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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the ANCIENT OLYMPIC GAMES AS POPULAR ENTERTAINMENT a Thesis Submitted in Partial Satisfa
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE ANCIENT OLYMPIC GAMES \\ AS POPULAR ENTERTAINMENT A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre by Jay Ross Waddill _-· June, 1980 The Thesis of Jay Ross Waddill is approved: Albert R. Baca Heinrich R. Falk, Chairman California State University, California ii I would like to thank Dr. Heinrich R. Falk for his invaluable advice and assistance throughout the preparation of the thesis and also his supportive enthusiasm and pa tience. iii ,.. TABLE OF CONTENTS PAGE ABSTRACT vi CHAPTER I INTRODUCTION 1 CHAPTER II ATHLETICS AND GREEK SOCIETY 6 Greek Ideal 6 The Polis and Panhellenism 8 Athletics and Everyday Life 13 CHAPTER III ATHLETICS AND RELIGION 22 Athletics and Funeral Ritual 24 Festivals 26 The Rustic Dionysia 30 The Greater Dionysia 31 The Greater Panathenaia 32 CHAPTER IV THE OLYMPIC GAMES 38 Origin of the Olympic Festival 39 History ~nd Description of the Olympic Festival 46 CHAPTER V POPULAR ENTERTAINMENT AND THE OLYMPIC GAM.ES 58 Popular Entertainment 58 iv PAGE 'l'he Athlete/Performer 61 ·~pectators/Audience_ 70 · Events/Perfo:rmance 77 CHAPTER VI CONCLUSION 88 NOTES 96 BIBLIOGRAPHY 108 v ABSTRACT 'I'HE ANCIENT OLYMPIC GAl-lES AS POPULAR EN'rERTAINMENT by Jay Ross Waddill Master of Arts in Theatre Many aspects of ancient Greek culture have influenced the development of Western civilization. None of these was more important to the ancient Greeks than t.he Olympic Games. Historians have suggested that the Olympic festi val may possibly have had its origins in a religious ritual, the funerary commemoration of a local hero, a new year's celebration, or an expression of military prowess and readiness. -
Heroic Death in Ancient Greek Poetry and Art
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 2009 The Hero Beyond Himself: Heroic Death in Ancient Greek Poetry and Art Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C.O. (2009). The hero beyond himself: Heroic death in ancient Greek poetry and art. In S. Albersmeier (Ed.), Heroes: Mortals and myths in ancient Greece (pp. 88-107). Walters Art Museum. This Contribution to Book is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. In all those stories the hero is beyond himself into the next thing, be it those labors of Hercules, or Aeneas going into death. I thought the instant of the one humanness in Virgil's plan of it was that it was of course human enough to die, yet to come back, as he said, hoc opus, hie labor est. That was the Cumaean Sibyl speaking. This is Robert Creeley, and Virgil is dead now two thousand years, yet Hercules and the Aeneid, yet all that industrious wis- dom lives in the way the mountains and the desert are waiting for the heroes, and death also can still propose the old labors. -Robert Creeley, "Heroes" HEROISM AND DEATH The modern mind likes its heroism served with death. -
The Etiquette of Games in Iliad 23 Scott, William C Greek, Roman and Byzantine Studies; Fall 1997; 38, 3; Proquest Pg
The etiquette of games in Iliad 23 Scott, William C Greek, Roman and Byzantine Studies; Fall 1997; 38, 3; ProQuest pg. 213 The Etiquette of Games in Iliad 23 William C. Scott Serious sport has nothing to do with fair play. It is bound up with hatred, boastfulness, disregard of all rules, and sadistic pleasure in witnessing violence: in other words, it is war minus the shooting. George Orwell HE GAME-NARRATIVE in Book 23 of the Iliad has been dis cussed from various erspectives but not as a unit that Tsupports the design of the epic through its detailed struc ture. Although the proper awarding of prizes clearly echoes the main theme of the poem, the book has been attacked by traditional analysts as an uneven patchwork, albeit composed of spirited remnants.1 Even those who incorporate this section of the narrative into the Iliad usually advance quickly through it in their eagerness to reach the high ground of Book 24.2 Several who focus directly on Book 23 employ it in defense of a more major point about Homeric composition: it has recently been mined for material supporting theories of consistent charac terization,3 for earlier narrative stories, 4 or for rules of conduct 1 The unity of the game-narrative has long been questioned by e.g. D. B. Munro, Homer, Iliad, Books XIII-XXIV· (Oxford 1897) II 398f; W. Leaf, The IliaJ2 (London 1902) II 468f; C. S. Kirk, The Songs of Homer (Cam bridge 1962) 222f; P. Chantraine and H. Couble, Homere, L'IHade, Chant XXIII (Paris 1964) 15ff; and M. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus. -
Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport
Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport Science Athens, GREECE [email protected] In an era where man’s moral standards are tested by material social trends, the phenomenon of violence proliferates to an irrepressible degree imposing catastrophic results in many areas of society. Violence is not excluded even from competitive athletics, the very expression of a healthy life. However the aim of this study is not to go along with or adopt these examples but underline the significance of these forms of violence in Ancient Greek athletic games. The research will be restricted to a selection of particularly provocative examples of violence in sport but all these forms of athletics which are generated from instinct taken in context seem legitimate. A certain creativity can be discerned on assessment of the facts based on the mark they have left on history. Reference will not be made to biological reasons or sociological problems that have a direct relationship to violence; neither shall inclusion or explanation be made about violence as part of the instinctive “laws of conflict”1. The word violence is found in Ancient Greek writing and its meanings are varied. Homer uses violence to mean courage, strength, power, the might of domination2, the taking of human life3 and psychological violence4. He refers to physical bodily violence, physical assault, violent behavior, extortion coercion and force5. Hesiod distinguishes two types of violence, which are conflicting: Hateful6, which is represented by war, and Peaceful7, which is expressed by creativity in society. As time passed violence was personified8 or was expressed as potential violence9; whereas in Attic law we come across it interpreted as usurpation10. -
Peter Mountford, Homer Iliad 23 and Virgil Aeneid 5
Homer Iliad 23 and Virgil Aeneid 5: Epic Poetry takes on Athletics PETER MOUNTFORD walls of the tombs of the wealthy dead. At Paestum in southern Italy Lucanian tombs dating to the he focus of Homer Iliad 23 and Virgil Aeneid middle of the fourth century BCE also are painted 5 is on funeral games. In Iliad 23 Achilles with representations from games. T holds games in honour of his companion Patroclus who has been killed by Hector in Iliad Iliad 23 is the second longest book of the epic with 16: in Aeneid 5 Aeneas holds games in Sicily to 897 lines (Book 5 with 909 is the longest). Aeneid 5 honour his father Anchises who had died there a is almost the same length with 871 lines (It is the year before. The events described take place during fifth longest; Book 12 with 952 is the longest). The or just after the Trojan War, which, if it really first 295 lines of Iliad 23 are devoted to the funeral happened, is traditionally placed in the late 13th of Patroclus. The remaining 600 odd lines describe or early 12th century BCE during the Mycenaean the eight events of the funeral games, the major Period. Homer’s account of the games is the earliest event of which is the chariot race (383 lines). The in Western literature. Though Virgil wrote his first 41 lines of Aeneid 5 refer back to the events of epic poem in the late first century BCE, his story Book 4. The commemoration of the anniversary of concerns the wanderings of his hero Aeneas after Anchises’ funeral occupies lines 42-103. -
Origin and Historical Evolution of Sports As a Common European Cultural Activity
ORIGIN AND HISTORICAL EVOLUTION OF SPORTS AS A COMMON EUROPEAN CULTURAL ACTIVITY CONTENT 1. Greece: the birth of the Olympic Games.....................................................................3 2. Rome: sport as a show and a social event...............................................................11 3. Middle Ages: tournaments, the Knight ideal, sports as a way to train skillful warriors..................................................................................................................................18 4. Thomas Arnold, the education reformer who highlighted values of sports......................................................................................................................................22 