The Misguided Pietas of Antigone in Statius' Thebaid

Total Page:16

File Type:pdf, Size:1020Kb

The Misguided Pietas of Antigone in Statius' Thebaid The Misguided Pietas of Antigone in Statius’ Thebaid Antigone has often been identified as a figure of pietas in a world of overturned values. This identification comes first from her participation in attempts to block the final duel between her brothers, most directly in her appeal from the walls of Thebes to Polynices. Equally important is her defiance of Creon’s order that Polynices remain unburied. A third factor in Antigone’s display of pietas is the literal and figurative support she provides to her father, particularly in the aftermath of the death of her brothers. Discussion about Antigone’s pietas has tended to focus on the results of her acts, with recent opinion leaning towards viewing her as, in the end, a failure. Despite her actions, the duel still happens and her father still suffers partial exile. Even her burial of Polynices is in some sense a failure, as the hatred between him and Eteocles is renewed on their funeral pyre. While I agree that Antigone ultimately fails, this paper considers the problems inherent in her pietas and how they necessitate her failure. Through a consideration of the specific acts that Antigone carries out, including her involvement in a number of delays to the duel between Eteocles and Polynices, her defiance of Creon’s edict, and the assistance she provides to Oedipus, and through a comparison of these with the pietas of Hypsipyle in the same poem, I will demonstrate that Antigone’s actions are unsuccessful because the people towards whom her pietas is directed, especially Oedipus and Polynices, are impious, making her actions misguided and in support of impiety and nefas. .
Recommended publications
  • 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]
  • Tisiphone As an Internal Poet in Statius' Thebaid in This Paper, I Will
    Tisiphone as an Internal Poet in Statius’ Thebaid In this paper, I will analyze Statius’ portrayal of Tisiphone, one of the three Furies, in the Thebaid, with particular emphasis given to her role as an internal poet in Books 1 and 11. Even at the beginning of the poem, Statius struggles to assert his authorial control over the narrative of his epic. After invoking Pierian fire and Clio for a heroic or worthy beginning to the Thebaid, Statius abruptly begins with Oedipus, wrathful in his hatred of his two traitorious sons. Oedipus, who exists in a liminal and corrupted state, operates outside of the heroism of the proem, assumes control of the narrative, and calls upon a divine enactor of his vengeance. After hearing the prayer of Oedipus, Tisiphone summons herself to Earth and brings about the deaths of many Theban and Argive heroes. Her influence in the epic is unparalleled by any other character in the Thebaid, as she manipulates Polynices and Eteocles to bring about their fatal fratricidal duel. Statius’ representation of Tisiphone has been widely debated in the field of Statian scholarship, with scholars such as Philip Hardie (1993) and Alison Keith (2016) analyzing the intertextual connections between Statius’ Tisiphone and the Tisiphone of Vergil’s Aeneid and Ovid’s Metamorphoses. Dennis Feeney, in his seminal work The Gods in Epic: The Poets and Critics of the Classical Tradition, likewise finds many connections between Statius’ Tisiphone and Ovid’s Tisiphone. While I generally agree with the sentiments of Feeney, Hardie, and Keith, I believe that their works have not entirely addressed Tisiphone’s role in Statius’ Thebaid.
    [Show full text]
  • The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
    АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut.
    [Show full text]
  • 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.
    [Show full text]
  • Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
    Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse.
    [Show full text]
  • 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.
    [Show full text]
  • The Two Voices of Statius: Patronymics in the Thebaid
    The Two Voices of Statius: Patronymics in the Thebaid. Kyle Conrau-Lewis This thesis is submitted in total fulfilment of the requirements for the degree of Master of Arts School of Historical and Philosophical Studies University of Melbourne, November 2013. 1 This is to certify that: 1. the thesis comprises only my original work towards the degree of master of arts except where indicated in the Preface, 2. due acknowledgement has been made in the text to all other material used, 3. the thesis is less than 50,000 words in length, exclusive of tables, maps, bibliographies and appendices. 2 Contents Abstract 4 Introduction 5 Chapter 1 24 Chapter 2 53 Chapter 3 87 Conclusion 114 Appendix A 117 Bibliography 121 3 Abstract: This thesis aims to explore the divergent meanings of patronymics in Statius' epic poem, the Thebaid. Statius' use of language has often been characterised as recherché, mannered and allusive and his style is often associated with Alexandrian poetic practice. For this reason, Statius' use of patronymics may be overlooked by commentators as an example of learned obscurantism and deliberate literary self- fashioning as a doctus poeta. In my thesis, I argue that Statius' use of patronymics reflects a tension within the poem about the role and value of genealogy. At times genealogy is an ennobling feature of the hero, affirming his military command or royal authority. At other times, a lineage is perverse as Statius repeatedly plays on the tragedy of generational stigma and the liability of paternity. Sometimes, Statius points to the failure of the son to match the character of his father, and other times he presents characters without fathers and this has implications for how these characters are to be interpreted.
    [Show full text]
  • The Complex Oedipus: Who Is(N't) Oedipus in the Thebaid? This Paper
