Medea and the Rejuvenation of Pelias
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Jason and the Argonauts Pictures of …
Punctuating lists. There are different ways to write them, but some rules need to be followed. Imagine you are a sailor on the boat. What items will you take? Lists can be written in different ways. On the boat I took with me: • A first aid kit, • A sketchpad, • Some paints. Write some lists of your own. Show the On the boat I took with me: different ways you • a first aid kit, can punctuate • a sketchpad, them. • some paints. • On the boat I took with me: • A first aid kit in case of emergencies; • A sketchpad so I could record my adventures; • Some paints to create detailed pictures. Jason and the Argonauts Pictures of … • Hydra Golden Fleece • Centaur Argo • Clashing Rocks • How do you think these are involved in the story? Why? Discuss and then write down your answers. • 1. Who looked after Jason when his father was thrown in prison? • 2. What three subjects did Jason learn whilst he was living in the mountains? • 3. Why did Jason have to accept Pelias’ challenge? • 4. Find and copy a phrase that tells you what the goddess Athene did to make sure the Argo would be safe? • 5. Name three people who joined Jason on the Argo? 5 minutes Answers • 1. The Cenataurs • 2. hunting, sailing, history • 3. Because if he didn’t everyone would say he was a coward. • 4. Athene blessed the ship. • 5. Any three of: Heracles, Atalanta, Orpheus, Castor or Pollux. Use evidence from the text (p15) to explain your answers. • 1. Why do you think Pelias sent Jason to find the Golden Fleece? Explain. -
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Table of Contents
TABLE OF CONTENTS Resumen ........................................................................................................................... 2 1.Introduction: the legacy ................................................................................................. 3 2. The Classical world in English Literature .................................................................... 6 3. Lady Macbeth, the Scottish Medea ............................................................................ 13 4. Pygmalion: Ovid and George Bernard Shaw ............................................................. 21 5. Upgrading mythology: the American graphic novel .................................................. 33 6. Conclusion .................................................................................................................. 37 BIBLIOGRAPHY .......................................................................................................... 39 1 Resumen El propósito de este escrito es presentar el legado de las culturas griega y romana, principalmente sus literaturas, a través de la historia de la literatura. Aunque ambas tradiciones han tenido un enorme impacto en las producciones literarias de de distintos países alrededor del mundo, esta investigación está enfocada solamente a la literatura inglesa. Así pues, el trabajo iniciará hablando de la influencia de Grecia y Roma en el mundo actual para después pasar al área particular de la literatura. También se tratarán tres ejemplos incluyendo el análisis de tres obras -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Female Characters, Female Sympathetic Choruses, and the “Suppression” of Antiphonal Lament at the Openings of Euripides’ Phaethon, Andromeda, and Hypsipyle*
FRAMMENTI SULLA SCENA (ONLINE) Studi sul dramma antico frammentario Università deGli Studi di Torino Centro Studi sul Teatro Classico http://www.ojs.unito.it/index.php/fss www.teatroclassico.unito.it ISSN 2612-3908 1 • 2020 FEMALE CHARACTERS, FEMALE SYMPATHETIC CHORUSES, AND THE “SUPPRESSION” OF ANTIPHONAL LAMENT AT THE OPENINGS OF EURIPIDES’ PHAETHON, ANDROMEDA, AND HYPSIPYLE* VASILIKI KOUSOULINI NATIONAL AND KAPODISTRIAN UNIVERSITY OF ATHENS [email protected] Female choruses abound in Euripides’ plays.1 While there are many in his extant plays, we also encounter choruses of women in his fragmentary ones.2 Little attention has been paid to the existence of sympathetic female choruses in Euripides’ fragmentary dramas and their in- teraction with female characters. A sympathetic female chorus seems to appear in conjunction with a female character in many Euripidean fragmentary plays. The chorus of the Alexander in * This research is co-financed by Greece and the European Union (European Social Fund- ESF) through the Opera- tional ProGramme «Human Resources Development, Education and LifelonG LearninG» in the context of the pro- ject “Reinforcement of Postdoctoral Researchers - 2nd Cycle” (MIS-5033021), implemented by the State Scholar- ships Foundation (ΙΚΥ). 1 There is a female chorus in Euripides’ Medea, Hippolytus, Andromache, Hecuba, Suppliant Women, Ion, Electra, Trojan Women, Iphigenia among the Taurians, Helen, Phoenician Women, Orestes, Iphigenia in Aulis, and Bacchae. Mastronarde observed that there are 15 male choruses, 62 female choruses, and 105 choruses with undetermined gender in Euripides’ corpus. Cf. MASTRONARDE 2010, 103. AccordinG to Calame, the 82% of Euripides’ traGic choruses con- sists of women. Cf. CALAME 2020, 776. -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
Inconsistencies in Characters' Speeches in Apollonius' Argonautica
Inconsistencies in Characters’ Speeches in Apollonius’ Argonautica This paper argues that a number of challenging cruces in Apollonian scholarship can be solved by applying the ancient literary-critical principle of λύσις ἐκ τοῦ προσώπου, or “solution from the character speaking,” known from the ancient Homeric scholiasts and commentators like Porphyry, who gives us this term (ad Il. 3.122, 14.434). This principle holds that inconsistencies arising in a character’s speech may owe not to an oversight on the part of the poet but rather to that character’s point of view or deceptive motives (Dachs 1913, de Jong 2001: xiv, O’Hara 2007: 11). James O’Hara has put this insight to good use in his study of inconsistencies in Roman epic, arguing, for instance, that certain incongruities in the Lycaon episode of Ovid’s Metamorphoses put Jupiter’s reliability as an internal narrator in doubt (O’Hara 2007: 116–118). It is my contention that this type of analysis may be fruitfully applied to Hellenistic epic as well, whence, indeed, Latin poets may have partly derived the technique of characterization through inconsistency. Some problems in Apollonius have already benefitted from this approach; one example is the idea that Pelias invents the religious justification of the quest for the fleece as a pretext for Jason’s suicide mission (see especially Pietsch 1999: 28–49). Malcolm Campbell has noted the applicability of this explanation to a variety of cruces (see Campbell 1971: 416), but has not argued the point at any length, and for other vexed passages, this solution has yet to be proposed. -
