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The Conflict of Obligations in Euripides' Alcestis
GOLDFARB, BARRY E., The Conflict of Obligations in Euripides' "Alcestis" , Greek, Roman and Byzantine Studies, 33:2 (1992:Summer) p.109 The Conflict of Obligations in Euripides' Alcestis Barry E. Goldfarb 0UT ALCESTIS A. M. Dale has remarked that "Perhaps no f{other play of Euripides except the Bacchae has provoked so much controversy among scholars in search of its 'real meaning'."l I hope to contribute to this controversy by an examination of the philosophical issues underlying the drama. A radical tension between the values of philia and xenia con stitutes, as we shall see, a major issue within the play, with ramifications beyond the Alcestis and, in fact, beyond Greek tragedy in general: for this conflict between two seemingly autonomous value-systems conveys a stronger sense of life's limitations than its possibilities. I The scene that provides perhaps the most critical test for an analysis of Alcestis is the concluding one, the 'happy ending'. One way of reading the play sees this resolution as ironic. According to Wesley Smith, for example, "The spectators at first are led to expect that the restoration of Alcestis is to depend on a show of virtue by Admetus. And by a fine stroke Euripides arranges that the restoration itself is the test. At the crucial moment Admetus fails the test.'2 On this interpretation 1 Euripides, Alcestis (Oxford 1954: hereafter 'Dale') xviii. All citations are from this editon. 2 W. D. Smith, "The Ironic Structure in Alcestis," Phoenix 14 (1960) 127-45 (=]. R. Wisdom, ed., Twentieth Century Interpretations of Euripides' Alcestis: A Collection of Critical Essays [Englewood Cliffs 1968]) 37-56 at 56. -
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. -
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. -
Goneis in Athenian Law (And Perception)
GONEIS IN ATHENIAN LAW (AND PERCEPTION) David Whitehead Queen’s University Belfast [email protected] Abstract: This paper aims to establish what the laws of classical Athens meant when they used the term goneis. A longstanding and widespread orthodoxy holds that, despite the simple and largely unproblematic “dictionary” definition of the noun goneus/goneis as parent/parents, Athenian law extended it beyond an individual’s father and mother, so as to include – if they were still alive – protection and respect for his or her grandparents, and even great-grandparents. While this is not a notion of self-evident absurdity, I challenge it on two associated counts, one broad and one narrow. On a general, contextual level, genre-by genre survey and analysis of the evidence for what goneus means (and implies) in everyday life and usage shows, in respect of the word itself, an irresistible thrust in favour of the literal ‘parent’ sense. Why then think otherwise? Because of confusion, in modern minds, engendered by Plato and by Isaeus. In Plato’s case, his legislation for Magnesia contemplates (I argue) legal protection for grandparents but does not, by that mere fact, extend the denotation of goneis to them. And crucially for a proper understanding of the law(s) of Athens itself, two much-cited passages in the lawcourt speeches of Isaeus, 1.39 and 8.32, turn out to be the sole foundation for the modern misunderstanding about the legal scope of goneis. They should be recognised for what they are: passages where law is secondary and rhetorical persuasion paramount. -
Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017
AAlluummnnii RReevvuuee Ph.D. Program in Theatre The Graduate Center City University of New York Volume XIII (Updated) SP 2016 Welcome to the updated version of the thirteenth edition of our Alumni Revue! This issue was created since it was decided to publish a new edition every other year beginning with SP 2017. It once again expands our numbers and updates existing entries. Thanks to all of you who returned the forms that provided us with this information; please continue to urge your fellow alums to do the same so that the following editions will be even larger and more complete. For copies of the form, Alumni Information Questionnaire, please contact the editor of this revue, Lynette Gibson, Assistant Program Officer/Academic Program Coordinator, Ph.D. Program in Theatre, The Graduate Center, City University of New York, 365 Fifth Avenue, New York, NY 10016-4309. You may also email her at [email protected]. Thank you again for staying in touch with us. We’re always delighted to hear from you! Jean Graham-Jones Executive Officer Hello Everyone: his is the updated version of the thirteenth edition of Alumni Revue. As always, I would like to thank our alumni for taking the time to send me T their updated information. I am, as always, very grateful to the Administrative Assistants, who are responsible for ensuring the entries are correctly edited. The Cover Page was done once again by James Armstrong, maybe he should be named honorary “cover-in-chief”. The photograph shows the exterior of Shakespeare’s Globe in London, England and was taken in August 2012. -
