DOCSLIB.ORG

Of Metis and Magic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Of Metis and Magic Of Metis and Magic The Conceptual Transformations of Circe and Medea in Ancient Greek Poetry In two Volumes: VOLUME ONE Thesis submitted by Evelien Bracke as a requirement for the degree of Ph.D. in the Department of Ancient Classics, National University of Ireland, Maynooth, September 2009 Head of Department/Supervisor: Prof. David Scourfield TABLE OF CONTENTS VOLUME ONE Acknowledgements 5 Abbreviations 8 1. Introduction 12 (a) Contextualization 12 (b) Approach 17 2. Magic and Metis in Greek and Roman Poetry 21 (a) “Double, Double Toil and Trouble”: What is Magic? 21 (b) “She turned me into a newt” 32 (c) Two Family Trees 42 (d) Magic or Metis ? 46 (e) Circe, Medea, and Metis 71 (f) Conclusion 75 A. GODDESSES OF CUNNING 3. Circe in the Odyssey 77 (a) “I have a cunning plan!”: Metis in the Odyssey 77 (b) Circe in the Apologoi 82 (c) Conclusion 111 4. Medea in Hesiod’s Theogony 114 (a) Circe in Hesiod’s Theogony 120 (b) Medea and Metis in Hesiod’s Theogony 122 (c) Conclusion 136 B. FROM METIS TO MAGIC 5. Circe as Mother and Whore 142 (a) Post-Hesiodic Archaic Poetry 142 (b) Classical Drama 151 (c) Conclusion 159 6. Medea as Victim and Witch 184 (a) Medea in the Epic Cycle 184 (b) Pindar’s Medea 200 (c) Tragedy and the Medea Tradition 222 (d) On the Witch’s Threshold: Euripides’ Medea 226 (e) Comedy 254 (f) Conclusion 256 2 VOLUME TWO C. CIRCE AND MEDEA POLUFARMAKOI 7. Circe and Medea in Hellenistic and Roman Poetry 5 (a) Hellenistic Poetry: Apollonius and Lycophron 6 (b) Early Roman Drama 36 (c) Augustan Poetry 41 (d) Conclusion 68 8. Why the Witches? 71 (a) Between Hesiod and the Hellenistic Period 73 (b) Inventing the Witch 83 (c) Conclusion 94 9. Conclusion: between Metis and Magic 96 Appendix 1: Circe: Chronology of the Poetic Sources 102 Appendix 2: Medea: Chronology of the Poetic Sources 103 Appendix 3: The Apologoi of the Odyssey 105 Appendix 4: Medea in Eumelus’ Corinthiaca 107 Appendix 5: A Post-Classical Version of the Medea Myth 108 Appendix 6: Medea in Iconography 110 Appendix 7: Circe in Iconography: Chronological List 111 Appendix 8: Circe in Iconography: Images 112 Appendix 9: The Archaic and Classical Genealogy of the Aeolids 117 Bibliography 118 3 Lovely maiden of the moon and lovely daughter of the sun in their hands hold the weaving comb, lifting up the weaving shuttle, weaving on the golden fabric, rustling move the silver threads, at the edge of the crimson cloud, at the border of the wide horizon. 41 st rune of the Kalevala 4 ACKNOWLEDGEMENTS Writing this thesis has cost me blood, sweat, and tears – and what a fine magic potion they would have made! Had it not been for the unwavering support and advice from my mentors, friends, and colleagues, my eight-year (!) long efforts might yet have been in vain. First and foremost, I would like to thank my supervisor, Prof. David Scourfield, without whose challenging observations, guidance, and encouragement at every stage of my research this thesis would never have left its infancy. I would also like to thank Dr Gordon Campbell, who co-supervised me in the first two years of this project, and Prof. Jan Bremmer and