
locutores feelings (?&ufila, tco?o?)7 or actions imposed upon a
person against his will (rojjxa, [xo^&o?, au^cpop?, xax?v,
7i??>oc).8 The conceptual anaphoras nominalize the situa tion of
the production of direct speech which evokes these acts or
feelings.
3. 2. 2.1. 2. The anaphoras of clauses are much less frequent.
They are made
by means of toSs, Ta8s,9 on the one hand, andToOro, toc?toc,10
on the other hand. It is primarily main clauses that are
anaphorized.11 Nevertheless, we detect certain passages in which
the anaphoric refers back to subordinate
clauses, such infinitive phrases12 and clauses introduced by
zi13 or inei.14 In
1 Troad. 86, 240, 369, 657, 701, 720, 1019, 1022, 1057, 1077,
1250; Phoen. 141, 154, 568, 621, 622, 778, 891, 1240, 1254, 1328,
1551, 1592, 1646; Here. F. 155, 605, 721, 1250; Med. 155, 241, 267,
510, 705, 731, 742, 813, 908, 927,1019,1109; Hipp. 278, 338, 352,
476, 568, 658, 705, 834, 906,1045,
1088,1194,1326. 2
Troad. 955; Phoen. 417, 481, 494, 521, 527, 719,
936,1177,1210,1762; Here. F. 331; Med. 289, 338, 488, 614, 722,
822, 913,1064,1327, 1339; Hipp. 20, 388, 419, 723, 891, 958,
971,1041. 3 Troad. 963; Phoen. 69.
4 Troad. 1250; Here. F. 1346; Med. 234, 241; Hipp. 20. 5 Troad.
383; Phoen. 915, 925; Here. F. 204,1346; Med. 72, 274, 354, 376,
754, 924,1307; Hipp.
1258. 6 Hipp. 1449; Med. 695. 7
Troad. 595; Here. F. 552. 8 Phoen. 798-799,1396,1455; Med. 234;
Hipp. 410, 830,1338, 1407,1423. 9
Troad. 968; Phoen. 505,1666; Med. 1104; Hipp. 497, 619. 10
Troad. 396; Phoen. 768; Hipp. 1101. 11 Troad. 395; Phoen. 504-505;
Med. 1103-1104; Hipp. 496, 1100-1101. 12 Phoen. 1663. 13 Phoen.
766-767; Hipp. 619.
14 Troad. 967-96S.
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DEMONSTRATIVES IN EURIPIDES* AND SENECA'S TRAGEDIES 37
all passages, the length of the textual space set by the
relationship between the anaphoric and its antecedent is short and
most of the anaphoras are intratextual.
3. 2. 2. 1. 2. 1. Of special interest is the anaphorization of
relative clauses. In this case, the antecedent and the anaphoric
make a correlative system.
The correlation is defined as a syntactico-semantic process
designating the
relationship which is indicated morphologically "by two lexical
units which
respond each other"1 within the same sentence. This process is
therefore defined as "a type of complex sentences with two
immediate constituents of which the former is a subordinate clause
and the latter begins with a
correlative, which seems to be parallel to the conjunction of
the former immediate constituent".2 A. Minard called the basic form
of the correla tion a
"diptyque normal",3 because the clause introduced by the
relative
pronoun precedes the clause introduced by the correlative or
anaphoric. The
"diptyque normal" is the opposite of the "diptyque invers?",
from which it is derived.4
In Euripides, we single out the following "diptyques normaux":
?? ... 68e, 6? ... outo?, ?itep
... outo?, ?aTi? ... oc?to?, oao? ... a?To?.
3. 2. 2.1. 2.1.1. f'O? ... 68e (1 use)
In Troades 1202: wv 8' ?^o, Xy)^y? Ta8s; the correlative diptych
is characterized by the extreme brevity of the two clauses
containing the relative and the correlative respectively, the
neutral plural, the function object-object, and the connotation of
T?8e referring to the locutores sphere.
3. 2. 2. 1. 2. 1. 2. f'O? ... outo? (6 uses)
This correlative sequence is the most frequently used.5 It leads
to a greater
1 L. Tesni?re, El?ments de syntaxe structurale, Paris 1959, p.
545. On the correlation see
also, P. Monteil, El?ments de phon?tique et de morphologie du
latin, Paris 1973, p. 56; J. Haudry, 'Parataxe, hypotaxe et
corr?lation dans la phrase latine', Bull. Soc. Ling. Paris
68/1,1973, pp.
147-186; H. Perdicoyianni, 'Les emplois corr?latifs des
pronoms-adjectifs is, hic, ille, iste dans les Hom?lies ? J?r?mie
d'Orig?ne traduites par Saint-J?r?me', Latomus 63/2, 2004, pp.
406-424. 2 Ch. Touratier, cit. p. 696.
