Thebaid 2: Oedipus

Total Page:16

File Type:pdf, Size:1020Kb

Thebaid 2: Oedipus Sophocles The Theban Plays Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway. Oedipus • Laius and Iocaste expose the baby • Found by Polybus, King of Corinth • Raised as prince of Corinth • His parentage challenged: • Oedipus went to Delphi for confirmation • “You will kill your father and through incest with your mother you will have children” Oedipus and Laius • Oedipus resolves never to go home • Believing that Polybus and Merope were his real parents • On the road he meets an old man in a chariot • “stranger, make way for a king” but Oedipus “because he was proud” • Oedipus kills Laius and his charioteer Problems… • Delphic oracles are (almost) always ‘if A then B’ formulae • If Laius has a son, then his son will kill him • Theodore Buttrey: • “if you kill your father, then you will commit incest with your mother and produce children” • 52 English translations… all wrong? Biggest Problem • If divine pronouncements do not include choice and or interpretation, then what is left of free will? • Is life tolerable if fate is predetermined? • Is ‘god’s plan’ written and are we just going through the motions like actors on a stage? Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Antiope = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Creon • King (Regent?) on the death of Laius • Brother of Iocaste • When the sphinx came, Creon’s son Haemon was one of those killed • Creon offered his throne, and his sister, to anyone who could solve the riddle The Riddle • Version One: • What is a being with four feet, two feet, three feet and once voice and is weakest when it has the most feet? • Version Two: • What has four feet in the morning, two feet in the afternoon, and three feet in the evening? Oedipus and the Sphinx • Gustave Moreau • 1864 • ‘Oedipus and the Sphinx’ A man… • Who crawls on all fours as a baby, walks on two feet as a man, and uses a cane in his old age Oedipus and Iocaste • Oedipus becomes king of Thebes • Marries the queen (his mother), Iocaste • A plague descends on Thebes • The city is polluted with the miasma of murder and incest. • Oedipus seeks divine guidance • The murder of Laius must be avenged! • Oedipus consults Teiresias The Accursed Children Oedipus = Iocaste Polynices Eteocles Ismene Antigone Aftermath • Iocaste hanged herself • Oedipus gouged out his own eyes • Polynices and Eteocles banished Oedipus • Antigone took her father to Attica • Received by Theseus • Died at Colonus Oedipe et Antigone Charles Francois Jalabert 1842 Battle for Thebes • Polynices and Eteocles agree to share the throne alternatively • Etoecles first year • But refused to step down • Polynices • Gains the aid of Adrastus of Argos Seven Against Thebes • Adrastus of Corinth • Polynices of Thebes • Tydeus of Calydonia in Aetolia • Amphiaraus of Argos • Capaneus of Argos • Hippomedon of Argos • Parthenopaeus of Arcadia Seven Against Thebes Seven Gated Thebes • Each champion stormed one of the seven gates of Thebes • Suicide of Creon’s son, Meneoceus • All of the seven but Adrastus were killed • Etoecles and Polynices killed each other • Creon of Thebes, victorious, forbade the burial of the bodies Antigone • Daughter of Oedipus and Iocaste • The ‘noble maiden’ • Escorted Oedipus to Colonus • After he died she returned to Thebes • Edict of Creon • Antigone buried the body of Polynices • She was buried alive as punishment Antigone and Polynices Nikoforos Lytras (1832 – 1904) Sophocles • Sophocles • 496 – 405 BC • 120 productions… only 7 extant. • Won the Dionysia 18 times. • Oedipus Rex (Tyrannus, The King) (429) • Oedipus at Colonus (401 posthumous) • Antigone (441) Theatre as Politics • 480/ 79 • Greek coalition defeats a Persian invasion force • Battles of Thermopylae, Salamis , Plataea and Mycale • 479 – 432 • The Pentecontaetia: Athenian hegemony • Brutal suppression of Delian League member states. • 431 – 404 • The Peloponnesian War: A war for Greek freedom from Athens. The Peloponnesian War Antigone • Sohocles, Antigone • ca. 442 BC • A question for the age of heroes? • A question for the age of democracy? • Good of the individual vs. good of the state • Courage in the face of Tyranny • See Thucydides, ‘The Melian Dialogue’ Creon and Antigone Creon and Antigone? Intellectual Culture: The Pre-Socratics: • Kosmos (order) • Chaos (disorder) • Nature (physis) • Sought the origin (arche) of all things • Milesians: • Thales • Anaximander • Anaximenes Miletus Essence, Arché Thales • Of Miletus • A descendant of Cadmus • 624 - 547 • Learned Geometry in Egypt • Five Theorems of Elementary Geometry • Foretold of the eclipse of 28 May, 585 • Water is the arche. Anaximander • The earth floats free in space • Celestial bodies circle the earth. Anaximenes • Student of Anaximander • B. ca. 526 BC • Air is the ‘arche’ • "Being made finer it [air] becomes fire, being made thicker it become wind, then cloud, then (when thicker still more) water, then earth, then stones; and the rest come into being through these" (Phys. 24. 26). • Air is arche, ergo eternal, ergo divine b = 89 Natural Philosophy • Pythagoras of Samos • 569 – 476 a = 55 • Captive in Babylon • Philo (love) sophia (wisdom) a • Lovers of wisdom – but no man can be wise • Harmonic ratios 2:1, 3:2 and 4:3 used in music. • "Golden Mean" 1:1:2:3:5:8:13:21:34:55:89 • Ration of 1 to 1.618 • Earth rotates around the sun • Transmigration of the soul Relativism: • Xenophanes of Colophon • ca. 550 BC “Mortals made their gods, and furnished them with their own body, voice and garments. Our gods have flat noses and black skin, say the Ethiopians. The Thracians say, our gods have red hair and hazel eyes” .
