DOCSLIB.ORG

The Nymph Kyllene in Tony Harrison's the Trackers Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Nymph Kyllene in Tony Harrison's the Trackers Of THE NYMPH KYLLENE IN TONY HARRISON’S THE TRACKERS OF OXYRHYNCHUS Leticia González Pérez University of Almería [email protected] Received: 18 February 2017 Accepted: 1 July 2017 Abstract Tony Harrison’s play The Trackers of Oxyrhynchus, chosen as one of the 100 best plays of the 20th century by the National Theatre Millennium Poll, came in from the desire to bring the Greek genre of satyr play back to stage, since there are scarce satyr plays when compared with the amount of classical tragedies and comedies. The Trackers of Oxyrhynchus is a reworking of the papyri fragments of the satyr play Ichneutae (Trackers) by Sophocles, which was inspired by the Homeric Hymn to Hermes. This paper analyses Tony Harrison’s version performed at Delphi (1988), focusing on the importance of the role of the nymph Kyllene. Although she neither appears in the Homeric Hymn nor plays a leading role in either Sophocles’ version or Harrison’s, she represents a noticeable theatrical contrast with the satyrs, who feature heavily in Sophocles’ Ichneutae and Harrison’s version. Therefore, the character of Kyllene will be examined to find out which elements from the Homeric Hymn to Hermes and Sophocles’ Ichneutae Tony Harrison has kept and which ones he has modified. Furthermore, I will study the reasons why he has carried out these changes and conclude with an interpretive analysis of Harrison’s play. Keywords: Tony Harrison, The Trackers of Oxyrhynchus, Kyllene, Satyr play, Ichneutae, Sophocles Littera Aperta 4 (2016): 85-104. ISSN: 2341-0663 86 Leticia González Pérez LA NINFA CILENE EN THE TRACKERS OF OXYRHYNCHUS DE TONY HARRISON Resumen La obra teatral The Trackers of Oxyrhynchus de Tony Harrison, elegida como una de las 100 mejores obras de teatro del siglo XX por el National Theatre Millennium Poll, representa el deseo de revivir el género del drama satírico, del que apenas se conservan ejemplares en comparación con las tragedias clásicas. The Trackers of Oxrychynchus es una reelaboración de los fragmentos papiráceos encontrados del drama satírico Ichneutae (“rastreadores”) de Sófocles, basado, a su vez, en el himno homérico a Hermes. En este artículo nos proponemos analizar la versión de Tony Harrison representada en Delfos (1988) centrándonos en el personaje de Cilene, una ninfa que, a pesar de no aparecer en el himno homérico y de no desempeñar un papel protagonista ni en el hipotexto de Sófocles ni en The Trackers of Oxyrhynchus, representa un marcado contraste teatral con los sátiros, quienes, podríamos decir, son los personajes principales del drama satírico de Sófocles y de Tony Harrison. En este artículo analizaremos, pues, el personaje de Cilene y los elementos que han pervivido o han sido modificados en la versión de Tony Harrison. Por último, exploraremos las razones de esas reelaboraciones y propondremos una interpretación crítica de la obra. Palabras clave: Tony Harrison, The Trackers of Oxyrhynchus, Cilene, drama satírico, Ichneutae, Sófocles Littera Aperta 4 (2016): 85-104. ISSN: 2341-0663 The nymph Kyllene in Tony Harrison’s The Trackers of Oxyrhynchus 87 THE NYMPH KYLLENE IN TONY HARRISON’S THE TRACKERS OF OXYRHYNCHUS Leticia González Pérez University of Almería [email protected] Introduction1 The Trackers of Oxyrhynchus is one of Tony Harrison’s most distinguished plays, stemming from his desire to bring the Greek genre of the satyr play back to stage in modern theatre (Harrison 2004: 7). Satyr plays belonged to a dramatic tetralogy which consisted of three tragedies and a satyr play composed by the same poet and performed by the same actors, as part of the most important theatrical contest in Athens, i.e. the Great Dionysia. The genre of satyr drama usually dealt with heroic myths and included a chorus of satyrs that provided a humorous touch to the myth.2 Sutton (1989) gives a detailed explanation of the features of satyr drama: Invariable use of a chorus of satyrs . Use of mythological plots, with mythological travesty a principal source of humour. Absence of satire of contemporary people and events, overt or covert. Use of the same language, metres, and dramaturgic resources as tragedy . Use of a relatively few stereotypes of situation, theme and characterization. A typically spirited tone . comparative shortness in length . Almost by definition a satyr play must have a happy ending.3 Satyrs are half-goat/horse, half-man who worship Dionysos and are usually portrayed drinking wine, dancing and having fun with nymphs. Goldhill (2004: 67-71) clearly defines the satyrs and their main features: 1 I am deeply grateful to Lucía P. Romero Mariscal for her valuable help and advice, and to the anonymous referees of Littera Aperta for their critical suggestions. 2 Lissarrague (1990: 236) provides a clear and concise definition: “Take one myth, add satyrs, observe the result”. 