Abstract

The appearance of two new editions of the Choephoroi in 1986 has prompted me to reexamine the theatrical logic of the recognition scene. Anthony Bowen's student edition offers a curious contrast. Bowen is alert to the music of the choruses, and describes them as ‘a feast in themselves’ . He remarks with reference to the strophic verse that ‘it is surprising how well these works have come down to us’ . When he discusses the staging, however, he no longer finds the text well preserved, and follows Fraenkel in disposing of the footprints. Three interpolations, a total of nine lines, have to be struck out . A. F. Garvie's scholarly edition broadly accepts the extant text, but does not – I wish to argue – yet grasp the theatrical logic of the writing