3 A. Minard, La subordination dans la Prose v?dique, Paris 1936,
pp. 3 et 9-11. 4 A. Minard, cit. p. 9; P. Monteil, La phrase
relative en grec ancien, Paris 1973, p. 56, maintains
that the "diptyque normal" is derived from an inversion. 5
Troad. 645-646: *A yap yuvai?l awcppov' ea^' Y)?pY][x?va/ xaux'
?^efxo^&ouv "Exxopo? xax?
ax?ya?; Phoen. 463: ?cp' olaiv Y)X?i, xauxa -)(pr? (jl?vov
axorce?v ; 706: ? 8' ?fJiTtoSwv (??Xiaxa, xa?&'; y)x?o 9p?awv;
1015-1018: EL y?p Xa?wv ?xaaxo? ? xi S?vaix? xi? / yjpriGTOv
StiX&oi xouxo x?? xoivov
cp?poi/?iaxpuk, xaxwv ?v al TtoXei? eXaaa?vwv/ 7ieipw[Aevoa to
Xoitc?v e?xu/otev ?v; Here. F. 1326-1327: *A S'ex tioXixgSv
&wp' lxw < aa? xopou?/Si? ?7tx?, xa?pov Kvg?ktiov xaxax
xavwv,/ aoi xauxa Swaw; Hipp. 445-446: ?v 8' ?v ?tepicjcr?v xal
9povouv^' eupy) [liya, / xouxov
Xa?o?aa, 7iw? Soxei?;
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38 H?L?NE PERDICOYIANNI-PAL?OLOGOU
frequency of the neuter (5 uses), the plural (4 uses), and the
function ob ject-object.
The brevity of anteposed relative clauses and of those
containing a cor
relative as well as its use at the beginning of the second part
of the diptych set ?? and outo? in such a relationship of proximity
that the "disjunctive space" between the two correlative elements
can be called "reduced".
3. 2. 2. 1. 2. 1. 3. "Oonzp1
... outo? (1 use)
This correlative sequence appears in Phoen. 916: *Ansp n?cpy?vt,
tocutoc xa
'v?yxY? a? 8pav. It leads to a greater frequency of the neuter
plural, the function object-object, the extreme brevity of the
clauses containing the relative and the correlative as well as the
possessive connotation of tocutoc
expressing the interlocutor's sphere.
3. 2. 2. 1. 2. 1. 4. "Octtc? .. oc?to? (1 use)
In this correlative diptych,2 the relative clause determines a
class of indi
viduals, i.e. those whom Heaven forbids from participating in
the sacrifice
performed by Medea. The verbal act (?iekr?aei)3 appearing in the
clause containing the correlative refers to those individuals
forbidden from par ticipating in the sacrifice and excludes all
others. We should note the extreme brevity of the clause containing
the correla
tive, the use of the relative and correlative at the beginning
of the clause, the textual proximity between the two correlative
elements, and, finally, the function object-object.
3. 2. 2. 1. 2. 1. 5. "Oao? .. oc?to? (1 use)
When used as a quantitative totalizing and defining relative,
octol, denotes "those who fulfill such a function",4 i.e. those who
hold the writings of the Ancients.5 This utterance is anaphorized
by ocuto? which functions as a subject to a series of verbs
expressing their attributes and aptitudes. We have to indicate the
length and the complexity of the clauses containing the
correlative. Indeed, these encompasse diverse constituents: in
addition to the subject and the verb, subordinate clauses used as a
complement of the verb, introduced by ?? and prepositional
syntagms, are used.
1 On the analysis of the group oq nzp, see P. Monteil, cit. p.
160. 2 Med. 1053-1055: "Oxw o? [xtq / &?(ju? 7tap?ivat xoT?
?fxolcri ftufiaaiv,/ a?xw [xeX^aec. 3 On thus function of relative
clauses introduced by oaxi?, see P. Monteil, cit. pp. 138-139. 4 P.
Monteil, rit. p. 215-218. 5 Hipp. 451-456: "Octoc piv ouv ypa
-
demonstratives in euripides' and seneca's tragedies 39
3. 2. 2. 2. Anaphoras of Sentences and Clauses in Seneca
3. 2. 2. 2.1. In all uses of anaphoras of sentences, hoc I haec
is the anaphoric operator most widely used.l Indeed, the majority
of these uses anaphorizes several successive sentences, i.e. texts.
This use confirms the resumptive aptitude of hoc I haec. The
anaphoras are extraphrasal and the length of the textual space set
by the relationship between the anaphoric and its an tecedent is
short. Moreover, the uses of istudlista2 and illud3 anaphorizing
sentcences are very few. All the uses of istud lista also show its
tendency to anaphorize a sentence located in a long textual space,4
its connotation
indicating the interlocutor's sphere5 and its affective, indeed
pejorative, con notation.6 The content of clauses anaphorized
indicate mainly facts. Nev
ertheless, we detect a passage in which iste anaphorizes a
"general truth"
concerning the attitude of the victors.7
Moreover, the nominal anaphoras are very few and are made by
hocs and istud.9
3. 2. 2. 2. 2. In reference to an anteposed correlative
structure, the most
widely used correlative is hoc. However, we single out relative
clauses ana
phorized by 15 and ille.