5. Pierre de Coubertin, the creator of the modern Olympic Games....................26 6. Modern sport after the Second World War............................................................39 HISTORICAL EVOLUTION OF SPORTS 2 The Olympic Games in Ancient Greece HISTORICAL EVOLUTION OF SPORTS 3 The sporting events at Olympia were the oldest and most important of the four national Greek athletic festivals. The games were held on an official basis every four years from 776 BC, but they probably originated much earlier. Greek myth credited the hero Herakles with devising the running races at Olympia to celebrate the completion of one of his twelve labours. Olympia was the most important sanctuary of the god Zeus, and the Games were held in his honour. Sacrifices and gifts were offered, and athletes took oaths to -
The Appropriation of Death in Classical Athens
The Appropriation of Death In Classical Athens Alexandra Donnison Submitted in fulfilment of the requirements for the degree of Master of Arts in Classics Victoria University of Wellington August 2009 δ κρβη θνατο Cover picture: Anavysos. Kouros from tomb of Kroisos. c. 530 B.C.E. NM, Athens. 3851. Hurwit (2007b). Fig. 35. 2 Acknowledgements To my parents, who have been there every step of the way, without their guidance and support - and especially their sense of humour – this would not have been possible. I would also like to express thanks to my supervisor, Matthew Trundle, for his time, knowledge and guidance. Finally, but not least, I wish to express my deepest gratitude to my friends who spent countless hours proof reading this thesis, and who in the process learnt more about Ancient Greek burial customs than they ever felt necessary. Note on translations: All translations are taken from the Loeb, unless otherwise stated. 3 Contents Page Abstract……………………………………………………………………….5 List of Figures...................................................................................................7 Introduction ......................................................................................................9 Chapter One: The Change in Burial Practices Between the Archaic and Classical Periods .......................................................................................19 Chapter Two: Why the Change in Funeral Practices Took Place ...................58 Chapter Three: The Re-emergence of the Grave Monument ..........................92 -
Cards Against Sappho the Official Lithum Card Game
Cards Against Sappho The Official LitHum Card Game Just print the cards, read the instructions, and invite your friends for a Symposium! “Someone will remember us I say Even in another round.” Sappho “I could either be a slave on Earth or rule the Underworld if it means I can play this game.” Achilleus “Be sure that I know how fickle men can be.” Penelope, feeling outraged for not winning a round “Gentlemen, I am plastered.” Alcibiades, after having his card chosen by the Card Zeus “Sing, Goddess, the fun of Sappho’s game.” Homer “That’s it. We are changing the syllabus.” The Core Office, after seeing this game Contents Reference Guide * 112 white cards. All the Sappho’s fragments used in this game * 36 black cards. are taken from Anne Carson’s If Not, Winter * This rule book. Try not to burn it like Sappho’s collection, published by Vintage Books. poems. The black cards are mainly literal fragments, Basic Rules with the missing words being replaced by blanks. In some cases, unclear words (they, this, you) were also replaced by blanks in order to To start the game, each player draws five white make the game as fun as Dionysus’ day cards. celebration in Thebes. The player who had the most recent break up The white cards have references to Sappho’s begins as Card Zeus and draws a black card. life, Greek traditions, and Greek literature. Among the works of Literature cited are the Iliad, The Card Zeus reads the question or the Odyssey, Plato’s Symposium, Aeschylus’ fill-in-the-blank phrase on the black card out Oresteia, Euripides’ The Bacchae, and loud. -
Honor & Glory in the Iliad: Life After Death