Chapter 5 Vision of Tiresias: a Review of Kipling's Poetry
Chapter 5 Vision of Tiresias: A Review of Kipling’s Poetry While referring to the duality in Kipling’s creative art, Harold Orel writes: Rudyard Kipling’s history as a writer illustrates one of the most serious problems in modern criticism, the relationship between members of the Establishment (in both England and the United States) and writers who, for one reason or another, do not seem to satisfy the Establishment’s expectations of what they should be saying and writing (213, italics author’s). It is this area where Kipling refuses to endorse the stance of the Establishment and offers alternative viewpoints that attracts the attention of Kipling scholars in the postcolonial period. In his personal life, too, Kipling chose to stay miles away from the formality and grandeur of the officialdom of the Raj. His refusal of the ‘Knighthood’ offered to him in 1899 and 1903 by Lord Salisbury and Balfour consecutively, bears evidence to this statement (Carrington 393). The same accounts for his refusal to join the royal party thrown in the honour of the Prince of Wales (later King George V) in 1903 and 1911 on the occasion of his trip to India (393). All these instances only hint at Kipling’s notion of the Empire, which far from being monolithic, is replete with contradictions and subversive ironies. In this chapter I am going to focus on several of his poems bearing testimony to his gradual disillusionment with the Raj. A good number of poems such as “The overland Mail” (1886) or “The White Man’s Burden” (1899) reflect the myth of White superiority. -
The Interface of Religious and Political Conflict in Egyptian Theatre
The Interface of Religious and Political Conflict in Egyptian Theatre Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Amany Youssef Seleem, Stage Directing Diploma Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Advisor Nena Couch Beth Kattelman Copyright by Amany Seleem 2013 Abstract Using religion to achieve political power is a thematic subject used by a number of Egyptian playwrights. This dissertation documents and analyzes eleven plays by five prominent Egyptian playwrights: Tawfiq Al-Hakim (1898- 1987), Ali Ahmed Bakathir (1910- 1969), Samir Sarhan (1938- 2006), Mohamed Abul Ela Al-Salamouni (1941- ), and Mohamed Salmawi (1945- ). Through their plays they call attention to the dangers of blind obedience. The primary methodological approach will be a close literary analysis grounded in historical considerations underscored by a chronology of Egyptian leadership. Thus the interface of religious conflict and politics is linked to the four heads of government under which the playwrights wrote their works: the eras of King Farouk I (1920-1965), President Gamal Abdel Nasser (1918-1970), President Anwar Sadat (1918-1981), and President Hosni Mubarak (1928- ). While this study ends with Mubarak’s regime, it briefly considers the way in which such conflict ended in the recent reunion between religion and politics with the election of Mohamed Morsi, a member of the Muslim Brotherhood, as president following the Egyptian Revolution of 2011. This research also investigates how these scripts were written— particularly in terms of their adaptation from existing canonical work or historical events and the use of metaphor—and how they were staged. -
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. -
Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum" (2012)