3. 2. 2. 2. 2.1. Qui... is (1 use)
This correlative structure leads a greater frequency of the
masculine gender used in the singular and the function
object-subject.10 Relative and cor relative appear at the begining
of clauses whose number of constituents is limited: verb, subject,
object or verb, subject. This brevity of structure sets relative
and correlative in relation of a reduced textual proximity.
3. 2. 2. 2. 2. 2. Qui... hic (5 uses)
Within this correlative structure,11 the neuter is the most
frequent of all
lHerc. F. 159, 239, 477, 782, 1026, 1199; Phaedr. 686,1025;
Phoen. 272, 550, 647; Troad. 197,
453, 533, 598, 729, 748, 918, 1104; Med. 28, 126, 419, 447, 674.
2 Here. F. 249; Phaedr. 202; Troad. 337; Med. 494, 545.
3 Med. 553; Here. F. 384. 4 Here. F. 249.
5 Troad. 337; Med. 545. 6
Phaedr. 202. 7
Troad. 337. 8 Here. F. 633: hoc tantum nefas; Phaedr. 623: hoc
omen; Phoen. 453: hocprimum nefas; Troad.
669: hoc nefas. 9 Phoen. 150: ?5ta cum ... twa; Med. 931:
istudfacinus. 10 Med. 500-501: Tua illa, tua sunt illa cui prodest
scelus / is fecit.
11 Phaedr. 27-28: Si quern tangit / gloria siluae, uocat hunc
Phlye; Here. F. 313-314: Quod nimis miseri uolunt, / hoc facile
credunt; 489: Quod loui, hoc regi licet; 590: Quae uinci potuit
regia carmine, / haec uinci poterit regia uiribus; Troad. 334: Quod
non uetat lex, hoc uetat fieri pudor.
-
40 H?L?NE PERDICOYIANNI-PAL?OLOGOU
genders: four pronouns are used in the neuter, from which three
appear in the singular and one in the plural. The singular
masculine appears once.
Moreover, this structure leads to a greater frequence of the
functions ob
ject-object (2 uses) and subject-subject (2 uses), as opposed to
one use of object-subject.
Except in Phaedr. 27, the relative pronoun is constantly at the
beginning of the relative clauses, whose constituents are mainly
verb, subject, object; rare is the appearance of complements with a
verbal nucleus, such as in finitive phrase and adverbs. We can make
the same assertion for clauses in
which correlative appears, for the fact that the use of
infinitive phrases are more frequent than that of attributes. The
limited number of constituents which appear in the two kinds of
clauses sets relative and correlative in a reduced textual
proximity
3. 2. 2. 2. 2. 3. Quicumque + N ... hie (1 use) The anteposed
relative clause introduced by the pronoun quicumque in correlation
with hie is characterized by the neuter singular, the function
object-subject and the textual brevity of clauses.1 Indeed, the
number of constituents is three in both the clauses containing the
relative and the correlative.
3. 2. 2. 2. 2. 4. Qui... ille (3 uses)
This correlative structure2 leads to a greater frequency of the
masculine
singular and the function subject-subject (2 uses). The function
object-sub ject appears in a single passage. Within these diptyches
we observe the length and the abundance of relative clauses. Except
Phaedra 441 in which the relative clause is reduced in three simple
constituents, verb, subject, ob ject, the rest of the relatives
contains a textual space of three lines and are characterized by
the use of simple constituents, the considerable number of
coordinate relative clauses which are used as antecedent of ille,
and the use of coordinate clauses which are added to them.
Moreover, the second
part of the correlative structure, although it comprises two
clauses coordi nated by means of either disjunctive or copulative
conjunctions, is short and contains only simple constituents.
Finally, the anaphora of several clauses
by Ule shows its resumptive aptitude.
1 Med. 245-246: Quodcumque culpa praemium ex omni tuli, / hoc
est penes te. 2 Phaedr. 441: Quern fata cogunt, ilk cum uenia est
miser; 1111-1114: Qui modo paterni clarus
imperii comes / et certus heres siderum fulsit modo / passim ad
supremos Ule colligitur rogos /et
funeri confertur; Phoenissae 193-196: Qui fata proculcauit ac
uitae bona / proiecit atque abscidit et casus suos / onerauit ipse,
cui deo nullo est opus, / quare Ule mortem cupiat aut quare
neget?
-
demonstratives in euripides* and seneca's tragedies 41
3. 2. 2. 3. Conclusion
In conclusion to our study on the anaphora of sentences and
clauses we would like to summarize the following points:
68s and hie are the most appropriate lexemes to function as
anaphorics. In con trast, the anaphoric use of oSto? / iste,
?xelvo? / Ule is rare.
The resumptive aptitude of 68e and hie is extensively
represented. This is con firmed by the frequency of their uses
anaphorizing "objets-de-discours" compris ing more than three
sentences and by the study of their length.
The extraphrasal anaphoras in which the anaphoric and its
antecedent are lo cated within a short textual space are the most
frequent.
The reference to facts, processes and acts situated in time and
space is the most usual for all the anaphorics.
