C W WILLINK
Biographic Data
| ID | 5716720 |
|---|---|
| NAME | C W WILLINK |
| GIVEN NAMES | C W |
| FAMILY NAME | WILLINK |
| SIGNATURE | WILLINK C W |
| VERIFIED | No |
| TOTAL WORKS | 27 |
| TOTAL CITATIONS | 38 |
| AUTHOR COUNT | 25 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1966 |
| LATEST PUBLICATION YEAR | 2010 |
| H-INDEX | 4 |
The Prologue of Iphigenia at Aulis
Iphigenia at aulis presents many problems to the literary and textual critic. Among these the problem of the prologue is as clear-cut as it is controversial. It may be summarized as follows: (1) Our text opens abruptly with an anapaestic dialogue between Agamemnon and the Retainer (1–48), instead of the usual monologue in trimeters. In reply to a question from the Retainer, Agamemnon launches into a long iambic narrative (49–114), describing much…
Collected Papers on Greek Tragedy
Sir Charles Willink was responsible for some of the most important advances in the study of the text and metre of Greek tragedy published in the last fifty years. With his unrivalled knowledge of tragic usage and ear for subtle rhythmical points, he was able to solve long-standing problems in areas ranging from metrical analysis to staging and the detection of interpolations, and many of his proposals have already been adopted in standard edition…
Sophocles, Antigone 23-5 and the Burial of Eteocles
Founded in 1683 in Leiden, the Netherlands, Brill is a leading international academic publisher in the Humanities, Social Sciences, International Law, and Biology. With offices in the Netherlands, Germany, Austria, the USA and Asia, Brill today publishes more than 360 journals and 2,000 new books and reference works each year as well as a large number of databases and primary source research collections
Euripides, Iphigenia in Tauris 123–36
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Euripides, Iphigenia in Tauris 392–455
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Further cirtical notes on Euripides' Orestes
Further cirtical notes on Euripides’ Orestes
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Critical Studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Critical studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Critical Studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Further critical notes on Euripides' Hippolytus
29–33. Phaedra's ἒρως must at first (at Athens) have been without betraying symptoms , by contrast with the change at Trozen to symptoms of νόσος (still unexplained) as described in 34–40. We need to be told that explicitly, in preparation ( μέν ) for 34ff. ( ἐπєὶδὲ... ) and in conjunction with the potentially revealing foundation of a temple to Aphrodite. We therefore need not only Jortin's ὀνομάσουσιν for ὠνόμαζєν in 33, but also my ἂδηλον for …
Sophocles, Electra 137–9
The familiar crux in line 139, as obelized by Dawe, disappears in the new Oxford Text, whose editors accept the Triclinian reading . Their short critical note touches only on the metrical issue, citing discussions by Stinton and Diggle, in both of which acceptance of here is cautiously linked with recognition of the same responsion at Philoctetes 209/218 and Euripides, Medea 159/183. The note concludes with a reference (credited to Miss Parker) t…
Euripides, Supplices 42–70
In a previous article I discussed some textual and metrical issues in the lyric-iambic stanzas Supplices 71–8/79–86, and the problematic persona and constitution of the Chorus. The preceding maternal ἱκεсα in four ionic stanzas presents fewer textual problems; but here too there is a challenging crux, at 45(–6) in the first strophe; and there is more to be said about the ode's metrical structure. I begin with a metrical reappraisal, which will pr…
Notes on the Parodos-Scene in Euripides' Heraclidae , 73–117
