DOCSLIB.ORG

A Commentary on the Fragments of Fourth-Century Tragedy Thomas Sims

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Commentary on the Fragments of Fourth-Century Tragedy Thomas Sims A Commentary on the Fragments of Fourth-century Tragedy Thomas Sims Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy June 2018 Abstract Except for the pseudo-Euripidean Rhesus, fourth-century tragedy has almost entirely been lost to the ravages of time, known only through the quotation of a few isolated lines by later writers or preservation on some sand-worn scraps of papyrus. The poor survival of fourth- century tragedy has inevitably led to suggestions of low quality. Recent scholarship, however, has begun to revise these conclusions, recognising a remarkable inventiveness prevalent in the surviving fragments. This thesis aims to continue the rehabilitation of fourth-century tragedy and takes the form of a commentary on the fragments of Astydamas II, Carcinus II, Chaeremon, and Theodectas, the ‘leading lights’ of this period whose verses comprise over half of what remains. In the introduction, I focus on fourth-century tragedy in general and all its surviving fragments, even those not treated in the commentary. I begin by exploring the internationalisation of this genre and its spread to the Greek-speaking West and East. I then consider the prevalent themes and stylistic features of the fragments and examine fourth- century reaction to fourth-century tragedy, particularly in comedy, oratory, and philosophy. I also discuss fourth-century satyr drama and some of its best surviving examples, including Python’s Agen. In the commentary, I provide a biography for each poet and explore their reception and that of their work. I then discuss each of their plays in turn, reconstructing plots where possible and providing information about other treatments of a myth in fifth- and fourth- century drama. Finally, I analyse each fragment, focusing on any textual issues, their literary, stylistic, and dramaturgical qualities, and on their relationship within the dramatic tradition and Greco-Roman literature. 2 Through analysing the fragments in the form of a commentary, I hope to show that far from representing a ‘terminal decline’ as Edna Hooker once lamented, they instead display many remarkable qualities which make them worthy of study in their own right. 3 Acknowledgements In many ways studying for a PhD is like hiking through the countryside, at times arduous, but nonetheless fun, full of self-discovery, and hopefully enlightening. Along this journey I have been fortunate enough to meet, work, and become friends with many amazing people, some of whom I would like to take this opportunity to thank. Firstly, my supervisors: Patrick Finglass, for his pivotal role in the formative stages of this work and for his willingness to comment on my many drafts; Alan Sommerstein, for his unbridled enthusiasm, inspiration, and incisive feedback; and Oliver Thomas, whose support and encouragement have meant more to me than I can put into words. It has been a pleasure to have had the opportunity to work with all three of them. I would like to thank my examiners Edmund Stewart and Matthew Wright for an enjoyable afternoon spent discussing fourth-century tragedy and for their thoughts and feedback on this work. I wish to thank Nick Wilshere for proofreading my thesis, and the members, both staff and students, of the Department of Classics and Archaeology at the University of Nottingham for their encouragement and interest in my research. I am grateful to Vincent Rondot, head of the Department of Egyptian Antiquities at the Louvre, for kindly making available the papyrus containing verses from Carcinus’ Medea. I must also thank the Midlands3Cities Doctoral Training Partnership for awarding me a studentship; without this funding, I would not have been able to undertake this research. There are other people who have made a different, but no less profound and significant contribution to the person and scholar I am today. Firstly, Amanda Leatherland, Jill Osgood, Jane Siveyer, and Dora Wood who have offered me many years of support and guidance and who have helped me to realise what a boy from Bilborough can achieve. Secondly, Robert Grant, Ben Harrison, and Andy Swithinbank who first taught me Latin and Greek and showed me the relevance that ancient literature still has in our modern society. I wish to thank Lindsey Annable, Stefanos Apostolou, Carl Dixon, Aaron Duncan, and Andrew 4 Fox for their friendship, advice, and for always being happy to have a chat, and Adam Dakin and Crystal Johnson for the laughs, the trips, and for listening, without complaint, to the same anecdotes about the ancient world on many separate occasions! Lastly, and most importantly, I would like to thank my mum Catherine, my brother Josh, and my sister Rachel for their encouragement, guidance, support, and above all their love. I dedicate this thesis to the memory of my grandma Irene. I hope this work is testament to her belief in the importance of perseverance and hard work. 5 Contents Introduction................................................................................................................................8 Internationalisation of tragedy and satyr drama...........................................................17 Sicily and southern Italy...................................................................................18 The east............................................................................................................24 Some recurring themes of fourth-century tragedy.......................................................27 Familial bonds..................................................................................................27 Women.............................................................................................................33 The natural world.............................................................................................34 Some stylistic features of fourth-century tragedy........................................................37 Mythological changes......................................................................................37 Philosophers as tragedians...............................................................................43 Oratorical features of fourth-century tragedy...................................................46 The chorus……………....................................................................................49 Fourth-century tragedy in context................................................................................50 Comedy and