Book contents
- Female Characters in Fragmentary Greek Tragedy
- Female Characters in Fragmentary Greek Tragedy
- Copyright page
- Contents
- Notes on Contributors
- Preface
- Abbreviations
- 1 Introduction
- Part I Themes
- Part II Plays
- 7 Dancing on the Plain of the Sea
- 8 Europa Revisited
- 9 When Mothers Turn Bad
- 10 The Music One Desires
- 11 Fragmented Self and Fragmented Responsibility
- 12 Female Agency in Euripides’ Hypsipyle
- 13 Making Medea Medea
- Bibliography
- General Index
- Index of main female characters discussed
11 - Fragmented Self and Fragmented Responsibility
Pasiphae in Euripides’ Cretans
from Part II - Plays
Published online by Cambridge University Press: 11 June 2020
- Female Characters in Fragmentary Greek Tragedy
- Female Characters in Fragmentary Greek Tragedy
- Copyright page
- Contents
- Notes on Contributors
- Preface
- Abbreviations
- 1 Introduction
- Part I Themes
- Part II Plays
- 7 Dancing on the Plain of the Sea
- 8 Europa Revisited
- 9 When Mothers Turn Bad
- 10 The Music One Desires
- 11 Fragmented Self and Fragmented Responsibility
- 12 Female Agency in Euripides’ Hypsipyle
- 13 Making Medea Medea
- Bibliography
- General Index
- Index of main female characters discussed
Summary
This chapter analyses the particularly complex representation of responsibility and selfhood present in the speech of Pasiphae in Euripides’ Cretans, in which the queen defends her act of falling in love with the bull. The chapter shows how Pasiphae is able to dissociate herself completely from her past actions by appealing to divine intervention, the role of her husband Minos, and an understanding of human morality and motivation that is rooted in hedonistic principles. Pasiphae’s defence thus relies on a concept of the fragmentation of the self that reveals her as one of Euripides’ most philosophically sophisticated female speakers.
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- Information
- Female Characters in Fragmentary Greek Tragedy , pp. 179 - 197Publisher: Cambridge University PressPrint publication year: 2020