3.3. Non-coreferential Anaphoras
3. 3. 1. Anaphoras and Morpho-semantic Motivation
The morphosemantic motivation functions as an auxiliary to the
identifica tion of a r?f?rant, which appears in the form of a noun
derived from a verbal stem. It concerns anaphoras made by an
anaphoric adjective and a noun derived from the same stem as the
verb appearing in the preceding text:
Eur. Here. F. 713: 8oxc5 ... 714: 8o?y)? r/jaSe. Eur. Med. 282:
S?Socxa ... 284: TouSe 8ec(xaTo?, 1122: tps?ye epeuye ... 1124:
r?)cr8e cpuyyj?.
In both passages, we ought to outline the textual proximity
between the r?f?rant and the anaphoric.
3. 3. 2. Textual Deixis
In Euripides, certain usages witness to the link between the
deictic and the anaphoric functions of pronouns-adjectives and this
is called "textual
deixis".1
According to Lyons, the demonstrative pronouns and the other
deictic
expressions make references to linguistic entities of various
types (forms, parts of forms, lexemes, expressions, phrases etc.)
in the context of the utterance.2 The following example illustrates
the uses of the deictic pro nouns:
(X declares) This, this is a rhinoceros (and Y answers) What?
Can you spell that?
1 On the textual deixis, see also H. Perdicoyianni-Pal?ologou,
'Le concept d'anaphore,
cataphore and deixis en, linguistique fran?aise, Rev. Qu?b?coise
29Ix, 2001, pp. 67-68. 2 C. G. Lyons, S?mantique linguistique,
french translation by J. Durand - D. Boulonnais,
Paris 1980, p. 289.
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42 HELENE PERDICOYIANNI-PAL?OLOGOU
Lyons maintains that "that" is not an anaphoric operator and,
consequently, it is not coreferential with an antecedent.1 He then
recognizes the auto
nymic usage (auto-referential) of a word in the utterance.2 On
the other hand, Ehlich3 proposes a "textual" extension to the
concept
of deixis, and considers all kinds of texts which denote
entities of the second and third orders as deictic references.
In Euripides, when xouxo, xoSe, xdcSe are used as textual
deictics, they are either pronouns or adjectives apt to appear in
any place of the utterance,
which is characterized by brevity.4 The context in which textual
deictics
appear expresses insult or moral pain.
3. 4. Conclusion on the Anaphora in Euripides and Seneca
Our study of the use of anaphoric uses of 68e, ouxo?, ?xelvo?,
auxo?, on one hand, and hie, ille, iste on the other hand, leads us
to draw the follow
ing conclusions:
All the lexemes function as opaque or incomplete symbols, i.e.
their referent is identified by means of preceding context;
the length of the anaphoric sequences leads us to distinguish
three types: i) the anaphoric segment is a lengthened anaphora of
the anaphorized segment, ii) the anaphoric segment shortens the
anaphorized segment, iii) the anaphoric segment and the anaphorized
segment have the same length;
by reference to the preceding context, the anaphoric operator
refers to an infor
mation which has already been verbalized literally. In addition,
the localization of the r?f?rant of indirect anaphoras or "in
ab
sentia" and inconsistent anaphoras, i.e. anaphoras by hypernymy,
hyponymy,
synonymy, metaphor, synecdoche, is made by means of implicite
and inferential
reasoning, lexical implications and the "shared knowledge"
("savoir partag?"; also called "m?moire discursive"). The anaphora
is not a "strictly syntactico-semantic phenomenon".5 It implies
both a construction of information included in the "shared
knowledge".
Finally, when the referanr of the anaphoric expression does not
appear at all in
1 C. G. Lyons, cit. p. 289. 2 B. Wierderspiel, 'Sur Tanaphore:
du mod?le 'standard' au mod?le 'm?moire', Trav. de
ling, et philol. 27,1989, p. 108. 3 E. Ehlich, Anaphora and
Deixis: Same; Similar, or Different?', in R. J. Jarvella-W
Klein,
Speech, Place and Action, Chictester 1982. 4 Med. 61: '?2 [xwpo?
-
el jpr\ heanoxoLC, elne?v t?Ss, 464-465: '?2 noLyy.OLy.iGTe,
touto y?p a' eineZv eyo*/ yXwacnr] (jiyicrrov etc avavSp?av xax?v;
Phoen. 1560: O?. Alai. AN. T? x?&e xaxacrc?vei?;
5 M.-J. Reichler-B?guelin, ?naphores connecteurs et processus
inferentiels\ in C. Rubattel
(?d.), Mod?les du discours. Recherches actuelles en suisse
romande (Actes des rencontres de linguis tique fran?aise), Berne
1989, p. 311.
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DEMONSTRATIVES IN EURIPIDES* AND SENECA'S TRAGEDIES 43
the immediate discursive context, its localization is made by
memorial data, i.e.
knowledge acquired in preceding scenes.
