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HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
An Economic Analysis of the Olympic Games in Ancient Greece
RACE NOT WAR: AN ECONOMIC ANALYSIS OF THE OLYMPIC GAMES IN ANCIENT GREECE -AND- WAR WITHOUT SHOOTING: AN ANALYSIS OF AMBUSH MARKETING by Vera Lantinova M.A., Williams College, 2005 EXTENDED ESSAYS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department ofEconomics © Vera Lantinova 2007 SIMON FRASER UNIVERSITY 2007 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission ofthe author. APPROVAL Name: Vera Lantinova Degree: Master of Arts (Economics) Title of Essays: Race not War: An Economic Analysis of the Olympic Games in Ancient Greece - and- War Without Shooting: An Analysis of Ambush Marketing Examining Committee: Chair: David Andolfatto Professor, Department of Economics Douglas Allen Senior Supervisor Professor, Department of Economics Clyde Reed Supervisor Professor, Department of Economics Steeve Mongrain Internal Examiner Associate Professor, Department of Economics Date Defended/Approved: July 31,2007 ii SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
INTERNATIONAL OLYMPIC ACADEMY 20Th INTERNATIONAL
INTERNATIONAL OLYMPIC ACADEMY 20th INTERNATIONAL SEMINAR ON OLYMPIC STUDIES FOR POSTGRADUATE STUDENTS 1 – 29 SEPTEMBER 2013 PROCEEDINGS ANCIENT OLYMPIA Published by the International Olympic Academy and the International Olympic Committee 2014 International Olympic Academy 52, Dimitrios Vikelas Avenue 152 33 Halandri – Athens GREECE Tel.: +30 210 6878809-13, +30 210 6878888 Fax: +30 210 6878840 E-mail: [email protected] Website: www.ioa.org.gr Editor Prof. Konstantinos Georgiadis, IOA Honorary Dean Editorial coordination Roula Vathi ISBN: 978-960-9454-29-2 INTERNATIONAL OLYMPIC ACADEMY 20th INTERNATIONAL SEMINAR ON OLYMPIC STUDIES FOR POSTGRADUATE STUDENTS SPECIAL SUBJECT THE LEGACY OF THE OLYMPIC GAMES: INFRASTRUCTURE, ART, QUALITY OF LIFE AND ECONOMICAL PARAMETERS ANCIENT OLYMPIA EPHORIA OF THE INTERNATIONAL OLYMPIC ACADEMY (2013) President Isidoros KOUVELOS (HOC Member) Vice-President Michail FYSSENTZIDIS (HOC Member) Members Charalambos NIKOLAOU (IOC Member – ex officio member) Spyridon CAPRALOS (HOC President – ex officio member) Emmanuel KATSIADAKIS (HOC Secretary General – ex officio member) Evangelos SOUFLERIS (HOC Member) Efthimios KOTZAS (Mayor of Ancient Olympia) Christina KOULOURI Dora PALLI Honorary President Jacques ROGGE (Former IOC President) Honorary Members Τ.A. Ganda SITHOLE (Director of International Coope ra tion and Development Dpt., IOC) Pere MIRÓ (Director, Olympic Solidarity, IOC) Honorary Dean Konstantinos GEORGIADIS Director Dionyssis GANGAS 5 HELLENIC OLYMPIC COMMITTEE (2013) President Spyridon I. CAPRALOS 1st -
Thinking Comparatively About Greek Mythology IV, Reconstructing He#Rakle#S Backward in Time
Thinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.08.15. "hinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/thinking-comparatively- about-greek-mythology-iv-reconstructing-herakles-backward-in- time/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42179409 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles
The Suffering Heracles: An Analysis of Heracles as a Tragic Hero in The Trachiniae and the Heracles by Daniel Rom Thesis presented for the Master’s Degree in Ancient Cultures in the Faculty of Arts and Social Sciences, at Stellenbosch University Supervisor: Prof. Annemaré Kotzé March 2016 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract This thesis is an examination of the portrayals of the Ancient Greek mythological hero Heracles in two fifth century BCE tragic plays: The Trachiniae by Sophocles, and the Heracles by Euripides. Based on existing research that was examined, this thesis echoes the claim made by several sources that there is a conceptual link between both these plays in terms of how they treat Heracles as a character on stage. Fundamentally, this claim is that these two plays portray Heracles as a suffering, tragic figure in a way that other theatre portrayals of him up until the fifth century BCE had failed to do in such a notable manner. This thesis links this claim with a another point raised in modern scholarship: specifically, that Heracles‟ character and development as a mythical hero in the Ancient Greek world had given him a distinct position as a demi-god, and this in turn affected how he was approached as a character on stage. -
