DOCSLIB.ORG

The Trojan War

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Trojan War The Trojan War Draft 2, May 12, 2017 Contents The Players 2 Act I: The Judgment of Paris3 Scene 1: The Wedding......................................3 Scene 2: The Deception.....................................6 Scene 3: The Betrayal......................................8 Scene 4: The Message...................................... 10 Scene 5: The Sacrifice...................................... 11 Act II: The War 13 Scene 1: Opening Attack..................................... 13 Scene 2: Hector Joins the Battle................................ 13 Scene 3: The Greek Camp.................................... 14 Scene 4: On Mt. Olympus.................................... 15 Scene 5: The Death of Patroklos................................ 16 Act III: The Wrath of Achilles 17 Scene 1: The Battle of Achilles and Hector........................... 17 Scene 2: Brothers in Arms.................................... 18 Act IV: The Last Days of Troy 20 Scene 1: Inside the Walls of Troy—The Palace........................ 20 Scene 2: On the Beach—The Greek Camp........................... 21 Act V: A Gift from the Greeks 23 Scene 1: The Gift......................................... 23 Scene 2: The Door........................................ 24 Characters 25 Resources 30 Pronunciation Guide....................................... 30 1 The Players Achilles Kevin or Alekai Agamemnon Spencer or Luke Andromache Sisi Aphrodite Marianna Artemis Amy Athena Rena or Tallulah Cassandra Savannah Clytemnestra Abi Eris Sisi Hector Bear Hecuba Josselyn or Marianna Helena Brigette or Sylvana Hera Josselyn or Kate Hermes Dante or Jack Iphigenia Estreya Laocoon Tadeo Menelaus Hayden Odysseus Percival Paris Ethan or Luke or Kate Patroklos Zephan Perseus Percival Poseidon Cameron or Who? Priam Luke Thanatos Pflipsen Servant Pflipsen Servants Pflipsen Messenger Pflipsen Guard Tadeo Spirits Galen, Dante Thetis Abi Zeus Kate or Luke Narrators Dayanara and Tallulah Greek Soldiers Emerson, Cameron, Tadeo, Who? Trojan Soldiers Brigette, Dante, Who?, Who? Musicians Amy, Rena, Tallulah 2 Act I: The Judgment of Paris Scene 1: The Wedding Thetis Abi Perseus Percival Eris Sisi Aphrodite Marianna Athena Rena or Tallulah Hera Josselyn or Kate Zeus Kate or Luke Paris Ethan or Luke or Kate Menelaus Hayden Agamemnon Spencer or Luke Helena Brigette or Sylvana Hermes Dante or Jack Set: Olympian Wedding Thetis: (excited) We are so happy you could all come to our wedding! It is wonderful to see everyone here! Perseus: Yes, we invited all the gods and goddesses except one. No one likes Eris, the goddess of Discord, and she always causes such a fight; we just couldn’t invite her. Now, we’re going to have a great party! Eris: (running in and yelling) How DARE you not invite ME to the wedding? Why should I, of all goddesses, be shunned and turned away from such a festive occasion? Well, I brought you a wedding present anyway – HERE! (hands the apple to Thetis, and stalks away) Aphrodite: (grabs the apple) What is this? It’s so. beautiful! It says, “To the Most Fair. ” Athena: (grabs the apple) Obviously, it should go to one of the goddesses. Like me. Hera: (grabs the apple) No way! I am the queen of the goddesses, the most powerful, and the most beautiful. I deserve the apple! Aphrodite: What? You, the most beautiful goddess? NEVER! Athena: Well, why don’t we have someone decide who is the most fair and beautiful among us? Then, we can’t argue about it anymore. 3 SCENE 1: THE WEDDING ACT I: THE JUDGMENT OF PARIS Hera: I suggest Zeus. .