The indirect or "in absentia" anaphoras, which are not
accompanied by a corefer
entiality, are characterized by a referential relation between
the anaphoric expres sion and the preceding expression which gives
access to the r?f?rant in scope.1
This proves that absence of coreference does not mean absence of
a referential
relationship between the anaphoric operator and its
antecedent.
4. The Cataphora
Cataphora is a fundamental syntactical phenomenon for the
internal con struction of all text and, as we have already seen, it
deals with the sub
sequent context.2 In this part of our work, we will study the
cataphoras made by 68e, ouxo?, ?xe?vo?, a?xo?, on the one hand, and
is, hie, Ule, iste on the other hand.
4.1. Cataphoras of Sentences and Clauses in Eu?pides
4.1.1. Cataphoras of Sentences
The lexeme 68e is the most widely used in the cataphoras of
sentences.3 On the other hand, the uses of outo? and ?xeivo?,4
reinforced semantically by 68e, are few. The neuter, the plural and
the pronominal uses of cataphorics are the most attested. The
cataphoras, all extraphrasal, announce sentences
whose contents refer constantly to facts, processes, situations
located in time and space. Finally, half of the sentences
cataphorized by o8e cover a textual space containing anywhere from
3 to 12 lines.5 This confirms its
liability to introduce "objets-de-discours" which are situated
within a long textual distance from the cataphora.
4. 1. 2. Cataphoras of Clauses
Most cataphoric operators are used to announce subordinate
clauses intro duced by ??, olo?, ?Ttco?, w?, oiaxe, el. On the
other hand, we single out cer tain cataphorics introducing either
infinitive phrases or indirect questions.
1 G. Kleiber, c Peut-on d?finir une cat?gorie g?n?rale de
Tanaphore?', Vox Rom?nica 48,
1988, p. 4. 2 Cf. Quad. Urb. n.s. 81 (110), 2005, p. 63.
3 Here. F. 491: xqloz, 951: xo$?, 964: toloz, 981: tolos, 1379:
xa$?, 1281: ?vayxiq? ?? xoSe; Hipp. 8: x?$?, 379: x???, 867: x?$?,
882: x?$e, 988: x???, 1363: x?$?; Med. 893: x?&s, 1151: x?$?;
Phoen.
748: x???, 950: xoiv$? ... SuoTv 7i?x[jlolv, 1249'. x?$?, 1443:
x???, 1585: x?vSe X?yov, 1631: x???, Troa??. 895/896: 9po?fxiov/
x?8?.
4 Hipp. 84: xouxo y?pa?; Phoen. 774: xauxa. Med. 98: x?8'
?X?ivo. 5 Here. F. 964: x?$?, 1281: ?vayxYj? ?? x???; Hipp. 379:
r?oe; Med. 893: x???, 1151: x?$?;
Phoen. 748: x?^E, 1249: x?&s, 1443: t?loz, 1631: x?$?.
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44 H?L?NE PERDICOYIANNI-PAL?OLOGOU
4.1. 2.1. Cataphoras of Relative Clauses
The analysis of postposed relative clauses, which belong to the
correlative
system of pronouns-adjectives, will be based on the structure of
dipty ches, the grammatical functions and the genders of
correlatives, and more
generally on the way in which they are inserted within the
sentence and contribute to its organization.
We will study correlative systems with postposed relative
clauses by ana
lyzing first the diptyches where a noun appears in one of the
two parts, in which case the relative is a pronoun or an adjective,
and, subsequently, those where correlative and relative are
pronouns.
4.1. 2. 1.1. The Correlative is an Adjective and the Relative is
a Pronoun
4. 1. 2. 1. 1. 1. "OSe + N ... o? (1 use)
This diptych is characterized by the masculine, the singular,
the function
subject-subject1 and the contiguity between correlative and
relative. The correlative, placed at the end of the line, is used
by the locutor to introduce himself to the public and is followed
by two juxtaposed relative clauses giv ing information about the
locutor's exceptional qualities as well as about his current social
status. The clauses containing the correlative and the relative are
short and characterized by the use of simple constituents: verb,
subject, object, attribute, adverb.
4. 1. 2. 1. 1. 2. f'Orj? + N ... olo? (1 use)
Within this correlative structure, we remark the use of the
neuter singu lar, the function object-object and the interpolation
of the relative clause
within the correlative nominal syntagm in which the noun appears
at the
beginning of the line and the adjective at the end.2
4. 1. 2. 1. 2. The correlative is a pronoun and the relative is
an adjective 4. 1. 2. 1. 2. 1. 'Exslvo? ... ?? + N (1 use)
The contiguity of correlative and relative, the neuter singular
and the func tion attribute-object3 are the main characteristics of
this structure. Toux' functions as an anaphoric of lines 622-623
announcing Polyxena's death. The use of ?xe?v' is justified by
Hecuba's stupor and sorrow at the an nouncement of this fact.
1 Phoen. 1758-1761: r?, naxpoLC, xkeivr?c noXitoLi, Xe?ao-ex',
OISlttou? 6Se, /?? x? xXe?v' al
v?y[xax' syvoj xal [x?yicrxo? yjv ?vYjp, / ?? [xovo? Etpiyyo?
xoLx?ajov xyj? [xcai^?vou xp?xY},/vuv ?rtfioc a?xo? olxxpo?
