THE BIRDS by Aristophanes Adapted by Sarah Long June 11Th, 2016

Total Page:16

File Type:pdf, Size:1020Kb

THE BIRDS by Aristophanes Adapted by Sarah Long June 11Th, 2016 THE BIRDS By Aristophanes Adapted by Sarah Long June 11th, 2016 Bedford Hills, NY "The Birds" - Final Version SCENE 1: A desolated wilderness. In the background is a single tree and the sheer rock-face of a cliff. Enter, in the last stages of exhaustion, EUELPIDES and PITHETAERUS. On his arm EUELPIDES has a PIGEON, PITHETAERUS has a CROW. EUELPIDES (to PIGEON) Straight ahead, croaker? Over by that tree? PITHETAERUS Damn this cracked Crow! He keeps cawing me backwards. EUELPIDES (to PIGEON) Look, halfwit, you’re supposed to be guiding us! If we don’t stop this zigzagging pretty soon, I’m through. PITHETAERUS I must have been mad - that I should travel a hundred miles with only a crow giving me directions! EUELPIDES You’re mad. Look at me, man - hitched to a pigeon. PITHETAERUS I’ll be damned if I know where we are. EUELPIDES Say, do you suppose we could find our way back home from here? PITHETAERUS I wouldn’t want to even if we could. EUELPIDES (stumbling) Hell. 2. "The Birds" - Final Version PITHETAERUS That’s just where we’re headed now, old man. EUELPIDES (to CROW) A lot of good you are! (calling to PITHETAERUS, who is wandering about the stage, CROW is wandering through the audience) I told you we couldn’t trust that bird-seller. Telling us these dodos would just naturally lead us to the King of the Birds! I don’t think they ever heard of the King of the Birds. And if they did, I’ll bet they are disloyal. (PIGEON opens his mouth with a SQAWK!) Don’t open your face like that! You look anything but attractive. (PIGEON head begins jutting toward edge of stage, CROW returns to PITHETAERUS) Where? Where? Over there? (his eyes glued to PIGEON,who points with his wing, EUELPIDES quickly moves in the indicated direction) All right. All right. I’m going. Keep showing me. That’s a..... (he falls off the stage) you knew that! That’s what you had in mind! (begins to chase his bird. PITHETAERUS, who has been wandering, CROW is pecking at PITHETAERUS’ hands) Find something? What’s your bird doing? PITHETAERUS Biting my damn fingers off. EUELPIDES Any road up there? PITHETAERUS Nothing. No road anywhere. 3. "The Birds" - Final Version EUELPIDES Oh, dear. I haven’t got a nerve left. (to AUDIENCE) I suppose you wonder what we’re doing here? I wonder, too. You probably think we are crazy. We are. We come from very good families. Legitimate. We were very respected people back home in Athens. Very fine city. You probably think we were thrown out. (shakes head) Just got up and left. Walked out. Still walking. We don’t hate Athens. Fine city. Rich, too. Every person has absolute freedom... to pay taxes. Every person has a constitutional... right to ruin himself. Of course, the town’s full of lawyers. Always suing everybody. Government men, too. And inspectors. Always inspectors! (during this speech, CROW is very busy around the stage) PITHETAERUS My bird’s doing something! EUELPIDES I’ll bet I know what. PITHETAERUS No... No, watch! (CROW get excited and begins preening and gussying up for meeting new birds) EUELPIDES So we started off with a stewpot, a knife and a fork - a few myrtle berries - and, here we are. PITHETAERUS Here! Look! (PIGEON joins activity) EUELPIDES Has that other bird really got anything? 4. "The Birds" - Final Version PITHETAERUS It’s behaving like there were other birds around somewhere! EUELPIDES Mine’s doing it, too! Where? Where? PITHETAERUS Dammit, look for some birds! EUELPIDES Maybe we could scare them up if we made some noise. PITHETAERUS That’s right. Here... Kick your leg against that rock. EUELPIDES Wouldn’t it be louder if we used your head? PITHETAERUS Kick your leg against that rock! EUELPIDES All right. (kicks rock and screams in pain) OOWWWW! PITHETAERUS That’s fine. That ought to do it. Ready, now. They’ll be coming. ............................................................ SCENE 2 ( the SLAVEBIRD, enters from onstage nest with beak high in the air and attitude- EUELPIDES and PITHETAERUS take cover, CROW and PIGEON make their escape- each flapping up a different amphitheater aisle) EUELPIDES Apollo help us! What a beak on the Bird! SLAVEBIRD Halp! Nest-robbers! Egg-stealers! Bird-catchers! Halp! 5. "The Birds" - Final Version EUELPIDES You hear that? His bark is worse than his beak. SLAVEBIRD Men, you die! EUELPIDES But we’re not men. SLAVEBIRD What are you? EUELPIDES I don’t know about him, but, me? I"m a bird: Turdus Turdus - an African migrant, commonly known as, The Fearling SLAVEBIRD What nonsense. Never heard of that. EUELPIDES Not nonsense, crap. Look at my feet. SLAVEBIRD (indicating PITHETAERUS) And that bird over there? What’s his species? EUELPIDES Another one of the Yellow Bellied School. PITHETAERUS Me? Brown-tailed Smellyrump. Quail family. Commonly known as The Crapple. EUELPIDES (To SANDPIPER) Say, what about you Birdie? What the hell are you? SLAVEBIRD I’m a Slavebird. Slave to Epos, King of the Birds. When the boss got himself changed into a Hoopoe, I put in my application for feathers too so I could stay in his (MORE) 6. "The Birds" - Final Version SLAVEBIRD (CONT’D) service, doing odd jobs and butlering. Suppose he wants some sardines. Up I jump, dash down with a dish and catch him some fish. If it’s soup he wants, I grab a little ladle and skitter to the kettle. EUELPIDES Quite the runner, eh? Tell you what, runner-bird: just skitter inside and fetch your master out. SLAVEBIRD He will be angry. PITHETAERUS We’ll risk it. SLAVEBIRD Very well, the Fearling and.. EUELPIDES ...The Crapple. (SLAVEBIRD takes nest and exits SR aisle, turning to threaten or check on them as he climbs the steps) PITHETAERUS (to EUELPIDES) -Whoosh, I’m still shaking. EUELPIDES Me too. And guess what. My Pigeon’s gone, got clear away. PITHETAERUS Got away? Why you big baby, were you so scared you dropped your load? EUELPIDES Well, what about you? Where’s your bird? PITHETAERUS (suddenly realizing his bird is also gone) I gave him his freedom 7. "The Birds" - Final Version EUELPIDES That was decent of you... ............................................................ SCENE 3 (HOOPOE enters, stops at the top of amphitheater SR steps, looking grand but a bit ridiculous-, preens and announces...) HOOPOE Who wants me? EUELPIDES I can’t imagine. HOOPOE Does someone dare to laugh at the King of the Birds? EUELPIDES No... no... just a little giddy... (walking down to the stage) HOOPOE You must know, strangers, that I once was a man. Born of woman, married to a wife, I was unfaithful to my dear Procne. Now I am changed by Apollo into a bird, and Procne is the Nightingale, and I am faithful at last. EUELPIDES (to AUDIENCE) We’re certainly getting the exposition out. HOOPOE Who are you? EUELPIDES Mortals. Haven’t had any affairs with Nightingales. HOOPOE From what country? 8. "The Birds" - Final Version EUELPIDES Athens, the land of democracy, where everyone is equal. HOOPOE You’re not government men? EUELPIDES Anti-government men. HOOPOE I thought that species had become extinct? EUELPIDES You can still find a few growing wild - if you look hard enough. HOOPOE But what brings you here, gentlemen? EUELPIDES Your assistance and advice. HOOPOE My advice? About what? EUELPIDES You were mortal once as we are mortal now. You once were plagued with creditors, and we’re plagued now. You welshed on your debts; we welsh on our debts now. But though you were mortal once, you became a Bird and flew the circuit of the spreading earth and sea; yet both as Bird and Man you understand. And so we come to you, ask for your help, bearing our hope that you may know some land, some country like a blanket, soft and snug, between whose folds two tired men might flop. 9. "The Birds" - Final Version HOOPOE And Athens won’t do? You want something more... splendid? EUELPIDES It wasn’t exactly splendor we had in mind. No, we wanted a country that was made just for us. HOOPOE But my dear fellow, what do you want? EUELPIDES Oh, the sort of country where the worst trouble I could have would be friends trooping to my door bright and early in the morning to pester me with invitations for dinner: "C’mon, old boy, I’m throwing a big celebration. So fresh up, give your kiddies a bath, and come on over. And don’t go standing me up, or I won’t turn to you when I’m in trouble." HOOPOE Zeus, you like your troubles pleasant, don’t you? (to PITHETAERUS) And you? PITHETAERUS I like pleasant troubles too. HOOPOE I see, as a matter of fact, there is a city like that. On the Red Sea. PITHETAERUS (rising, asserting himself now) No, no! No sea ports. Let a ship dock, and there’ll be a process server on it. Someplace remote. Uninhabited. Unaccessible. Wait a minute! Now, wait a minute! EUELPIDES You have an idea 10. "The Birds" - Final Version PITHETAERUS Yes! EUELPIDES I hate to bring it up. But, The last idea you had was using birds for guides. PITHETAERUS No, listen, now. Listen! EUELPIDES It isn’t as though I had a choice. (to AUDIENCE) You do. You can go home anytime. PITHETAERUS (to EUELPIDES) Sh-h-h-h! EUELPIDES) (to AUDIENCE Sh-h-h-h! PITHETAERUS Tell me. What is it like to live with the birds? HOOPOE It’s not a bad sort of life.