tragedy.........................................................................................50 Philosophy and tragedy....................................................................................54 Tragedy in the orators.......................................................................................58 Satyr drama..................................................................................................................62 Notes on the text and commentary...............................................................................66 Commentary.............................................................................................................................69 Astydamas II................................................................................................................70 Introduction......................................................................................................70 Life and career......................................................................................70 Reaction and reception.........................................................................74 6 Commentary.....................................................................................................79 Carcinus II..................................................................................................................133 Introduction....................................................................................................133 Life and career....................................................................................133 Reaction and reception....................................................................... 137 Commentary...................................................................................................141 Chaeremon.................................................................................................................178 Introduction....................................................................................................178 Life and career....................................................................................178 Reaction and reception....................................................................... 180 Commentary...................................................................................................184 Theodectas..................................................................................................................243 Introduction....................................................................................................243 Life and career....................................................................................243 Reaction and reception....................................................................... 249 Commentary...................................................................................................254 Appendices.............................................................................................................................308
Load more

Recommended publications
  • The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; Proquest Pg
    The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; ProQuest pg. 387 The Conditions of Dramatic Production to the Death of Aeschylus N. G. L. Hammond TUDENTS of ancient history sometimes fall into the error of read­ Sing their history backwards. They assume that the features of a fully developed institution were already there in its earliest form. Something similar seems to have happened recently in the study of the early Attic theatre. Thus T. B. L. Webster introduces his excellent list of monuments illustrating tragedy and satyr-play with the following sentences: "Nothing, except the remains of the old Dionysos temple, helps us to envisage the earliest tragic background. The references to the plays of Aeschylus are to the lines of the Loeb edition. I am most grateful to G. S. Kirk, H. D. F. Kitto, D. W. Lucas, F. H. Sandbach, B. A. Sparkes and Homer Thompson for their criticisms, which have contributed greatly to the final form of this article. The students of the Classical Society at Bristol produce a Greek play each year, and on one occasion they combined with the boys of Bristol Grammar School and the Cathedral School to produce Aeschylus' Oresteia; they have made me think about the problems of staging. The following abbreviations are used: AAG: The Athenian Agora, a Guide to the Excavation and Museum! (Athens 1962). ARNon, Conventions: P. D. Arnott, Greek Scenic Conventions in the Fifth Century B.C. (Oxford 1962). BIEBER, History: M. Bieber, The History of the Greek and Roman Theatre2 (Princeton 1961).
    [Show full text]
  • PLATO's SYMPOSIUM J
    50 ccn~ PLATO'S SYMPOSIUM j - - -- ________j e Library of Liberal Arts PLATO'S SYMPOSIUM Tran lated by BENJAMIN JOWETT With an Introduction by FULTON H. ANDERSON Professor of Philosophy, University of Toronto THE LIBERAL ARTS PRESS NEW YORK CONTENTS SELECTED BIBLIOGRAPHY .. .... ................................... ......... ... ........... 6 EDITOR'S INTRODUCTION ................... ............................................. 7 SYMPOSIUM APOLLODORUS 13 THE SPEECH OF PHAEDRUS ...... .......................... .......................... .. 19 THE SPEECH OF PAU ANIAS ................. ... ................................. ... .. 21 THE SPEECH OF ERYXIMACHUS 27 THE SPEECH OF ARISTOPHAN E .. ............................... .................. 30 THE SPEECH OF AGATHON ............ .............................................. .. 35 THE SPEECH OF SocRATES ................................ .. ................... ..... .. 39 THE SPEECH OF ALCIBIADES ................. ............... ... ........... ...... .... .. 55 8 PLATO INTROD CTION 9 crescendo, and culminates in the report by Socrates on wi dom and epistemology, upon all of which the Symposium ha bearing, learned from the "wi e" woman Diotima. are intertwined, we m ay set down briefly a few of the more general The dialogue i a "reported" one. Plato himself could not have principles which are to be found in it author's many-sided thought. been present at the original party. (What went on there was told The human soul, a cording to Plato, is es entially in motion. time and time again about Athens.) He was a mere boy when it It is li fe and the integration of living functions. A dead soul is a con­ took place. Nor could the narrator Apollodorus have been a guest; _lladiction in terms. Man throughout his whole nature is erotically he was too young at the time. The latter got his report from motivated. His "love" or desire i manifest in three mutually in­ Aristodemus, a guest at the banquet.