?$Xauvo(JLou y$ovo?. 2 Med. 716: EupiqfjLa S'o?x olaft' olov
YjupYjxa? x?Se. 3 Troad. 624-625: Toux' ?xslv' ? {?o? Tc?Xai/
TaX&u?ioc oaviyfx' o? 0-0C9W? sIttev aacp??.
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DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 45
4. 1. 2. 1. 3. The Correlative and the Relative are Pronouns
4.1. 2.1. 3.1. "O?
4. 1. 2. 1. 3. 1. 1. Ouxo? ... ?? (4 uses) The neuter is the
only gender used.1 Moreover, this diptych leads to a
greater frequency of the singular (3 uses), the contiguity of
correlative and relative and the function subject-object (2 uses),
the functions subject subject, Prep.S.- object appear only once.
Whatever may be the syntactic function of correlative and relative,
they
appear within clauses knownworthy to their brevity. The main
syntactic constituents which appear are verb, subject, object, and
attribute.
4. 1. 2. 1. 3. 1. 2. A?x?? ... ?? (1 use) This correlative
structure is marked by the contiguity of correlative and
relative, the feminine singular, the function object-subject and
the expres sive connotation of auxY?v which refers to the locutores
aversion for adul terous women.2
4. 1. 2. 1. 3. 2. OIo?
4.1. 2.1. 2.1. "0$e ... o?o? (1 use)
Within this diptych,3 the relative clause is not contiguous to
the correlative:
indeed, it follows a subordinate clause introduced by co?. The
characteristics of the sequence are the neuter plural, the function
object-internal object indicating the locutores atrocious calamity
and the connotation of x?$' ex
pressing the locutores sphere.
4. 1. 2. 2. Cataphoras of clauses introduced by ok??c
Aura (1 use) and xouxo (4 uses) are the two lexemes apt to
cataphorize in traphrasal clauses introduced by otcw?. The length
of the textual space set
by the relationship between the cataphoric and the cataphorized
clause is short. In Troad. 938, ocux?, direct object of a verb
conveying a declaration (X?yecv), is used to announce an indirect
question introduced by otcw? (939)
1 Troad. 491-492: "A 8' ?crxl yrjpa xw8' ?crupicpopwxaxa,/
xouxot? fX? Tcpoa?Tjaouaiv...; Hipp. 322: T? y?p x? Seiv?v
xo?&' ? a' ?i;aip?i t)av?lv; 347: T? xou&' ? Syj X?youaiv
?vt}pw7ioi>? ?p?v; 506: *E? xou^' ? cp??ya> vuv
?vaXw^aopLat.
2 Troad. 667-668: aninxua' a?x?jv tqti? ?vSpa xov rcapo? /
xaivolai X?xxpoi? aTro?aXoua' ?XXov ?iXel.
3 Med. 1405: ZeQ, x?S' ?xou?i? w? ?7tsXauv?[?e&', / ola x?
7i?a^ojjL?V ?x xrj? [xuaap?? / xai
TcaiSocp?vou xtJctSe X?aiv?)?;
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46 H?L?NE PERDICOYIANNI-PAL?OLOGOU
indicating the way in which an act took place in the past.l In
contrast, in 1.1008 of the same play, xouxo, direct object of a
verb expressing an effort leading toward an aim (tjcjxsic),
announce a final clause introduced by ?tcw? (1009) referring to
Helen s premeditated behavior in Paris' palace.2 In the former
passage, ?tto? is translated by "how" and in the latter by "so
that".
4.1. 2. 3. Cataphoras of Clauses introduced by ? are
cataphorized by 08s3 (4 uses), which is endowed with a connotation
expressing the locutor's sphere; in contrast, ouxo?4 (1 use) seems
to be the less apt to cataphorize clauses by ?>?. The passages
in which correlative and the clause introduced by co? are not
con
tiguous are the most widely used. All cataphoric operators are
pronouns appearing in the neuter, mainly
in the plural, and are used as direct object of the verb of the
clause in which they appear. Noteworthy is in Phoen. 491 the use of
x?5v8e, objec tive genitive of (xapxupa?, and in Hipp. 419 the
semantic reinforcement of xoux(o) by oc?xo conveying the locutor's
aversion for a fact described in the following lines.
fQ? introduces explicative clauses with the meaning of 'with the
effect of", "that is": the content of these clauses denotes facts
or feelings. The textual space covered by the explicative clauses
is short and all cataphoras are intraphrasal.
4.1. 2. 4. Cataphoras of Clauses introduced by okrxs
Within this type of intraphrasal cataphoras, the cataphoric xoSe
(endowed with a connotation expressing the locutor's sphere: 3
uses, xouxo: 1 use) appears as a prepositional syntagm introduced
by wcrxe with verbs indicat
ing movement (yjX?ov, ex?e?fjxe, el\ii).5 The entire utterance
represents
1 Troad. 938-939: Ou7i(o \ie cp-r?crei? a?x? x?v rcocrlv
X?yeiv,/ onu? ?