C:\Users\User\Documents\04 Reimann\00A-Inhalt-Vorwort.Wpd
Vorwort Aribert Reimann ist einer der erfolgreichsten lebenden Komponisten Deutschlands, von Publikum und Kritik gleichermaßen hoch geschätzt. Bis heute, kurz vor seinem achtzigsten Geburtstag, hat er 78 Vokalwerke kom- poniert. Dazu gehören neben drei Chorwerken und zwei Requiems vor allem Lieder mit Klavier, mit Orchester oder in verschiedenen Kammermusik- besetzungen sowie acht Opern, die weltweit aufgeführt werden. Auch den solistischen Stimmen ohne jede Instrumentalbegleitung bietet Reimann höchst anspruchsvolle Kompositionen: Innerhalb dieses noch immer relativ ungewöhnlichen Genres findet sich neben sieben textinterpretierenden Werken eine sechsteilige Reihe von ganz den ‘Farben’ der menschlichen Stimme nachspürenden Vokalisen. Eine weitere Besonderheit stellen seine Kammermusikbearbeitungen romantischer Klavierlieder von Schubert, Mendelssohn-Bartholdy, Schumann, Brahms und Liszt dar. Obwohl auch die Liste von Reimanns Instrumentalwerken umfangreich und vielfältig ist, konzentriert sich diese Studie ausschließlich auf seine Vokalmusik. Hier kann Reimann aufgrund seiner intimen Vertrautheit mit der menschlichen Stimme aus einem einzigartigen Schatz an Einsichten schöpfen. Seine Affinität zum Gesang hat ihre Basis in seiner Kindheit mit einer Gesangspädagogin und einem Chorleiter als Eltern, in seinen frühen Auftritten als solistischer Knabensopran in konzertanten und szenischen Produktionen und in seiner jahrzehntelangen Erfahrung als Klavierpartner großer Sänger. Den kompositorischen Ertrag dieses Erfahrungsreichtums durch detaillierte Strukturanalysen zu erschließen und in ihrer textinterpre- tierenden Dimension zu würdigen kommt einer Autorin, deren besonderes Interesse dem Phänomen “Musik als Sprache” gilt, optimal entgegen. Die vorliegende Studie stellt in den fünf Hauptkapiteln je fünf Werke aus den vier letzten Dekaden des 20. Jahrhunderts und aus der Zeit seit 2000 vor, darunter die Opern Lear (nach Shakespeare), Die Gespenstersonate (nach Strindberg), Bernarda Albas Haus (nach Lorca) und Medea (nach Grillparzer). -
MEDEA in OVID's METAMORPHOSES and the OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N
MEDEA IN OVID'S METAMORPHOSES AND THE OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N. Feimer Ovide Moralist of the early fourteenth century is much more than a translation into Old French of the first-century Latin Metamorphoses of Ovid. It has long been observed that mediaeval translators were not driven by a passion for "accuracy," or torn by a sense of the futility of their task as their modern counterparts have been. As a comparison of the two texts clearly shows, the mediaeval poet augmented Ovid's work where he found it lacking, displaying an encyclopaedic erudition in the process. The author ,1 2 of Ovide Moralise also adapted the pagan content of Ovid's Metamorphoses to convey Christian dogma to his audience. Every narrative element, every character, and every symbol is employed to represent a Christian signifi• cance by means of allegorical exegeses which are as long as or longer than the passages they explicate. An excellent example of the mediaeval poet's use of his translation of Ovid's text to transmit his orthodox mediaeval vision to his audience may be found in his treatment of the story and character of Medea from Book VII of The Metamorphoses. Ovide Moralise contains the most complete portrait of Medea among the mediaeval narrations of her story.3 It traces the tale from Jason's acceptance of the quest to obtain the Golden Fleece to Medea's attempt to poison Theseus and her subsequent escape. To be sure, there are a number of works in both vernacular and Latin to which the title, Ovide Moralise, has been ascribed. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; Proquest Pg
Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; ProQuest pg. 215 Second Thoughts in Greek Tragedy Bernard M. W. Knox "IN HUMAN LIFE," says the Nurse in Euripides' Hippolytus (435-6), "second thoughts are somehow wiser." Like many another character in Euripidean tragedy, she has just changed her mind, and, in true Euripidean style, she justifies her action with a generaliza tion. It is not a generalization which would have recommended itself to Aeschylus and Sophocles; before Euripides, change of mind is a rare phenomenon on the tragic stage.! Aeschylus, as Bruno Snell has demonstrated, broke new ground in Greek poetry with his explicit presentation of a conscious human choice between alternatives, a free human decision which commits its taker to a tragic course.2 The responsibility the hero thus assumes, and the complex relation of his choice to the will of the gods and his own heredity, allow little scope for a change of mind. Aeschylean drama is linear; its principal figures, their decision once made, pursue their chosen course to the bitter end.3 In the Persians, which is the tragedy of a whole people rather than an individual, and which furthermore works through retrospect and prophecy rather than through present action, a change of mind is excluded by the nature of the dramatic organization. In the Seven against Thebes, Eteocles, at the end of a slow, almost static, preparation, makes his swift decision to fight against his brother; it is a decision, but not a change of mind-he had already decided to fight in person at one of the gates (282) and the gate where Polynices awaits him is the last remaining assignment.