The Suppliants
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
The Supplices of Euripides James Diggle
The "Supplices" of Euripides Diggle, James Greek, Roman and Byzantine Studies; Fall 1973; 14, 3; ProQuest pg. 241 The Supplices of Euripides James Diggle I ., , 42 LK€T€VW C€, Y€pCl.UX, ......, , \ 42/43 Y€pCI.LWV €t( CTOfLCl.TWV, TTpOC yovv" TTLTTTOVCCI. TO\ COV·I 44 tavofLoL T'KVCI. AVCCl.L '/"0' , .. 44/45 't' LfL€VWV V€KUWV ° L KCl.TCl.A€tTTOVCL fL'AYJ 46/47 OCl.VaTC[) AUCLfL€A€L OYJpdv OP€tOLCL j3opav. OMMENTATORS and emendators, with few exceptions, find the Cantecedent of the relative Ot in V€KVWV in line 44/45: " ... corpses which leave behind their limbs as a prey to beasts." The gibbering tjJvX~' knocking in vain at the gates of Hell, may have left its limbs behind as carrion. A corpse on the battlefield has abdicated control over its limbs: it does not enjoy the privilege of be queathing them to anybody. The conjectures of the interpreters in line 44 are not such as to redeem the improbability of their interpre tation: alla fLOL T'KVCI. AVCCl.L cfoOLfLEVWV V€KVWIl ed. Brubachiana and the early editors, rendered as "ut redimas mihi filiorum extinctorum cadauera" or "ut eximas meos liberos ex cadaueribus defunctorum," and modified by Brodaeus and Markland to avCI. fLOL KTA., "surge mihi, redime filios meos, etc."; alla A€LtjJCl.vCI. AVCCl.L Kirchhoff, ava fLOL CTtXCI. AvcCI.L Musgrave, a7T(~ CWfLCl.TCI. AVCCl.L Wecklein,1 avofL' Cl.LCX€CI. AVCCl.L Bruhn apud Murray. A few have tried a different path. Reiske and Markland find the antecedent of Ot in TEKVCI., and Markland offers a choice of three con structions for the phrase cfoOLfLEIlWV V€KVWV: (i) "ex cadaueribus defunc- 1 Ed. -
2014.Axx Barbantani, Mother of Snakes and Kings
Histos () – MOTHER OF SNAKES AND KINGS: APOLLONIUS RHODIUS’ FOUNDATION OF ALEXANDRIA* Abstract: Of all the lost Foundation Poems attributed to Apollonius Rhodius, active at the court of Ptolemy II, the Ktisis of Alexandria must have been the most important for his contemporaries, and surely is the most intriguing for modern scholars of the Hellenistic world. Unfortunately, only a brief mention of this epyllion survives, in a scholion to Nicander’s Theriaka , relating to the birth of poisonous snakes from the severed head of Medusa, carried by Perseus over Libya . Deadly and benign serpents belong to a multi- cultural symbolic imagery intertwined with the Greek, Macedonian, Egyptian and Jewish origins of the city. This paper explores the possible connections of the only episode preserved from Apollonius’ Ktisis with the most ancient known traditions on the foundation of Alexandria —possibly even created at the time of Alexander or of the first Lagid dynasts, Ptolemy I and II. And I wished he would come back, my snake. For he seemed to me again like a king, Like a king in exile, uncrowned in the underworld, Now due to be crowned again. D. H. Lawrence , Snake (Taormina, ) Introduction pollonius of Rhodes is credited with a certain number of Foundation poems in hexameters, namely on Alexandria, Naucratis, Caunus, ACnidus, Rhodes and, possibly, Lesbos. The epic poem Argonautica is Apollonius’ only work which has survived through direct tradition, and the only one mentioned in the biographical sources, while his Κτίσεις are only known through short quotations and summaries by different ancient authors * The research on Apollonius’ Κτίσεις began in , when I was asked to edit the fragments for FGrHist IV, ed. -
Seven Tragedies of Sophocles Oedipus at Colonus
Seven Tragedies of Sophocles Oedipus at Colonus Translated in verse by Robin Bond (2014) University of Canterbury, Christchurch, New Zealand Seven Tragedies of Sophocles : Oedipus at Colonus by Robin Bond (Trans) is licensed under a Creative Commons Attribution 4.0 International License. Available at: http://hdl.handle.net/10092/10505 Oedipus at Colonus (Dramatis Personae) Oedipus Antigone Xenos Chorus of Attic Elders Ismene Theseus Creon Polyneices Messenger Seven Tragedies of Sophocles : Oedipus at Colonus Page 2 Oedipus Antigone, my child, since I am blind and old, what is this place that we have reached, to whom belongs the city here and who will entertain the vagrant Oedipus today with meagre gifts? My wants are small and what I win is often less, but that small gain is yet sufficient to content me; for my experience combines with length of life and thirdly with nobility, teaching patience to a man. If, though, my child, you see some resting place beside the common way or by some precinct of the gods, 10 then place me there and set me down, that we may learn our whereabouts; our state is such we must ask that of the natives here and what our next step is. Antigone Long suffering, father Oedipus, as best as my eyes can judge, the walls that gird the town are far away. It is plain to see this place is holy ground, luxuriant with laurel, olives trees and vines, while throngs of sweet voiced nightingales give tongue within. So rest your limbs here upon this piece of unhewn stone; your journey has been long for a man as old as you. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen the Dionysian Necessity