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DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 47
the conditions which necessarily lead to consecution introduced
by ?kixe followed by an infinitive (3 uses) or an indicative (1
use). These conditions
mainly express a person's sharp pain or deep shame. The length
of the textual space set by the relationship between the cataphoric
and the cata
phorized clause is short. The number of passages in which the
cataphoric is contiguous to oiaxe represents half of the uses.
4.1. 2. 5. Cataphoras of Clauses introduced by el
Used with a connotation expressing the locutor's sphere, x?rje
is the single lexeme to announce clauses introduced by el (3 uses),
which covers a textual space containing one or two lines and which
are contiguous to the cataphor ics. Within these clauses, the
locutor invites his interlocutor to express his own
opinion of his true character,1 or to inform him about an event
which is about to take place, i.e. the fate of a person,2 or,
finally, he refers to an event considered possible.3 The cataphoric
is used as a pronominal form and functions as the subject of the
verb of the clause.
4. 1. 2. 6. Cataphoras of Infinitive phrases
The cataphora of most infinitive phrases is made by 68e4 (13
uses). We also detect cataphoras made by ouxo?5 (3 uses) and by
?xelvo?
6 (2 uses). The cata
phoric is contiguous to the infinitive phrase in a sole
passage.7 All cataphor ics are used in the neuter; the singular is
more frequent than the plural. The
use of cataphorics as prepositional (2 uses) or nominal (1 use)
syntagms is rare.
All cataphoras are intraphrasal and announce passages comprising
one or two line, leaving out x?&e (Med. 593) introducing a five
line text. Moreover, the contents of the infinitive phrase indicate
mainly facts situated in time and space and rarely "general
truths", such as aptitude for war8 or prin ciple of equality.9 In
this passage, the cataphoric xeTvo is endowed with a
laudatory connotation.
S?CT7iotv7)? x?^a?; Phoen. 963-964: 'Eyw y?p o?rcox' ?? xoS'
Eipx aup^op??,/ wcrxs 0"9ay?vxa nouba npoG???voii nokei; 1327-1328:
FI?o? q*y?q; vexuv xoi nonho?, ?ya7ta?cov ?fxou /o?x ?? xoS'
y?X&ov ?taxe xal x?S' elS?vai. 1 Hipp. 1070-1071: Alai, npo?
Yjrcap Saxp?wv x' ?yy?? -z?oe, ei &/) xaxo? y? 9aivofJiai Soxw
x?
aoi. 2 Med. 1084: w? [x?Xei fxoL xal x?S ', eI Xe?o-o-ei 9ao?.
3
Phoen. 512-514: xal? y?p ?v ?-q?aic x?Se / y?voix' oveiSo?, et
Mux?]valou Sopo? / 90?w Kap?LY]v o"XY)7txpa x?(x? xwo? ??eiv. 4
Hipp. 394: ?x xouSe, 466: x?Se, 475: x?8e; Medea 235: xawte,
469: x?oe, 553: xouSe, 593: x?Se, 935: x?$e, 972: xouSe; Phoen.
392: x?$e, 427: x?Se, 510: npoq xoIaSe, 1734: x?$e [x?Xea
Transa.
5 Here. F. 201: xo?xo; Hipp. 426: xo?xo; Phoen. 394: xouxo. 6
Phoen. 535: xELvo, 886: ?xelvo. 7
Hipp. 394. 8 Here. F. 202-203. 9 Phoen. 536-538.
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48 H?L?NE PERDICOYIANNI-PAL?OLOGOU
In addition, we should indicate that subordinate, relative or
comparative, clauses are rarely inserted in the infinitive
phrases.*
4.1. 2. 6. Cataphoras of Directe interrogative Clauses
We single out a sole use of ?xelvo cataphorizing a directe
interrogative clause2 to which a relative clause is linked. The
cataphoric ?xelvo, used as a direct object, is situated in second
position just after rcpwxov and it expresses the locutor's
impatience, i. e. Teiresias, to know the place where his travel
ling companion, Menoeceus, can be. Cataphoric and interrogative
direct clause are not contiguous. The cataphora made is
intraphrasal and the
length of the textual space set by the relationship between the
cataphoric and the clause cataphorized is short.
4. 2. Cataphoras of Sentences and Clauses in Seneca
4. 2. 1. Cataphoras of Sentences
Hie (24 uses), either pronominal or adjectival, is the most
appropriate to introduce sentences.3 The length of the textual
space set by the relation
ship between the cataphoric and the sentence cataphorized is
mainly short.
Indeed, we single out only two passages in which hie
cataphorizes texts
comprising 3 to 15 lines.4 The content of the cataphorized
sentences gener ally denotes facts. The cataphora of sentences
denoting "general truths"
concerning death appears in two passages.5 Noteworthy is the use
of ilia, endowed with a denigrative connotation,
cataphorizing a sentence which is situated within a short
textual space after the
cataphoric.6
4. 2. 2. Cataphoras of clauses
Most cataphorics announce subordinate clauses introduced by qui,
ut, ne and unde. We also detect cataphorics introducing infinitive
phrases.
