Arete: Greek Sports from Ancient Sources (Third Edition)

Total Page:16

File Type:pdf, Size:1020Kb

Arete: Greek Sports from Ancient Sources (Third Edition) I The Earliest Days of Greek Athletics In the two passages from Homer which are presented here a picture emerges of what we may call Homeric athletics. The question is, however, whether that picture is one of his own day or a valid, if somewhat blurred, reflection of the athletic practices of the Mycenaean era. Comparison with archaeological discoveries from that era finds relatively little in common with the Homeric picture, while comparison with the development of the Olympic program (Appendix) suggests that the Homeric picture would have been valid only as of the early 7th century b.c. If so, the informality of the Homeric games might have been the case as well for the early days of the Olympics. 1 Homer, Iliad 23.256–24.6 ca. 750 b.c. Patroklos, the childhood and lifelong friend of Achilles, has fought in Achilles’ place and been killed by Hektor outside the walls of Troy. The corpse of Patroklos has been cremated and the crowd at the funeral begins to disperse: But Achilles held the people there and sat them in a broad assembly, and brought prizes for games out of his ships, cauldrons and tripods and horses 1 2 / Arete: Greek Athletics and mules and high-headed powerful cattle and beautifully girdled women and gray iron. First he set forth the glorious prizes for equine feet: a woman faultless in her work to be led away and a tripod with ears holding twenty- two measures for the first prize. Then for the second he set forth a six-year- old unbroken mare carrying an unborn mule foal. Then for the third prize he set forth a beautiful unfired cauldron holding four measures, still new and shiny. For the fourth he set forth two gold talents, and for the fifth a two-handled unfired bowl. Then he stood up and spoke out to the Argives: “These prizes are placed in competition awaiting the horsemen. If we Achaians were not competing for the sake of some other hero, I myself would take the first prizes away to my tent. You know by how much my horses surpass all others in their arete, for they are immortal, a gift of Poseidon to my father Peleus who handed them in turn to me. But I and my solid-hoofed horses stay aside; such is the fame of the charioteer whom they have lost, the gentle one, who so many times rubbed soft oil into their manes after he had washed them with shining water. Therefore they both stand here grieving him with manes trailing on the ground, both hearts grieving as one. But the rest of you take your places in the field, whoever has confidence in his horses and compact chariot.” So spoke the son of Peleus, and the swift riders gathered. By far the first to rise was Eumelos, son of Admetos, who surpassed all in horsemanship. After him rose Diomedes, strong son of Tydeus, and yoked the Trojan horses which he had taken by force from Aeneas. Next rose fair-haired Menelaos, son of Atreus, and yoked his swift horses. Fourth to prepare his flowing- maned horses was Antilochos, glorious son of high-hearted king Nestor. He stood nearby and gave well-intentioned advice to his son: “Antilochos, Zeus and Poseidon have loved you, though you are young, and have taught you all aspects of good horsemanship. Therefore, I have no need to instruct you, for you know well how to double the terma. But I think that your horses are the slowest, and that your work will be harder. The horses of these men are faster, but they do not know better than you how to plan. Remember then, my dear boy, always to have your plan in mind so that the prizes will not elude you. The woodcutter is far better with skill than with brute force; it is with skill that the pilot holds his swift ship on course though buffeted by winds on the wine-colored sea. Thus too by skill one charioteer passes another. But whoever puts his trust in his horses and chariot and recklessly turns wide coming and going, his horses drift out of the course and he cannot hold them. But the man who takes advantage is he who, though driving the slower horses, always watches the terma and turns it tightly, nor forgets how much oxhide rein to give and take, but holds Earliest Days of Greek Athletics / 3 his horses well and studies the man in front. I shall give you a marker, and you cannot miss it. There is a dry stump about six feet high above the ground, either oak or pine, but not rotted by rain water, with two white stones against it on either side, and there the course is smooth around it; it may be the marker of some man long dead and buried, or the nyssa set up by earlier men, but now Achilles has made it the terma. Having approached this, you must drive your horses and chariot near it, and you in your well- woven chariot box lean toward the left; then call out to your right horse and goad him on, and give him full rein. Your left horse must be driven up close to the nyssa so that the hub of the wheel seems to touch, but do not let it graze the stone lest you harm your horses and break your chariot. That would be a thing of joy for the others and a source of shame for you. My dear boy, keep your wits about you and be careful, for if at the nyssa you drive hard and slip ahead, there is no one who by sprinting can catch you, let alone pass you.” So spoke Nestor, son of Neleus, and sat back down in his place, having told his son the way to win. The fifth to prepare his flowing-maned horses was Meriones. Then