The Χορός of Danaids in Pindar's Pythian 9
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Greek Mythology at the Service of the Portuguese Inquisition: the Case of Hercules and the Hydra of Lerna
Athens Journal of Mediterranean Studies- Volume 1, Issue 1 – Pages 25-44 Greek Mythology at the Service of the Portuguese Inquisition: The Case of Hercules and the Hydra of Lerna By Milton Dias Pacheco Greek mythology has been along the centuries a fruitful source of inspiration to artists and writers, as it possesses the strength of expressing symbolically the most common circumstances of life. Regarding the threats that in every age put in danger human life the most popular figure was maybe the Hydra that infested the region of the Lake of Lerna, in Argolis. This mythical figure may still have an older origin as it is connected with chthonic dangers. Because of its terrifying aspect, reptilian traits and poisonous breath, it was related to the evil and the domains of Hell. Later the Hydra significance became larger and deeper as it represented the heresies that could affect the Christian orthodoxy. According to this point of view, every defender of the Catholic Faith was immediately compared to Hercules, the Greek hero who succeeded in killing the mythological Hydra monster. In this way, it is easy to understand why this representation was often used in connection with the Iberian Habsburg Kings, as it worked as a political strategy of this dynasty, in which the Spanish Habsburgs were faced as the guardians and defenders of the Church of Rome, mainly in times when the Inquisition developed a determinative role. An illustrative example of this was the decoration of the arch built by the Inquisition in Lisbon, when King Philip II of Portugal visited the Portuguese Empire capital. -
Poetic Authority and Oral Tradition in Hesiod and Pindar
CHAPTER SIX POETIC AUTHORITY AND ORAL TRADITION IN HESIOD AND PINDAR Ruth Scodel Elsewhere, I have discussed the distinction Homer makes, especially in the Odyssey, between the songs of bards and other storytelling.1 This argument rests especially on three recent insights that appear to point in quite opposite directions. First, Andrew Ford shows in Homer: the Poetry of the Past how the Odyssey evades the reality of the transmission of poetic tradition as well as that of bardic contests. The Muses simply replace poets’ teachers; the narrative content of per- formance has no naturalistic source.2 S. Douglas Olson has shown in Blood and Iron how richly the same epic depicts the workings of everyday oral tradition, its considerable interest in how news gets around.3 Third, Louise Pratt argues convincingly that the truth-claims of early Greek poetry need to be interpreted relative to their rhetor- ical functions in context. While only fables are truly fiction, for most poetic narrative historical accuracy is not the primary concern.4 Homer, then, shows how people in reality create and spread kleos, but he seems to want to avoid facing the obvious implication that poetic performances depend on what earlier storytellers have trans- mitted. The proem to the Catalogue of Ships perfectly demonstrates this peculiarity in its distinction between the Muses, who see and hear everything, and poet and audience, who only hear the kleos and know nothing (Il. 2.484–93). So in asking why Homer does not acknowledge openly that his stories depend on tradition, I looked at what distinguishes bardic performances from other storytelling prac- tices in Homer, and concluded that the most important distinctions 1 R. -
Big Love by Charles Mee: a Bit of Background
Big Love by Charles Mee: A Bit of Background About ‘the (re)making project’ All of Chuck Mee’s plays are available online, for free, and in the spirit of his collage style of playwriting, he welcomes artists borrow The Love Trilogy from, steal and transform his scripts into new projects. He also en- courages, possibly even requires, the artists working on his scripts to Big Love is the third play in a thematic trilogy of plays by become creators themselves, completing the work he has laid out Charles Mee. While the plots of the plays do not connect, with their own performance and interpretation. the subject, themes and elements of the plays intersect. The Love Trilogy was written during Mee’s love affair “There is no such thing as an original play. with Laurie Williams that “burst suddenly into flame and None of the classical Greek plays were original: they were all based then, a few years later, was just as suddenly doused.” on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is First Love taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Two people in their seventies fall in love—for the first Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, time in their lives. And, as they work their way toward without apology, from a contemporary translation of Plutarch's one another through the accumulated baggage of their Lives. -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
B. L. Gildersleeve on Pindar Nemean 3.74-75
BRIGGS, WARD W., JR, B. L. Gildersleeve on Pindar "Nemean" 3.74-75 , Greek, Roman and Byzantine Studies, 25:3 (1984) p.233 B. L. Gildersleeve on Pindar Nemean 3.74-75 Ward W. Briggs, Jr N 1898 Charles Eliot Norton, the nation's foremost champion of I Dante and a leading Northern literary critic who influenced a host of literary figures from Henry James to T. s. Eliot,l wrote to Basil Lanneau Gildersleeve, the nation's most visible representative of German philological training and a man of considerable critical ability. Named emeritus at Harvard in November 1897, with his duties confined to teaching a small class in Dante, Norton was depressed at the thought of retirement,2 and sought the advice of his Southern near-contemporary on the Greek view of the ages of man and its accompanying virtues, as described in Pindar Nemean 3.70-75. Gil dersleeve's answer, one of his rare letters on purely philological matters, gives considerable insight into his critical method. The poem in question is a hymn on the victory in the pancration by Aristocleides, an Aeginetan. It opens with a picture of the youths standing on the banks of the Asopus waiting for the Muse to arrive with their victory song (1-8). The Muse is to sing of Aegina, which the victor has ennobled by a triumph worthy of the Myrmidons, and he has thus figuratively passed the pillars of Heracles (9-26). The mention of Heracles leads Pindar to digress on the Aeacids, Peleus, Telamon (31-42), and the young Achilles (43-63). -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1. -
