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Two Orphic Images in Euripides: Hippolytus 952–957 and Cretans 472 Kannicht
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Alberto Bernabé Pajares
Published/Copyright:
November 15, 2016
Abstract:
This article examines two Euripidean references to the presence of Orphics in classical Athens: the one is a negative view, where Orphics are seen as false and dangerous (Hippolytus 948–957), and the other is a positive view, where Cretan priests are presented as pure and saintly men (Cretans 472). Both views give an idea of the contradictory reactions (admiration and rejection) that adherents to this form of religion inspired in the Athenians.
Published Online: 2016-11-15
Published in Print: 2016-11-15
© De Gruyter 2016
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Articles in the same Issue
- Titelseiten
- Special Issue: Orphism and Greek Tragedy, Issue Editors: Jacqueline Assaël & Andreas Markantonatos
- Introduction
- The Degree of Orphic Initiation in Euripides’ Alcestis
- Two Orphic Images in Euripides: Hippolytus 952–957 and Cretans 472 Kannicht
- The Meanings of σώιζειν in Alcestis’ Final Scene
- Mystical Morality and Heroic Transcendence: Eleusinian Orphism and Political Ethics in Euripides’ Iphigenia at Aulis
- Dikē as Global World Order: An Orphic Inheritance in Aeschylus?
- Death Scenes and Orphic Mysteries in Euripides: Between the Epic and the Mystic
- Orpheus and mousikê in Greek Tragedy
- General Index
Articles in the same Issue
- Titelseiten
- Special Issue: Orphism and Greek Tragedy, Issue Editors: Jacqueline Assaël & Andreas Markantonatos
- Introduction
- The Degree of Orphic Initiation in Euripides’ Alcestis
- Two Orphic Images in Euripides: Hippolytus 952–957 and Cretans 472 Kannicht
- The Meanings of σώιζειν in Alcestis’ Final Scene
- Mystical Morality and Heroic Transcendence: Eleusinian Orphism and Political Ethics in Euripides’ Iphigenia at Aulis
- Dikē as Global World Order: An Orphic Inheritance in Aeschylus?
- Death Scenes and Orphic Mysteries in Euripides: Between the Epic and the Mystic
- Orpheus and mousikê in Greek Tragedy
- General Index