Paper 1 Cheryl Texin 21h.301 Rec: F2 Honor & Glory in the Iliad: Life After Death Honor and glory are central to the Greek character. Since heroes are the essence of the society from which they come, Greek heroes live their lives according to honor and glory, in all their varied forms. Honor and glory trigger an epic war that takes the lives of numerous men, and shape its development at every stage. The fall of Troy is “a thing… whose glory shall perish never (Homer, Iliad 2.324)”. The goal of the Greeks is the fame that resounds even after death, and they let nothing bar their way. The honor of the individual, family, and community guide every action and response. Honor and glory define the hero, and therefore are the foundations for everything that comes to pass in Homer’s Iliad. The concepts of honor and glory are critical to understanding the motivation of the heroes in Homer’s Iliad1. Glory was gained by great, heroic actions and deeds and was conferred upon an individual by others who witnessed and acclaimed the glorious actions. Major battles provided an opportunity for many to find glory at once. Honor was similar to glory, but while the public had to view actions and deem them glorious, each individual maintained their own sense of personal honor which did not always coincide with honor as defined or perceived by the masses. Honor was gained through heroism in battle, but also through compelling speechmaking, loyalty and other noble qualities that a person might demonstrate. -
The Role of Religion in Greek Sport
CHAPTER 20 The Role of Religion in Greek Sport Sarah C. Murray 1 Introduction A notable aspect of the athletic contests held at the major Panhellenic sanctuaries of the ancient Greeks (Olympia, Delphi, Isthmia, and Nemea) was that the prize for victors was a simple wreath rather than a valuable material reward. In Lucian’s dialogue Anacharsis Solon’s Scythian interlocutor suggests that the Greeks are of questionable sanity insofar as they invest large amounts of time and effort in training for athletic contests for which the only reward is a heap of weeds. “As if it were not possible for anyone who wants them to get plenty of apples without any trouble, or to wear a wreath of parsley or of pine without having his face bedaubed with mud or letting himself get kicked in the belly by his opponent!” scoffs Anacharsis (9.2, trans. A. Harmon). Solon, ever full of serene wisdom, explains that Greek athletes compete not for the material prizes at stake, but for the honor of the victory itself, since “the one among them who succeeds in winning is counted equal to the gods” (10.3). To the modern reader, accustomed to a largely secular world of athletes and athletics, the notion that a great athlete should be considered not only like but in fact equal to the gods is a striking one. However, in ancient Greece, organized, formal athletic competi- tions took place most commonly as components of religious festivals at either Panhellenic or local sanctuaries. Athletes were considered to succeed or fail at least partly because of the favor or disfavor of the presiding deities. -
Achilles of Book 22 and Patroclus'funeraltotheachillesof Book 24(L)
SOME NOTES ON THE FUNERAL GAMES: ILIAD 23 This.paper will deal with the function and significance of the funeral games for Patroclus in the poetic design of the lliad. Special attention will be given to the chariot race. This study will agree with the general consensus of Homeric critics that the games are an effective contrast to preceding and following events and are essential to the transition of the Achilles of book 22 and Patroclus'funeraltotheAchillesof book 24(l). rlowever, this paper will attempt something which, surprisingly enough, seems not to have done before, i.e . to examine in detail those thematic elements which link the funeral games to the rest of the lliad (2) and thus shed more light on a portion of the Iliad praised even by analytic critics like Munro, Leaf and Bayfield who suspected that the games were not part of the original design of the Iliad and believed that they clashed in tone with their immediate context (3). There is a beauty and noble dignity about the games in which human conflicts are allowed the possíbility of resolution without tragedy, a possibility which does not exist previously in the lliad. This condition àf tn. g"-.t is especially welcome after the profound tragedy which human conflict has brought about, i.e. the death of Patroclus. The disor- der which begins with the great quarrel between Achilles and Agame- mnon in book 1 is gradually resolved into the harmonious order of the funeral games. Achilles, who had fostered the earlier disorder, in the games becomes an agent of order.