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1186 B.C.E. the Trojan War Greece
1186 B.C.E. The Trojan War Greece The events in the myth of The Judgement of Paris started a period of war called the Trojan War, in which the city of Troy and its allies fought the citystate of Sparta and its allies. Most of what we know of the Trojan War comes from epics such as Homer’s Iliad and O dyssey, but there is evidence that the Trojan War was a real event; the problem is that we don’t know exactly how much of what is described in the Iliad is true. For example, the Iliad features Gods and Goddesses not present in modern society or belief, as well as people that may have been idealized as war heroes. The following is what we know about the events of the Trojan War from the Iliad. Menelaus, the king of Sparta, was so angry that Paris had taken his wife that he set out to wage war with Paris and the city of Troy. To do so, he sent out for certain people to help, such as Odysseus, the hero of the Odyssey, and Achilles, who a seer said the war would not be won without. The Greeks first attacked nearby kingdoms that were supplying Troy, destroying the Trojan economy, killing Trojan hero Hector and looting spoils of war. However, the Greeks couldn’t break down the wall that surrounded Troy, so Odysseus devised a plan now known as the Trojan Horse. The Greeks hid inside a giant wooden horse that they tricked the Trojans to let inside their walls. -
Sophocles, Ajax, Lines 1-171
SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax. -
Essay 2 Sample Responses
Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant. -
![The Judgment of Paris, [In:] I](https://docslib.b-cdn.net/cover/9833/the-judgment-of-paris-in-i-209833.webp)
The Judgment of Paris, [In:] I
s T u di e s in anci e nt art and ci v ili z ation 1 0 Kraków 2007 Grzegorz Łaczek Cracow THE JUDGEMENT OF PARIS Cylyndric vessels - pyxides made of ivory are an important group among the products of antic craftsmanship. The vessels of that type were created using the natural properties of this specyfic material. Boxes or other vessels of that type were later used as jewellery or cosmetics containers for women. The outher surface of pyxides was decorated with relief (often figurative), what further increased their esthetic value. The form of such a cylyndric vessel made from this particular section of an elephant tusk has been known in the Mediterraneam area since the bronze age. It was later also employed in the graeco-roman culture. Obviously ceramic pyxides were also discovered, some decorated with polichromy just as other greek vases, others made of metal with a relief or carved decoration. That cylyndric form of a vessel was also aspecially popular during the late antic, beginning from the 4th century. Dur- ing that time reliefs with christian themes started to appear in pyxis decoration As we know it is a tooth (tusk) and has characterystics specyfic for that organ – it is built of enamel, dentine and tooth pulp with neural tissue. Any craftsmanship items are only made of hard dentine that encircles the tooth pulp at the base of the tusk. From this particular section, after sawing the tusk sidewise, it is possible to receive an item simillar in shape to a cylinder empty inside. A bottom part and cover made of other sections of the tusk are fitted to this semi-finished product, thus producing a pecious box. -
Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London. -
Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos. -
'The Judgement of Paris' from Robert Graves
Extract, regarding ‘The Judgement of Paris’, from Robert Graves, The Greek Myths: Volume Two. h. Paris's noble birth was soon disclosed by his outstanding beauty, intelligence, and strength: when little more than a child, he routed a band of cattle-thieves and recovered the cows they had stolen, thus winning the surname Alexander.1 Though ranking no higher than a slave at this time, Paris became the chosen lover of Genone, daughter of the river Oeneus, a fountain-nymph. She had been taught the art of prophecy by Rhea, and that of medicine by Apollo while he was acting as Laomedon's herdsman. Paris and Oenone used to herd their flocks and hunt together; he carved her name in the bark of beech-trees and poplars.2 His chief amusement was setting Agelaus's bulls to fight one another; he would crown the victor with flowers, and the loser with straw. When one bull began to win consistently, Paris pitted it against the champions of his neighbours' herds, all of which were defeated. At last he offered to set a golden crown upon the horns of any bull that could overcome his own; so, for a jest, Ares turned himself into a bull, and won the prize. Paris's unhesitating award of this crown to Ares surprised and pleased the gods as they watched from Olympus; which is why Zeus chose him to arbitrate between the three goddesses.3 i. He was herding his cattle on Mount Gargarus, the highest peak of Ida, when Hermes, accompanied by Hera, Athene, and Aphrodite, delivered the golden apple and Zeus's message: 'Paris, since you are as handsome as you are wise in affairs of the heart, Zeus commands you to judge which of these goddesses is the fairest.' Paris accepted the apple doubtfully. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
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. -
Filostrato: an Unintentional Comedy?