(calling out) Zeus! Come here! We have a question for you. Zeus: Yes, my lovely wife. I am always at your service. What can I do for you? Hera: We need you to decide which among us—Aphrodite, Athena, or myself – is most beau- tiful. The goddess that you choose will get the golden apple that Eris threw at the party. Athena: (to herself) I wonder why she did that. Zeus: (to himself/the audience) Well, this is a nice situation. How can I make such a choice? If I choose one goddess, the others will be angry at me. I can’t make Hera more angry than she already is, and I would hate to upset Athena or Aphrodite. Hmmmm. what should I do? A HA! Ladies, goddesses, I could never make such a decision, because you are all SO lovely. However, there is a mortal—his name is Paris—who has proven himself very wise indeed. If you insist on such a competition, I say we should let HIM decide which of you is the most beautiful. Aphrodite: Oh, yes! That sounds wonderful. Bring him right away, my king. (Other goddess nod approval) Zeus: Very well. {calling) Hermes! (Hermes instantly appears) Bring Paris to me! Hermes: Very well, my king. (exits) (Hermes flies to find Paris in Troy, asleep) Hermes: Paris! Wake up! The king of the gods, Zeus himself, requires you at this very moment! Paris: What? ME? Well, of course I’ll come and do the bidding of Zeus. (They travel back to Zeus and the goddesses) Hermes: Here he is, my king. (bows and leaves) Zeus: Thank you Hermes; you are always so fast. (turns to Paris) Now, Paris, I have an important job for you. Paris: (in profound awe) Oh, anything king Zeus. I would do anything you asked. Zeus: (chuckling) Good to hear. Paris. (treasingly) I have heard of your wise decisions, and I have a decision for you to make now. (pauses to watch Paris’ reaction.) Do you see these goddesses? (Paris nods) Each of them want this golden apple, and they’ve decided that the most beautiful goddess should have it. I cannot choose among these ladies that I love so much, so, I have brought you here to make that decision. Choose wisely, young man. (Zeus grins broadly, very pleased with himself.) Paris: (stunned) Oh... Thank you for this honor, my King. (long pause...) Now... The most beautiful goddess. (steps worriedly to stage front) Hera: (moves to confront Paris) Well, dear mortal. If you choose ME, I will make you a king over all the lands of Europe and Asia. Your kingdom will be the greatest in the land! 4 SCENE 1: THE WEDDING ACT I: THE JUDGMENT OF PARIS Athena: (moves to confront Paris) And if you choose ME, Paris, I will teach you great skill in battle and warfare. You, and you alone, will lead Troy to defeat your greatest enemy: Greece! Aphrodite: (moves more slowly to confront Paris) Well, these are wonderful promises and bribes, aren’t they, Paris?... However, if you choose me, I will give you the most beautiful woman in the world to be your wife. Paris: (pauses to think) Ah! To be a king. To defeat the Greeks and earn great honor. To have the most beautiful woman in the world as my wife. This is a hard decision. (pauses to think) I’m going to have to choose Aphrodite! (Athena and Hera storm off angrily) Aphrodite: (snotty) Well, THANK YOU dear Paris. and as for your reward. the most beautiful woman in the world is named Helena. And she is wife of Menelaus, brother of the King of Mycenea. I shall arrange for you to travel there and meet her. Curtains: Close 5 SCENE 2: THE DECEPTION ACT I: THE JUDGMENT OF PARIS Scene 2: The Deception Paris Ethan or Luke or Kate Menelaus Hayden Helena Brigette or Sylvana Agamemnon Spencer or Luke Aphrodite Marianna Narrators Dayanara and Tallulah Servants Pflipsen Set: Palace (Helena sits on her throne. A servant approaches with a message.) Servant to Menelaus Queen Helena. A stranger has arrived. He claims to be Paris. The prince of Troy! Helena Send him in. (Servant backs away, and quickly returns with Paris.) Paris (bows) Greetings Queen Helena. Helena Hello traveler. You must be weary