Recommended publications
  • Sophocles' Oedipus Rex: a Deconstructive Study
    Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 6 No. 5; October 2015 Flourishing Creativity & Literacy Australian International Academic Centre, Australia Sophocles’ Oedipus Rex: A Deconstructive Study Javed Akhter (Corresponding author) Department of English Literature and Linguistics University of Balochistan Quetta Balochistan Pakistan E-mail: [email protected] Khair Muhammad Department of English Literature and Linguistics University of Balochistan Quetta Balochistan Pakistan E-mail: [email protected] Naila Naz Department of English Literature and Linguistics University of Balochistan Quetta Balochistan Pakistan E-mail: [email protected] Doi:10.7575/aiac.alls.v.6n.5p.9 Received: 19/04/2015 URL: http://dx.doi.org/10.7575/aiac.alls.v.6n.5p.9 Accepted: 04/07/2015 Abstract Jacques Derrida (1930-2004) is the most prominent figure in contemporary philosophical and literary debate. He originates a trend-breaking theory of deconstruction. He opines the persistence in west European philosophical tradition of what he labels is logocentric metaphysics of presence. He argues that the different theories of philosophy, from Plato until structuralism are versions of a single or authoritative system. Though we cannot hope to escape this system we can at least identify the conditions of thought it imposes by attending to that which it seek to impress. Derridean deconstruction may present a new perspective to Sophocles’ “Oedipus Rex”, which has always been a research target for world researchers. The researchers studied it from different angles, but the present study tries to reveal different facets of the play on Derridean deconstructive bedrock. Applying Derrida’s deconstruction to the text of the play, the study tries to present it in a new and innovative way.
    [Show full text]
  • Oedipus Rex Crossword Puzzle
    L I T ERARY CROSSWO RD PUZZ LE Oedipus Rex 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Across Down Across 2. Animals useful in prophecy Down1. The wife of Oedipus 2. Animals4. useful Tiresias in prophecy says Oedipus is “the unholy ________ 1. 3.The How wife Jocasta of Oedipus died of this land.” 5. Laius was killed at the intersection of ________ 4. Tiresias 7.says The Oedipus famous is “the Oracle unholy dwells ________ here. of this land.” 3. How________. Jocasta died (2 words) 7. The famous9. What Oracle has dwells killed here. Polybus? (2 words) 5. 6.Laius The was shepherd killed at claimsthe intersection that Oedipus of ________ was born________. this (2 11. Who has killed Laius? words)way. 9. What has15. killedThe entirePolybus? play (2 words)takes place outside of here. 8. Oedipus is revealed to have married his 11. Who has16. killed Adoptive Laius? mother of Oedipus 6. The_________. shepherd claims that Oedipus was born this way. 15. The entire17. playMeaning takes placeof “Rex” outside of here. 8.10. Oedipus The baby is revealed Oedipus to have was married to be killed his _________. before he 19. What Oedipus decrees will happen to Laius’ could ________ ________ ________. (3 16. Adoptive mothermurderer of Oedipus 10. Thewords) baby Oedipus was to be killed before he could ________ ________ ________. (3 words) 17. Meaning20. of King “Rex” of the Greek gods 12. Oedipus hopes the herdsman will say ________ 24.
    [Show full text]
  • A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
    DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied
    [Show full text]
  • Female Familial Relationships in Valerius' Argonautica and Statius
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid Sophia Warnement Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Warnement, Sophia, "Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid" (2021). Undergraduate Honors Theses. Paper 1619. https://scholarworks.wm.edu/honorstheses/1619 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Classical Studies from The College of William and Mary by Sophia Irene Warnement Accepted for ______Honors___________________________ (Honors, Highest Honors) __Vassiliki Panoussi___________________ Vassiliki Panoussi, Director __Molly Swetnam-Burland____________ Molly Swetnam-Burland __Jennifer Gülly___ ____________________ Jennifer Gülly Williamsburg, VA May 07, 2021 Table of Contents ACKNOWLEDGMENTS ..........................................................................................................................................