3 Another explanation of satyr drama can be found in Sutton (1989: 94-100). Nonetheless, Tony Harrison’s play The Trackers of Oxyrhynchus ends in the form of a tragedy, a decision that distinguishes it from the original idea of bringing the satyric drama back to stage. This topic will be dealt with in the following sections. It is also explored in González Pérez (2015). Littera Aperta 4 (2016): 85-104. ISSN: 2341-0663 88 Leticia González Pérez Followers of Dionysus who have the hairy tail of a goat, an ugly snub nose and sometimes hairy legs and a goat’s horns too. Satyrs are the most common of all decorations of pots for symposium. They are usually distinguished by their phallic displays, and they do a whole range of things that men might not quite be up to . satyrs are like parodic men behaving badly.4 The fact that satyr plays were performed after the show of three tragedies in a row could have had various explanations: the first and most universally accepted is a psychological one, since the audience felt a great relief after having witnessed three tragedies.5 It could also have been for religious reasons, since the chorus of satyrs was in the sphere of Dionysos, the god whom the audience had come to celebrate in the theatre. Finally, satyr drama may have had a didactic purpose: it could help to teach how to behave correctly through the misbehaviour of the satyrs.6 There is only one complete ancient satyr play left, Euripides’ Cyclops, in contrast to the 32 extant tragedies and 11 extant Old Comedies. This near extinction was probably caused by the changes carried out at the festival of the Great Dionysia in 340 BC, when satyr drama split off from tragedy.7 With The Trackers of Oxyrhynchus, Tony Harrison attempts to bring the dramatic genre of the satyr-play back to life, while also exploring the divisions between ‘high’ and ‘low’ art and related class divisions in modern society, since the reception of ancient Greek drama had actually neglected 4 Other definitions of satyrs can be found in Hornblower & Spawforth (1998: s.u.) and O’Sullivan & Collard (2013: 3). 5 As Sutton (1989: 101) explains, satyr drama mocks tragedy and heroic myths in order to ease the anguish the public felt after the three tragedies: “The satyr play provides comic relief by allowing us to escape from the universe of tragedy . At the same time, since this is a palpable fantasy world, and since a happy ending is obligatory by the rules of the game, we may be excited by the predicaments of satiric characters without being moved or distressed . The satyr play thus presents a roseate vision of life counterbalancing that of tragedy”. See also McDonald (1991: 471). 6 These ideas can be found in Calame (2010: 78), who explains the functions of the satyr play proposed by Voelke (2001: 30-1 and 381-412). 7 “Satyr plays were thenceforth performed independently of tragedy. Thus they no longer served to provide comic relief after tragedy, and it is probably no coincidence that shortly after this date evidence appears for a new kind of satyr play, which retained the satyr chorus but gravitated into the orbit of contemporary comedy, abandoning mythological plots in favour of contemporary satire, and adopting the dramatic techniques and metres of comedy” (Sutton 1989: 103). Littera Aperta 4 (2016): 85-104. ISSN: 2341-0663 The nymph Kyllene in Tony Harrison’s The Trackers of Oxyrhynchus 89 these types of plays. Marshall (2012: 557) explains what Tony Harrison’s work accomplishes: But The Trackers of Oxyrhynchus not only changed the public perception of Harrison as a poet; it also changed many people’s perception of Sophocles. The tragedian, whose plays had so often over the centuries been held up as exempla of the classical tradition, was now associated with the long forgotten and, to some, somewhat embarrassing tradition of satyr plays . This play encouraged a reconsideration of the intended function and reception of satyr plays in their original performance context. Harrison’s intentions are not only related to this purpose, but also to his political agenda: in The Trackers of Oxyrhynchus he reflects the differences between social classes through his characters, with the gods Apollo, Hermes and the nymph Kyllene representing the upper class, and satyrs the lower class. Tony Harrison includes topics of this sort in the majority of his work, one such example being social injustice towards the working class and his aim to narrow the gap between the educated and the unlearned. Some examples of these recurrent concerns can be seen in his poem “Them and [uz]” or in the controversial poem “V”, which received heavy criticism due to its obscene language (Rudd 2010: 1-5). The Trackers of Oxyrhynchus finds its inspiration in both the play of Sophocles, Ichneutae, and the actual search for the papyri that took place in Egypt in 1902.8 It is important to bear in mind that Sophocles’ Ichneutae, 8 Tony Harrison wrote two different versions of The Trackers of Oxyrhynchus: the first one being performed in the Stadium of Delphi (1988), and the other in the National Theatre in London (1990).