In response to Iolaus' cry for help, the chorus in Held , enter at a run (βοηδρομοντεс cf. 121), and the Parodos takes a form appropriate to that. Instead of choral song-and-dance, what follows, after an exceptionally brief non-strophic ‘entry’-passage, is an amoibaion first between the Chorus-leader and Iolaus, then between the Chorus-leader and the Herald, musical only as featuring some ‘half-chanted’ sequences in the Chorus-leader's utterances
Euripides, Supplices 71–86 and the Chorus of ‘Attendants’
The first choral ode of Euripides' Supplices , or the Parodos if that term can be used for an ode which is not an ‘entry’, ends with two stanzas of lyric-iambic threnody, following four stanzas of supplication in ionic metre (42–70) As Collard comments, this structure is broadly similar to, and very possibly modelled upon, A. Pers. 65–114, 115–39. But there is an important difference here: prima facie, the ‘further∕different concerted lament’ in …
The Parodos of Euripides' Helen (164–90)
The friendly expatriate ladies of the chorus in Helen enter having heard loud lamentation issuing from the palace, while engaged, like the Φ⋯λα of the chorus in Hippolytus 125ff., in spreading laundered crimson textiles to dry in the sun. The central theme of ‘hearing cries’, with the verb ἒκλυον and nouns of utterance (185–6), is reminiscent also of Medea 131ff., where the opening words of the Parodos ἒκλυον Φων⋯ν, ἒκλυον δ⋯ βο⋯ν... allude to Me…
The Reunion Duo In Euripides' Helen
So begins one of the most engaging, and variously controversial, musical scenes in Euripides. The Messenger's narrative of the Phantom Helen's disappearance has proved to Menelaus that the Helen standing before him is the real Helen, altogether innocent of elopement to Troy, from whom he has been sundered for seventeen laborious years. The ensuing embrace is developed in a duet ( Hel. 625–59) which is followed without a break by the so-called ‘In…
Euripides, Medea 1–45, 371–85
Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention(s) of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance
Sleep After Labour in Euripides' Heracles
πνος, in general a common word in Greek tragedy, is a cardinal theme in the Heracles . In the first half of the play the glorious saving Labours (πνοι, μχθοι, ἄθλοι, γνες) of the warrior Hero with his bow, club and other weaponry are retrospectively evoked and further enacted. Repeated emphasis on this kind of ‘noble toil’ accords with the heroic definition of ρετ, which traditionally βανει διμχθω–8 the first strophe of the long First Stasimon in…
Orestes
"Orestes" published on by null.
Euripides
Prodikos, ‘Meteorosophists’ and the ‘Tantalos’ Paradigm
Three famous sophists are referred to together in the Apology of Sokrates as still practising their enviably lucrative itinerant profession in 399 b.c. (not, by implication, I in Athens): Gorgias of Leontinoi, Prodikos of Keos and Hippias of Elis. The last of these was the least well known to the Athenian demos , having practised mainly in I Dorian cities. There is no extant reference to him in Old Comedy, but we can assume that he was sufficient…
Some Problems of Text and Interpreation in the Hippolytus
Phaedra's long speech is one of the most important elements in Euripides’ most intricate play; we may confidently assume that with his surpassing interest in women and in rhetoric the dramatist will have lavished more than usual pains upon it. Interpretation of it has suffered in the past from false preconceptions and lexicological imprecision; the nature of the speech is such that we can be led far astray by a small misjudgement of the connotati…
A Problem in Aeschylus' Septem
A. ScT 803–21 are a notorious crux, which has received very varied treatment from editors without any clear solution of the problem emerging. A widely favoured version follows that of Weil, and disposes the lines as follows: 803–4 –6–7 ( (Heimsöth) or (Dindorf))–8–9–io (Porson))–ll ( (Hartung))–21–I2 ... 19– [20]. We may be able to concede the arbitrary transpositions of 805 and 821, since it is likely enough that the text is substantially disord…
Some Problems of Text and Interpretation in the Bacchae . II