Pindar Fr. 75 SM and the Politics of Athenian Space Richard T
Pindar Fr. 75 SM and the Politics of Athenian Space Richard T. Neer and Leslie Kurke Towns are the illusion that things hang together somehow. Anne Carson, “The Life of Towns” T IS WELL KNOWN that Pindar’s poems were occasional— composed on commission for specific performance settings. IBut they were also, we contend, situational: mutually im- plicated with particular landscapes, buildings, and material artifacts. Pindar makes constant reference to precious objects and products of craft, both real and metaphorical; he differs, in this regard, from his contemporary Bacchylides. For this reason, Pindar provides a rich phenomenology of viewing, an insider’s perspective on the embodied experience of moving through a built environment amidst statues, buildings, and other monu- ments. Analysis of the poetic text in tandem with the material record makes it possible to reconstruct phenomenologies of sculpture, architecture, and landscape. Our example in this essay is Pindar’s fragment 75 SM and its immediate context: the cityscape of early Classical Athens. Our hope is that putting these two domains of evidence together will shed new light on both—the poem will help us solve problems in the archaeo- logical record, and conversely, the archaeological record will help us solve problems in the poem. Ultimately, our argument will be less about political history, and more about the ordering of bodies in space, as this is mediated or constructed by Pindar’s poetic sophia. This is to attend to the way Pindar works in three dimensions, as it were, to produce meaningful relations amongst entities in the world.1 1 Interest in Pindar and his material context has burgeoned in recent ————— Greek, Roman, and Byzantine Studies 54 (2014) 527–579 2014 Richard T. -
Commentaries on Individual Odes of Pindar Lowell Edmunds, Revised by Leon Wash
Commentaries on Individual Odes of Pindar Lowell Edmunds, revised by Leon Wash last revised: 17 October 2019 This is a revised version of the bibliography first published online in 1996 by Lowell Edmunds, who cooperated with the revision. Thanks are due also to Amy Pistone for her enthusiasm and assistance, and Michael Hendry for Lynceus-eyed corrections. We hope that the bibliography will continue to be as useful as it was to Edmunds’ students at Rutgers and other readers of Pindar. His format, intended for rapid perusal, is preserved. So are the principles of selection, with the exception that this list now includes other studies of individual odes in addition to Bundy’s; but as before, it excludes (a) notes on isolated lines or passages of individual odes, (b) commentaries that cover all the odes in any one (or more) of the four books, such as Gildersleeve’s, and (c) commentaries from the nineteenth-century and earlier. For these earlier works, see D. E. Gerber, A Bibliography of Pindar 1513-1966 (Case Western Reserve University Press, 1969). Please send all additions and corrections to [email protected]. Olympians 1 DB, DH, Fi, G1, G2, H, I, K, L, V2 2 DH, K, Le, W 3 DH, H, V1 4 G3, M 5 M 6 A, DH, Hu, K 7 DH, K, V1, W 9 G5 10 V2 11 Bu1, DH, H, K, W 12 DH, G1, H, K, S, V1 14 DH, H, K, V1 Pythians 1 DH, H, K, Ko, L 2 C, DH, K, L 3 D, DH, H, L 4 B1, D, K 5 D 6 DH 8 DH, K, P 9 C, D, DH, I, K 10 DH, H, K 11 DH, F 12 DH, H Nemeans 1 B2, C, K 2 DH, H, I 3 I, P 4 He, W 5 P 6 G4, He 7 C, DH, K 8 DH, H, He 9 B3 10 B4, He 11 V2, He Isthmians 1 Bu2, I, K 2 V2 3 W 4 W 6 K 7 W 8 C A = Adorjáni, Zsolt. -
![Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L](https://docslib.b-cdn.net/cover/6957/greek-color-theory-and-the-four-elements-full-text-not-including-figures-j-l-1306957.webp)
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Aeschylus' Supplices Introduction and Commentary on Vv. 1–523
Aeschylus’ Supplices Introduction and Commentary on vv. 1–523 Aeschylus’ Supplices Introduction and Commentary on vv. 1–523 B by Pär Sandin Corrected edition SYMMACHUS C LUND 2005 Aeschylus’ Supplices: Introduction and Commentary on vv. 1–523 / Pär Sandin. Corrected edition: Lund, Symmachus publishing 2005 First edition: Gothenburg, Göteborg University 2003 (doctoral dissertation) © Pär Sandin 2003, 2005 Printed in Sweden by CO-print Professional, Nässjö 2005 ISBN 91-628-6401-7 Symmachus publishing Karl XII-gatan 14c SE-22220 Lund Sweden Aeschylus’ (525–456 B.C.) drama the Suppliant women (Greek Hikétides, Lat. Supplices) is certain to be the first in a trilogy of tragedies with an appurtenant comic epilogue, ‘satyr-play’. The other two tragedies and the satyr-play have been lost except for a few lines preserved in quotations and, possibly, papyri. The dissertation contains an introduction to the entire drama, a translation and commentary on the first half of the text (verses 1–523), and an excursus. The Introduction deals with the date of the theatrical production, the literary theme, the mythological background, the hypothetical reconstruction of the trilogy, and the contemporary Athenian theatre. The Commentary constitutes the major part of the work, being primarily philological, but also literary and historical, dealing with matters of scenic production and the nature of the chorus, where some new hypotheses are proposed, and with Greek mythology, religion, politics, and history in general as these become issues of particular passages of the text. The constitution of the text is a major concern. The Supplices is based on virtually only one manuscript: the Florentine Laurentianus graecus 32.9 (‘Codex Mediceus’) from the 10th century. -
Defining Orphism: the Beliefs, the Teletae and the Writings
Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance.