This is the first study of named and anonymous minor characters in Greek tragedy. The introduction discusses fictional characters and characterization, the controversy about tragic characterization, and the definition of the concept of minor character. Four main criteria may be used for this purpose, mythological/literary (no place in the mythological and/or literary tradition), social (low status, coupled with anonymity), quantitative (brief speaking part, usually in one scene), and dramatic (small or no part in the development and/or the outcome of the plot). When a character meets all of them, s/he is a minor, but such instances are relatively rare. The dramatic criterion is the most helpful, as this is the playwrights’ crucial choice in the representation of minor characters. The inclusion of minor characters exemplifies the playwrights’ inventive powers and highlights the universality of the human condition, irrespective of social class and personal priorities. Sketched with great care, the minor characters are never expendable or easily forgettable. The book takes into account recent advances in cognitive and performance studies and will prove helpful to classical and theater scholars, students, and directors of Greek plays.

This is the first study of named and anonymous minor characters in Greek tragedy. The introduction discusses fictional characters and characterization, the controversy about tragic characterization, and the definition of the concept of minor character. Four main criteria may be used for this purpose, mythological/literary (no place in the mythological and/or literary tradition), social (low status, coupled with anonymity), quantitative (brief speaking part, usually in one scene), and dramatic (small or no part in the development and/or the outcome of the plot). When a character meets all of them, s/he is a minor, but such instances are relatively rare. The dramatic criterion is the most helpful, as this is the playwrights’ crucial choice in the representation of minor characters. The inclusion of minor characters exemplifies the playwrights’ inventive powers and highlights the universality of the human condition, irrespective of social class and personal priorities. Sketched with great care, the minor characters are never expendable or easily forgettable. The book takes into account recent advances in cognitive and performance studies and will prove helpful to classical and theater scholars, students, and directors of Greek plays.

This is the first study of named and anonymous minor characters in Greek tragedy. The introduction discusses fictional characters and characterization, the controversy about tragic characterization, and the definition of the concept of minor character. Four main criteria may be used for this purpose, mythological/literary (no place in the mythological and/or literary tradition), social (low status, coupled with anonymity), quantitative (brief speaking part, usually in one scene), and dramatic (small or no part in the development and/or the outcome of the plot). When a character meets all of them, s/he is a minor, but such instances are relatively rare. The dramatic criterion is the most helpful, as this is the playwrights’ crucial choice in the representation of minor characters. The inclusion of minor characters exemplifies the playwrights’ inventive powers and highlights the universality of the human condition, irrespective of social class and personal priorities. Sketched with great care, the minor characters are never expendable or easily forgettable. The book takes into account recent advances in cognitive and performance studies and will prove helpful to classical and theater scholars, students, and directors of Greek plays.