Dr Richard Gordon, who kindly took the time to read and comment on a first draft of what has been grossly reduced to part of chapter 2. Thanks also to Prof. Michael Clarke for helping me in my research on the Archaic evidence, and to Dr Fritz-Gregor Herrmann, who kindly answered my questions on aspects of linguistics. Thanks, finally, to Dr Owen Hodkinson and Simon Trafford for proofreading various chapters. Further, my thanks goes to my colleagues at NUI Maynooth, who always had a kind word and/or a pint for me when the going was tough: Kieran McGroarty, Maeve O’Brien, Eoghan Moloney, Donncha O’Rourke, and Imogen Smith. A particularly big hug goes to Breege Lynch for being my substitute-mum and best office neighbour ever! My fellow postgraduates offered consolation in my despair, discussions when I needed feedback, and relaxation in my hour of need; a special thanks goes to Helen Gilmore McVeigh, Daniel Ball, Pamela Moran, Ruth O’Hara, Gayle O’Reilly, Kate Quinn, Bernie Trehy, and last but definitely not least, Sharon Tighe-Mooney and Brian Sheridan. My arguments on Euripides’ Medea also benefited from the discussions I had 5 with my second-year undergraduate students in the Greek Tragedy lectures I taught at NUI Maynooth. The many years I have spent working on this thesis would have been devoid of joy had it not been for the emotional support network provided by the following people at various points (in no particular order): Ciarán McKevitt, Brian Conway, Emma Galbally, Nathalie Slachmuylders, Sara Yserbyt and Koenraad Vandesijpe, Lieveke and Raf Bocklandt, Koen De Temmerman, Regina Schober, Christian Blinzer, Vicky Janssens, Kristof Moens, Jenny White and family, and the NUIM Outdoor Pursuits Club (especially Jason O’Brien and Jamie MacNamara). I would also like to thank the people at Swansea University and the University of Wales, Lampeter for receiving me so warmly; a special thanks goes to Martina Minas-Nerpel, Kim Ridealgh, James and Catherine Richardson, Troy and Yan Sagrillo-Wu, Matt Cobb, and Nick Barley. Finally, what my family’s support has meant to me over the last years cannot be expressed in words which do it justice. Thank you, Bobon, for the many letters and phone calls (Dank u, Bobon, voor de vele brieven en telefoontjes); thanks also to my brother, Joren, and Véronique, for the support only a brother can give (kaak). Many thanks as well to Mark Humphries, my dad, tante Lieve and nonkel Michel, Oma, nonkel Gilbert and tante Martine, Christophe and Sarah, Isabelle and Frank, and Camille and Amélie. My gratitude also goes to Circe and Medea, the obliging subjects of this thesis, for the many lessons they have taught me, not just about research and academia, but above all about myself. 