    The Complex Oedipus: Who Is(n’t) Oedipus in the Thebaid? This paper analyzes the portrayal of Oedipus in Statius’ Thebaid, a character who has undergone a significant metamorphosis since his earlier appearances in Sophocles and Seneca. I demonstrate that while Statius’ Oedipus might seem an oddly minimized character, his presence is still often felt because his likeness has been grafted onto various other individuals in the epic. This use of Oedipus as ‘artistic effect’ lets Statius illustrate the darkness and nefas that plague his literary world while also commenting on the dispositions of his other characters. Minor Oedipus-inspired moments, in which less central characters momentarily exhibit comparable traits, appear throughout the Thebaid. Blindness, such as when Capaneus scales the walls of Thebes (10.923), is the most frequent comparison. These connections add a unifying artistic theme to the work and prime the audience to notice more significant Oedipus connections elsewhere. In a more substantial juxtaposition, Polynices’ exile from Thebes has been carefully reworked to mimic both Oedipus’ current wanderings as well as his initial trip to Thebes. Like his father, Polynices too must face down a ‘Sphinx’ (as Statius portrays his Tydeus) and then must desert his new family when he returns to Thebes, where he ultimately shares in Oedipus’ fate. Laius’ elderly armor-bearer Phorbas becomes another stand-in for Oedipus: watching from the walls of Thebes, he acts paternally to Oedipus’ daughter Antigone while discussing their family issues and his own Oedipus-like health problems. Most importantly, however, Statius has assimilated his characters of Oedipus and Jupiter.
    [Show full text]
  • Statius and Senecan Drama
    CHAPTER 21 Statius and Senecan Drama Antony Augoustakis The relationship between Statian epic and Senecan tragedy has been the object of occasional critical scrutiny in the past decades, since the resurgence of interest in Senecan tragedy, in combination with the most recent renewed interest in Flavian epic poetry.1 Given the prominence of the misfortunes of the Theban royal family in Seneca’s tragic corpus, in plays such as Oedipus and Phoenissae in particular, it comes as no surprise that the Flavian poet borrows extensively from his Neronian predecessor and builds an intertextual nexus of correspondences that ultimately go beyond the surface of verbal allusions. This study will elaborate on the adaptation and exploitation by Statius of Senecan ritual representations: the Flavian poet extensively draws on such descriptions from Seneca’s tragedies and adjusts them in a much more gro- tesque and exaggerated manner in the Thebaid. In what follows, we shall look at scenes such as the necromancy in Thebaid 4 and its relationship with similar scenes in Oedipus, as well as Tydeus’ cannibalism in Thebaid 8 and its allu- sions to Thyestes. Just as Seneca grafts the tragic genre with epic overtones, and, as Schiesaro has pointed out,2 makes the two genres project a troubling shadow onto each other, so Statius exploits the interaction between the two genres to underscore the inescapability from the nefas that overshadows the Thebaid’s perverted epic landscape; his chief mechanisms are religious, ritual 1 Studies have heretofore limited themselves to detecting the verbal allusions to Senecan tragedy in Statius’ Thebaid. The groundwork was laid by Braun (1867).
    [Show full text]
  • The Argos Narrative in Statius' Thebaid
    The Argos Narrative in Statius’ Thebaid: a new Ovidian Perseid? American Journal of Philology (2019, in press) Author: Tommaso Spinelli 1 ABSTRACT Moving beyond traditionally Virgil-centric readings of the Thebaid, this article argues that Statius programmatically acknowledges the role that the Metamorphoses plays in his poem, by opening the Thebaid with an Argive narrative (Theb. 1.312-2.743) entirely modelled on the Ovidian Perseid (Met. 4.610-5.249). By exploring how a “conflictive” Virgilian-Ovidian intertextuality informs the Thebaid’s Argos narrative, I show how Statius develops Ovid’s intertextual technique both to competitively renegotiate his relationship with his Augustan models and to respond to the new socio-political issues of Flavian Rome, chiefly the dangers of the Flavians’ family-based reorganisation of the imperial institution under the guise of a return to an idealised Augustan past. 1. Structural and thematic similarities between Ovid’s Perseid and Statius’ Argos narrative Placed between the first and the second books of the poem, Statius’ Argos narrative triggers the Thebaid’s plot: after the Ovidian Fury Tisiphone reiterates her malediction against Thebes (Theb. 1.89-130) Polynices revives the exile of his ancestor Cadmus by leaving Thebes (Theb. 1.164- 70).1 Having survived a storm (Theb. 1.346-382), he meets Tydeus at Argos and the two are welcomed by the local king Adrastus with a banquet (Theb. 1.380-539). This is the occasion for the old king to tell a complex aetiological tale (Theb. 1.540-672) that explains to the newcomers the origin of the festival for Apollo that Argos is celebrating: the city is thankful to the god (who slew the monster Python) for having spared Coroebus, the hero who killed the monster sent by Apollo himself against Argos as revenge for the death of his lover Psammathe, killed by her father for adultery.
    [Show full text]
  • 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.
    [Show full text]
  • Thebaid' 1.1-45
    A COMMENTARY ON STATIUS' 'THEBAID' 1.1-45 James Manasseh A Thesis Submitted for the Degree of PhD at the University of St Andrews 2017 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/11354 This item is protected by original copyright A Commentary on Statius’ Thebaid 1.1-45 James Manasseh This thesis is submitted in partial fulfilment for the degree of MPhil at the University of St Andrews Date of Submission 22/11/16 ABSTRACT This dissertation discusses the proem of Statius’ Thebaid (1.1-45) and the analysis of the text is split between an introduction, three extended chapters and a lemmatized commentary. Statius’ acknowledgements of his literary debts, in particular Virgil, encourages, if not demands, an intertextual reading of his poetry. As such, my first chapter, Literary Models, looks at how Statius engages with his epic models, namely Homer, Virgil, Lucan and Ovid, but also how he draws upon the rich literary Theban tradition. Like all Roman poets, Statius is highly self-conscious of his craft, and draws upon Hellenistic and lyric models to enrich his epic and define himself as an exemplary poet. I will argue that the proem offers a useful lens for analysing the Thebaid and introduces his epic in exemplary fashion, in the sense that he draws attention to the concept of opening his epic with the use of traditional tropes (namely, the invocation of inspiring force; a recusatio; an imperial encomium and a synopsis of the poem’s narrative).
    [Show full text]