In Part I of this article the major problems of the transmission of the Bacchae were considered, with a discussion of interpolated lines and lacunae, whether certain or merely postulated by previous editors. In the Introduction it was argued that P is a copy of a manuscript which was very like L (whether a copy or a twin hardly matters) before being supplemented with variant readings and with the whole of Tr. and Ba. 756 ff. from a lost source. T…
Collected Papers on Greek Tragedy
Sir Charles Willink was responsible for some of the most important advances in the study of the text and metre of Greek tragedy published in the last fifty years. With his unrivalled knowledge of tragic usage and ear for subtle rhythmical points, he was able to solve long-standing problems in areas ranging from metrical analysis to staging and the detection of interpolations, and many of his proposals have already been adopted in standard edition…
Some Problems of Text and Interpretation in the Bacchae . I
The following notes refer constantly to E. R. Dodds' Bacchae (2nd ed., Oxford, 1960), which forms a valuable basis for study of the play; the passages discussed are those where I find myself in disagreement with Dodds' notes or with some new conjecture to offer, but everywhere my debt to the material he has assembled is very great. Recently W. S. Barrett's Hippolytos (Oxford, 1964) has illuminated a number of dark corners, providing a wealth of E…
Critical Studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Prologue of Iphigenia at Aulis
Iphigenia at aulis presents many problems to the literary and textual critic. Among these the problem of the prologue is as clear-cut as it is controversial. It may be summarized as follows: (1) Our text opens abruptly with an anapaestic dialogue between Agamemnon and the Retainer (1–48), instead of the usual monologue in trimeters. In reply to a question from the Retainer, Agamemnon launches into a long iambic narrative (49–114), describing much…
The Parodos of Euripides' Helen (164–90)
The friendly expatriate ladies of the chorus in Helen enter having heard loud lamentation issuing from the palace, while engaged, like the Φ⋯λα of the chorus in Hippolytus 125ff., in spreading laundered crimson textiles to dry in the sun. The central theme of ‘hearing cries’, with the verb ἒκλυον and nouns of utterance (185–6), is reminiscent also of Medea 131ff., where the opening words of the Parodos ἒκλυον Φων⋯ν, ἒκλυον δ⋯ βο⋯ν... allude to Me…
The Reunion Duo In Euripides' Helen
So begins one of the most engaging, and variously controversial, musical scenes in Euripides. The Messenger's narrative of the Phantom Helen's disappearance has proved to Menelaus that the Helen standing before him is the real Helen, altogether innocent of elopement to Troy, from whom he has been sundered for seventeen laborious years. The ensuing embrace is developed in a duet ( Hel. 625–59) which is followed without a break by the so-called ‘In…
Notes on the Parodos-Scene in Euripides' Heraclidae , 73–117
In response to Iolaus' cry for help, the chorus in Held , enter at a run (βοηδρομοντεс cf. 121), and the Parodos takes a form appropriate to that. Instead of choral song-and-dance, what follows, after an exceptionally brief non-strophic ‘entry’-passage, is an amoibaion first between the Chorus-leader and Iolaus, then between the Chorus-leader and the Herald, musical only as featuring some ‘half-chanted’ sequences in the Chorus-leader's utterances
Sleep After Labour in Euripides' Heracles
πνος, in general a common word in Greek tragedy, is a cardinal theme in the Heracles . In the first half of the play the glorious saving Labours (πνοι, μχθοι, ἄθλοι, γνες) of the warrior Hero with his bow, club and other weaponry are retrospectively evoked and further enacted. Repeated emphasis on this kind of ‘noble toil’ accords with the heroic definition of ρετ, which traditionally βανει διμχθω–8 the first strophe of the long First Stasimon in…
Prodikos, ‘Meteorosophists’ and the ‘Tantalos’ Paradigm
