Fall 2015: the Trojan War in Greece and Rome, Professor Sarah Morris
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Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos. -
Breaking the Silence of Homer's Women in Pat Barker's the Silence
International Journal of English Language Studies (IJELS) ISSN: 2707-7578 DOI: 10.32996/ijels Website: https://al-kindipublisher.com/index.php/ijels Breaking the Silence of Homer’s Women in Pat Barker’s the Silence of The Girls Indrani A. Borgohain Ph.D. Candidate, University of Jordan, Amman, Jordan Corresponding Author: Indrani A. Borgohain, E-mail: [email protected] ARTICLE INFORMATION ABSTRACT Received: December 25, 2020 Since time immemorial, women have been silenced by patriarchal societies in most, if Accepted: February 10, 2021 not all, cultures. Women voices are ignored, belittled, mocked, interrupted or shouted Volume: 3 down. The aim of this study examines how the contemporary writer Pat Barker breaks Issue: 2 the silence of Homer’s women in her novel The Silence of The Girl (2018). A semantic DOI: 10.32996/ijels.2021.3.2.2 interplay will be conducted with the themes in an attempt to show how Pat Barker’s novel fit into the Greek context of the Trojan War. The Trojan War begins with the KEYWORDS conflict between the kingdoms of Troy and Mycenaean Greece. Homer’s The Iliad, a popular story in the mythological of ancient Greece, gives us the story from the The Iliad, Intertextuality, perspective of the Greeks, whereas Pat Barker’s new novel gives us the story from the Adaptation, palimpsestic, Trojan perspective of the queen- turned slave Briseis. Pat Barker’s, The Silence of the Girls, War, patriarchy, feminism written in 2018, readdresses The Iliad to uncover the unvoiced tale of Achilles’ captive, who is none other than Briseis. In the Greek saga, Briseis is the wife of King Mynes of Lyrnessus, an ally of Troy. -
Nick Susa Epic Mythomemology – the Iliad Book 1: Achilles Was Fighting
Nick Susa Epic Mythomemology – The Iliad Book 1: Achilles was fighting alongside Agamemnon, the King of Argos, during the Trojan war. After winning a battle each was given a war prize, a woman. Achilles was given Briseis, and Agamemnon was given Chryseis. However, the father of Chryseis, Chryses, who was also a priest of Apollo, wasn’t ready to part with his daughter and came with a ransom for his daughter for King Agamemnon. Agamemnon refused the ransom in favor of keeping Chryseis and threatened the priest. Horrified and upset the priest (Chryses) calls upon Apollo and asks him to put a plague upon the Achaean armies, one of which Agamemnon leads. For nine days the armies were struck with a plague, on the tenth Achilles called a meeting to find the reason for the plague. Calchas, a prophet and follower of Apollo, being protected by Achilles, explains that Agamemnon refusing the ransom was the reason for the plague and he must return the girl and make a sacrifice of one hundred cows to Apollo in order to end the plague. Agamemnon decides to appease Apollo, but only if he can take away Achilles war prize, Briseis. Achilles doesn’t believe that Agamemnon should gain Briseis, so the two begin to argue. Achilles decides that he and his men shall not fight in the war because of Agamemnon’s actions. After Agamemnon takes Briseis away, Achilles cries and prays to his mother, Thetis, asking her to have Zeus grant the Achaean armies many loses. Zeus was not around to be asked though, but after twelve days, he returns and promises to Thetis that he will grant the Trojans many victories and the Achaeans many losses. -
ABSTRACT Reading Dreams: an Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div
ABSTRACT Reading Dreams: An Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div. Mentor: Charles H. Talbert, Ph.D. This dissertation seeks to read the dreams in the Gospel of Matthew (1:18b-25; 2:12, 13-15, 19-21, 22; 27:19) as the authorial audience. This approach requires an understanding of the social and literary character of dreams in the Greco-Roman world. Chapter Two describes the social function of dreams, noting that dreams constituted one form of divination in the ancient world. This religious character of dreams is further described by considering the practice of dreams in ancient magic and Greco-Roman cults as well as the role of dream interpreters. This chapter also includes a sketch of the theories and classification of dreams that developed in the ancient world. Chapters Three and Four demonstrate the literary dimensions of dreams in Greco-Roman literature. I refer to this literary character of dreams as the “script of dreams;” that is, there is a “script” (form) to how one narrates or reports dreams in ancient literature, and at the same time dreams could be adapted, or “scripted,” for a range of literary functions. This exploration of the literary representation of dreams is nuanced by considering the literary form of dreams, dreams in the Greco-Roman rhetorical tradition, the inventiveness of literary dreams, and the literary function of dreams. In light of the social and literary contexts of dreams, the dreams of the Gospel of Matthew are analyzed in Chapter Five. -