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2012 Adventures in the Classroom Creating Role- Playing Games Based on Traditional Stories for the High School Curriculum Csenge Virág Zalka East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Educational Methods Commons, and the Game Design Commons Recommended Citation Zalka, Csenge Virág, "Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum" (2012). Electronic Theses and Dissertations. Paper 1469. https://dc.etsu.edu/etd/1469 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum ______________________ A thesis presented to the faculty of the Department of Curriculum and Instruction East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Reading with a concentration in Storytelling ___________________ by Csenge V. Zalka August 2012 _________________ Dr. Joseph Sobol, Chair Delanna Reed Todd Emma Harold L. Daniels Keywords: Role-Playing, Games, Storytelling, High School, Education, Mythology, Folktales, Game Design ABSTRACT Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum by Csenge V. Zalka The goal of this thesis is to develop a template for turning traditional stories into role-playing games for the high school curriculum. -
Tityus: a Forgotten Myth of Liver Regeneration
Review Tityus: A forgotten myth of liver regeneration Dina G. Tiniakosa,*, Apostolos Kandilisa, Stephen A. Gellerb aLaboratory of Histology & Embryology, Medical School, National & Kapodistrian University of Athens, Athens, Greece; bDepartment of Pathology and Laboratory Medicine, Cedars-Sinai Medical Center, Los Angeles, CA, USA Abstract abound including the sacrifice of self for the sake of mankind The ancient Greek myth of Tityus is related to liver regenera- and the price of knowledge [5]. In different eras, the fight tion in the same way as the well known myth of Prometheus between Zeus and Prometheus has represented battles between is. Depictions of the punishment of Prometheus are frequently freedom and oppression, individual against state, man versus used by lecturers on liver regeneration; however, Tityus remains God, and sense against absurdity [6]. unknown despite the fact that he received the same punishment As long as a millennium or more before the Prometheus myth, and his myth could also be used as a paradigm for the organ’s the Sumerian water god, Enki, also defied the king of the gods, his extraordinary ability to regenerate. Nevertheless, there is no con- brother, the air-god, Enlil [7,8]. Sumeria was where modern Iraq is vincing evidence that ancient Greeks had any specific knowledge now located. Indeed, one depiction of Enki shows two streams of about liver regeneration, a concept introduced in the early 19th water emanating from his shoulders, representing the Tigris and century. We describe and analyze the myth of Tityus and com- the Euprhates rivers. Enlil decides to destroy humanity, angered pare it to the myth of Prometheus. -
Heracles, Action, and Fifth-Century Thought in Euripides, Alcestis
“Existence and Non-Existence are Considered Distinct”: Heracles, Action, and Fifth-Century Thought in Euripides, Alcestis The character of Heracles in Euripides’s Alcestis is rooted in the traditions of the satyr play, known to us from Aeschylus’s Kerykes, Sophocles’s Heracles at Taenarus, and Euripides’s Syleus, and early Greek epic and epinician poetry. In Alcestis itself Heracles is often understood as the embodiment of the ἀγών (Garner, 67-71, inter alios), the victor whose adversary is death itself (Bradley, 121), and one who responds to the χάρις of Admetus with a greater χάρις (Conacher, 44-7; Padilla, 195-6). Food and drink provide the sustenance behind his exhortation to become wiser (779 σοφώτερος). With such tokens of admission Heracles enters Euripides’s earliest extant foray into the great literary and philosophical issues of fifth century Athens. Admittedly, the tradition, personality, and the alcoholic consumption of the hero make it initially difficult to take his points seriously as an intellectual argument. Heracles’s first foray into fifth century philosophical argumentation, χωρὶς τό τ’ εἶναι καὶ τὸ μὴ νομίζεται (528), while technically correct, cannot withstand the rhetorical assault of Admetus, who truly makes the weaker argument the stronger in steering him away from the conclusion that it is Admetus's wife who has died. However, inebriated as Heracles may be, his rebuttals of Admetus and the butler go beyond the wisdom of the pub. Heracles’s insistence on the necessity (840 δεῖ) to reestablish Admetus's home (841 τόνδ’ αὖθις ἱδρῦσαι δόμον) by saving Alcestis is a direct response to the arguments of Admetus, Pheres, and the chorus over the nature of necessity, particularly the necessity of death (cf. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.