6 This thesis is dedicated to my mum, for being the best mum in the entire universe, even when I am on the phone to her (again) at 3 o’clock in the morning; and to my son, Morgan, in spite of whose endless crying this thesis is finished, but whose smile makes my world complete. I would not have been able to work on this thesis more or less full-time for such a long period had it not been for the following financial support: a three-year Daniel O’Connell Fellowship awarded by NUI Maynooth, a two-year scholarship by the Irish Research Council for the Humanities and Social Sciences (IRCHSS), and a one-year scholarship awarded by the Irish government. I am grateful for the photographic images of Circe and Medea which I have been allowed to use by the following museums: the Museum of Fine Arts, Boston; the British Museum, London; the Museo Civico Archeologico, Bologna; the Museo Nazionale, Taranto; the Louvre, Paris; and the Leiden Rijksmuseum. The MFA Boston have asked me to include the following specific information regarding the image which they have kindly allowed me to use (the image itself, with further information, can be found in Appendix 8): The Painter of Boston C. A. Drinking cup (kylix) depicting Herakles fighting Acheloos Greek, Archaic Period, about 560–550 B.C. Place of Manufacture: Greece, Attica, Athens Ceramic, Black Figure Height: 18.2 cm (7 3/16 in.); diameter: 26.7 cm (10 1/2 in.) Museum of Fine Arts, Boston Henry Lillie Pierce Fund 99.519 7 ABBREVIATIONS For the most part, I follow the standard abbreviations as listed in Oxford Classical Dictionary 3 rd ed. (1996), xxix-xliv. Specific abbreviations are the following: AA Archaeologischer Anzeiger AC Antiquité Classique AJA American Journal of Archaeology BICS Bulletin of the Institute of Classical Studies of the University of London CAF Kock, Th. (ed.) (1884), Comicorum Atticorum Fragmenta , Leipzig. CCH Fowler, R. (ed.) (2004), Cambridge Companion to Homer , Cambridge. CGF Kaibel, G. (ed.) (1899), Comicorum Graecorum Fragmenta , Berlin. CJ Classical Journal CPh Classical Philology CQ Classical Quarterly DHA Dialogues d’Histoire Ancienne DK Diels, H. and W. Kranz (eds.) (1952 6), Die Fragmente der Vorsokratiker , Berlin. EGF Kinkel, G. (ed.) (1877), Epicorum Graecorum Fragmenta , Leipzig. FGrH Jacoby, F. (ed.) (1923-1958), Die Fragmente der griechischen Historiker , Berlin. Fowler Fowler, R. L. (2000), Early Greek Mythography: Vol. I: Text and Introduction , Oxford. G&R Greece and Rome 8 GRBS Greek, Roman and Byzantine Studies ICS Illinois Classical Studies IEG West, M. (ed.) (1971), Iambi et Elegi Graeci ante Alexandrum Cantati , Oxford. JHS Journal of Hellenic Studies LIMC Boardman, J. e.a. (1981-), Lexicon Iconographicum Mythologiae Classicae , Zurich and Munich. LSJ Liddell, H. G., R. Scott and H. S. Jones (1996), Greek-English Lexicon , Oxford. Most Most, G. (ed. and trans.) (2007), Hesiod. The Shield , Catalogue of Women , Other Fragments , London. NCH Morris, I. and B. Powell (eds.) (1997), A New Companion to Homer , Leiden. OCD Hornblower, S. And A. Spawforth (eds.) (1996 3), The Oxford Classical Dictionary , Oxford. Page Page, D. L. (ed.) (1968), Lyrica Graeca Selecta , Oxford. PEG Bernabé, A. (ed.) (1987), Poetae Epici Graeci Testimonia et Fragmenta , vol. 1, Leipzig. PGM Preisendanz, K. (ed.) (1973-1974), Papyri Graecae Magicae: Die griechischen Zauberpapyri , 2 vols., Stuttgart. PGMTr. Betz, H. D. (1992 2), The Greek Magical Papyri in Translation including the Demotic Spells , Chicago and London. PMG Page, D. L. (ed.) (1962), Poetae Melici Graeci , Oxford. 9 PMGF Davies, M. (ed.) (1991), Poetarum Melicorum Graecorum Fragmenta Vol I: Alcman, Stesichorus, Ibycus , Oxford.