they mounted their chariots and tossed in their lots. Achilles shook them, and the first to fall out was that of Antilochos, son of Nestor, and after him strong Eumelos drew the next place, and next was Menelaos, son of Atreus. Meriones drew the next lane to drive, and last of all the best of them all, Diomedes, drew the lane to drive his horses. Standing in line, Achilles showed them the terma, far away on the level plain. Next to the goal he set godlike Phoinix, squire of his father, to remember the running and certify it. Then all held their whips high above their horses, and together flicked with their reins, and bellowed out for speed. Quickly they spread out over the plain and left the ships behind. The swirling dust clung beneath the chests of the horses like clouds of a whirlwind; their manes streamed out in the wind’s current; the chariots plunged down to the ground and, again, shot up like meteors. The drivers rocked in their chariots, and the heart of each beat high with the hope of victory; they shouted to their horses, and they flew over the plain in a cloud of dust. But when the fleet horses turned back toward the shore, then the arete of each began to show, and at once the field of horses was stretched out. Quickly the swift-footed horses of Eumelos went in front, and after them the stallions of Diomedes, not far behind and seemingly always about to climb into the chariot of Eumelos with their breath hot on his back and broad shoulders. And Diomedes might have passed, or at least drawn even 4 / Arete: Greek Athletics had not Apollo been angry with him, and dashed the whip from his hands. The tears of rage started from his eyes which watched the mares of Eumelos running even better while his own horses slackened without the goad. But Apollo’s cheating of Diomedes did not escape Athena; quickly she swept to him and returned his whip, and inspired his horses with strength. Then she descended in wrath upon Eumelos and broke the yoke of his horses. They ran off the road, the pole dragging on the ground, and he was catapulted out of the chariot over the wheel, ripping his elbows and mouth and skin, and smashing his forehead so that the tears flowed but his voice would not. Then Diomedes rushed past him, and led the field by far, for Athena had inspired strength in his horses and glory in him. After him came fair-haired Menelaos, but Antilochos cried out to his father’s horses: “Step it up, you two! Pull as fast as you can! I’m not telling you to catch those horses of Diomedes—Athena has now inspired strength in them and glory in him—but beat the horses of Menelaos! Don’t be left behind! Faster! For shame to let his mares beat you stallions! Why are you falling behind, my brave boys? Do you know what’s going to happen? You’ll get no more care from Nestor; he’ll cut you up for dog food, if we carry off the lesser prize because you didn’t try. Get going! As fast as you can! I know what I’ll do, I’ll slip past him where the road gets narrow. He won’t get away from me!” So he spoke, and they were terrified by their master’s shouts and ran harder for a little while, and then Antilochos saw the narrow spot in the road. There was a gully where the winter rain had run from the road creat- ing a large pothole, and into this he forced Menelaos who shrank from a col- lision, but Antilochos turned his horses off the road and drove along for a bit on the shoulder.
Recommended publications
  • Odysseus, Athena, Nausicaa, Alcinous, A
    / . Book VII Reading Guide — Scene: lhe island of Scheria, land of the Phaeacians. Characters: Odysseus, Athena, Nausicaa, Alcinous, Arete I low are the Phaecians portrayed in the opening lines otthe book? (p. 179, lines 5, 12) What qualities is Arete known for? (p. 181) What does the description of Alcinous’s palace suggest about the Phaeacians’ relationships with the gods? (p. 182-183) I low does Odysseus approach Arete? (p. 184) l-low does Alcinous act as a host? (p. 185-186) What decision does Aicinous make about aiding Odysseus’s voyage home? (p. 189) “Calypso” “Nausicaa” Mv name is Calypso I \valkcd the ocean daily \nd I have lived alone I prayed to every deity I live on an island linallv the ocean gave me \nd I waken to the dawn \vhat it should never take away A long rime ago I watched him struggle with the sea You were just like a god I knew that he was drowning You stepped out from a cloud And I brought him into me but by the ftrst thing you said Now today I knew I’d never share your bed Come morning light lie sails away Couldn’t we possibly be each other’s? After one last night Isn’t there a somewhere to be lovers? I let him go. Why did you have to be for another? Why can’t I come with you as a lover? My name is Calypso My garden overflows ! walk back long the ocean Thick and wild and hidden I watch where your footsteps have been Is the sweetness there that grows Should I trust the gods of destiny My hair it blows long or throw myself into the sea? As I sing into the wind My name is Calypso Couldn’t we possibly be each other’s? And I have lived alone Isn’t there a somewhere to be lovers? I live on an island \Vhy did you have to be for another? [tell of nights Why can’t I come with you as a lover? Where I could taste the salt on his skin Salt of the waves And of tears And though he pulled away I kept him here for years I let him go.
    [Show full text]
  • A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
    The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E.