Load more

Recommended publications
  • Oedipus Trilogy
    The Oedipus Cycle eLangdell® Press 2014 2 Table of Contents The Oedipus Cycle ............................................................................................................................................ 2 Notices ............................................................................................................................................................ 4 OEDIPUS THE KING ................................................................................................................................. 11 Translation by F. Storr, BA Formerly Scholar of Trinity College, Cambridge From the Loeb Library Edition Originally published by Harvard University Press, Cambridge, MA and William Heinemann Ltd, London First published in 1912 ............................................................ 11 ARGUMENT ......................................................................................................................................... 11 DRAMATIS PERSONAE ................................................................................................................... 12 OEDIPUS THE KING ................................................................................................................................. 12 FOOTNOTES ............................................................................................................................................ 65 SOPHOCLES .................................................................................................................................................
    [Show full text]
  • Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
    Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
    [Show full text]
  • The Pleiades Star Cluster, in the Constellation of Orion, Is the Location of the 'Home World', and from Whence the Atlanteans Came
    THE PLEIADES Compiled by Campbell M Gold (2008) CMG Archives http://campbellmgold.com --()-- Introduction In o.e.v lore, the Pleiades star cluster, in the constellation of Orion, is the location of the 'Home World', and from whence the Atlanteans came. Very faint echoes of the alternative history can be found in the mythology surrounding the Pleiades, especially regarding Merope. The Pleiades In mythology, the Pleiades were the seven daughters of the titan Atlas and the sea-nymph Pleione, and were born on Mount Cyllene. They are the siblingss of Calypso, Hyas, the Hyades, and the Hesperides. The Pleiades were nymphs in the train of Artemis, and together with the seven Hyades were called the Atlantides, Dodonides, or Nysiades, nursemaids and teachers to the infant Bacchus. The Seven Sisters 1) Maia , eldest of the seven Pleiades, was mother of Hermes by Zeus and Iris by Thaumas. 2) Electra was mother of Dardanus and Iasion by Zeus. 3) Taygete was mother of Lacedaemon, also by Zeus. 4) Alcyone was mother of Hyrieus by Poseidon. 5) Celaeno was mother of Lycus and Eurypylus by Poseidon. 6) Sterope (also Asterope) was mother of Oenomaus by Ares. 7) Merope , youngest of the seven Pleiades, was wooed by Orion. In other mythic contexts she married Sisyphus and, becoming mortal, she faded away. She bore to Sisyphus several sons. How Did The Seven Sisters Become Stars? The Seven Sisters received their "Catasterismi" (placement among the stars) when they all committed suicide because they were "so saddened" by either the fate of their father, Atlas, or the loss of their siblings, the Hyades (also daughters of Zeus).
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]
  • An Online Textbook for Classical Mythology
    Utah State University DigitalCommons@USU Textbooks Open Texts 2017 Mythology Unbound: An Online Textbook for Classical Mythology Jessica Mellenthin Utah State University Susan O. Shapiro Utah State University, [email protected] Follow this and additional works at: https://digitalcommons.usu.edu/oer_textbooks Recommended Citation Mellenthin, Jessica and Shapiro, Susan O., "Mythology Unbound: An Online Textbook for Classical Mythology" (2017). Textbooks. 5. https://digitalcommons.usu.edu/oer_textbooks/5 This Book is brought to you for free and open access by the Open Texts at DigitalCommons@USU. It has been accepted for inclusion in Textbooks by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Mythology Unbound: An Online Textbook for Classical Mythology JESSICA MELLENTHIN AND SUSAN O. SHAPIRO Mythology Unbound by Susan Shapiro is licensed under CC-BY-NC-SA 4.0 Contents Map vii Aegis 1 Agamemnon and Iphigenia 5 Aphrodite 9 Apollo 15 Ares 25 The Argonauts 31 Artemis 41 Athena 49 Caduceus 61 Centaurs 63 Chthonian Deities 65 The Delphic Oracle 67 Demeter 77 Dionysus/Bacchus 85 Hades 97 Hephaestus 101 Hera 105 Heracles 111 Hermes 121 Hestia 133 Historical Myths 135 The Iliad - An Introduction 137 Jason 151 Miasma 155 The Minotaur 157 The Odyssey - An Introduction 159 The Oresteia - An Introduction 169 Origins 173 Orpheus 183 Persephone 187 Perseus 193 Poseidon 205 Prometheus 213 Psychological Myths 217 Sphinx 219 Story Pattern of the Greek Hero 225 Theseus 227 The Three Types of Myth 239 The Twelve Labors of Heracles 243 What is a myth? 257 Why are there so many versions of Greek 259 myths? Xenia 261 Zeus 263 Image Attributions 275 Map viii MAP Aegis The aegis was a goat skin (the name comes from the word for goat, αἴξ/aix) that was fringed with snakes and often had the head of Medusa fixed to it.