Greek and Roman Musical Studies 6 (2018) 247-264 brill.com/grms Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen The Dionysian Necessity Barbara Castiglioni Università di Torino [email protected]/[email protected] Abstract The imagery of Dionysiac performance is characteristic of Euripides’ later choral odes and returns particularly in the Helen’s second stasimon, which foregrounds its own connections with the mimetic program of the New Music and its emphasis on the emancipation of feelings. This paper aims to show that Euripides’ deep interest in con- temporary musical innovations is connected to his interest in the irrational, which made him the most tragic of the poets. Focusing on the musical aspect of the Helen’s second stasimon, the paper will examine how Euripides conveys a sense of the irratio- nal through a new type of song, which liberates music’s power to excite and disorient through its colors, ornament and dizzying wildness. Just as the New Musicians pres- ent themselves as the preservers of cultic tradition, Euripides, far from suppressing Dionysus as Nietzsche claimed, deserves to rank as the most Dionysiac and the most religious of the three tragedians. Keywords Euripides – tragedy – New Music – Dionysus – religion – choral self-referentiality Introduction The choral odes of tragedy regularly involve the Chorus reflecting upon an ear- lier moment in the play or its related myths. In Euripides’ Helen, all three sta- sima are distanced from the action by their mood. The first choral ode follows © koninklijke brill nv, leiden, 2018 | doi:10.1163/22129758-12341322Downloaded from Brill.com09/23/2021 09:44:20AM via free access 248 Castiglioni the successful persuasion of the prophetess, Theonoe, the working out of a good escape plan and high optimism on the part of Helen and Menelaus, but seems to ignore the progress of the play’s action and takes the audience back to the ruin caused by the Trojan war. -
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. -
The Historical Background of the Trojan War
447 The Historical Background of the Trojan War. By John L. Myres and K. T. Frost. 1. Rameses III. and the Sea-Haiders. To give complete and accurate account of events in the Levant during the twelfth and thirteenth centuries B. C. is one of the most diffi- cult tasks presented by ancient history. It is also one of the most fasci- nating; for it must include not only a summary of what is known of the peoples of Asia Minor, Syria and Egypt, but also a survey of the My- cenean Age, and the Late Minoan "Sea-Raiders". It is moreover the historical background of the Trojan War. It was a time of great unrest, of fierce invasions and national migrations, whose effects lasted long. At the turn of the Century, in 1200 B. C. these are the main lines of the picture. From the Adriatic Sea to the Persian Gulf a large pro- portion of cities and tribes were independent of any great overlord. Knossos had been OTerthrown for some two centuries and although partly reinhabited it no longer ruled the waves, and the Mediterranean was swept by the Late Minoan sea-rovers. Egypt was powerless abroad and decadent at home. Babylon was just driving out the Kassites who had ruled for some centuries, and as yet the new native dynasty had little influence outside^). Assyria, whose power had greatly declined since the death of Tukulti-Ninib some forty years earlier, was beginning to reassert herseif but was still fully occupied in guarding her own frontiers. The empire of the Hittites was being finally overthrown by a fierce invasion of the Muski Phrygians who had crossed from Europe and were devastating Asia Minor. -
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. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Adrastus: Greek Law and Order
Colleen Cotter 1 Adrastus: Greek Law and Order The tragic story of Croesus and Adrastus, written by Herodotus in The Histories, is one that is a prime example of how law and order needed to be changed in Greek society. Herodotus, a Greek, is writing from a Persian perspective to the Greeks so that he may comment on how the old laws, such as the blood feud and oikos, were out dated, and that people should be looking to the new polis and laws of Solon’s new constitution and following them instead. It is important to note that Herodotus is writing this story in the fifth century BCE. According to Emily Baragwanath, Herodotus is writing from his culture and his point of views on these events. But that is not to say that what is in this book is all made up. He takes note from Homer throughout his stories and works the references into his new text. By doing this he can put emphasis on certain points and point out what is important for the reader to know. What Herodotus does is comment on the old ways of Homer and the new ways of current life.1 This means that Herodotus can take a critical look at the Homeric blood feud and the new Solon constitution. 1 Baragwanath, Emily, and Mathieu De Bakker. Myth, Truth, and Narrative in Herodotus. Accessed April 1, 2016. https://books.google.com/books?id=fRIsV4WvJUcC&pg=PA160&lpg=PA160&dq=presentations on Croesus and Adrastus&source=bl&ots=PZReRXD5Ws&sig=zy- c52pPKFsA3NvfxuOmHMVW37o&hl=en&sa=X&ved=0ahUKEwjntu61_fzLAhXnvIMKHdlRAlEQ6AEI NjAF#v=onepage&q=presentations on Croesus and Adrastus&f=false. -
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).