Recommended publications
  • The Labours of Heracles (Part 1)
    The Labours of Heracles (part 1) Long ago, a baby boy was asleep in a nursery. The door was open to let the cool breeze waft into the room. However, it was not just the air that could enter the room. First one, and then a second snake slithered in through the gap. They had been sent by the goddess Hera, Queen of Heaven. It’s hard to understand how anyone, even a goddess, could hold anything against innocent children, but her immortal heart was filled with hatred for the baby boy. His mother was a human woman, but his father was none other than Zeus, Lord of Heaven, and husband of Hera. In short, Hera was jealous. The snakes slid towards the bed. The baby stretched and yawned. The viper who was out in front stuck out his tongue and hissed. It reared its head to see if it could reach the top of the mattress. That was the last thing it did, because the boy shot out his hand and grabbed it by the neck. The other snake slid swiftly across the floor towards him, but the child grabbed that one too and began to shake it violently. The nurse heard the commotion came rushing into the nursery, but it was too late – for the snakes. The boy, whose name was Heracles, had killed them both. The boy grew into a teenager, and he was without doubt the strongest human who had ever walked on the face of the Earth. Still young, he was a formidable sight, with his towering height and his huge muscles.
    [Show full text]
  • Men and Birds
    HVMAN1TAS -Vol. LII (2000) HELLMUT FLASHAR Ludwig-Maximilicms-Universitat Miinchen MEN AND BIRDS The topic of this paper is the Birds of Aristophanes. First I shall give some facts for those who might not wholly remember this comedy. The Birds, which is with 1765 lines, 22 roles and at least 5 actors the longest of all extant classical tragedies, was first produced in 414 BC, under rather turbulent political circumstances in Athens. The Sicilian expedition which had been started one year before was in full swing, even if the disaster of 413 could not yet be forseen. However, Alcibiades was recalled to stand trial for impiety, fled to Argos, was in absence condemned to death, and finally made politics against the official Athens from Sparta. These political circumstances are hardly noticed in the Birds: there are only a few marginal allusions to Nicias and the expedition against Sicily. Rather the opposite can be found: a mentality of escapism and a flight from reality, as the two main characters, Peisetairos and Euelpides, weary of Athens, leave the city to make their home in the area of the birds. This structure is certainly analogous to the Sicilian expedition — leaving Athens and heading for destinations which are distant and relatively unknown — but the comedy's atmosphere still differs greatly from this context. The political features which really dominate Aristophanes' earlier comedies are replaced by fairytale, the animal comedy known to us only from a few fragments of other poets of Old Comedy (Crates, Eupolis, Magnes), and Utopia in a literal sense, as the two main characters are going to build a new city in the nowhere of the clouds, in "Cloudcuckooland".
