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Seneca's Phoenician Women — Genre, Structure, Thematic Unity
UDC 821.124 Philologia Classica. 2021. Vol. 16. Fasc. 1 Seneca’s Phoenician Women — Genre, Structure, Thematic Unity Tomasz Sapota University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] Iwona Słomak University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] For citation: Sapota T., Słomak I. Seneca’s Phoenician Women — Genre, Structure, Thematic Unity. Philologia Classica 2021, 16 (1), 77–89. https://doi.org/10.21638/spbu20.2021.107 This article revises current perspectives on the generic status, composition, and subject mat- ter of Phoenician Women by Seneca. It adopts a new approach, focusing on selected elements of text organisation. In particular, emphasis is given to the construction of characters and the analogies and contrasts between them which were already of interest to ancient poetics and rhetoric. Moreover, the article refers to observations, accurate but isolated and largely ignored, made by scholars who recognised Seneca’s originality and suggested that his plays might have been inspired by the declamatory tradition and should be read in the context of evolving post- classical literature. By adopting this perspective, it becomes possible to bring together a large number of partial conclusions that are related to Phoenician Women as well as other plays by Seneca. What is more important, the work brings to light the purposeful composition of the drama and its thematic unity, allowing us to return to the MS versions that until now have been replaced by conjectures, which often distort the meaning of the text. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
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. -
The Story of Oedipus: Prequel to Antigone
The Story of Oedipus: Prequel to Antigone • LAIUS is left an orphaned minor by his father Labdacus • AMPHION AND ZETHUS rule Thebes (Build the Cadmeia) and exile Laius • Laius goes to live in Elis (PISA) with King Pelops (son of Tantalus son of Zeus) • Laius becomes very good friends with young Chrysippus, youngest child of King Pelops • Laius and Chrysippus run away together (or Laius rapes Chrysippus). Pelops curses Laius. • Laius returns to Thebes and becomes King • Laius marries his cousin Jocasta, but they are childless • Laius goes to Delphi and intends to ask Apollo's advice; Apollo announces that Laius will have a child who will kill him • Laius and Jocasta have a baby son (Oedipus) whom they plan to kill. The royal shepherd is ordered to dispose of the child on Mt. Cithaeron. Instead he gives Oedipus to the royal Corinthian shepherd. • The Royal Corinthian Shepherd takes the child back to the childless king and queen of Corinth (Polybus and Merope), who adopt him. • At about the age of 18, at a dinner party, one of Oedipus' friends makes a rude remark about his not being a real Corinthian but only adopted. Oedipus is shocked and shamed, and goes off to Delphi to ask Apollo about the truth. • Apollo tells Oedipus he is doomed to kill his father and sleep with his mother. • Oedipus unknowingly kills his father Laius (within hours, at The Three Ways) • Oedipus kills the SPHINX on the way from the Three Ways to Thebes • Oedipus is received at Thebes as a national hero, and invited to marry the recently widowed queen Jocasta. -
Polis As Player in Aeschylus' Seven Against Thebes This Paper Will
Polis as Player in Aeschylus’ Seven Against Thebes This paper will focus on the city in Aeschylus’ Seven Against Thebes and argue that the city itself plays a prominent role not just in locating the action, but also in participating in it as a fundamental part of the curse on the house of Laius. Previous scholarship has focused on the absence of Polynices as a speaking character in Aeschylus’ Seven Against Thebes: some have argued that his absence indicates Aeschylus’ sole focus on Eteocles (Kitto 1966, 47), even denying any rightful claim to dike on Polynices’ part (cf. Gagarin 1976, 122 n. 11). The implication of this stance is that Eteocles’ death is predicated solely on Oedipus’ curse on his sons (785-787) and is not caused by any wrongful action on his part. Contrary to this view, I will argue that Eteocles’ death is caused by his mistreatment of the city, and I will suggest that this type of mistreatment is the driving force behind the curse on the family. Aeschylus’ emphasis on intergenerational misfortune is well-known as the basis on which his trilogies are built, and scholarly attention has revolved around human action and interaction as the manifestations of intergenerational conflict. I will argue that, in addition to the human players, the city of Thebes must also be understood as an active participant in and focal point of this intergenerational narrative. This paper will explore the various personifications of the city, first as mother and caretaker in Eteocles’ opening speech (10-15), and later more general ones that speak of the city as one entity (793, 803, 900) comprising its physical structures (795, 901). -
The Riace Bronzes. Recent Research and New Scientific Knowledge
