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

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).

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 -

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).

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.

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

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?

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

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.

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

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?.

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.

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.).

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.

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.

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.

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.

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?;

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.

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.

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?$?.

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??.

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?)?;

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? ?

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.

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.

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.

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