The Wooden Horse
THE WOODEN HORSE 0. THE WOODEN HORSE - Story Preface 1. ACHILLES 2. HELEN AND PARIS 3. THE TROJAN WAR 4. THE PLOT THICKENS 5. DEATH OF HECTOR 6. DEATH OF ACHILLES 7. THE WOODEN HORSE 8. RUINS OF TROY AND MYCENAE This vase—from about 675-650 BC—depicts a horse on wheels. If you look closely, you can also see something else: Greeks inside (and outside) the object. Image copyright Mykonos Archeological Museum, all rights reserved, and online via Beazley Archive at Oxford University. Provided here as fair use for educational purposes. Still unable to subdue the Trojans, Odysseus and the Greeks (Achaeans) needed to find a way to surreptitiously enter the fortified town. They learned, from Helenus—a Trojan seer—that in order to defeat Troy, Neoptolemus (Achilles’ son) would have to join the Achaean forces. Helenus also told the Greeks they would not win the war unless they stole the sacred Palladium—a wooden statue of Athena (called Minerva by the Romans)—which was said to have fallen from heaven. As long as that statue stood in Troy, the Greeks could not take the city take the city. On a dark night, Diomedes (with the help of Odysseus) climbed a wall of Troy. Once inside the city, Diomedes stole the Palladium, thereby weakening Troy’s defenses. Epeios (it is said) created a wooden horse big enough to hide many Greek warriors. Leaving the horse outside the gates of Troy, and moving their ships out of view, the Greeks fooled Priam and his subjects into believing their enemies had given up. -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming. -
Classical Mythology in the Victorian Popular Theatre Edith Hall
Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s. -
Achilles and Andromache As Tragic Foils
Shannon DuBois Achilles and the Feminine: Achilles and Andromache as Tragic Foils In her article “Reverse Similes’ and Sex Roles in the Odyssey,” Helene Foley examines gender fluidity and role reversal in Homer – in particular how Odysseus often functions in characteristically feminine spheres and empathizes with women. I use a similar lens in my analysis of Achilles, arguing that female figures have the greatest influence on his decisions and on how he articulates his role in the Iliad. I then compare his more “feminized” behavior to Andromache, whose function and fate in the Iliad make her a natural foil to Achilles. The focal point of connection between Achilles and Andromache is their mutual concern for family. Achilles often casts himself in a maternal role when reflecting upon his responsibilities and his bond with Patroclus, especially in his similes (i.e.: the mother bird simile in Book IX, and the mother-daughter simile in Book XVI); this emphasis on mortal mothers and their young offspring builds on Andromache’s first appearance in Book VI, where she awaits her husband on the wall with Astyanax. Moreover, Achilles’ relationship with Patroclus and the grief he experiences at his friend’s death find their greatest thematic equivalent in Andromache’s mourning for her husband and her anticipated grief at the loss of her son. The complex interrelationships tying Achilles and Andromache together, the similarities between their actions throughout the Iliad, and the emotional crises that befall them help expand our understanding of Achilles’ character. His connection to Andromache through these narrative parallels, and the continued emphasis on familial values, suggest a latent desire in Achilles to have a family of his own (seen especially in Il. -
List of Characters
Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information List of characters GHOST OF POLYDORUS son of Priam and Hecuba HECUBA widow of Priam, king of Troy CHORUS captured Trojan women, fellow slaves of Hecuba POLYXENA Hecuba’s daughter, a captured slave ODYSSEUS son of Laertes, lord of Ithaca, a prominent fighter at Troy TALTHYBIUS Greek herald SERVANT old Trojan woman, now a slave AGAMEMNON King of Argos/Mycenae, commander of the Greek army POLYMESTOR lord of the Thracian Chersonese 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information PROLOGUE (1–92) The Prologue is the part of a Greek play which preceded the entry of the Chorus. Some plays, especially those by Sophocles, begin with a dialogue. Euripides preferred, as here, to have a single character introduce himself or herself and explain the dramatic situation. Setting of the play The action takes place soon after the end of the Trojan War. See page vi and map, page vii. 3 Hades … Polydorus … Hecuba Hades is the god of the underworld. In classical ‘theology’, after the overthrow of Cronos and his fellow Titans power was shared between Zeus and his two brothers. Zeus became supreme ruler on Mount Olympus, Poseidon took control of the seas, and Hades ruled over the dead in the underworld. Polydorus, a ghost (see ‘Ghosts’, page 6) tells us (13–15) that he was too young to fight at Troy. In Homer’s Iliad (where his mother was Laothoe, not Hecuba), against his father Priam’s (4) wishes he ran impetuously into battle and was killed by Achilles (Iliad xx and xxii). -
Future Philology! by Ulrich Von Wilamowitz-Moellendorff - Rt Anslated by G
Fordham University Masthead Logo DigitalResearch@Fordham Articles and Chapters in Academic Book Philosophy Collections 2000 Future Philology! by Ulrich von Wilamowitz- Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid Babette babich Fordham University, [email protected] Follow this and additional works at: https://fordham.bepress.com/phil_babich Part of the Classical Literature and Philology Commons, Continental Philosophy Commons, German Language and Literature Commons, and the History of Philosophy Commons Recommended Citation babich, Babette, "Future Philology! by Ulrich von Wilamowitz-Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid" (2000). Articles and Chapters in Academic Book Collections. 3. https://fordham.bepress.com/phil_babich/3 This Article is brought to you for free and open access by the Philosophy at DigitalResearch@Fordham. It has been accepted for inclusion in Articles and Chapters in Academic Book Collections by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. FUTURE PHILOLOGY!i a reply to FRIEDRICH NIETZSCHE’S Ordinarius Professor of Classical Philology at Basel „birth of tragedy“ by Ulrich von Wilamowitz-Möllendorff Dr. Phil. zÏîùô óéëöéùô âáë&Òò ôåýôëéïí ßðüôñéììá hñÃïí ¦ãêÝöáëïí Ïñßãáíïí êáôáðõãïóýíç ôáØôz ¦óô ðñÎò êñåáò ìÝãá. — Aristophanes, Age 17ii i Zukunftsphilologie is a play upon the 1861 German publication of Wagner’s ironically titled “Zukunftsmusik” [“Music of the Future” — the quotation marks are Wagner’s own], an open letter to Frederic Villot, Conservator of the Picture Museums at the Louvre, first translated into and published in French in 1860. See L. J. Rather, Reading Wagner: A Study in the History of Ideas (Baton Rouge: Louisiana State University Press, 1998), p. -
The Arms of Achilles: Re-Exchange in the Iliad
The Arms of Achilles: Re-Exchange in the Iliad by Eirene Seiradaki A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Eirene Seiradaki (2014) “The Arms of Achilles: Re-Exchange in the Iliad ” Eirene Seiradaki Doctor of Philosophy Department of Classics University of Toronto 2014 Abstract This dissertation offers an interpretation of the re-exchange of the first set of Achilles’ arms in the Iliad by gift, loan, capture, and re-capture. Each transfer of the arms is examined in relation to the poem’s dramatic action, characterisation, and representation of social institutions and ethical values. Modern anthropological and economic approaches are employed in order to elucidate standard elements surrounding certain types of exchange. Nevertheless, the study primarily involves textual analysis of the Iliadic narratives recounting the circulation-process of Achilles’ arms, with frequent reference to the general context of Homeric exchange and re-exchange. The origin of the armour as a wedding gift to Peleus for his marriage to Thetis and its consequent bequest to Achilles signifies it as the hero’s inalienable possession and marks it as the symbol of his fate in the Iliad . Similarly to the armour, the spear, a gift of Cheiron to Peleus, is later inherited by his son. Achilles’ own bond to Cheiron makes this weapon another inalienable possession of the hero. As the centaur’s legacy to his pupil, the spear symbolises Achilles’ awareness of his coming death. In the present time of the Iliad , ii Achilles lends his armour to Patroclus under conditions that indicate his continuing ownership over his panoply and ensure the safe use of the divine weapons by his friend.