Искусство Древнего мира 67 УДК: 7.032(38) ББК: 85.13 А43 DOI: 10.18688/aa199-1-6 D. Castrizio The Riace Bronzes. Recent Research and New Scientific Knowledge The two Riace Bronzes, now in the Archaeological Museum of Reggio Calabria (Italy), are almost intact, perfect in their heroic nudity. By comparing their proportions and their pose, we can certainly accept that the two statues resemble each other and that no other statue or painting resembles any one of them. The artist deliberately wanted to make the two heroes resemble each other. The Bronzes form a statuary group of unitary conception [11]. First, I would like to summarize the scientific data concerning the two statues: • the dating: mid-5th century B.C. [1]; • the analysis of the the clay cores, carried out in Rome and in Glasgow, shows that the two statues were made in Argos, in the Peloponnese, in the same period [10]; • the non-Attic style [5; 7]; • the long exposure to the public [8]; • the statues were brought to Rome after a looting of Argos [8]; • they were restored in Rome, during the Augustan period [8]; • after the restoration, the Bronzes appeared glossy black [3]. In Statue A, the Augustan restoration concerned the helmet and the shield. In Statue B, after making a cast, a new right arm and the left forearm were fused and assembled. Similar operations of restoration, with the casting and fusion of new pieces, are known in Rome for two other very important Greek bronze statues: the horse and the bull found in the archaeo- logical excavations of Vicolo delle Terme (now in the Museo dei Conservatori, in Rome) [9]. -
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Seven Against Thebes [PDF]
AESCHYLUS SEVEN AGAINST THEBES Translated by Ian Johnston Vancouver Island University, Nanaimo, BC, Canada 2012 [Reformatted 2019] This document may be downloaded for personal use. Teachers may distribute it to their students, in whole or in part, in electronic or printed form, without permission and without charge. Performing artists may use the text for public performances and may edit or adapt it to suit their purposes. However, all commercial publication of any part of this translation is prohibited without the permission of the translator. For information please contact Ian Johnston. TRANSLATOR’S NOTE In the following text, the numbers without brackets refer to the English text, and those in square brackets refer to the Greek text. Indented partial lines in the English text are included with the line above in the reckoning. Stage directions and endnotes have been provided by the translator. In this translation, possessives of names ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hermes and Hermes’ are both two-syllable words). BACKGROUND NOTE Aeschylus (c.525 BC to c.456 BC) was one of the three great Greek tragic dramatists whose works have survived. Of his many plays, seven still remain. Aeschylus may have fought against the Persians at Marathon (490 BC), and he did so again at Salamis (480 BC). -
A Musical Motif in Sophocles's Oedipus at Colonus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by College of the Holy Cross: CrossWorks New England Classical Journal Volume 40 Issue 3 Pages 169-190 11-2013 A Musical Motif in Sophocles's Oedipus at Colonus Anne Mahoney Tufts University Follow this and additional works at: https://crossworks.holycross.edu/necj Recommended Citation Mahoney, Anne (2013) "A Musical Motif in Sophocles's Oedipus at Colonus," New England Classical Journal: Vol. 40 : Iss. 3 , 169-190. Available at: https://crossworks.holycross.edu/necj/vol40/iss3/2 This Article is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in New England Classical Journal by an authorized editor of CrossWorks. Deb Davies, Editor ARTICLES & NOTES New England Classical Journal 40.3 (2013) 169-190 A Musical Motif in Sophocles's Oedipus at Colonus Anne Mahoney Tufts University I. Introduction eople are often curious when I say I study meter. They think it must be boring, fussy, picky work. Indeed, there are very picky parts to the study Pof meter, but it is worth the effort: meter is our best remaining clue to the music and dance that were such an important part of the Greek theater. In what follows, I will discuss a metrical motif in Oedipus at Colonus that previous commentators on the play have not noticed. The motif is a sort of leitmotif or theme-song for the growing relationship between Oedipus and the chorus, and helps to tie the famous "Colonus Ode" to the rest of the play.1 II. -
Antigone's Burial of Polynices
What if Oedipus or Polynices had been a Slave? Antigone’s Burial of Polynices Tina Chanter DePaul University Examination of Sophocles’ Antigone reveals how the corpse remains a historically, culturally and politically inscribed subject. To leave Polynices’ corpse, by Creon’s decree, to the open air to be consumed by carrion is e!ectively to erase Polynice’s status as an Athenian citizen and transubstantiate the materiality of the corpse into one that is immaterial and non-human – that of a slave. Antigone’s refusal to leave the unburied remains of her brother - a refusal that has been traditionally romanticized as an act of rebellion against authoritarian control - circumscribes and rei”es class boundaries between the free, the civilized, and the unfree, uncivilized slave. In e!ect, Polynices’ unburied body unearths the ways in which a “western, hegemonic canon” has e!ectively buried a history of chattel slavery that has made much of this cultural output possible. An engagement with particularly notable ruminations on Antigone, such as Hegel’s and Derrida’s, serves to exemplify how the “gure of Antigone has been appropriated in ways that consolidate, rather than disrupt, a tradition of thought that evades its own implication in slavery and colonialism. If Antigone contains the pollution that the corpse of her unburied brother threatens to unleash on Thebes, she does so only at the expense of consolidating a way of thinking that structured classical Athens, and which, I argue here, also structures Sophocles’ Oedipal cycle. The exposure of the corpses of slaves—and Antigone’s unproblematic appeal to it as a given—is symptomatic of a practice that Sophocles’ brings into question in numerous ways. -