    [Show full text]
  • Trojan Women: Introduction
    Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers.
    [Show full text]
  • Getting Acquainted with the Myths Search the GML Advanced
    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 • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way.
    [Show full text]
  • Llt 121 Classical Mythology Lecture 32 Good Morning
    LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL.
    [Show full text]
  • PUBLIC OBSERVING NIGHTS the William D. Mcdowell Observatory
    THE WilliamPUBLIC D. OBSERVING mcDowell NIGHTS Observatory FREE PUBLIC OBSERVING NIGHTS WINTER Schedule 2019 December 2018 (7PM-10PM) 5th Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 12th Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 19th Moon, Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 26th Moon, Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884)? January 2019 (7PM-10PM) 2nd Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 9th Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 16 Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 23rd, Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Orion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 30th Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Orion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) February 2019 (7PM-10PM) 6th
    [Show full text]
  • Euripides” Johanna Hanink
    The Life of the Author in the Letters of “Euripides” Johanna Hanink N 1694, Joshua Barnes, the eccentric British scholar (and poet) of Greek who the next year would become Regius Professor at the University of Cambridge, published his I 1 long-awaited Euripidis quae extant omnia. This was an enormous edition of Euripides’ works which contained every scrap of Euripidean material—dramatic, fragmentary, and biographical —that Barnes had managed to unearth.2 In the course of pre- paring the volume, Barnes had got wind that Richard Bentley believed that the epistles attributed by many ancient manu- scripts to Euripides were spurious; he therefore wrote to Bentley asking him to elucidate the grounds of his doubt. On 22 February 1693, Bentley returned a letter to Barnes in which he firmly declared that, with regard to the ancient epistles, “tis not Euripides himself that here discourseth, but a puny sophist that acts him.” Bentley did, however, recognize that convincing others of this would be a difficult task: “as for arguments to prove [the letters] spurious, perhaps there are none that will convince any person that doth not discover it by himself.”3 1 On the printing of the book and its early distribution see D. McKitterick, A History of Cambridge University Press I Printing and the Book Trade in Cambridge, 1534–1698 (Cambridge 1992) 380–392; on Joshua Barnes see K. L. Haugen, ODNB 3 (2004) 998–1001. 2 C. Collard, Tragedy, Euripides and Euripideans (Bristol 2007) 199–204, re- hearses a number of criticisms of Barnes’ methods, especially concerning his presentation of Euripidean fragments (for which he often gave no source, and which occasionally consisted of lines from the extant plays).
    [Show full text]
  • 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.
    [Show full text]
  • Breaking the Silence of Homer's Women in Pat Barker's the Silence
    International Journal of English Language Studies (IJELS) ISSN: 2707-7578 DOI: 10.32996/ijels Website: https://al-kindipublisher.com/index.php/ijels Breaking the Silence of Homer’s Women in Pat Barker’s the Silence of The Girls Indrani A. Borgohain Ph.D. Candidate, University of Jordan, Amman, Jordan Corresponding Author: Indrani A. Borgohain, E-mail: [email protected] ARTICLE INFORMATION ABSTRACT Received: December 25, 2020 Since time immemorial, women have been silenced by patriarchal societies in most, if Accepted: February 10, 2021 not all, cultures. Women voices are ignored, belittled, mocked, interrupted or shouted Volume: 3 down. The aim of this study examines how the contemporary writer Pat Barker breaks Issue: 2 the silence of Homer’s women in her novel The Silence of The Girl (2018). A semantic DOI: 10.32996/ijels.2021.3.2.2 interplay will be conducted with the themes in an attempt to show how Pat Barker’s novel fit into the Greek context of the Trojan War. The Trojan War begins with the KEYWORDS conflict between the kingdoms of Troy and Mycenaean Greece. Homer’s The Iliad, a popular story in the mythological of ancient Greece, gives us the story from the The Iliad, Intertextuality, perspective of the Greeks, whereas Pat Barker’s new novel gives us the story from the Adaptation, palimpsestic, Trojan perspective of the queen- turned slave Briseis. Pat Barker’s, The Silence of the Girls, War, patriarchy, feminism written in 2018, readdresses The Iliad to uncover the unvoiced tale of Achilles’ captive, who is none other than Briseis. In the Greek saga, Briseis is the wife of King Mynes of Lyrnessus, an ally of Troy.
