DOCSLIB.ORG

A Commentary on Euripides' Danae and Dictys

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

19 1693403 6 REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree P V\0 Year ''LCjO^T Name of Author C O P Y R IG H T This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOANS Theses may not be lent to individuals, but the Senate House Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: Inter-Library Loans, Senate House Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the Senate House Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The Senate House Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. This copy has been deposited in the Library of This copy has been deposited in the Senate House Library, Senate House, Malet Street, London WC1E 7HU. C:\Documents and Settings\lproctor\Local Settings\Temporary Internet Files\OLK8\Copyright - thesis (2).doc University College London Department of Greek and Latin A COMMENTARY ON EURIPIDES’ DANAE AND DICTYS A thesis submitted to the University of London for the degree of Doctor of Philosophy by Ioanna Karamanou January 2005 UMI Number: U592926 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592926 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 THESIS ABSTRACT Euripides’ Danae and Dictys belong to the Danae-myth, treating the earlier and subsequent phase of the legend, respectively. As far as the evidence allows, a cautious reconstruction of the plot of each play is attempted, based on interrogation of the fragmentary material and the testimonia. In this effort, Euripidean scene-construction, parallel thematic and structural patterns, parallel rhetoric and general rules of tragic practice are also taken into account as evidence for the dramatist’s usage. As regards the generic affiliations of each play, the Danae may be paralleled to Euripides’ Alope, Melanippe the Wise and Auge, all of which treated the clash of a royal daughter with her paternal oikos, due to the disclosure of her illicit motherhood resulting in most cases from her union with a god. The evidence for the Dictys indicates that it was probably built upon a central altar-scene (cf. E. Heraclidae, Andromache, Suppliant Women, Heracles, Helen ) and that it had the features of a nostos-play, following the ‘retum- rescue-revenge’ pattern (cf. the first part of the Heracles ). The reception of both plays and their position in the transmission of Euripides are also explored, on the basis of the available evidence. This is the first commentary on Euripides’ Danae and Dictys; a detailed commentary on language, style, themes and values, aiming also to shed light on various aspects of Euripidean technique (e.g. his rhetoric, imagery, as well as staging directions, where possible). The exploration of issues raised by the fragmentary material seeks to complement our knowledge of Euripides’ drama, as derived from surviving plays, which represent only a portion of the whole Euripidean oeuvre. Where appropriate, textual and philological matters are discussed, as well as questions of authenticity, such as a Danae ‘hypothesis’ and ‘prologue’ (the spurious fr. 1132 Kn.) transmitted in Euripides’ manuscript P (Vaticanus Palatinus gr. 287, f 147v-148r). ACKNOWLEDGMENTS I am hugely indebted to my supervisor, Professor Chris Carey, for his careful guidance and very constructive criticism. I have been extremely fortunate to receive his unstinted interest in and support of my research, not only as regards the present thesis, but in terms of particular publications as well. I owe very much also to my supervisor during the first year of my PhD research, Professor Richard Janko, for encouraging me to deal with this topic and subjecting the first drafts of my work to his robust criticism. I am deeply grateful to Mr Alan Griffiths, who read most of this thesis as my subsidiary supervisor, offering stimulating ideas and much advice, and Professor Cornelia Roemer for initiating me to the exciting field of Papyrology and for offering much help with the papyrus-ffagments of this dissertation. I also benefited greatly from the expertise of Professors Eric Handley and Axel Seeberg in iconographic evidence and of Professor Egert PShlmann in staging. Deep thanks are due to Professor Richard Kannicht for so generously sending me the valuable proofs of his text of the Danae and Dictys a year before the publication of TrGF V. At this point, I need to express my gratitude to Professor Pat Easterling for her scholarly advice and unfailing encouragement throughout my graduate studies, ever since my first tentative steps in the field of research of tragic fragments during my MPhil at Cambridge. I owe a great debt to late Professor Herman van Looy for so kindly encouraging me to work and publish on Euripidean fragments and for making this possible with the four volumes of his full-scale Bude edition in co-operation with Professor F. Jouan. Special thanks are due to the A. S. Onassis and O. Stathatou Foundations for successively funding my research. Finally, the debt to my family cannot be adequately expressed in words. Both my parents have unconditionally offered their affectionate, academic and material support throughout my studies and my mother, in particular, should be credited with inspiring me love for tragedy and fragments. My husband, Emmanuel, has patiently stood by me all the way from the very beginning, offering constant encouragement, great help, understanding, inspiration and moral support. ABBREVIATIONS The abbreviations of the names of Greek and Latin authors and their works follow those in LSJ 9 and Lewis & Short respectively. Abbreviations of journals are cited after L ’ Annee Philologique. The editions of the Euripidean fragments by Professors Kannicht and Jouan & van Looy are abbreviated as Kn. and J.-v.L. respectively. To my Parents TABLE OF CONTENTS General Introduction ___________________________________________________ 1 (i) The Danae and Dictys and their Place in the Transmission of Euripides ________________________________________________ 2 (ii) Exploring the Evidence: The Sources and ‘Reconstruction’ 5 Euripides’ Danae ______________________________________________________ 8 1. The Myth in Literature and Art ______________________________ 8 2. The Date of the Play ______________________________________ 21 3. Dramatis Personae and Setting _____________________________ 22 4. The Structure of the Play __________________________________ 24 5. Reception of the Danae ____________________________________32 Text: Testimonia ____________________________________________ 34 Fragmenta ___________________________________________ 37 Commentary _______________________________________________ 44 Euripides’ Dictys____________________________________________________ 120 1. The Myth in Literature and Art ____________________________ 120 2. The Date of the Play _____________________________________ 129 3. Dramatis Personae ______________________________________ 130 4. The Structure of the Play __________________________________ 132 5. The Setting of the Play ___________________________________ 137 6. Reception of the Dictys_________________________________ 139 Text: Testimonia ___________________________________________ 140 Fragmenta ___________________________________________ 143 Commentary ______________________________________________ 149 Appendix: Euripides and Danae’s Legend in Late Antiquity: The Spurious fr. 1132 Kn. ____________________________________ 226 Text _____________________________________________________ 226 1. Diagnosis of Spuriousness ________________________________ 228 2. The Sources of the 6Danae-i ragment’________________________ 232 3. Imitation of Euripides: a. Style______________________ b. Dramatic Technique __________ Conclusion ______________________ Bibliography _________________________________ Plates Plate I: Vas. Apul. (Princeton Art Museum 1989. 40) Plate II a: PSIXLI 1286, frr. A and B Plate II b: PSIXll 1286, fr. B GENERAL INTRODUCTION
Recommended publications
  • OVID Metamorphoses