    [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]
  • Tisiphone As an Internal Poet in Statius' Thebaid in This Paper, I Will
    Tisiphone as an Internal Poet in Statius’ Thebaid In this paper, I will analyze Statius’ portrayal of Tisiphone, one of the three Furies, in the Thebaid, with particular emphasis given to her role as an internal poet in Books 1 and 11. Even at the beginning of the poem, Statius struggles to assert his authorial control over the narrative of his epic. After invoking Pierian fire and Clio for a heroic or worthy beginning to the Thebaid, Statius abruptly begins with Oedipus, wrathful in his hatred of his two traitorious sons. Oedipus, who exists in a liminal and corrupted state, operates outside of the heroism of the proem, assumes control of the narrative, and calls upon a divine enactor of his vengeance. After hearing the prayer of Oedipus, Tisiphone summons herself to Earth and brings about the deaths of many Theban and Argive heroes. Her influence in the epic is unparalleled by any other character in the Thebaid, as she manipulates Polynices and Eteocles to bring about their fatal fratricidal duel. Statius’ representation of Tisiphone has been widely debated in the field of Statian scholarship, with scholars such as Philip Hardie (1993) and Alison Keith (2016) analyzing the intertextual connections between Statius’ Tisiphone and the Tisiphone of Vergil’s Aeneid and Ovid’s Metamorphoses. Dennis Feeney, in his seminal work The Gods in Epic: The Poets and Critics of the Classical Tradition, likewise finds many connections between Statius’ Tisiphone and Ovid’s Tisiphone. While I generally agree with the sentiments of Feeney, Hardie, and Keith, I believe that their works have not entirely addressed Tisiphone’s role in Statius’ Thebaid.
    [Show full text]
  • The Presence of Death in Gustave Moreau's Paintings1
    The Presence of Death in Gustave Moreau’s Paintings1 Zühre İndirkaş Université d’Istanbul THIS WORK WAS SUPPORTED BY THE RESEARCH PROJECT COORDINATION Synergies UNIT OF STANBUL NIVERSITY ROJECT NUMBER I U . P : 4585 Turquie Résumé: La présence de la mort dans les oeuvres de Gustave Moreau L’objectif de cet article est d’étudier la présence de la mort dans les 69-78 n° 3 - 2010 pp. oeuvres de Gustave Moreau. Même si Gustave Moreau est considéré parmi les représentants du courant symboliste dans la peinture française du 19e siècle, de nos jours, les historiens d’art le considèrent comme un peintre d’histoire (Peinture d’Histoire). Dans les deux contextes, les images sont les reflets de ses pensées, son imagination et son caractère émotionnel.Cette situation lui permet de réfléchir sur la mort et la vie étérnelle pour les refléter dans ses oeuvres. Mots-clés : Gustave Moreau, la mort, mythologie, Oedipe, Sphinx, peinture d’histoire Özet: Gustave Moreau’nun Yapıtlarında Ölüm Gustave Moreau 19. Yüzyıl Fransız resminde sembolist akımın temsilcileri arasında yer almışsa da günümüz sanat tarihçileri tarafından tarih ressamı (Peinture d’Histoire) olarak değerlendirilir. Her iki bağlamda da Moreau’nun yapıtlarında yer alan görsel imgeler; onun inançlarının, düşüncelerinin, imgeleminin ve huzursuz kişilik yapısının yansımalarıdır. Bu durum onun sıklıkla ölüm ve ölümsüzlük üzerinde düşünmesine ve bunu yapıtlarına yansıtmasına neden olmuştur. “Oidipus ve Sfenks”, “Yolcu (Oidipus Yolcu; Ölümün Karşısında Eşitlik)”, “Genç Adam ve Ölüm”, “Ölü Şairi Taşıyan Kentaur” ölüm kavramının belirgin olarak ortaya çıktığı yapıtlardır. Özellikle “Ölü Lirler” sanatçının ve sanatının bir ağıtı (requiem) olarak nitelendirilir. Öte yandan “Ölüm Turnuvanın Galibini Taçlandırıyor”da ölüm tümüyle tuale egemendir.
    [Show full text]
  • Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C. Slavkin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE MOREAU’S MATERIALITY: POLYMORPHIC SUBJECTS, DEGENERATION, AND PHYSICALITY By MARY C. SLAVKIN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts Degree Awarded: Spring Semester, 2009 The Members of the Committee approve the Thesis of Mary Slavkin defended on March 30, 2009. ___________________________ Lauren Weingarden Professor Directing Thesis ___________________________ Richard Emmerson Committee Member ___________________________ Adam Jolles Committee Member Approved: _______________________________________________ Richard Emmerson, Chair, Department of Art History _______________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii For David. Thanks for all the tea. iii TABLE OF CONTENTS LIST OF FIGURES..........................................................................................................v ABSTRACT.....................................................................................................................ix CHAPTER 1: Introduction...............................................................................................1
    [Show full text]
  • Stravinsky Oedipus
    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
    [Show full text]
  • The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
    АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut.
    [Show full text]
  • Thebaid 2: Oedipus Descendants of Cadmus
    Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway.
    [Show full text]
  • Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
    Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse.
    [Show full text]