1 Phoen. 511-512: ?X&?vxa ct?v 07tXoc? r?voe xal 7uopt)ouvxa
yrjv /xu^elv ? -/pffcei; Med. 594 597: y7)[iai (jl? Xexxpa ?aorXewv
? vuv ?yt?j ?XX', &Gnep elrcov xal wxpoq, g?goli OeXwv I g?,
xal XEXvocat xol? ejjloX? ?{lOGnopoi?.
2 Phoen. 904-905: np?ixov 8' execvo ?ouXo[xac Goxpi?c, [xadelv,/
ttou 'ctxiv Mevot-xe??, 6? p.e Se?p' e7CY]yay?v; 3 Here. F. 370:
pignus hoefidei, 664: hoc, 952: subitum hoc malum, 976: hoc, 1042:
hoc, 1193: hoc; Troad. 42/43: ?id ho5 /luctus, 754: hoc, 868: hoc,
889: hoc malum, 936: hoc, 997: hoc; Phoen.
151: hoc, 261: hoc, 263: ha5 poenas, 356: hoc, 369: hoc; Med.
225: solum hoc, 237: hoc solum, 888:
hoc, 922: hocpoenaegenus, 976: hoc; Phaedr. 253: haec, 705: hoc,
1239: haeevia. 4 Here. F. 976; Med. 225. 5 Phoen. 151; Troad.
868.
6 Phoen. 650: illa.
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DEMONSTRATIVES IN EURIPIDES' AND SENECA'S TRAGEDIES 49
4. 2. 2. 1. Cataphoras of Relative Clauses
The study of postposed relative clauses in Seneca will be found
on the same criteria as those applied for the examination of
postposed relative clauses in Euripides, i.e. the structure of
diptychs, grammatical functions, genders of correlatives, and, more
generally, the way in which the cataphorics are inserted in a
sentence.
4. 2. 2.1.1. The Correlative is an Adjective and the Relative is
a Pronoun
4. 2. 2.1. 1.1. IS N ... Prep. + qui (2 uses)
Seneca's text offers two occurrences of relative clauses linked
to nominal
syntagms comprising is.1 These clauses are characterized by the
neuter
singular, the function object-Prep.S, the extreme brevity of
clauses contain ing the correlative (verb, direct object or
infinitive phrase) and the relative (verb, subject, attribute or
infinitive phrase, adverb), and the use of Prep.S. containing the
relative at the beginning of the clause. Noteworthy the use of the
subjunctive expressing possibility in Phoenissae 623-624.
4. 2. 2.1.1. 2. HIC N ... QUI (12 uses)
The adjective hie is the most attested.2 Occurrences of the
correlative struc tures within hie appears to present the following
characteristics: the use of the neuter is more frequent (7 uses)
than of masculine (2 uses) and feminine (3 uses), the appearance of
the singular (9 uses) is more recurrent than of the plural (3
uses), the non-contiguity of the correlative and the relative, the
overwhelming use of the function subject-object (3 uses)
compared
with the other functions (subject-subject, object-object;
subject-ablative of means; Prep.S.-object; NS indicating the place
we pass by; object-abl. in dicating the place where we stand;
object
-
abl. of means; object-subject; object-Prep.S).
1 Phoen. 491-492: idgerere bellum cupitis, in quo est optimum I
uinci; 622-624: Vade et id bellum
g?re / in quo pater materque pugnanti tibi / fauere possint. 2
Here. F. 509-510: Hoc munus a te genitor Alcidae peto, I rogare
quod me deceat, ut primus cadam; Troad. 268-269: sedfugit illos
spiritus haec quae dare / potuisset aliis causa, Fortunae
fauor; 396: sic hie, quo regimur, spiritus effluet; 930-932: Num
per has uastum in mare / uoluenda
rupes, latere quas scisso leuat I altum uadoso Sigeon spectans
sinu?; Phoen. 181: hac parte mortem
per age qua coepi mori; 219-220: Ego hoc solum frug?fera quo
surgit Ceres / premo? 308-309: Vnum
hoc habet fortuna quo possim capi, / inuictis aliis; 446-447:
ciuis atque hostis simul / hunc petite uentrem, qui deditfratres
uiro ...; 559-560: Quin tuae causae nocet / ipsum hoc quod armis
uris
infestis solum ...; 638-640: Qu?le tu hoc bellum putas, / in quo
execrandum uictor admittit nefas, / si gaudet?; Med. 771-774: Tibi
haec cruenta serta texuntur manu, / nouena quae serpens ligat, /
tibi haec Typhoeus membra quae discors tulit, / qui r?gna concussit
louis.
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50 H?L?NE PERDICOYIANNI-PAL?OLOGOU
Certain occurrences contain few particular syntactic turns which
separate the nucleus (N) from the nominal syntagm and hie by