The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman’s Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian.
After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides’ Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.
Use the following persistent identifier: http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due.The_Captive_Womans_Lament_in_Greek_Tragedy.2006.
Copyright, University of Texas Press. Published here with permission.
Sunday, March 1, 2026
The Captive Woman’s Lament in Greek Tragedy
Recapturing a Homeric Legacy: Images and Insights from the Venetus A Manuscript of the Iliad
Marcianus Graecus Z. 454 [= 822], known to Homeric scholars as the Venetus A, is the oldest complete text of the Iliad in existence, meticulously crafted during the tenth century CE. An impressive thousand years old and then some, its historical reach is far greater. The Venetus A preserves in its entirety a text that was composed within an oral tradition that can be shown to go back as far as the second millennium BCE, and the writings in its margins preserve the scholarship of Ptolemaic scholars working in the second century bce and in the centuries following.
Two thousand years later, technology offers a new opportunity to rediscover this scholarship and better understand the epic that is the foundation of Western literature. The high-resolution images of the manuscript that accompany these essays were acquired by a multinational team of scholars and conservators in May 2007.
Dué, Casey, ed. 2009. Recapturing a Homeric Legacy: Images and Insights from the Venetus A Manuscript of the Iliad. Hellenic Studies Series 35. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due_ed.Recapturing_a_Homeric_Legacy.2009
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Iliad 10 and the Poetics of Ambush: A Multitext Edition with Essays and Commentary
This edition, commentary, and accompanying essays focus on the tenth book of the Iliad, which has been doubted, ignored, and even scorned. Casey Dué and Mary Ebbott use approaches based on oral traditional poetics to illuminate many of the interpretive questions that strictly literary approaches find unsolvable. The introductory essays explain their textual and interpretive approaches and explicate the ambush theme within the whole Greek epic tradition. The critical texts (presented as a sequence of witnesses, including the tenth-century Venetus A manuscript and select papyri) highlight the individual witnesses and the variations they offer. The commentary demonstrates how the unconventional Iliad 10 shares in the oral traditional nature of the whole epic, even though its poetics are specific to its nocturnal ambush plot.Dué, Casey, and Mary Ebbott. 2010. Iliad 10 and the Poetics of Ambush: A Multitext Edition with Essays and Commentary. Hellenic Studies Series 39. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due_Ebbott.Iliad_10_and_the_Poetics_of_Ambush.2010.
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Homeric Variations on a Lament by Briseis
Casey Dué examines the figure of Briseis, the concubine of Achilles in the Iliad, as an example of the traditional artistry enabled by a complex and self-contained oral poetic system. Briseis’ lament for Patroclus in Iliad 19 hints at her role in the larger epic tradition. Dué argues that Briseis’ role in the Iliad is enormously compressed, both in relation to the Iliad and the entire tradition of the epic cycle. Through a close reading of Homeric passages, Homeric Variations on a Lament by Briseis shows how theIliad refers to expanded and alternative traditions about Briseis even while asserting its own version of her story.
It seems likely that there were at least two variations on the story of Briseis, because of the two-fold pattern she fulfills in ancient references. In one variation she is a wife whose husband is killed by Achilles in the sack of his city; in another she is an unmarried girl, the daughter of a king, whose father is killed when Achilles captures her town. Our Iliad alludes to multiple variations on these two basic themes.
Originally published in 2002 by Rowman & Littlefield as a part of the series "Greek Studies: Interdisciplinary Approaches." Copyright, Rowman & Littlefield. Available for purchase in print via Rowman & Littlefield.
Use the following persistent identifier: http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due.Homeric_Variations_on_a_Lament_by_Briseis.2002.
This work is licensed under a Creative Commons 3.0 License.
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