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Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments

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Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments GREEK TRAGEDY AND THE EPIC CYCLE: NARRATIVE TRADITION, TEXTS, FRAGMENTS By Daniel Dooley A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2017 © Daniel Dooley All Rights Reserved Abstract This dissertation analyzes the pervasive influence of the Epic Cycle, a set of Greek poems that sought collectively to narrate all the major events of the Trojan War, upon Greek tragedy, primarily those tragedies that were produced in the fifth century B.C. This influence is most clearly discernible in the high proportion of tragedies by Aeschylus, Sophocles, and Euripides that tell stories relating to the Trojan War and do so in ways that reveal the tragedians’ engagement with non-Homeric epic. An introduction lays out the sources, argues that the earlier literary tradition in the form of specific texts played a major role in shaping the compositions of the tragedians, and distinguishes the nature of the relationship between tragedy and the Epic Cycle from the ways in which tragedy made use of the Homeric epics. There follow three chapters each dedicated to a different poem of the Trojan Cycle: the Cypria, which communicated to Euripides and others the cosmic origins of the war and offered the greatest variety of episodes; the Little Iliad, which highlighted Odysseus’ career as a military strategist and found special favor with Sophocles; and the Telegony, which completed the Cycle by describing the peculiar circumstances of Odysseus’ death, attributed to an even more bizarre cause in preserved verses by Aeschylus. These case studies are taken to be representative of Greek tragedy’s reception of the Epic Cycle as a whole; while the other Trojan epics (the Aethiopis, Iliupersis, and Nostoi) are not treated comprehensively, they enter into the discussion at various points. Both the poems of the Epic Cycle and the majority of the tragedies that derived their stories from them survive only in meager fragments, and this study aims to improve how these small texts are read and how their lost contexts are reconstructed while also elucidating how the tragedians used and adapted the Cycle. ii Preface The present dissertation was born out of a 2010 seminar offered by Prof. Silvia Montiglio at Johns Hopkins University (JHU). The seminar centered on the figure of Odysseus in post-Homeric Greek literature, and I elected to write a paper on the hero’s appearances in fragmentary Greek tragedy. I thus discovered the field-defining collection Tragicorum Graecorum Fragmenta and instantly was overawed by the richness and erudition of these volumes.1 Having supposed at first (unjustly, as it turns out) that the fragments were suffering from relative scholarly neglect in recent years, I determined shortly thereafter to undertake a larger research project that depended on close examination of the tragic fragments. I considered attempting an edition of a particular fragmentary play2 but decided instead to investigate the obvious (already to Aristotle) but not yet fully appreciated axis of influence connecting a vast number of mostly fragmentary tragedies to the earlier Epic (more specifically, Trojan) Cycle. It seemed appropriate then to attempt a sort of updating of Welcker’s Die griechischen Tragödien mit Rücksicht auf den epischen Cyclus geordnet (1839-41), but naturally, as I came to understand the complexities involved in dealing with these tiny texts, I had to whittle down the scope of the project and select just a few of the Cyclic poems to cover in depth. The result in essence is a sundry series of short commentaries tracing tragedy’s appropriation and alteration of each heroic ergon and parergon narrated in those epic poems. It has been my great fortune that Prof. Montiglio has served as my advisor throughout this endeavor; she has been ever helpful, insightful, encouraging, critical, and 1 Hardly a unique or trivial experience among those who delve into any of the “impressively learned and sumptuously produced” collections of fragments published in classical studies, as Gibert 1998 notes. 2 During my initial research on Odysseus in tragedy Müller 2000, a magisterial presentation of Euripides’ Philoctetes, had been particularly inspirational. iii patient. Likewise, I am delighted now to have Profs. David Rosenbloom and Matthew Roller as official readers after learning so much from them while a graduate student at JHU. The additional perspectives of Profs. Richard Jasnow and Joshua Smith are also greatly appreciated. Prof. Alan Shapiro has been kindly supportive of my efforts to incorporate evidence from Greek vase-painting, which I hope at least escape the charge of dilettantism. I thank JHU librarian Donald Juedes for his assistance over the years and the staff of the New York Public Library who granted me the use of research rooms in the Stephen A. Schwarzman Building. I am grateful to Dr. Marco Fantuzzi for sharing an advance copy of the volume (now long since brought to light) Fantuzzi–Tsagalis 2015. For many years my parents John (†)—causa fuit pater his—and Melanie, wife Alison, and siblings have lovingly nurtured this effort by offering abundant advice and encouragement for which I am extremely grateful. In this work I do not strive for absolute orthographical consistency: although in the case of proper names it may appear that I stubbornly follow a Latinate system, aberrations like “Poseidon” (versus “Chiron”) and “skeptical” can be found throughout. I also beg the reader’s forgiveness for the presentation of titles of dramatic works; striving to name these works in the clearest format possible in every context has led me sometimes to shift between the original Greek title, a transliteration (or abbreviation thereof), and an English translation—all for the same play. In footnotes the conventional abbreviations of plays’ Latin titles are used. For Greek font I have utilized the GreekKeys software made available by the Society for Classical Studies. Noveboraci scribebam pridie sollemnitatem omnium sanctorum anno MMXVII. iv Table of Contents Abstract ............................................................................................................................... ii Preface................................................................................................................................ iii Abbreviations .................................................................................................................... vii 1. Introduction: Tragedy Between Homer and the Epic Cycle ............................................1 2. Tales from the Cypria: the Mythic Mother Lode...........................................................41 2.1. Dios Boulē ..................................................................................................41 2.2. The Wedding of Peleus and Thetis ............................................................44 2.3. The Judgment of Paris ...............................................................................50 2.4. Paris’ Departure for Greece and Seduction of Helen .................................62 2.5. The Death(s) of the Dioscuri ......................................................................74 2.6. Menelaus Visits Agamemnon and Nestor..................................................75 2.7. The Recruitment of Heroes ........................................................................76 2.8. The Madness of Odysseus .........................................................................93 2.9. The First Gathering at Aulis ....................................................................101 2.10. Telephus ...................................................................................................102 2.11. Achilles on Scyros ...................................................................................108 2.12. The Second Gathering at Aulis ................................................................114 2.13. Tenedos and Tennes .................................................................................121 2.14. Philoctetes’ Snakebite ..............................................................................122 2.15. Sophocles’ Satyric Fellow Banqueters ....................................................123 2.16. Protesilaus and Cycnus ............................................................................127 2.17. Helenēs Apaitēsis .....................................................................................138 v 2.18. Achilles Ptoliporthos ...............................................................................143 2.19. Achilles Beholds Helen............................................................................145 2.20. The Slaying of Troilus .............................................................................148 2.21. The Murder of Palamedes ........................................................................152 2.22. Heroes at Play: Another Scene from the Παλαμήδεια?............................164 2.23. Conclusions ..............................................................................................167 3. Odysseus’ aristeia? Big Moments in the Little Iliad ...................................................169 3.1. The Awarding of the Arms of Achilles ....................................................171 3.2. Ajax’s Suicide and Its Aftermath .............................................................172 3.3. Philoctetes ................................................................................................192
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