and hungry. And I am happy for some company. Come join us for a feast. Paris Thank you Queen Helena. I am deeply honored. Helena You are most welcome. As you well know, Zeus commands us to care for the traveler. A feast you need. And a feast you shall have! Come. Let us eat! (Helena claps her hands at the servants and exits, leading her entourage to the feast.) Music: Theme Lights: Slow fade to moonlight (Helena wanders in her garden, gazing up at the moon, and humming softly to herself.) Paris (walking quietly up to Helena) Helena! You must come with me! Aphrodite, that most beautiful of goddesses, has promised you to me. Helena (shocked) What? No, I won’t leave Menelaus. I don’t care WHO promised me to you. (Aphrodite appears, casting a spell on Helena as if by waving a wand.) Paris (more confidently) What was that, Helena? Are you sure you don’t want to come back to Troy with me? Helena Of course I do, Paris. I love you. Let us leave at once! 6 SCENE 2: THE DECEPTION ACT I: THE JUDGMENT OF PARIS (Both run away) (Menelaus enters) Menelaus Helena, I have returned. (pauses, looks around confused) Helena! Where are you? Messenger (rushes in and whispers in Menelaus’ ear) (Menelaus reacts with shock, and pushes the messenger away. Messenger backs away and exits.) Menelaus NO! This can not be! My lovely wife. My Helena, captured by Paris? And our guest. Whom we honored. Sheltered. And fed. Has stolen away the love of my heart? My beautiful wife? This will not stand! Where is this stranger from Troy? (Menelaus rushes angrily away.) Lights: Dusk (Agamemnon enters strolling peacefully.) (Menelaus re-enters hand on sword, and marches up to Agamemnon.) Menelaus (calling) Agamemnon! Agamemnon What is it, brother? Why do you rush so in the dark of the night? Menelaus Hear me King! That Trojan Paris, has stolen away with Helena. I will fight all of Troy to win her back. Agamemnon Yes, this is a terrible wrong. And this prince of Troy is at fault.
Load more

Recommended publications
  • HOMERIC-ILIAD.Pdf
    Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
    [Show full text]
  • 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.
    [Show full text]
  • University of Minnesota
    Hektor and Andromache 1 UNIVERSITY OF MINNESOTA FACULTY OF CLASSICAL AND NEAR EASTERN STUDIES A TRAGIC MORTAL STORY: THE STORY OF HEKTOR AND ANDROMACHE AMY M OSTROM **Written for a Bachelor of Arts in Classical Civilization Hektor and Andromache 2 Hektor, thus you are father to me, and my honoured mother, You are my brother, and you it is who are my young husband. -Andromache, Iliad1 1Lattimore, Richmond. Iliad of Homer. Chicago: University of Chicago Press 1967: VI.429-30 Hektor and Andromache 3 Table of Contents Introduction 4 Chapter One: Hektor 5 Chapter Two: Andromache 8 Chapter Three: The Marriage 10 Chapter Four: The Weight of Mortality: Hektor’s Fate 13 Chapter Five: The Lost Soul: Andromache After Hektor 16 Chapter Six: Tragedy in its Final Conclusion 18 Hektor and Andromache 4 Introduction This thesis paper was not written to analyze any specific source or sources of the literary figures of Hektor and Andromache, but rather to assimilate a common theme associated with them as individuals and as a family. I will look into how ancient writers, such as Homer and Virgil, interpreted them, and how modern writers, such as Marion Zimmer Bradley, portray them. Regardless of who the author is, I am determined in this paper to provide enough evidence that Hektor and Andromache were universally tragic, and can even be considered the most tragic couple in ancient literature. This is true in Homer’s depictions in the Iliad, Euripedes’ renditions of the Troy’s capture and imprisonment of Andromache in the Trojan Women and Andromache, respectively, as well as many others.
