Monodie euripidee: Troiane, Elettra, Ifigenia fra i Tauri, Ione, Elena, Oreste, Fenicie, Ifigenia in Aulide

Text and meter are strictly interconnected: corrections of the readings attested by manuscripts are often due to false believes in syntactical and metrical questions. An enquiry in Euripidean monodies, particularly taken from his late tragedies, shows that words or phrases are usually corrected by editors who deny, for example, aposiopesis, anacoluthon or other singularities in relative construction, while similar "problems" seem to have a similar expressive aim. Meter is the other big question, these monodies presenting a lot of "anomalies", from combination of dochmiacs and anapaests in the same verse to free responsion or proektasis, which correspond to the increasing "divorce" between verbal text and music or have, again, an expressive function. Finally, I have tried to offer quickly an examination of the possible links between tragic monodies and other poetic genres or traditional songs, in order to avoid, al least as exclusive, the easy identification of monody with threnos. This analysis gives useful elements for a reflection about the relationship between the character who sings the monody and the chorus or other characters on the stage.