Load more

Recommended publications
  • Faraone Ancient Greek Love Magic.Pdf
    Ancient Greek Love Magic Ancient Greek Love Magic Christopher A. Faraone Harvard University Press Cambridge, Massachusetts London, England Copyright © 1999 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Second printing, 2001 First Harvard University Press paperback edition, 2001 library of congress cataloging-in-publication data Faraone, Christopher A. Ancient Greek love magic / Christopher A. Faraone. p. cm. Includes bibliographical references and indexes. ISBN 0-674-03320-5 (cloth) ISBN 0-674-00696-8 (pbk.) 1. Magic, Greek. 2. Love—Miscellanea—History. I. Title. BF1591.F37 1999 133.4Ј42Ј0938—dc21 99-10676 For Susan sê gfir Ãn seautá tfi f©rmaka Æxeiv (Plutarch Moralia 141c) Contents Preface ix 1 Introduction 1 1.1 The Ubiquity of Love Magic 5 1.2 Definitions and a New Taxonomy 15 1.3 The Advantages of a Synchronic and Comparative Approach 30 2 Spells for Inducing Uncontrollable Passion (Ero%s) 41 2.1 If ErÃs Is a Disease, Then Erotic Magic Is a Curse 43 2.2 Jason’s Iunx and the Greek Tradition of Ago%ge% Spells 55 2.3 Apples for Atalanta and Pomegranates for Persephone 69 2.4 The Transitory Violence of Greek Weddings and Erotic Magic 78 3 Spells for Inducing Affection (Philia) 96 3.1 Aphrodite’s Kestos Himas and Other Amuletic Love Charms 97 3.2 Deianeira’s Mistake: The Confusion of Love Potions and Poisons 110 3.3 Narcotics and Knotted Cords: The Subversive Cast of Philia Magic 119 4 Some Final Thoughts on History, Gender, and Desire 132 4.1 From Aphrodite to the Restless
    [Show full text]
  • Th of Kirke the Two He Avenly
    MEMORY I mused my would f ain embraced v r my Mother dead . e e waxed g rief — x i. 204 5 , 208 . FO R E W O R D . IN the present monograph I continue the illustration of the e e the ou — e influ nc of N Aryan East upon H llas , a subj ect which I have discussed in The Great D ion siak M th the e y y , by inv stigation of a particular Hom erik I personage and episode . trust that this study will bring into still cle arer prominence the fact that the Homerik Po ems constitute one of the e ie the e e arl st , and at sam tim most important , links e h h b twee n t e East and the West . T e subj ect is also in strict continuation of my prior mythological re searche s ; and as I have alre ady treated separately the D the M The Unicorn : a of Sun ( ionysos), oon (in M tholo ical Investi a tion the S The La w y g g ), and tars (in o Kosmic Order Eridanus River and Constella f , and tion ); so in the myth of Kirke the two he avenly W e e e e W protagonists ill app ar in clos conn xion , alik ith e e ach othe r and With the stellar host . As pr viously te e are e e be c on tris sta d , such inv stigations int nd d to butions to the n ew and highly important study of archaic psychology .
    [Show full text]
  • Echoes of Legend: Magic As the Bridge Between a Pagan Past And
    Winthrop University Digital Commons @ Winthrop University Graduate Theses The Graduate School 5-2018 Echoes of Legend: Magic as the Bridge Between a Pagan Past and a Christian Future in Sir Thomas Malory's Le Morte Darthur Josh Mangle Winthrop University, [email protected] Follow this and additional works at: https://digitalcommons.winthrop.edu/graduatetheses Part of the Literature in English, British Isles Commons Recommended Citation Mangle, Josh, "Echoes of Legend: Magic as the Bridge Between a Pagan Past and a Christian Future in Sir Thomas Malory's Le Morte Darthur" (2018). Graduate Theses. 84. https://digitalcommons.winthrop.edu/graduatetheses/84 This Thesis is brought to you for free and open access by the The Graduate School at Digital Commons @ Winthrop University. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Digital Commons @ Winthrop University. For more information, please contact [email protected]. ECHOES OF LEGEND: MAGIC AS THE BRIDGE BETWEEN A PAGAN PAST AND A CHRISTIAN FUTURE IN SIR THOMAS MALORY’S LE MORTE DARTHUR A Thesis Presented to the Faculty Of the College of Arts and Sciences In Partial Fulfillment Of the Requirements for the Degree Of Master of Arts In English Winthrop University May 2018 By Josh Mangle ii Abstract Sir Thomas Malory’s Le Morte Darthur is a text that tells the story of King Arthur and his Knights of the Round Table. Malory wrote this tale by synthesizing various Arthurian sources, the most important of which being the Post-Vulgate cycle. Malory’s work features a division between the Christian realm of Camelot and the pagan forces trying to destroy it.
    [Show full text]
  • Provided by the Internet Classics Archive. See Bottom for Copyright
    Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away.