    [Show full text]
  • Proquest Dissertations
    MI u Ottawa L'Universite canadierme Canada's university FACULTE DES ETUDES SUPERIEURES run FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'University* eanadieime Canada's university Stephen B. Quinlan AUTEUR DE LA THESE / AUTHOR OF THESIS Ph.D. (Religious Studies) GRADE/DEGREE Department of Classics and Religious Studies FACULTE, ECOLE, DEPARTEMENT/ FACULTY, SCHOOL, DEPARTMENT The Ilaid, the Athlete and the Ancient Greek Polis A Descriptive Study of Homer's Iliad %$>• Hero Myth TITRE DE LA THESE / TITLE OF THESIS Dominique Cote DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR Anne Vallely CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Theodore De Bruyn Francisco Gonzalez Gregory Nagy (Harvard Univeristy) Karin Schlapbach Gary W. Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies The Iliad, the Athlete and the Ancient Greek Polis A Descriptive Study of Homer's Iliad as Hero Myth Stephen B. Quinlan Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the PhD in Religious Studies Department of Religious Studies Faculty of Arts University of Ottawa © Stephen B. Quinlan, Ottawa, Canada, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-66013-3 Our
    [Show full text]
  • Pistos Hetairos in the Iliad and the Odyssey
    ACTA CLASSICA XXVI (/983) 15-22 PISTOS HETAIROS IN THE ILIAD AND THE ODYSSEY by Hanna Roisman (Tel-Aviv University) I Pistas and pista6 in the Iliad and the Odyssey are associated with the provision of concrete evidence of reliability. This can be either a symbolic handshake, as 1 between Diomedes and Glaucus (pist6santa, Iliad 6.233 ), which serves as external proof of their agreement, or a more significant deed, such as Automedon's response to Patroclus' needs in battle which qualifies him to be considered the latter's pistatatas (16.147). 2 In such cases the epithet pistas should be understood to convey reliability, trustworthiness or faithfulness, meanings which the epithet most commonly holds in later authors3 but rarely in the Iliad when it is used personally. The case of Alcimedon, who is Automedon's pistas hetairas (17.500), is the sole example for such a meaning of this phrase. The proof of his reliability is his helping Automedon on the battlefield (17.466 ff) . The heroes do not share any relationship other than being hetairai to each other; that is, they belong to the same contingent and fight the same enemy. 4 By giving aid to Automedon in a troublesome situation Alcimedon merely opens the way for a closer relationship which is neither obligatory nor assured. The remaining occurrences of the phrase pistas hetairas in the Iliad refer to four heroes: Patroclus (17.557; 18.235, 460), Stichius (15.331), 5 Lycophron (15.437), and Podes (17.589). Three characteristic features in the description of these heroes differentiate them from the case of Alcimedon-Automedon.
    [Show full text]
  • HETAIREIA in HOMER John Elias Esposito a Dissertation Submitted to the Faculty at the University of North Carolina at Chapel
    HETAIREIA IN HOMER John Elias Esposito A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2015 Approved by: Fred Naiden William H. Race James J. O’Hara Emily Baragwanath James Rives © 2015 John Elias Esposito ALL RIGHTS RESERVED ii ABSTRACT John Elias Esposito: Hetaireia in Homer (Under the direction of Fred Naiden) This study addresses the neglected subject of hetaireia (roughly, “warrior- companionship”) in Homer. Although many discussions of Homer mention hetairoi in passing, no study treats semantic, poetic, social, and military aspects comprehensively. The purpose of this dissertation is to fill this gap. To this end I explicate the meaning of the heta(i)r- root, survey the social and military roles of Homeric hetairoi, and expose the way the Iliad and the Odyssey use hetaireia to portray pathos and character. The argument is informed by the etymology of heta(i)r- from the PIE reflexive *swe-, but rests on a catalogue and analysis of all scenes in which hetairoi appear. The four chapters of this dissertation argue that hetaireia is a major axis on which both epics turn. The two chapters on the Iliad show what the world is like when hetaireia dominates and consider how a poem about war focuses on the bond between warriors and their companions. The two chapters on the Odyssey show how the world changes when hetaireia disappears and consider how a poem about homecoming replaces the relationships of the battlefield with the relationship between the oikos and the gods.
    [Show full text]
  • 800 BC the ILIAD Homer Translated by Samuel Butler
    800 BC THE ILIAD Homer translated by Samuel Butler Homer (~800 BC) - An Ionian Poet. Historians cannot agree where Homer was born, whether he was blind, whether he wrote both the “Iliad” and the “Odyssey”, or even if he actually existed. Whatever the case may be, the influence of the two enduring epics attributed to him is indisputable. The Iliad (800 BC) - An epic poem consisting of twenty-four books that deal with the last few days of the Trojan War. Here translated into prose by Samuel Butler. Table Of Contents BOOK I . 3 BOOK II . 12 BOOK III . 25 BOOK IV . 32 BOOK V . 40 BOOK VI . 53 BOOK VII . 61 BOOK VIII . 68 BOOK IX . 76 BOOK X . 87 BOOK XI . 96 BOOK XII . 109 BOOK XIII . 116 BOOK XIV . 129 BOOK XV . 137 BOOK XVI . 148 BOOK XVII . 162 BOOK XVIII . 173 BOOK XIX . 182 BOOK XX . 188 BOOK XXI . 196 BOOK XXII . 205 BOOK XXIII . 213 BOOK XXIV . 227 THE END . 238 BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest.
    [Show full text]
  • Greek Mythology Link (Complete Collection)
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • Español • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. This PDF contains portions of the Greek Mythology Link COMPLETE COLLECTION, version 0906. In this sample most links will not work. THE COMPLETE GREEK MYTHOLOGY LINK COLLECTION (digital edition) includes: 1. Two fully linked, bookmarked, and easy to print PDF files (1809 A4 pages), including: a. The full version of the Genealogical Guide (not on line) and every page-numbered docu- ment detailed in the Contents. b. 119 Charts (genealogical and contextual) and 5 Maps. 2. Thousands of images organized in albums are included in this package. The contents of this sample is copyright © 1997 Carlos Parada and Maicar Förlag. To buy this collection, visit Editions. Greek Mythology Link Contents The Greek Mythology Link is a collection of myths retold by Carlos Parada, author of Genealogical Guide to Greek Mythology, published in 1993 (available at Amazon). The mythical accounts are based exclusively on ancient sources. Address: www.maicar.com About, Email. Copyright © 1997 Carlos Parada and Maicar Förlag. ISBN 978-91-976473-9-7 Contents VIII Divinities 1476 Major Divinities 1477 Page Immortals 1480 I Abbreviations 2 Other deities 1486 II Dictionaries 4 IX Miscellanea Genealogical Guide (6520 entries) 5 Three Main Ancestors 1489 Geographical Reference (1184) 500 Robe & Necklace of
    [Show full text]
  • The Ancient Critic at Work
    This page intentionally left blank THE ANCIENT CRITIC AT WORK The large but underrated corpus of Greek scholia, the marginal and interlinear notes found in manuscripts, is a very important source for ancient literary criticism. The evidence of the scholia significantly adds to and enhances the picture that can be gained from studying the relevant treatises (such as Aristotle’s Poetics): scholia also contain con- cepts that are not found in the treatises, and they are indicative of how the concepts are actually put to use in the progressive interpretation of texts. The book also demonstrates that it is vital to study both ancient terminology and the cases where a particular phenomenon is simply paraphrased. Nineteen thematic chapters provide a repertoire of the various terms and concepts of ancient literary criticism. The relevant witnesses are extensively quoted in Greek and English translation. A glossary of Greek terms (with translation) and several indices enable the book also to be used for reference. renen´ unlist¨ is Associate Professor of Classics at Brown University, Rhode Island. Publications include Poetologische Bildersprache in der fruhgriechischen¨ Dichtung () and a new co-authored commentary on Homer’s Iliad (–). THE ANCIENT CRITIC AT WORK Terms and Concepts of Literary Criticism in Greek Scholia RENEN´ UNLIST¨ Brown University CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521850582 © Cambridge University Press 2009 This publication is in copyright.
    [Show full text]
  • Rereading Death: Ethics and Aesthetics in the Ancient
    REREADING DEATH: ETHICS AND AESTHETICS IN THE ANCIENT RECEPTION OF HOMERIC BATTLE NARRATIVE by Nicholas Kauffman A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, MD March, 2015 [Intended to be blank] ii Abstract In this dissertation, I examine the many famous death scenes in the Iliad and argue that their reception within antiquity reflects a lively and diverse discourse about the meaning of violence, and specifically of death in battle. As evidence of this reception, I consider later Greek epics and the exegetical tradition, viewing these texts using the methodological frameworks of intertextuality and reception studies. In the first chapter, I provide a descriptive analysis of the Iliad’s deaths and discuss the often conflicting interpretations of them advanced in modern scholarship. I argue that these deaths are underdetermined, that the text itself articulates no clear ideological framework within which to understand them, and I view this underdeterminedness as productive, in that it makes possible and even encourages dialogue among later readers. In the subsequent chapters I examine three texts that engage in this dialogue. First, I look at the death scenes in Apollonius’ Argonautica. Though these are largely constructed from Homeric motifs, I show that Apollonius consistently defamiliarizes these motifs and thus calls into question not only the formal qualities of the Iliadic narrative but also its ethical underpinnings. In Quintus of Smyrna’s Posthomerica, as I show in the following chapter, the deaths are designed to seem Homeric, and they are formally almost identical to their Iliadic counterparts.
    [Show full text]
  • This Thesis Is an Analysis of Achilles and Andromache in Homer's Iliad
    ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE UNDER THE DIRECTION OF NANCY FELSON ABSTRACT This thesis is an analysis of Achilles and Andromache in Homer’s Iliad employing the formulaic theories of Milman Parry, Bakhtin, modern narratology, and deixis. These methodologies illuminate correlations between these seemingly different characters by commonalities within epic diction: the motif of Eetion, the shared narrative sequence of lamentation, and shared paradigmatic formula. In chapter one, Eetion marks a triadic relationship with Achilles, Andromache and Hector, in which if Achilles survived the war, he would have led Andromache off as wife, fulfilling his earlier loss of Briseis. In chapter two, Achilles and Andromache are shown to share the same narrative lament sequence; Achilles’ narrative is borrowed from a traditionally feminine one. In chapter three, Achilles shares the formula daimoni isos with Andromache in the modified mainadi ise, indicating not only parallel poetic descriptions in battle and lamentation, respectively, but also transcendence to a divine status. INDEX WORDS: Greek Poetry, Homer, Achilles, Andromache, Milman Parry, Bakhtin, Narratology, Oral Poetry, Eetion, Lamentation. ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE B.A., BRANDEIS UNIVERSITY, 2002 A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF GEORGIA IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS ATHENS, GEORGIA AUGUST 2007 © 2007 Sean Nicholas Signore All rights reserved ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE Major Professor : Nancy Felson Committee: Jared Klein Nicholas Rynearson Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2007 iv For Nayantara v ACKNOWLEDGEMENTS This thesis would not have come to fruition without the shoulders of giants and the support of many.
    [Show full text]
  • Experiencing Hektor: Character in The
    Kozak, Lynn. "Ends." Experiencing Hektor: Character in the . London: Bloomsbury Academic, 2017. 147–230. Bloomsbury Collections. Web. 26 Sep. 2021. <http:// dx.doi.org/10.5040/9781474245470.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 23:15 UTC. Copyright © Lynn Kozak 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 E n d s Th e transition between Book 15 and Book 16 might not qualify for most as the beginning of the end of the Iliad , 1 but it is the beginning of the end for Hektor. Th e fi rst books of the Iliad build the storyworld and introduce most of its many characters. Th e middle books point towards major events, while keeping the narrative in balance. In exploiting and expanding its melodramatic alignment structure, the narrative spends this time deepening familiar characters and introducing new ones, building audience alignment and allegiance with many of them. Th ese fi nal books fi nally let the major events pointed to in earlier episodes happen to those characters whom the narrative has built audience allegiance with; this allegiance means that those events will have emotional consequences for the audience. Hektor has now reached the ships (15.704–46). Patroklos has run to fetch Achilles to battle (15.390–405). Th e wheels are in motion, rolling towards events that have already been spelled out. Sarpedon will die (15.66f.). Patroklos will die (15.65).
    [Show full text]