    [Show full text]
  • Homer and Greek Epic
    HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) • The Iliad, Books 23-24 • Overview of The Iliad, Books 23-24 • Analysis of Book 24: The Death-Journey of Priam •Grammar 4: Review of Parts of Speech: Nouns, Verbs, Adjectives, Adverbs, Pronouns, Prepositions and Conjunctions HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 23 • Achilles holds funeral games in honor of Patroclus • these games serve to reunite the Greeks and restore their sense of camaraderie • but the Greeks and Trojans are still at odds • Achilles still refuses to return Hector’s corpse to his family HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles’ anger is as yet unresolved • the gods decide he must return Hector’s body • Zeus sends Thetis to tell him to inform him of their decision • she finds Achilles sulking in his tent and he agrees to accept ransom for Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • the gods also send a messenger to Priam and tell him to take many expensive goods to Achilles as a ransom for Hector’s body • he sneaks into the Greek camp and meets with Achilles • Achilles accepts Priam’s offer of ransom and gives him Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles and Priam arrange an eleven-day moratorium on fighting
    [Show full text]
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
    [Show full text]
  • Eris and Epos Composition, Competition, and the Domestication of Strife
    Eris and Epos Composition, Competition, and the Domestication of Strife Joel P. Christensen Brandeis University [email protected] Abstract This article examines the development of the theme of eris in Hesiod and Homer. Start- ing from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hes- iod’s Theogony through the Homeric epics and into its double definition in the Works and Days.To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems. Keywords eris – competition – conflict – poetics – rivalry In Cypria fr. 1, Zeus fans “the flames of the great strife of the Trojan war / to lighten the [earth’s] burden with death” (ῥιπίσσας πολέμου μεγάλην ἔριν Ἰλιακοῖο, 5).* Similarly, in Hesiod (fr. 204 M-W), when strife divides the gods at the birth of Hermione—“all the gods were of two minds / because of the strife” (πάν- τες δὲ θεοὶ δίχα θυμὸν ἔθεντο / ἐξ ἔριδος, 94–95)—Zeus hastens the destruction of the Heroes: “And then he hastened to extinguish the great race of human * A version of this article was given at the Heartland Graduate Conference in Ancient Stud- ies at the University of Missouri in 2015.
    [Show full text]
  • “100% Sanctification – Guaranteed” – Part 2 100% Sanctification
    THE SECOND EPISTLE OF PETER TO THE CHURCH OF THE DISPERSION THROUGHOUT THE WORLD 2 PETER CHAPTER 1:5-9 MEDIA REFERENCE NUMBER SMX995 OCTOBER 27, 2019 THE TITLE OF THE MESSAGE: “100% Sanctification – Guaranteed” – Part 2 SUBJECT TOPICALLY REFERENCED UNDER: Faithfulness, Finishing, Church, Christianity, Discipleship 2 Peter 1:5-9 But also for this very reason, giving all diligence, add to your faith virtue, to virtue knowledge, 6 to knowledge self-control, to self-control perseverance, to perseverance godliness, 7 to godliness brotherly kindness, and to brotherly kindness love. 8 For if these things are yours and abound, you will be neither barren nor unfruitful in the knowledge of our Lord Jesus Christ. 9 For he who lacks these things is shortsighted, even to blindness, and has forgotten that he was cleansed from his old sins. 100% Sanctification – Guaranteed! We have read throughout the Old Testament that God called His people to be set apart from this world and to be set apart for Him That Old Testament Requirement is Fulfilled in the New Testament Relationship And in Peter’s Day - The Early Church was Increasingly Thankful for that. It’s success / It’s effect / It’s influence / It’s earthly calling / From its heavenly position. 1 Thessalonians 5:23-24 Now may the God of peace Himself sanctify you completely; and may your whole spirit, soul, and body be preserved blameless at the coming of our Lord Jesus Christ. 24 He who calls you is faithful, who also will do it. Reviewing Part 1 of Our Previous Teaching 100% Sanctification – Guaranteed! 1.) Means that we co-operate with God vs.