    [Show full text]
  • Apollonius of Rhodes Argonautica Book 3, Translated by Robert Cooper Seaton, Harvard University Press, Cambridge MA, 1912
    Apollonius of Rhodes Argonautica book 3, translated by Robert Cooper Seaton, Harvard University Press, Cambridge MA, 1912. (http://oaks.nvg.org/sa4ra16.html#tres) Come Now, Erato, stand by my side, and say next how Jason brought back the fleece to Iolcus aided by the love of Medea. For you share the power of Cypris, and by your love-cares charm unwedded maidens; wherefore to you too is attached a name that tells of love. Thus the heroes, unobserved, were waiting in ambush amid the thick reed-beds; but Hera and Athena took note of them, and, apart from Zeus and the other immortals, entered a chamber and took counsel together; and Hera first made trial of Athena: "Do you now first, daughter of Zeus, give advice. What must be done? Will you devise some scheme whereby they may seize the golden fleece of Aeetes and bear it to Hellas, or can they deceive the king with soft words and so work persuasion? Of a truth he is terribly overweening. Still it is right to shrink from no endeavour." Thus she spoke, and at once Athena addressed her: "I too was pondering such thoughts in my heart, Hera, when you did ask me outright. But not yet do I think that I have conceived a scheme to aid the courage of the heroes, though I have balanced many plans." She ended, and the goddesses fixed their eyes on the ground at their feet, brooding apart; and straightway Hera was the first to speak her thought: "Come, let us go to Cypris; let both of us accost her and urge her to bid her son (if only he will obey) speed his shaft at the daughter of Aeetes, the enchantress, and charm her with love for Jason.
    [Show full text]
  • ENGLISH HOME LANGUAGE GRADE 9 Reading a Myth: Persephone
    ENGLISH HOME LANGUAGE GRADE 9 Reading a myth: Persephone MEMORANDUM 1. This myth explains the changing of the seasons. Which season is your favourite and why? Learners own response. Winter/Autumn/Spring/Summer✓ + reason.✓ 2. Myths are stories that explain natural occurrences and express beliefs about what is right and wrong. What natural occurrence does the bracketed paragraph explain? The paragraph relates to earthquakes and volcanos✓ that shake the earth’s core. It suggests that “fearful’ fire-breathing giants” presumably volcanos✓, heave and struggle to get free, which causes the earthquakes. ✓ 3. How do the Greeks explain how people fall in love? Eros (Cupid) the god of love✓, shoots people in the heart with a love-arrow✓ that makes them fall in love. 4. Who is Pluto? He is the “dark monarch” king of the underworld✓ otherwise known as hell. 5. A cause is an effect or action that produces a result. A result is called an effect. What effect does Eros’s arrow have on Pluto? Eros’s arrow fills Pluto’s heart with warm emotions. ✓He sees Persephone and immediately falls in love with her. ✓ 6. What is the result of Demeter’s anger at the land? The ground was no longer fertile. ✓ Nothing could grow anymore. Men and oxen worked to grow crops, but they could not. ✓ There was too much rain ✓ and too much sun✓, so the crops did not grow. The cattle died✓ due to starvation. All of mankind would die✓ of starvation. 7. How do the details that describe what happened to the earth explain natural occurrences? The paragraph suggests that drought✓ is caused by Demeter who is angry✓ with the land.
    [Show full text]
  • An Assessment of the Chesrow Complex (Older Than Clovis?) in Southeast Wisconsin Matthew Allen Neff Iowa State University
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2015 An assessment of the Chesrow complex (older than Clovis?) in southeast Wisconsin Matthew Allen Neff Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Neff, Matthew Allen, "An assessment of the Chesrow complex (older than Clovis?) in southeast Wisconsin" (2015). Graduate Theses and Dissertations. 14534. https://lib.dr.iastate.edu/etd/14534 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. An Assessment of the Chesrow Complex (Older Than Clovis?) in Southeast Wisconsin by Matthew Allen Neff A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: Anthropology Program of Study Committee: Matthew G. Hill Grant Arndt Alan D. Wanamaker, Jr. Iowa State University Ames, Iowa 2015 ii TABLE OF CONTENTS LIST OF TABLES ................................................................................................................................ iii LIST OF FIGURES ..............................................................................................................................
