Abstract

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musical Design in Sophoclean TheaterDeborah H. RobertsWilliam C. Scott. Musical Design in Sophoclean Theater. Hanover, N.H., and London: University Press of New England, for Dartmouth College, 1996. xxii 1 330 pp. Cloth, $45.Music and the chorus that performed most of this music were fundamental elements in Greek tragedy, but we know very little about the music of tragedy, and it is notoriously difficult to find a successful way of staging the chorus in modern productions. Among the great theorists of tragedy, Aristotle, who knew the music, placed it considerably below plot in importance; Nietzsche, who didn’t, saw it as tragedy’s source and essence. Recent criticism, turning increasingly from text to context, and concerning itself with both social context and performance context, again leads us from a variety of perspectives to consider the role of music and of the chorus in Greek tragedy.In Musical Design in Sophoclean Theater, a sequel of sorts to his earlier book on Aeschylus, William Scott looks at music less as an aspect of context than as an aspect of text; that is, he works with all that remains to us of tragedy’s music, the metrical forms of lyric. He does not understate the difficulties that confront his project and notes our lack of knowledge about melody and even about rhythm. But he seeks by a detailed analysis of metrical patterning and strophic form to show how music may have contributed to choral persona, the progress of choral response, the interchange between characters, the statement of dramatic theme, and the workings of dramatic irony. Scott’s aim is in part to enable producers of Greek plays to translate Greek musical idiom into something analogous to assist the meaning of the play; to that end, here as in the earlier book, he provides an introduction specifically for readers working in translation.Scott gives a useful account of the basic meters of Greek tragedy, avoiding the more arcane reaches of metrical studies and eschewing debate (except in the notes) over the exact metrical interpretation of particular passages. Readers will need to supplement Scott’s text with some form of aural experience of meter (reading out loud themselves, listening to others) if they are to get any sense of musicality; but he does about as much as can be done on the printed page. His comments both general and particular on the Sophoclean chorus and its varied roles and voices clarify its sometimes enigmatic presence for the newcomer to tragedy and also have something to offer to the scholar and teacher. His interpretations of the plays are not themselves novel in either approach or conclusions (nor are they intended to be), but they are again helpful; and in showing how attention to musical elements may strengthen a particular reading Scott vividly brings out important aspects of the plays. Notes and bibliography are thorough, and Scott extensively cites earlier work on the Sophoclean chorus.After a brief introductory chapter, the book consists largely of readings of each of Sophocles’ extant plays informed by metrical analysis and interpretation [End Page 123] of all lyric and anapestic passages in the order in which they occur. The second chapter deals with Antigone and Ajax, and the third with Trachiniae, Oedipus Tyrannus, Electra, and Philoctetes. In the last chapter, after recapitulating the chief features of musical design in the earlier plays, Scott turns to a concluding analysis of Oedipus at Colonus, which he sees as peculiarly varied and innovative. For each play he seeks to show how “scansion patterns can offer a clue to the rich effects available in a full musical performance” and how “it is possible to see from the scansion patterns that there are ironies and enriched meanings in the words that are supported in the musical design” (9). He takes account of the well-known associations of a few meters (dochmiacs with heightened emotion, sequences of dactyls with allusion to epic and so forth) but is primarily concerned with the meanings meters and groups of meters take on in particular metrical and dramatic contexts. Central to Scott’s interpretations is the assumption that the Greek audience responded to the odes in...