Three famous sophists are referred to together in the Apology of Sokrates as still practising their enviably lucrative itinerant profession in 399 b.c. (not, by implication, I in Athens): Gorgias of Leontinoi, Prodikos of Keos and Hippias of Elis. The last of these was the least well known to the Athenian demos , having practised mainly in I Dorian cities. There is no extant reference to him in Old Comedy, but we can assume that he was sufficient…
Some Problems of Text and Interpretation in the Bacchae . II
In Part I of this article the major problems of the transmission of the Bacchae were considered, with a discussion of interpolated lines and lacunae, whether certain or merely postulated by previous editors. In the Introduction it was argued that P is a copy of a manuscript which was very like L (whether a copy or a twin hardly matters) before being supplemented with variant readings and with the whole of Tr. and Ba. 756 ff. from a lost source. T…
Some Problems of Text and Interpretation in the Bacchae . II
In Part I of this article the major problems of the transmission of the Bacchae were considered, with a discussion of interpolated lines and lacunae, whether certain or merely postulated by previous editors. In the Introduction it was argued that P is a copy of a manuscript which was very like L (whether a copy or a twin hardly matters) before being supplemented with variant readings and with the whole of Tr. and Ba. 756 ff. from a lost source. T…
On the Transmission of the Bacchae
In the last number of CQ ,(N.S. xvi [1966], 28 [iii]), I mistakenly attributed to Professor Zuntz ( An Inquiry into the Transmission of the Plays of Euripides [Cambridge, 1965]) the view that P's exemplar was, before correction, the ‘parent’ of L. The possibility that the parent (‘Λ’ in Zuntz) of L became, after corrections derived from its own parent (‘β’), the parent of P is in fact considered by Zuntz (p. 124) only as an alternative to the hyp…
Some Problems of Text and Interpretation in the Bacchae . I
The following notes refer constantly to E. R. Dodds' Bacchae (2nd ed., Oxford, 1960), which forms a valuable basis for study of the play; the passages discussed are those where I find myself in disagreement with Dodds' notes or with some new conjecture to offer, but everywhere my debt to the material he has assembled is very great. Recently W. S. Barrett's Hippolytos (Oxford, 1964) has illuminated a number of dark corners, providing a wealth of E…
Some Problems of Text and Interpreation in the Hippolytus
Phaedra's long speech is one of the most important elements in Euripides’ most intricate play; we may confidently assume that with his surpassing interest in women and in rhetoric the dramatist will have lavished more than usual pains upon it. Interpretation of it has suffered in the past from false preconceptions and lexicological imprecision; the nature of the speech is such that we can be led far astray by a small misjudgement of the connotati…
A Problem in Aeschylus' Septem
A. ScT 803–21 are a notorious crux, which has received very varied treatment from editors without any clear solution of the problem emerging. A widely favoured version follows that of Weil, and disposes the lines as follows: 803–4 –6–7 ( (Heimsöth) or (Dindorf))–8–9–io (Porson))–ll ( (Hartung))–21–I2 ... 19– [20]. We may be able to concede the arbitrary transpositions of 805 and 821, since it is likely enough that the text is substantially disord…
Prodikos, ‘Meteorosophists’ and the ‘Tantalos’ Paradigm
Three famous sophists are referred to together in the Apology of Sokrates as still practising their enviably lucrative itinerant profession in 399 b.c. (not, by implication, I in Athens): Gorgias of Leontinoi, Prodikos of Keos and Hippias of Elis. The last of these was the least well known to the Athenian demos , having practised mainly in I Dorian cities. There is no extant reference to him in Old Comedy, but we can assume that he was sufficient…
Orestes
"Orestes" published on by null.