Download the Bow Classroom Ideas
Walker Books Classroom Ideas The Bow *Notes may be downloaded and printed for regular classroom use only. Author: Catherine Mayo Ph +61 2 9517 9577 Walker Books Australia Fax +61 2 9517 9997 ISBN: 9781925081015 Locked Bag 22 ARRP: $17.95 Newtown, N.S.W., 2042 NZRRP: $19.99 These notes were created by Robin Harding. June 2014 For enquiries please contact: [email protected] Notes © 2014 Walker Books Australia Pty. Ltd. All Rights Reserved Outline: “There’s only one arrow, but you only have to shoot one man. I know you won’t miss.” War is coming to Bronze Age Greece. It’s time to skill up. Odysseus’s challenges are mounting. Can he find his grandfather’s hidden gold? Find the strength to string and shoot the Great Bow of Eurytos, which no man has done for generations? Toughest of all, can he persuade a girl to love him? Win some … lose some. Author Information: Catherine Mayo grew up in Auckland and was a compulsive reader and dreamer. With academics in her DNA (her dad was a research scientist and her grandfather a professor of philosophy) it was taken for granted she would follow the same path. She studied many things at Auckland University – history, philosophy, geology, French, music, performance violin and art history – before life took an unexpected turn and she began an apprenticeship in violin- making and restoration. About 10 years ago she started writing, urged on by the stories and dreams that filled her head since she was a child. She has since won several prizes in short story competitions. -
Rules and Regulations
Rules and Regulations The ancient Olympics had the potential to be very dangerous, even deadly, and a strict set of rules were imposed to regulate the behavior of athletes. Rules also applied more broadly to the spectators and even the city-states themselves. Who Enforced the Rules? Judges, called the Hellanodikai, were selected from the citizens of Elis and given ten months’ training by Elian officials on how to oversee the games. Once trained, the Hellanodikai were responsible for sorting competitors into age categories, ensuring the Sacred Truce was upheld (see Section 6: Politics), supervising the training of athletes prior to the games, and enforcing the code of conduct for both spectators and athletes. The Hellanodikai had additional help with enforcement and Terracotta Skyphos (Deep Drinking Cup), Greek, Attic, ca. 500 BCE, Terracotta, 06.1021.49, New York City, Metropolitan Museum of Art punishment: mastigophoroi (whip- bearers), rabdouchoi (rod-bearers), and alytarches/alytai, responsible for crowd control. Rules for Athletes Athletes needed the permission of the Hellanodikai to participate in the Olympics. Only male citizens were eligible. If accepted, they spent ten months in training before the start of the games. Even then, their participation wasn’t guaranteed. The Red-Figure Cup Fragment with Athletes, Greek, Attic, ca. 480 BCE, Hellanodikai oversaw the ten-month training period Ceramic, 2006.042.007, Atlanta, Michael C. Carlos Museum and reserved the right to remove substandard athletes from the competition. Athletes might also be removed during this period if the city-state they represented violated the Sacred Truce. Once the games began, athletes were required to perform in the nude, with the exception of chariot drivers and jockeys. -
The Study of the Influence of Ancient Greek Rituals and Sports and the Formation of the Architecture of Its Sports Spaces
DOI: 10.18468/estcien.2019v9n2.p33-44 Review article The study of the influence of ancient Greek rituals and sports and the formation of the architecture of its sports spaces Nima Deimary1* Mahsa Azizi2 Mohammad Mohammadi3 1 Department of Architecture, Faculty of Civil and Architecture, Malayer University ,Malayer, Iran. (*) Corresponding author. E-mail: [email protected] https://orcid.org/0000-0001-7998-0395 2 MA Student of Architecture Technology, Shahid Beheshti University, Tehran, Iran. E-mail: [email protected] https://orcid.org/0000-0001-7998-0568 3 Department of Physical Education, Faculty of Literature and Humanities, Malayer University, Malayer, Iran. E-mail: [email protected] https://orcid.org/0000-0002-4180-3921 ABSTRACT: To get a better understanding of why variety of sports buildings are this massive in ancient Greece, a proper understanding of the history of sports as well as Greece itself must