Heliotropia 15 (2018) http://www.heliotropia.org Filostrato: an Unintentional Comedy? he storyline of Filostrato is easy to sum up: Troiolo, who is initially presented as a Hippolytus-type character, falls in love with Criseida. T Thanks to the mediation of Pandaro, mezzano d’amore, Troiolo and Criseida can very soon meet and enjoy each other’s love. Criseida is then unfortunately sent to the Greek camp, following an exchange of prisoners between the fighting opponents. Here she once again very quickly falls in love, this time with the Achaean warrior Diomedes. After days of emotional turmoil, Troiolo accidentally finds out about the affair: Diomedes is wearing a piece of jewellery that he had previously given to his lover as a gift.1 The young man finally dies on the battlefield in a rather abrupt fashion: “avendone già morti più di mille / miseramente un dì l’uccise Achille” [And one day, after a long stalemate, when he already killed more than a thou- sand, Achilles slew him miserably] (8.27.7–8). This very minimal plot is told in about 700 ottave (roughly the equivalent of a cantica in Dante’s Comme- dia), in which dialogues, monologues, and laments play a major role. In fact, they tend to comment on the plot, rather than feed it. I would insert the use of love letters within Filostrato under this pragmatic rationale: the necessity to diversify and liven up a plot which we can safely call flimsy. We could read the insertion of Cino da Pistoia’s “La dolce vista e ’l bel sguardo soave” (5.62–66) under the same lens: a sort of diegetic sublet that incorporates the words of someone else, in this case in the form of a poetic homage.2 Italian critics have insisted on the elegiac nature of Filostrato, while at the same time hinting at its ambiguous character, mainly in terms of not 1 “Un fermaglio / d’oro, lì posto per fibbiaglio” [a brooch of gold, set there perchance as clasp] (8.9). -
Study Questions Troilus and Cressida D R a F T
2012 Suggestions for Teaching Troilus and Cressida by William Shakespeare Before seeing/reading the play 1. Research the Trojan War? What was the source of the conflict? Who fought against whom? Who were the major players? How long did it last? What was the outcome? Who famously wrote about events in The Trojan War? These and other websites provide information: http://www.stanford.edu/~plomio/history.html http://www.timelessmyths.com/classical/trojanwar.html http://www.ancienthistory.about.com/cs/troyilium/a/trojanwar.htm 2. The Iliad is an epic poem written by Homer. What events are recounted in The Iliad? Who are the major characters in The Iliad? These and other websites provide information: http://www.en.wikipedia.org/wiki/Iliad http://www.timelessmyths.com/classical/trojanwar.html#Iliad 3. Read Chaucer’s Troilus and Criseyd, one of Shakespeare's sources for this play. These and other websites provide information: http://www.tkline.pgcc.net/PITBR/English/Chaucerhome.htm http://www.omacl.org/Troilus 4. According to the Random House Webster’s dictionary, status is “the position or rank of an individual in relation to others.” Describe some of the factors that determine an individual’s status. When and how can one’s status change? Describe situations in which status is important. Under what circumstances is status unimportant? What is the relationship of reputation to status? 5. I maintain that this question has nothing to do with the play. I would delete it, but I defer to someone else. Which members of the House of Atreus are associated with the Trojan War? Describe the part each plays. -
Shakespeare, Aristotle, And
Colloquium on Violence & Religion Conference 2003 “Passions in Economy, Politics, and the Media. In Discussion with Christian Theology” University of Innsbruck, Austria (3.2 Literature) 14:00-15:30, Friday, June 20, 2003 Shakespeare, The ‘Prophet of Modern Advertising’, Aristotle, the ‘Strange Fellow’, and Ben Jonson and in Mimetic Rivalry the ‘Poets’ War’ Christopher S. Morrissey Department of Humanities 8888 University Drive Simon Fraser University Burnaby, British Columbia, Canada V5A 1S6 PGP email: Key ID 0x6DD0285F Background: Achilles asks Ulysses at Troilus and Cressida 3.3.95 what he is reading. Ulysses reports what “a strange fellow”, an unnamed author, teaches him through the book, which he does not name (96-102). Achilles retorts emphatically that what Ulysses reports is quite commonplace and “not strange at all” (103-112). Many modern commentators have not hesitated to take Achilles’ side on the issue. They regard what is voiced (e.g. “beauty … commends itself to others’ eyes”: 104-106) as commonplace, finding the substance of Ulysses’ report (96-102) and Achilles’ paraphrase of it (103-112) in a variety of ancient and Renaissance sources. In a previous play, however, Shakespeare had a copy of Ovid’s Metamorphoses brought onstage as a plot device (Titus Andronicus 4.1.42). Perhaps the same kind of self-conscious literary event is occurring in Troilus and Cressida, for Ulysses goes on to answer Achilles’ protest. He argues that the commonplaces (with which both Achilles and the modern commentators profess familiarity) are treated by the unnamed author in a decidedly different fashion (113-127). William R. Elton has suggested that the unnamed author is Aristotle and that the book to which the passage alludes is the Nicomachean Ethics (1129b30-3; cf.