Antigone the Bride of Death
Conspectus Borealis Volume 6 Issue 1 Article 3 9-28-2020 Antigone the Bride of Death Bailey Gomes Northern Michigan University, [email protected] Follow this and additional works at: https://commons.nmu.edu/conspectus_borealis Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, Critical and Cultural Studies Commons, English Language and Literature Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Other Feminist, Gender, and Sexuality Studies Commons, Social and Cultural Anthropology Commons, and the Women's Studies Commons Recommended Citation Gomes, Bailey (2020) "Antigone the Bride of Death," Conspectus Borealis: Vol. 6 : Iss. 1 , Article 3. Available at: https://commons.nmu.edu/conspectus_borealis/vol6/iss1/3 This Scholarly Article is brought to you for free and open access by the Journals and Peer-Reviewed Series at NMU Commons. It has been accepted for inclusion in Conspectus Borealis by an authorized administrator of NMU Commons. For more information, please contact Kevin McDonough. Gomes 1 Antigone: the Bride of Death Antigone is held as one of the first feminist plays. Written by Sophocles in 441 BC, it also remains as one of the oldest Greek plays. Despite this feminist label, there are still several misogynistic undertones that can be found within the play. This essay will describe the hierarchy of Greek culture, the importance of burial rites, and how Antigone’s worth is directly tied to her eligibility for marriage, with the play’s specific focus on the imagery of Antigone’s marriage to Death. There are many instances within this play that show bridal imagery when talking specifically about Antigone‘s fate and about her worth. -
Sacramental Performance in Oedipus at Colonus and Gospel at Colonus Thomas William Biegler Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2014 The horC al Embodiment of Oedipus: Sacramental Performance in Oedipus at Colonus and Gospel at Colonus Thomas William Biegler Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Theatre and Performance Studies Commons Recommended Citation Biegler, Thomas William, "The horC al Embodiment of Oedipus: Sacramental Performance in Oedipus at Colonus and Gospel at Colonus" (2014). Arts & Sciences Electronic Theses and Dissertations. 278. https://openscholarship.wustl.edu/art_sci_etds/278 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Performing Arts Department The Choral Embodiment of Oedipus: Sacramental Performance in Oedipus at Colonus and Gospel at Colonus by Thomas Biegler, SJ A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2014 St. Louis, Missouri Table of Contents i. Title Page ii. Table of Contents and Acknowledgements 1-19. The Choral Embodiment of Oedipus: Sacramental Performance in Oedipus at Colonus and Gospel at Colonus 20-21. Bibliography Acknowledgements: Julia Walker, Thesis Advisor, English/Performing Arts Robert Henke, Thesis Committee, Comparative Literature/Performing Arts Tim Moore, Thesis Committee, Classics ii The Choral Embodiment of Oedipus: Sacramental Performance in Oedipus at Colonus and Gospel at Colonus Billy Biegler, SJ Washington University in St. -
Dead Woman Walking: Jocasta in the Thebaid
CHAPTER 17 Dead Woman Walking: Jocasta in the Thebaid Jessica S. Dietrich Jocasta, wife of Laius, wife and mother of Oedipus, mother of Eteocles and Polynices as well as Antigone and Ismene, and finally, sister of Creon, perhaps best embodies the confusion associated with the house of Oedipus. In his pre- sentation of the two major episodes involving Jocasta in the Thebaid—her attempts to persuade her sons against fighting each other and her suicide— Statius engages with literary models, including epic and tragedy as well as historical accounts, and carefully combines his sources, developing a complex series of allusions.1 It is not surprising that Statius evokes many models in his portrayal of Jocasta in the Thebaid, but through such allusions, Statius invites comparisons that highlight important differences, distinguishing his Jocasta as a uniquely Flavian creation. Statius consistently plays with the contradictory traditions surrounding Jocasta’s death in particular, thus creating a figure who can be read as among the living but also one of the dead. In this way, Jocasta’s role may be similar to that of her first husband Laius, who is twice brought back from the dead to influence the world of the living. Ecce Jocasta: Jocasta in Thebaid 7 In Thebaid 7, Jocasta bursts onto the scene: ecce truces oculos sordentibus obsita canis / exangues Iocasta genas et bracchia planctu (“Look! Jocasta, her savage eyes and bloodless cheeks covered by her filthy gray hair and her arms cov- ered with beating,” Theb. 7.474–5). Jocasta’s intrusion into the text in Thebaid 7 may have been a surprise to Statius’ readers who would have good reason to assume that Jocasta had died after Oedipus blinded himself, as she does in Sophocles’ and Seneca’s Oedipus.