Euripides
Euripides, Medea 1–45, 371–85
Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention(s) of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance
Sleep After Labour in Euripides' Heracles
πνος, in general a common word in Greek tragedy, is a cardinal theme in the Heracles . In the first half of the play the glorious saving Labours (πνοι, μχθοι, ἄθλοι, γνες) of the warrior Hero with his bow, club and other weaponry are retrospectively evoked and further enacted. Repeated emphasis on this kind of ‘noble toil’ accords with the heroic definition of ρετ, which traditionally βανει διμχθω–8 the first strophe of the long First Stasimon in…
The Reunion Duo In Euripides' Helen
So begins one of the most engaging, and variously controversial, musical scenes in Euripides. The Messenger's narrative of the Phantom Helen's disappearance has proved to Menelaus that the Helen standing before him is the real Helen, altogether innocent of elopement to Troy, from whom he has been sundered for seventeen laborious years. The ensuing embrace is developed in a duet ( Hel. 625–59) which is followed without a break by the so-called ‘In…
Euripides, Supplices 71–86 and the Chorus of ‘Attendants’
The first choral ode of Euripides' Supplices , or the Parodos if that term can be used for an ode which is not an ‘entry’, ends with two stanzas of lyric-iambic threnody, following four stanzas of supplication in ionic metre (42–70) As Collard comments, this structure is broadly similar to, and very possibly modelled upon, A. Pers. 65–114, 115–39. But there is an important difference here: prima facie, the ‘further∕different concerted lament’ in …
The Parodos of Euripides' Helen (164–90)
The friendly expatriate ladies of the chorus in Helen enter having heard loud lamentation issuing from the palace, while engaged, like the Φ⋯λα of the chorus in Hippolytus 125ff., in spreading laundered crimson textiles to dry in the sun. The central theme of ‘hearing cries’, with the verb ἒκλυον and nouns of utterance (185–6), is reminiscent also of Medea 131ff., where the opening words of the Parodos ἒκλυον Φων⋯ν, ἒκλυον δ⋯ βο⋯ν... allude to Me…
Notes on the Parodos-Scene in Euripides' Heraclidae , 73–117
In response to Iolaus' cry for help, the chorus in Held , enter at a run (βοηδρομοντεс cf. 121), and the Parodos takes a form appropriate to that. Instead of choral song-and-dance, what follows, after an exceptionally brief non-strophic ‘entry’-passage, is an amoibaion first between the Chorus-leader and Iolaus, then between the Chorus-leader and the Herald, musical only as featuring some ‘half-chanted’ sequences in the Chorus-leader's utterances
Euripides, Supplices 42–70
In a previous article I discussed some textual and metrical issues in the lyric-iambic stanzas Supplices 71–8/79–86, and the problematic persona and constitution of the Chorus. The preceding maternal ἱκεсα in four ionic stanzas presents fewer textual problems; but here too there is a challenging crux, at 45(–6) in the first strophe; and there is more to be said about the ode's metrical structure. I begin with a metrical reappraisal, which will pr…
Sophocles, Electra 137–9
The familiar crux in line 139, as obelized by Dawe, disappears in the new Oxford Text, whose editors accept the Triclinian reading . Their short critical note touches only on the metrical issue, citing discussions by Stinton and Diggle, in both of which acceptance of here is cautiously linked with recognition of the same responsion at Philoctetes 209/218 and Euripides, Medea 159/183. The note concludes with a reference (credited to Miss Parker) t…
Further critical notes on Euripides' Hippolytus
29–33. Phaedra's ἒρως must at first (at Athens) have been without betraying symptoms , by contrast with the change at Trozen to symptoms of νόσος (still unexplained) as described in 34–40. We need to be told that explicitly, in preparation ( μέν ) for 34ff. ( ἐπєὶδὲ... ) and in conjunction with the potentially revealing foundation of a temple to Aphrodite. We therefore need not only Jortin's ὀνομάσουσιν for ὠνόμαζєν in 33, but also my ἂδηλον for …
Critical Studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Critical studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Critical Studies in the Cantica of Sophocles
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Further cirtical notes on Euripides' Orestes
Further cirtical notes on Euripides’ Orestes
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Euripides, Iphigenia in Tauris 392–455
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Sophocles, Antigone 23-5 and the Burial of Eteocles
Founded in 1683 in Leiden, the Netherlands, Brill is a leading international academic publisher in the Humanities, Social Sciences, International Law, and Biology. With offices in the Netherlands, Germany, Austria, the USA and Asia, Brill today publishes more than 360 journals and 2,000 new books and reference works each year as well as a large number of databases and primary source research collections
Euripides, Iphigenia in Tauris 123–36
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Art (21 works) · Philosophy (19 works) · Literature (18 works) · Philosophy (17 works) · Classical Antiquity Studies (15 works) · History (15 works) · History (12 works) · Computer Science (9 works) · Linguistics (9 works) · Crime, Deviance, and Social Control (8 works)