    [Show full text]
  • The Pennsylvania State University the Graduate School College of The
    The Pennsylvania State University The Graduate School College of the Liberal Arts ARISTOTELIAN TOPICS FOR PLURALIST DEMOCRACY A Thesis in Communication Arts and Sciences by Adam Cody © 2016 A. W. Cody Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2016 ii The thesis of Adam Cody was reviewed and approved* by the following: Rosa A. Eberly Associate Professor of Communication Arts and Sciences and English Thesis Adviser Stephen H. Browne Professor of Communication Arts and Sciences Michele Kennerly Assistant Professor of Communication Arts and Sciences Denise Haunani Solomon Liberal Arts Research Professor of Communication Arts and Sciences Head of Communication Arts and Sciences *Signatures are on file in the Graduate School. iii ABSTRACT Rhetorical scholars distrust topos theory, fearing that attention to argumentative “spaces” will produce an overly formalized image of rhetoric. This anxiety can be attributed to Aristotle, whose Rhetoric claims that common topoi are preferable to specific topoi as premises for rhetorical argument. By reading Aristotle in conversation with the Athenian civil war (415-403 BCE), rhetorical scholars can recognize this preference as a prescriptive response to Athens’ political history. Three rhetorical texts from the period of civil war display the rhetorical capacity to build toward a position of commonality from one of particularity. The three texts attribute the discord of civil war to this particular-to-common rhetorical mode. Aristotle, attempting to correct the perception that rhetoric necessarily produces civic strife, privileges arguments premised on already existing commonality. Decoupling Aristotle’s preference for common premises from topos theory opens space for rhetorical scholars to address some twenty-first century CE problems in argumentation theory and pluralist democracy.
    [Show full text]
  • Bird Communication in Ancient Greek and Roman Thought
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository TITLE: Bird Communication in Ancient Greek and Roman Thought AUTHOR: Katarzyna Kleczkowska PUBLISHED IN THE JOURNAL: Maska, Vol. 28 (Dec. 2015), pp. 95–106. ABSTRACT: The aim of the article is to analyse ancient Greek and Roman theories on bird communication. The author observes that the examples of bird communication were often used by ancient philosophers as arguments against the prevailing conception that only humans possessed reason. The article focuses mostly on the thought of Aristotle, Stoics, Plutarch, Sextus Empiricus, and Porphyry. It indicates strategies used by those thinkers when describing bird communication, the main themes connected with this topic, and the main consequences of the discussion on animal rationality in antiquity. KEYWORDS: communication, language, birds, reason, animal, ancient Greece, ancient Rome, philosophy, Aristotle, Stoics, Plutarch, Sextus Empiricus, Porphyry How to cite this paper? in APA: Kleczkowska, K. (2015). Bird Communication in Ancient Greek and Roman Thought. Maska, 28, 95–106. in MLA: Kleczkowska, Katarzyna. "Bird Communication in Ancient Greek and Roman Thought." Maska 28 (2015): 95–106. in Polish: Kleczkowska K., Bird Communication in Ancient Greek and Roman Thought, „Maska” 2015, nr 28, s. 95–106. Katarzyna Kleczkowska Bird Communication in Ancient Greek and Roman Thought Faculty of Philosophy, Jagiellonian University For in the other powers which we possess we are in no respect superior to other liv- ing creatures; nay, we are inferior to many in swiftness and in strength and in other resources; but, because there has been implanted in us the power to persuade each other and to make clear to each other whatever we desire, not only have we escaped the life of wild beasts, but we have come together and founded cities and made laws and invented arts; and, generally speaking, there is no institution devised by man which the power of speech has not helped us to establish1.
    [Show full text]
  • Review Of" Aristophanes the Democrat: the Politics of Satirical Comedy During the Peloponnesian War" by K. Sidwell
    Swarthmore College Works Classics Faculty Works Classics 2010 Review Of "Aristophanes The Democrat: The Politics Of Satirical Comedy During The Peloponnesian War" By K. Sidwell Jeremy B. Lefkowitz Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-classics Part of the Classics Commons Recommended Citation Jeremy B. Lefkowitz. (2010). "Review Of "Aristophanes The Democrat: The Politics Of Satirical Comedy During The Peloponnesian War" By K. Sidwell". Bryn Mawr Classical Review. https://works.swarthmore.edu/fac-classics/4 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Classics Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Keith Sidwell, Aristophanes the Democrat: the Politics of Satirical Comedy during the Peloponnesian War. Cambridge/New York: Cambridge University Press, 2009. Pp. xv, 407. ISBN 9780521519984. $99.00. bmcr.brynmawr.edu/2010/2010-10-62.html Bryn Mawr Classical Review 2010.10.62 Reviewed by Jeremy B. Lefkowitz, Swarthmore College ([email protected]) Table of Contents The idea that some of the fictional characters in Aristophanic comedy are in fact caricatures of real Athenians has been around since antiquity. In the opening of Knights, for example, one of two unnamed slaves appears to out himself as the general Demosthenes when he complains that Cleon has stolen credit for "my own" (μο, 54) victory at Pylos (Knights 54-57). Ancient commentators speculated on the identity of the other slave as well: "They say that while one of the slaves is Demosthenes, the other is Nikias, to make both of them politicians (demegoroi)" (Hypothesis A3).