    [Show full text]
  • The Greek Myths 1955, Revised 1960
    Robert Graves – The Greek Myths 1955, revised 1960 Robert Graves was born in 1895 at Wimbledon, son of Alfred Perceval Graves, the Irish writer, and Amalia von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling is poetry, and his Selected Poems have been published in the Penguin Poets. Apart from a year as Professor of English Literature at Cairo University in 1926 he has since earned his living by writing, mostly historical novels which include: I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton (all published as Penguins); Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That (a Penguin Modem Classic), in 1929. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarene Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He has translated Apuleius, Lucan, and Svetonius for the Penguin Classics. He was elected Professor of Poetry at Oxford in 1962. Contents Foreword Introduction I. The Pelasgian Creation Myth 2. The Homeric And Orphic Creation Myths 3. The Olympian Creation Myth 4. Two Philosophical Creation Myths 5. The Five Ages Of Man 6. The Castration Of Uranus 7. The Dethronement Of Cronus 8. The Birth Of Athene 9. Zeus And Metis 10. The Fates 11. The Birth Of Aphrodite 12. Hera And Her Children 13. Zeus And Hera 14.
    [Show full text]
  • Who's Who in Classical Mythology
    Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt
    [Show full text]
  • Fulgentius the Mythqgraphe
    FULGENTIUS THE MYTHQGRAPHE Translated from the Latin with Introductions by LESLIE GEORGE WHITBREAD $15.00 FULGENTIUS THE MYTHOGRAPHER Translated from the Latin, with Introduc­ tions, by Leslie G. Whitbread Throughout the Middle Ages and well into the Renaissance, the writings of Fulgentius the mythographer, who lived in the late fifth or early sixth century, were extremely popu­ lar, much admired, and widely imitated. His influence on poetry, art, preaching, education, and the modes that were employed to adapt classical myth and literature to the require­ ments of more-or-less Christian patterns of thought was unquestionably profound. Translations of the five Latin works ascribed to him have long been needed, sim­ ply to make a significant influence available to modern historians of medieval and Ren­ aissance art, literature, and intellectual life. But the language of Fulgentius is appallingly difficult. Composed in the decadent Latin of his time, his writing is full of intricate rhe­ torical excesses of a particular extravagance and complexity that could only discourage the prospective translator, and that have caused some to describe his work as simply untrans­ latable. The substance, too, of Fulgentius's five trea­ tises — on the content of Virgil according to moral philosophy, on classical mythology, on the Thebaid, on obsolete words, and on the ages of man and the world — has been found wanting. Charges have been made that both his purposes and his methods are confused and of dubious merit, and that the learning displayed in the convoluted syntax of his pompous and extravagant prose is merely sec­ ondhand when it is not just highly suspect.
    [Show full text]
  • The Topography of Epic Narrative in Ovid's Metamorphoses.', in Geography, Topography, Landscape : ConGurations of Space in Greek and Roman Epic
    Durham Research Online Deposited in DRO: 08 December 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Ziogas, I. (2013) 'The topography of epic narrative in Ovid's Metamorphoses.', in Geography, topography, landscape : congurations of space in Greek and Roman epic. Berlin ; Boston: De Gruyter, pp. 325-348. Trends in classics. Supplementary volumes. (22). Further information on publisher's website: https://doi.org/10.1515/9783110315318.325 Publisher's copyright statement: The nal publication is available at www.degruyter.com Ziogas, I. (2014). The Topography of Epic Narrative in Ovid's Metamorphoses. In Geography, Topography, Landscape: Congurations of Space in Greek and Roman Epic. Skempis, M. Ziogas, I. Berlin; Boston: De Gruyter. 325-348. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Ioannis Ziogas The Topography of Epic Narrative in Ovid’s Metamorphoses When a geographical name enters the world of poetry, it is assimilated into the narrative milieu of a specific context.