    OVID Metamorphoses

    Metamorphoses Ovid, Joseph D. Reed, Rolfe Humphries Published by Indiana University Press Ovid, et al. Metamorphoses: The New, Annotated Edition. Indiana University Press, 2018. Project MUSE. muse.jhu.edu/book/58757. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/58757 [ Access provided at 20 May 2021 05:17 GMT from University of Washington @ Seattle ] book FIve The Fighting of Perseus* So Perseus told his story, and the halls Buzzed loud, not with the cheery noise that rings From floor to rafter at a wedding-party. No; this meant trouble. It was like the riot When sudden squalls lash peaceful waves to surges. Phineus was the reckless one to start it, That warfare, brandishing his spear of ash With sharp bronze point. “Look at me! Here I am,” He cried, “Avenger of my stolen bride! No wings will save you from me, and no god Turned into lying gold.”* He poised the spear, As Cepheus shouted: “Are you crazy, brother? What are you doing? Is this our gratitude, This our repayment for a maiden saved? If truth is what you want, it was not Perseus Who took her from you, but the Nereids Whose power is terrible, it was hornèd Ammon, It was that horrible monster from the ocean Who had to feed on my own flesh and blood, And that was when you really lost her, brother; 107 lines 20–47 She would have died—can your heart be so cruel To wish it so, to heal its grief by causing Grief in my heart? It was not enough, I take it, For you to see her bound and never help her, Never so much as lift a little finger, And you her uncle and her promised husband! So now you grieve that someone else did save her, You covet his reward, a prize so precious, It seems, you could not force yourself to take it From the rocks where it was bound.
  • Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses

    Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses

    Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis.
  • Coexistence of Mythological and Historical Elements

    Coexistence of Mythological and Historical Elements

    COEXISTENCE OF MYTHOLOGICAL AND HISTORICAL ELEMENTS AND NARRATIVES: ART AT THE COURT OF THE MEDICI DUKES 1537-1609 Contents Introduction ........................................................................................................................................................ 3 Greek and Roman examples of coexisting themes ........................................................................ 6 1. Cosimo’s Triumphal Propaganda ..................................................................................................... 7 Franco’s Battle of Montemurlo and the Rape of Ganymede ........................................................ 8 Horatius Cocles Defending the Pons Subicius ................................................................................. 10 The Sacrificial Death of Marcus Curtius ........................................................................................... 13 2. Francesco’s parallel narratives in a personal space .............................................................. 16 The Studiolo ................................................................................................................................................ 16 Marsilli’s Race of Atalanta ..................................................................................................................... 18 Traballesi’s Danae .................................................................................................................................... 21 3. Ferdinando’s mythological dream ...............................................................................................
  • Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell

    Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell

    STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind.
  • Ms. Legrange's Lesson Plans

    Ms. Legrange's Lesson Plans

    Wilson County Schools Blended and Remote Learning ELA Week of 1/11/2021 Grade Subject 6th ELA Weekly Focus The students will continue to read two myths that focus on teaching lessons. Throughout this week, students will focus on using text evidence in their explanations, looking at how the author describes characters and their actions and write well developed paragraph(s) and an essay for given prompts. Standards 6.RL.KID.1: Analyze what a text says explicitly and draw logical inferences; cite textual evidence to support conclusions. 6.RL.KID.2: Determine the theme or central idea of a text and analyze its development over the course of the text. 6.RL.KID.3: Describe how a plot of a story or drama unfolds, as well as how characters respond or change as the plot moves toward a resolution. 6..W.TTP.1 : Write arguments to support claims with clear reasons and relevant evidence (introduce claim, support claim(s), organize reasons and evidence, effective conclusion). Achieve3000 Article of the Week “The Lessons of Peter Tabichi” https://portal.achieve3000.com/kb/lesson/?lid=18142&step=10&c=1&sc=276&oid=0&ot=0&asn=1 “Theseus and Minotaur” “Chiron, the Wisest Centaur” "Theseus and the Minotaur" "Chiron, the Wisest Centaur" Tasks Task 1 -- Read “Theseus and Minotaur” and answer the text-based questions Task 2 -- Complete the short writing prompt on “Theseus and Minotaur” Task 3 -- Read ”Chiron, the Wisest Centaur” and answer the text-based questions Task 4 -- Complete the short writing prompt on “Chiron, the Wisest Centaur” Task 5 -- Complete the writing prompt on “Theseus and Minotaur”, “Chiron, the Wisest Centaur”, and last week’s text in the synthesis writing section.
  • Epigraphic Bulletin for Greek Religion 1996

    Epigraphic Bulletin for Greek Religion 1996

    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions.
  • The Consolations of Death in Ancient Greek Literature

    The Consolations of Death in Ancient Greek Literature

    $B 44 125 The Consolations of Death In Ancient Greek Literature By SISTER MARY EVARISTUS, MA. of THE SISTERS OF CHABITY, HALIFAX, N. S. A DISSERTATION Submitted to the Catholic Sisters College of the Catholic University of America in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/consolationsofdeOOmorarich The Consolations of Death In Ancient Greek Literature SISTER MARY EVARISTUS, M.A. of THE SISTERS OF CHARITY, HALIFAX, N. S. A DISSERTATION Submitted to the Catholic Sisters College of the Cathoh University of America in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy NA.ICXAI SA'.TAL PICS' 'MC , WA'iUNOTON, D. C. TABLE OF CONTENTS Page Introduction 7 CHAPTER I The Inevitableness of Death 10 Universality of death a motive for consolation. Views of death in Homer. Homeric epithets for death. No power can ward off death. Consolation afforded by the thought that it cannot come before the appointed time. Inevitableness of death as depicted in the Lyric Poets, * Tragedians, Plato, Lysias, Apollonius Rhodius, ps.- Plutarch, Plutarch. CHAPTER II Others Have Had to Die 19 Treatment of t&kos in Homer, ov <roi /xopoj. Tragic Poets, Plutarch, ps.-Plutarch. Examples of those who have borne sufferings nobly. Extension of t&kos. Even better men have died. CHAPTER III Death the Payment of a Debt to Nature 26 Should not complain when loan is claimed. Simonides of Ceos. Euripides. Plato. ps.-Plutarch. CHAPTER IV Death Not to be Regarded as Unexpected 28 Nothing ought to appear unexpected.
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis

    1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis

    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
  • Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf

    Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf

    Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013).
  • Notations on the Song Commentary by Gregory of Nyssa 1.Pdf

    Notations on the Song Commentary by Gregory of Nyssa 1.Pdf

    Notations on the Commentary on the Song of Songs by Gregory of Nyssa (one of two) Introduction This document is the second of a three part series which consists in examining the three commentaries on the Song of Songs by Origen, Gregory of Nyssa and Bernard of Clairvaux. The first is completed and posted on the Lectio Divina Homepage under the title Notations on the Commentary on the Song of Songs by Origen. A third document will follow the current one and will be entitled Notations on the Commentary on the Song of Songs by Bernard of Clairvaux. Gregory’s Commentary on the Song of Songs consists of a Prologue and fifteen homilies, the same format used in these notations. Except for the Prologue, the notations are preceded by verses from the Song of Songs, the subject matter on which Gregory of Nyssa comments. These verses are included in order to put the notations in better context. As for the key sentences lifted from the Commentary itself, they are listed in accord with the critical edition of the Greek text (Gregorii Nysseni in Canticum Canticorum edited by Hermann Langerbeck, Leiden, 1960). The first numeral represents the page and the second numeral represents the line within that page. This enables the reader to access quickly a given word either by a forward or backward search. Obviously the references become increasingly common as the document progresses; towards the beginning it is employed seldom because the words are new. After the posting of excerpts from Gregory of Nyssa’s Commentary and before the paragraph consisting of notations there is inserted a string of the transliterated Greek words (all in italics) from the excerpt just cited including any preposition that has been noted.
  • Textos Herméticos

    Textos Herméticos

    TEXTOS HERMÉTICOS INTRODUCCIÓN, TRADUCCIÓN Y NOTAS DE XAVIER RENAU NEBOT f e EDITORIAL GREDOS BIBLIOTECA CLÁSICA GREDOS, 268 A se se n |ΐιι i a la sección griega: C arlos G arcía G u m .. Ντμ.ιιιι Ius normas ile la IV C. G., la traducción de este volumen ha sido u-visiiilii j»>i Ml ui i i>i s I,όι·ι:/. Sai.va. <n i;i)H()i<iAi.(iRi:iK)S, s. a . Sánchez 1’acheco, 85, Madrid, 1999. Depósito Legal: M. 40654-1999. ISBN 84-249-2246-8. Impreso en España. Printed in Spain. Gráficas Cóndor, S. A. Esteban Terradas, 12. Polígono Industrial. Leganés (Madrid), 1999. INTRODUCCIÓN 1. HERMES, EL DIOS TRES VECES MUY GRANDE Hermes Trimegisto es la denominación griega del dios egipcio Tot1. La identificación es temprana: ya Heródoto (II, 138), dice ‘Templo de Hermes’ para referirse a un tem­ plo de Tot. Hacia finales del s. m a.C. ya es un hecho co­ mún; en el decreto de la piedra de Rosetta2 Tot es el ‘Her­ mes grande grande’ que ayuda a Horus a reconquistar el delta. Cicerón, en fin, a mediados del s. i a. C., designa co­ mo quinto Hermes a «aquél que es adorado en Feneo (Arca­ dia), del que se dice que mató a Argos y por ello huyó a Egipto, donde enseñó a los egipcios las leyes y la escritura: los egipcios lo denominan Theúth y llaman de la misma manera al primer mes del año3». 1 Cf. W. K.ROI.L, «Hermes Trismegistos», en A.
  • Wonder Woman Daughter of Destiny

    Wonder Woman Daughter of Destiny

    WONDER WOMAN: DAUGHTER OF DESTINY Story by Jean Paul Fola Nicole, Christopher Johnson and Edmund Birkin Screenplay By Jean Paul Nicole, and Andrew Birkin NUMBERED SCRIPT 1st FIRST DRAFT 1/3/12 I279731 Based On DC Characters WARNER BROS. PICTURES INC. 4000 Warner Boulevard Burbank, California 91522 © 2012 WARNER BROS. ENT. All Rights Reserved ii. Dream Cast Lol. Never gonna happen. Might as well go all in since I'm "straight" black male nerd living in a complete fantasy world writing about Wonder Woman. My cast Diana Wonder Woman - Naomi Scott Ares - Daniel Craig Dr. Poison - Saïd Taghmaoui Clio - Dakota Fanning Mala - Riki Lindhome IO - Regina King Laurie Trevor - Beanie Feldstein Etta Candy - Zosia Mammet Hippolyta - Rebecca Hall Hera - Juliet Binoche Steve Trevor - Rafael Casal Gideon - James Badge Dale Antiope (In screenplay referred to as Artemis) - Nicole Beharie or Jodie Comer Dr. Gogan - Riz Ahmed Alkyone - Jennifer Carpenter or Jodie Comer or Nicole Beharie W O N D E R W O M A N - D A U G H T E R O F D E S T I N Y Out of AN OCEAN OF BLOOD RED a shape emerges. An EAGLE SYMBOL. BECOMING INTENSELY GOLDEN UNTIL ENGULFING THE SCREEN IN LIGHT. CROSS FADE: The beautiful FACE OF A WOMAN with fierce pride (30s). INTO FRAME She is chained by the neck and wrists in a filthy prison cell. DAYLIGHT seeps through prison bars. O.S. Battle gongs echo. Hearing gongs faint echo, her EYES WIDEN. PRISONER They've come for me. This is Queen Hippolyta queen of the Amazons and mother to the Wonder Woman.