    [Show full text]
  • THE BIRDS a Full-Length Play by Aristophanes Arranged for the Stage by WALTER KERR
    THE BIRDS A Full-Length Play by Aristophanes arranged for the stage by WALTER KERR .<~ THE DRAMATIC PUBLISHING COMPANY © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** The amateur and stock acting rights to this work are controlled exclu­ sively by THE DRAMATIC PUBLISHING COMPANY without whose permission in writing no performance of it may be given. Royalty fees are given in our current catalogue and are subject to change without notice. Royalty must be paid every time a play is penormed whether or not it is presented for profit and whether or not admission is charged. A play is performed anytime it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: DRAMATIC PUBLISIllNG P. O. Box 129, Woodstock. TIlinois 60098. COPYRIGHT LAWGIVES THE AUTHOR OR THE AUTHOR'S AGENT THE EXCLUSIVE RIGHT TO MAKE COPlES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work Conscientious observaJllce of copyright law is not only ethical, it encourages authors to continue their creative work This work is fully protected by copyright. No alterations, deletions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, videotape, film, or any information storage and retriev:aI system, without permission in writing from the publisher. It may not be performed either by professionals or amateur.> without payment of royalty.
    [Show full text]
  • Birds by the Wayside in Greece
    BIRDS BY THE WAYSIDE 137 but I believe this slaughter would not be so extensive under normal conditions. Our visits to the rookery disturbing the birds more than wa$ usual, resulted in many a youngster be- ing left unprotected. It is gratifying ,to know that these wonderful denizens of the air are not likely to become extinct. Despite their thiev- ing habits they proved to be a, constant source of interest, &d their unique ways brought forth many ;a laugh from even the most undemonstrative member of our party. BIRDS BY THE WAYSIDE. IN GREECE. BY ALTHEA R. SHERMAN. We reached Greece by the way of Constantinople. Had the direction of the journey been reversed it would have followed the course of historic Grecian colonization and thus have bet- ter pleased those who wish to take everything in its chrono- logical order; but when one has waited more than, forty years to visit Greece, it matters little by what route he arrives, so long as a fond dream is realized. This for two score years had been a subject for my dream;, both waking and sleeping, with a difference: The dreams of sleep pictured the Acro- polis of Athens in all its ancient splendor. Fulfilhhent found it, as so often and accurately portrayed by pen and brush of others, leaving little aside from personal, sensations to be gained by a visit to it. These proved a surprise for me. It appears that one may know clearly how deeply time and “the unspeakable Turk” have fixed the stamp of death and destruc- tion on this crowning glory of ancient art, and yet in the pres- ence of it be filled with indescribable sadness : such as one may feel at the funeral of a young friend, beautiful, and trans- cendentally noble in character.
    [Show full text]
  • A Tyrant's Journey
    A Tyrant’s Journey: Peisetairos, Alcibiades, and the Seduction of Persuasion The Birds of Aristophanes has been described as little more than utopian fantasy by scholars who - as evidence for their apolitical reading - cited the lack of direct invective, the desirable nature of the events, and the positive treatment of the successful protagonist. I will argue that, it is exactly this fantastical narrative structure, as well as the apparent success of the character Peisetairos, that carry the political content of the Birds. This study sets the main character of Peisetairos into an evolutionary schema that follows his progression from ordinary Athenian, to a demagogue, and finally to a tyrant. The idea of a an anti-Athenian paradise is addressed by ending each of these sections with an analysis of the types of utopia (using the categories of Konstan 1997) being described, and how they change with Peisetairos’ character development. The audience is meant to sympathize with Peisetairos and cheer his successes up to the end, but they have been cheering their own descent into servitude. The ending only seems desirable until the audience reflects on both it, and their own complicity in the downfall. Aristophanes elaborates on his previous complaints about demagogues, but more obliquely than in previous plays. The poet shifts from the low-born opportunists like Cleon to the sophisticly-trained young aristocrats who came to the fore following the Peace of Nicias, Alcibiades particularly. The rhetorical hallmark of these demagogues, and Alcibiades most of all, was the appeal to emotion. The passions of the masses, when harnessed, was a powerful force, as all Athenians witnessed in the lead-up to the Sicilian Expedition a year prior.