    [Show full text]
  • The Mask of the Underworld Daemon—Some Remarks
    THE MASK OF THE UNDERWORLD DAEMON—SOME REMARKS ON THE PERSEUS- GORGON STORY* AT the Vllth Congress for the History of Religions, held at Amsterdam in 1950, the central question was posed whether a mythical-ritual pattern could be discerned in various ancient and modern civilisations. Reading the Congress Report, one does not get the impression that many final and far-reaching conclusions have been reached. Various conflicting views were brought forward in the section-meetings. But meanwhile the discussion goes on. And it may be not without interest to inquire into some individual cases where a ritual background behind some famous myth can be reconstructed, if not beyond all doubt, at least with a high degree of probability. In the following pages such an attempt is made in the case of the Seriphian Perseus-legend. The present writer believes that there is a clue to the understanding of this story, which has been overlooked hitherto, namely its connexion with hot springs. A certain number of cults, myths, and legends were connected with such springs in the ancient Greek world; that they all show in origin a chthonic aspect is self-evident. But to dwell upon all of them would fall beyond the scope of this article. Let us for the present moment turn our attention to the thermal springs of that tiny piece of rock in the Aegean round which a major part of the Perseus-story centres. Seriphos is one of the least important islands of the Cyclades, lying between Kythnos and Siphnos. It is a stony island: the ancients called it Tprixsicc or TT£Tpcb5r|s, and in spite of the ever-strenuous efforts of the inhabitants, the soil does not bring forth many fruits; it has a certain importance because of the mines.
    [Show full text]
  • Florida State University Libraries
    )ORULGD6WDWH8QLYHUVLW\/LEUDULHV 2018 Finishing Sophocles: An Attempt to Recreate a Fragmented Satyr Play Charles Benjamin Vancini Follow this and additional works at DigiNole: FSU's Digital Repository. For more information, please contact [email protected] ! 3! Table&of&Contents& Table!of!Contents…………………………………………………………………………………………………3! Introduction………………………………………………………………………………………………………...4! Chapter!One:!Field!Work!in!Athens!And!Existing!Fragments…………………………………..9! Chapter!Two:!Creation!of!the!Text!...……………………………………………………………………19! Chapter!Three:!Textual!Comparison……………………………………………………………………33! Conclusion…………………………………………………………………………………………………………42! Bibliography.……………………………………………………………………………………………………..46! Appendix!A:!My!Personally!Adapted!Ichneutae)Text…………………………………………….49! Appendix!B:!Full!Account!of!Field!Work!in!Athens……………………………………………….76! & & & & & & & & & & & & ! 4! INTRODUCTION:& For!ancient!Athenian!playwrights!such!as!Aeschylus,!Sophocles,!and! Euripides,!participation!in!the!annual!Athenian!City!Dionysia!represented!the! ultimate!honor.!During!this!grandiose!festival!glorifying!the!god!Dionysus!(patron!of! theatre,!wine,!drunkenness,!and!religious!ecstasy),!participants!competed!against! each!other!by!writing!plays,!which!delegations!of!citizens!staged!and!performed!for! the!Athenian!crowds!over!a!fiveTday!period.!At!the!end!of!the!last!day,!during!a!large! celebration!judges!crowned!winners!for!both!tragic!and!comic!playwrights!with! victory!wreathes.!Those!contending!in!the!comedy!category!would!write!one! comedic!play,!while!those!seeking!to!win!the!tragedy!prize!would!write!four!plays!
    [Show full text]
  • Brennan's Book of Moons
    Brennan’s Book Of Moons Earth’s Moon The Moon is Earth's only natural satellite and is the fifth largest satellite in the Solar System. It is the largest natural satellite in the Solar System relative to the size of its planet, a quarter the diameter of Earth and 1/81 its mass, and is the second densest satellite after Io. It is in synchronous rotation with Earth, always showing the same face; the near side is marked with dark volcanic maria among the bright ancient crustal highlands and prominent impact craters. It is the brightest object in the sky after the Sun, although its surface is actually very dark, with a similar reflectance to coal. Its prominence in the sky and its regular cycle of phases have since ancient times made the Moon an important cultural influence on language, the calendar, art and mythology. The Moon's gravitational influence produces the ocean tides and the minute lengthening of the day. The Moon's current orbital distance, about thirty times the diameter of the Earth, causes it to be the same size in the sky as the Sun—allowing the Moon to cover the Sun precisely in total solar eclipses. The Moon is the only celestial body on which humans have made a manned landing. While the Soviet Union's Luna programme was the first to reach the Moon with unmanned spacecraft in 1959, the United States' NASA Apollo program achieved the only manned missions to date, beginning with the first manned lunar orbiting mission by Apollo 8 in 1968, and six manned lunar landings between 1969 and 1972—the first being Apollo 11 in 1969.
    [Show full text]