    [Show full text]
  • The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; Proquest Pg
    The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; ProQuest pg. 57 The Name of Penelope William W hallon T HE TALE OF ODYSSEUS' RETURN would have been very different if his wife had not been known as Penelope. For the Homeric poems came from an age of aural etymologizing,l the minstrels who perfected the poems throughout centuries of storytelling found proper nouns as meaningful as common nouns, and certain phonetic associations at first fortuitous became inevitable. Shakespeare's Juli­ et by any other name than Capulet would have had greater fortune in love, but Penelope's name is even more vitally related to her biography. Now it is an obvious fact that a language built upon a rather small number of phonemes is almost necessarily going to include homonyms, and correspondence of sound alone is insufficient to indicate words as cognate. In present-day Norwegian, for example, the word for the duck, Anda (where the dental stop is no longer pronounced), does not compel any kind of dark reminiscence of the girl named Anna, and likewise the duck 7TTJVEAoljl need not be thought germane to Penelope,2 unless in the similarity there is a remnant from the dawn of time, when in a beast epic Penelope might actually have been a duck, Athene an owl, Hera a heifer, and Apollo a wolf. In the Homeric poems we possess, the 7TTJv€Aoljl and Penelope have no semantic relationship, and the coincidence of identical syllables is unimportant. Another word, however, has been commonly observed as apparently akin to the name of Pe­ nelope, and may have had a crucial bearing upon her career: this IMost notably in Od.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Study Questions Helen of Troycomp
    Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city.
    [Show full text]
  • THE ODYSSEY of HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD and in NEW YORK by E·P·DUTTON & CO to the RIGHT HONOURABLE
    THE ODYSSEY OF HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD AND IN NEW YORK BY E·P·DUTTON & CO TO THE RIGHT HONOURABLE COUNTESS DOWAGER SPENCER THE FOLLOWING TRANSLATION OF THE ODYSSEY, A POEM THAT EXHIBITS IN THE CHARACTER OF ITS HEROINE AN EXAMPLE OF ALL DOMESTIC VIRTUE, IS WITH EQUAL PROPRIETY AND RESPECT INSCRIBED BY HER LADYSHIP’S MOST DEVOTED SERVANT, THE AUTHOR. THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK VERSE BOOK I ARGUMENT In a council of the Gods, Minerva calls their attention to Ulysses, still a wanderer. They resolve to grant him a safe return to Ithaca. Minerva descends to encourage Telemachus, and in the form of Mentes directs him in what manner to proceed. Throughout this book the extravagance and profligacy of the suitors are occasionally suggested. Muse make the man thy theme, for shrewdness famedAnd genius versatile, who far and wideA Wand’rer, after Ilium overthrown,Discover’d various cities, and the mindAnd manners learn’d of men, in lands remote.He num’rous woes on Ocean toss’d, endured,Anxious to save himself, and to conductHis followers to their home; yet all his carePreserved them not; they perish’d self-destroy’dBy their own fault; infatuate! who devoured10The oxen of the all-o’erseeing Sun,And, punish’d for that crime, return’d no more.Daughter divine of Jove, these things record,As it may please thee, even in our ears.The rest, all those who had perdition ’scapedBy war or on the Deep, dwelt now at home;Him only, of his country and his wifeAlike desirous, in her hollow grotsCalypso, Goddess beautiful, detainedWooing him to her arms.
    [Show full text]
  • Supplemental Content: Monuments on the Dromos of the Sanctuary Of
    AJA OPEN ACCESS: APPENDIX www.ajaonline.org Monuments on the Dromos of the Sanctuary of Apollo on Delos An appendix to “Honorific Practices and the Politics of Space on Hellenistic Delos: Portrait Statue Monuments Along the Dromos,” by Sheila Dillon and Elizabeth Palmer Baltes (AJA 117 [2013] 207–46). Base numbers follow Vallois 1923 (see fig. 3 in the AJA print-published article). Bases without numbers were recorded as having been found in the area but were not marked on Vallois’ plan. Base No. Monument Type Honorand(s) Dedicator(s) Reason(s) for Honor Dedicated to Sculptor(s) Reference(s) Bases set up ca. 250–200 5 equestrian statue Epigenes, son of Andron, the King Attalos I – Apollo – IG 11 4 1109 Pergamene general 8 single statue Donax, son of Apollonios – – – – IG 11 4 1202 16 group monument Aischylo(. .) and his father, Mennis, son of Nikarchos – – – IG 11 4 1168 Nikarchos 19 single statue female, Hellenistic queen? the Delians – – Thoinias IG 11 4 1088 20 single statue Autokles, son of Ainesidemos, Autokles, his son – Apollo – IG 11 4 1194 from Chalcidia 117.2) 25 single statue Phildemos, son of Pythermos Eumedes, his son – – – IG 11 4 1193 of Chalcedon 27 exedra family group demos of the Delians – – – IG 11 4 1090 33 exedra family group of Jason, Eukleia, – – – – IG 11 4 1203 Timokleia, Straton, Timokleia, Sillis 41 victory monument Gallic dedication Attalos I(?) victory over Gauls Apollo (. .)epoiei IG 11 4 1110 50c single statue Aichmokritos demos of the Delians – – – IG 11 4 1094 American Journal of Archaeology American 53
    [Show full text]
  • The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
    Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle.
    [Show full text]