    [Show full text]
  • Oedipus and Sophocles’ Oedipus Rex: a Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة
    I Tawfiq Al-Hakim’s King Oedipus and Sophocles’ Oedipus Rex: A Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة Prepared by: Israa Jamil Mohammed Supervised by: Professor Tawfiq Yousef A Thesis Submitted in Partial Fulfillment of the Requirements for the Master’s Degree in English Language and Literature Faculty of Arts and Science Department of English Language and Literature Middle East University August 2015 II III IV Acknowledgment My deepest thanks and gratitude are to Allah, the Greatest, who gave me the patience and strength to do this research. My special appreciation and thanks are to my supervisor Professor Tawfiq Yousef who has been a tremendous mentor for me. I would like to thank him for supervising my research and for allowing me to grow as a researcher. His comments, guidance, and advice on my research have been very helpful. Special thanks also are given to my parents. Words cannot express how grateful I am to my father and my mother for all of the sacrifices that have made on my behalf. Their prayers and their support for me were what sustained me thus far. Finally, I would like to thank my brothers and sisters who stood by my side during the period of preparing the thesis. V Dedication I would like to dedicate this research to my parents, who were my strongest supporters throughout this whole experience. I also would like to dedicate it to my brothers and sisters who also supported me. Finally, I dedicate it to my uncles, aunts and friends.
    [Show full text]
  • PORTLIGHT� PORTLAND YACHT CLUB MONTHLY June 2014 Volume 64, Number 5
    PORTLIGHT� PORTLAND YACHT CLUB MONTHLY June 2014 Volume 64, Number 5 Tom Kelly and his crew during the 2014 Swiftsure www.portlandyc.com | 503-285-1922 | 1241 NE Marine Drive, Portland, Oregon 97211 THE COMMODORE’S COLUMN by Commodore Chris Dorn, S/V Ruffian Susan and I had a great time on Opening Day. With a theme like a lot of us who are mostly out there just for the “Making Memories,” what better yacht to make our flagship than fun. Don’t be surprised at the occasional water Chuck Kellogg’s classic yacht, Phantom, and who better to race us balloon or squirt gun competition and I am around the course than Flag Captain (and sometimes racecar driver) always pleasantly surprised at the number of M/V folks, with roots Harry Braunstein. Shirley was on board as were Terry and Lee in sailing, who participate as crew. Johnson. June is also a month for three mini cruises. These are non-hosted How about S/V Camelot and S/V Galatea leading our fleet through gatherings at specific moorage locations – you just show up, dock the water flying Old Glory and the PYC Burgee? I thought the rep- your boat and let the fun begin. resentative PYC Fleet put on quite a show – Bo Knab would have As June marks the middle of the year you will be hearing more been proud. I want to also thank Captain MacGregor for his role about the many projects that our Committees are continuing to as Fleet Captain, the Former Commodore’s and First Mates, our work on, or about to undertake.
    [Show full text]
  • CLASSICAL MYTHS Unit 3. the Trojan War
    CLASSICAL MYTHS Unit 3. The Trojan War 1. The fragments below belong to the text you are about to read. Work in pairs to decide where they should go. a) the son of Thetis and Peleus b) the king of Troy c) but was destined never to be believed d) sister of Helen e) According to the legend, the son of Ilos was Laomedon, who was regarded as a cheat and a liar f) It was a formidable fleet and army which left the Greek shores to embark on the siege of Troy g) Odysseus decided it was time to use some guile h) a priest of Apollo i) Menelaus, in the other hand, lived happily for many years with Helen j) During the wedding festivities the uninvited Eris, goddess of Discord, threw down a golden apple k) whom Zeus had seduced when he came to her in the disguise of a swan l) The Greeks began sacking the city m) and dragged the body three times round the city wall behind his chariot n) the man the Greeks had left behind THE TROJAN WAR Greek legends tell of a 10-year war between the Greeks and the people of Troy in Asia Minor. Troy was said to have been founded by a man called Teucer who became its first king and under his great-great-grand-son, Ilos, it received the name Ilion _1_ . Apollo and Poseidon built a wall round Troy for him, but Laomedon refused to give them the payment he had promised. In revenge the gods sent a sea monster to ravage Troy but the hero Heracles promised to kill it on the condition that Laomedon gave him his horses.
    [Show full text]