    [Show full text]
  • Reading the Birds: Oionomanteia in Early Epic
    Colby Quarterly Volume 38 Issue 1 March Article 5 March 2002 Reading the Birds: Oionomanteia in Early Epic Derek Collins Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 38, no.1, March 2002, p.17-41 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Collins: Reading the Birds: Oionomanteia in Early Epic Reading the Birds: Oionomanteia in Early Epic By DEREK COLLINS All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. -Oscar Wilde Quis negat augurum disciplinam esse? -Cicero, De Divinatione 2.35 HE IMPORTANCE OF bird divination as represented in early Greek epic has Tbeen emphasized by scholars at least since the fundamental study of Bouche-Leclercq1 and has recently received a renewed and welcome atten­ tion. 2 The methodological framework of the majority of this scholarship has been primarily historical and has utilized the literary and the historical evi­ dence for bird divination as if they derived from a common heritage. Homer, it has been said, gives us a fully constituted-which is to say, historical-pic­ ture of bird divination.3 Earlier scholarship is surely correct to have viewed epic as at times containing accurate representations of bird divination, but there are several ominous bird appearances in Homer with no parallel in the historical record.
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]
  • Birds in the Ancient World from a to Z
    BIRDS IN THE ANCIENT WORLD FROM A TO Z Why did Aristotle claim that male Herons’ eyes bleed during mating? Do Cranes winter near the source of the Nile? Was Lesbia’s pet really a House Sparrow? Ornithology was born in ancient Greece, when Aristotle and other writers studied and sought to identify birds. Birds in the Ancient World from A to Z gathers together the information available from classical sources, listing all the names that ancient Greeks gave their birds and all their descriptions and analyses. Arnott identifies (where achievable) as many of them as possible in the light of modern ornithological studies. The ancient Greek bird names are transliterated into English script, and all that the classical writers said about birds is presented in English. This book is accordingly the first complete discussion of classical bird names that will be accessible to readers without ancient Greek. The only previous study in English on the same scale was published over seventy years ago and required a knowledge of Greek and Latin. Since then there has been an enormous expansion in ornithological studies which has vastly increased our knowledge of birds, enabling us to evaluate (and explain) ancient Greek writings about birds with more confidence. With an exhaustive bibliography (partly classical scholarship and partly ornithological) added to encourage further study Birds in the Ancient World from A to Z is the definitive study of birds in the Greek and Roman world. W.Geoffrey Arnott is former Professor of Greek at the University of Leeds and Fellow of the British Academy.
    [Show full text]
  • Hercules and the 12 Labors: Part 1 Heracles Was a Favorite Hero of Both
    Hercules and the 12 Labors: Part 1 Heracles was a favorite hero of both the Greeks and the Romans (the Romans called him Hercules). The goddess Hera (wife of Zeus) hated him, and made him perform 12 impossible tasks - impossible for anyone but Hercules. The 12 Labours of Heracles (Hercules) 1. The Nemean Lion 2. The Lernaean Hydra 3. The Ceryneian Hind 4. The Erymanthian Boar 5. The Augean Stables 6. The Stymphalian Birds 7. The Cretan Bull 8. The Mares of Diomedes 9. The Belt of Hippolyte 10. The Cattle of Geryon 11. The Apples of the Hesperides 12. Cerberus As Hercules has such an action-packed life, we are presenting his biography in two parts. Here we bring you the first six labours. You will also hear about his early life. Read by Richard. Adapted by Bertie (mostly following Apollodorus). Proofread by Claire Deakin. Main picture by Bertie for Storynry Hello, this is Richard, and I’m here to tell you about a hero from ancient times. I’m pretty sure you will have heard of him before. The Greeks called him Heracles, and the Romans changed his name slightly to Hercules. He is most famous for performing 12 impossible labours on behalf of mankind. He had so many adventures, that his story is a long one – and for that reason, I’m going to tell it to you in several parts. This is the first: Heracles' Youth Long ago, two twin baby boys were asleep in a nursery. The door was open onto the veranda to let the cool breeze waft into the room.
    [Show full text]