    [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]
  • Feasting in Homeric Epic 303
    HESPERIA 73 (2004) FEASTING IN Pages 301-337 HOMERIC EPIC ABSTRACT Feasting plays a centralrole in the Homeric epics.The elements of Homeric feasting-values, practices, vocabulary,and equipment-offer interesting comparisonsto the archaeologicalrecord. These comparisonsallow us to de- tect the possible contribution of different chronologicalperiods to what ap- pearsto be a cumulative,composite picture of around700 B.c.Homeric drink- ing practicesare of particularinterest in relation to the history of drinkingin the Aegean. By analyzing social and ideological attitudes to drinking in the epics in light of the archaeologicalrecord, we gain insight into both the pre- history of the epics and the prehistoryof drinkingitself. THE HOMERIC FEAST There is an impressive amount of what may generally be understood as feasting in the Homeric epics.' Feasting appears as arguably the single most frequent activity in the Odysseyand, apart from fighting, also in the Iliad. It is clearly not only an activity of Homeric heroes, but also one that helps demonstrate that they are indeed heroes. Thus, it seems, they are shown doing it at every opportunity,to the extent that much sense of real- ism is sometimes lost-just as a small child will invariablypicture a king wearing a crown, no matter how unsuitable the circumstances. In Iliad 9, for instance, Odysseus participates in two full-scale feasts in quick suc- cession in the course of a single night: first in Agamemnon's shelter (II. 1. thanks to John Bennet, My 9.89-92), and almost immediately afterward in the shelter of Achilles Peter Haarer,and Andrew Sherrattfor Later in the same on their return from their coming to my rescueon variouspoints (9.199-222).
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • 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.
    [Show full text]
  • Mercury (Mythology) 1 Mercury (Mythology)
    Mercury (mythology) 1 Mercury (mythology) Silver statuette of Mercury, a Berthouville treasure. Ancient Roman religion Practices and beliefs Imperial cult · festivals · ludi mystery religions · funerals temples · auspice · sacrifice votum · libation · lectisternium Priesthoods College of Pontiffs · Augur Vestal Virgins · Flamen · Fetial Epulones · Arval Brethren Quindecimviri sacris faciundis Dii Consentes Jupiter · Juno · Neptune · Minerva Mars · Venus · Apollo · Diana Vulcan · Vesta · Mercury · Ceres Mercury (mythology) 2 Other deities Janus · Quirinus · Saturn · Hercules · Faunus · Priapus Liber · Bona Dea · Ops Chthonic deities: Proserpina · Dis Pater · Orcus · Di Manes Domestic and local deities: Lares · Di Penates · Genius Hellenistic deities: Sol Invictus · Magna Mater · Isis · Mithras Deified emperors: Divus Julius · Divus Augustus See also List of Roman deities Related topics Roman mythology Glossary of ancient Roman religion Religion in ancient Greece Etruscan religion Gallo-Roman religion Decline of Hellenistic polytheism Mercury ( /ˈmɜrkjʉri/; Latin: Mercurius listen) was a messenger,[1] and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx ("merchandise"; compare merchant, commerce, etc.), mercari (to trade), and merces (wages).[2] In his earliest forms, he appears to have been related to the Etruscan deity Turms, but most of his characteristics and mythology were borrowed from the analogous Greek deity, Hermes. Latin writers rewrote Hermes' myths and substituted his name with that of Mercury. However, there are at least two myths that involve Mercury that are Roman in origin. In Virgil's Aeneid, Mercury reminds Aeneas of his mission to found the city of Rome. In Ovid's Fasti, Mercury is assigned to escort the nymph Larunda to the underworld.
    [Show full text]