start at the beginning. Greece is a country that is enclosed with hills and mountains alongside short riv- ers and fertile va lleys. Even though Greek people were living in separate city-states, they were unit- ed under national pride, common temples, same rituals and games like Olympic. Sports were the most important parts of most Greek men. Gym and music alongside each other, fed the body and the soul of the athletes. They admired the beauty of well-trained men. They believed in multiple gods who were living in Holy mount of Olympus under the reign of greater god, Zeus and they held many rituals to satisfy them and Olympic was the most famous rituals amongst others. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
Athletic Competitions
Athletic Competitions The ancient Olympics originally had only one event, the stadion, a footrace that took roughly 30 seconds to complete. Over time, more events were added, transforming the games into a multi-day spectacle of athleticism. Some events, such as footraces, discus-throwing, and wrestling continue into the modern Olympics. Others, like the pankration and hoplite races, belong firmly to the ancient games. Events such as wrestling didn’t divide competitors into weight categories, but had separate competitions for boys and men. Equestrian Competitions Horse races, be it a single rider, a two-horse team, or a four-horse chariot, took place in the Hippodrome, an apsidal track located slightly south of the stadium. Horse races were the only opportunity women had for participating in the games: they were allowed to train horses to race at the Olympics, provided that they themselves weren’t the driver. Red-Figure Volute Krater Depicting the Sack of Troy, Greek, Apulian, ca. 340-330 BCE, Ceramic, 1999.011.006A, Atlanta, Michael C. Carlos Museum Tethrippon Introduced in 680 BCE, the tethrippon was a four-horse chariot race over a distance of 43,200 feet. Keles The keles was a single-horse race with only one lap around the hippodrome, a distance of 3,600 feet. It was introduced much later than the tethrippon, in 648 BCE. Sunoris An even later addition to the games, the sunoris was added to the program in 408 BCE. It was a two-horse chariot race that took eight laps around the hippodrome, totaling 28,800 feet. Apene The apene was a mule-cart race introduced in 500 BCE, but it was removed from the games Intaglio with Cupid Driving a Two-Horse Chariot, Roman, 2nd century CE, Red Jasper, 2008.031.321, Atlanta, Michael C. -
Kalokagathia: the Citizen Ideal in Classical Greek Sculpture
Kalokagathia: The Citizen Ideal in Classical Greek Sculpture York H. Gunther and Sumetanee Bagna- Dulyachinda Introduction Nothing useless can be truly beautiful. — William Morris Through the Archaic (c. 750-508BCE) and into the Classical period (c. 508-323BCE), the Ancient Greeks created sculptures of human beings that became increasingly realistic. 1 The height of this realism came with ‘Kritian Boy’ (480BCE) and the magnificent ‘Charioteer of Delphi’ (c. 470BCE), sculptures that represent human beings in lifelike detail, proportion and style. The representation of muscles, flesh, joints and bone and the use of contrapposto in ‘Kritian Boy’ presents us with a youth frozen in time yet alive; while the meticulous attention to the minutiae of the face and feet as well as the free flowing tunic of the ‘Charioteer of Delphi’ presents us with a competitor focused while in motion. But within a generation, realism was abandoned for an idealism. Sculptors suddenly (seemingly) set out to depict the details and proportions of the human body with mathematical precision and deliberate exaggeration. Polykleitos’ ‘Spear Bearer’ (c. 450BCE) and the recently discovered ‘Riace Bronzes’ (c. York H. Gunther is Assistant Professor of Philosophy and Program Director of the Humanities at Mahidol University International College, Thailand. Sumetanee ‘Marco’ Bagna-Dulyachinda is a recent graduate of Mahidol University International College, Thailand. 1 In identifying the end of the Archaic period and the beginning of the Classical period with the date 508BCE rather 480BCE as many historians do, we are emphasizing Cleisthenes’ democratic reforms (that followed Peististratus’ economic and social reforms), which emboldened the Athenians to, among other things, support the Ionian Greeks at the start of the Greco-Persian War. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD).