Sophocles; with an English Translation
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Sea Monsters in Antiquity: a Classical and Zoological Investigation
Sea Monsters in Antiquity: A Classical and Zoological Investigation Alexander L. Jaffe Harvard University Dept. of Organismic and Evolutionary Biology Class of 2015 Abstract: Sea monsters inspired both fascination and fear in the minds of the ancients. In this paper, I aim to examine several traditional monsters of antiquity with a multi-faceted approach that couples classical background with modern day zoological knowledge. Looking at the examples of the ketos and the sea serpent in Roman and Greek societies, I evaluate the scientific bases for representations of these monsters across of variety of media, from poetry to ceramics. Through the juxtaposition of the classical material and modern science, I seek to gain a greater understanding of the ancient conception of sea monsters and explain the way in which they were rationalized and depicted by ancient cultures. A closer look at extant literature, historical accounts, and artwork also helps to reveal a human sentiment towards the ocean and its denizens penetrating through time even into the modern day. “The Sea-monsters, mighty of limb and huge, the wonders of the sea, heavy with strength invincible, a terror for the eyes to behold and ever armed with deadly rage—many of these there be that roam the spacious seas...”1 Oppian, Halieutica 1 As the Greek poet Oppian so eloquently reveals, sea monsters inspired both fascination and fear in the minds of the ancients. From the Old Testament to Ovid, sources from throughout the ancient world show authors exercising both imagination and observation in the description of these creatures. Mythology as well played a large role in the creation of these beliefs, with such classic examples as Perseus and Andromeda or Herakles and Hesione. -
Llt 121 Classical Mythology Lecture 32 Good Morning
LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL. -
Oedipus and Sophocles’ Oedipus Rex: a Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة
I Tawfiq Al-Hakim’s King Oedipus and Sophocles’ Oedipus Rex: A Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة Prepared by: Israa Jamil Mohammed Supervised by: Professor Tawfiq Yousef A Thesis Submitted in Partial Fulfillment of the Requirements for the Master’s Degree in English Language and Literature Faculty of Arts and Science Department of English Language and Literature Middle East University August 2015 II III IV Acknowledgment My deepest thanks and gratitude are to Allah, the Greatest, who gave me the patience and strength to do this research. My special appreciation and thanks are to my supervisor Professor Tawfiq Yousef who has been a tremendous mentor for me. I would like to thank him for supervising my research and for allowing me to grow as a researcher. His comments, guidance, and advice on my research have been very helpful. Special thanks also are given to my parents. Words cannot express how grateful I am to my father and my mother for all of the sacrifices that have made on my behalf. Their prayers and their support for me were what sustained me thus far. Finally, I would like to thank my brothers and sisters who stood by my side during the period of preparing the thesis. V Dedication I would like to dedicate this research to my parents, who were my strongest supporters throughout this whole experience. I also would like to dedicate it to my brothers and sisters who also supported me. Finally, I dedicate it to my uncles, aunts and friends. -
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. -
STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra. -
A New Epic Fragment on Achilles' Helmet?
Bulletin of the American Society of Papyrologists 49 (2012) 7-14 A New Epic Fragment on Achilles’ Helmet?1 C. Michael Sampson University of Manitoba Abstract Edition of a small scrap from the Princeton collection containing fragmentary epic hexameters, ascribed to the cyclic Aethiopis of Arctinus or the Little Iliad on the basis of its contents, which most plausibly involve the death of Achilles (with possible echoes of that of Penthesilea). This small fragment from the Princeton collection preserves a lovely slop- ing oval hand whose uncials are roughly bilinear but tiny – typically in the vicinity of 3 mm tall. The uprights of kappa (ll. 5; 11) and iota (ll. 3; 7; 10) are occasionally adorned with a decorative serif, and the loops of omicron and rho are particularly small (a mere 1-1.5 mm), but the hand is otherwise consistent with the “formal mixed” style described by Turner, with narrow epsilon, theta, omicron, and sigma but comparatively wide and squat forms of pi, eta, nu, and mu.2 The label “formal,” however, is not exactly ideal; close parallels are found in the small, rapid hands of the latter half of the second century (occasionally termed “informal” by their editors), to which date and category I would assign this hand as well.3 So broad are the shapes of eta, nu, and pi, in fact, that they 1 I am happy to acknowledge the support of the American Council of Learned So- cieties and The Andrew W. Mellon Foundation for the New Faculty Fellows award under whose auspices this research was undertaken, as well as the cooperation of Dr. -
Alcmaeon in Psophis
Alcmaeon in Psophis Psophis was said to have been originally called Erymanthus, and its territory to have been ravaged by the Erymanthian Boar.Pausanias, "Description of Greece" viii. 24. § 2-10] [Hecat. "on Stephanus of Byzantium s.v." polytonic|Ψωφίς] [Apollodorus, ii. Alcmaeon (mythology) â” In Greek mythology, Alcmaeon, or Alkmáon, was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes ⦠Alcmaeon in Psophis. Year: between 180 and 200 AD. Scripts: Alcmaeon in Psophis by Euripides. Genres: Tragedy. Psophis. How to cite this ancient performance. Alcmaeon in Psophis, accessed at http://www.apgrd.ox.ac.uk/ancient- performance/performance/98 <16 September 2018>. Alcmaeon in Psophis (Ancient Greek: Ἀλκμαίων ὠδιὰ Ψωφῖδος, AlkmaiÅn ho dia Psophidos) is a play by Athenian playwright Euripides. The play has been lost except for a few surviving fragments. It was first produced in 438 BCE in a tetralogy that also included the extant Alcestis and the lost Cretan Women and Telephus. The story is believed to have incorporated the death of Argive hero Alcmaeon.[1]. Alcmaeon in Psophis. Alcmaeon (mythology)'s wiki: In Greek mythology, Alcmaeon (Greek: Ἀλκμαίων), was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes, wh. -
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. -
Child Abuse in Greek Mythology: a Review C Stavrianos, I Stavrianou, P Kafas
The Internet Journal of Forensic Science ISPUB.COM Volume 3 Number 1 Child Abuse in Greek Mythology: A Review C Stavrianos, I Stavrianou, P Kafas Citation C Stavrianos, I Stavrianou, P Kafas. Child Abuse in Greek Mythology: A Review. The Internet Journal of Forensic Science. 2007 Volume 3 Number 1. Abstract The aim of this review was to describe child abuse cases in ancient Greek mythology. Names like Hercules, Saturn, Aesculapius, Medea are very familiar. The stories can be divided into 3 categories: child abuse from gods to gods, from gods to humans and from humans to humans. In these stories children were abused in different ways and the reasons were of social, financial, political, religious, medical and sexual origin. The interpretations of the myths differed and the conclusions seemed controversial. Archaeologists, historians, and philosophers still try to bring these ancient stories into light in connection with the archaeological findings. The possibility for a dentist to face a child abuse case in the dental office nowadays proved the fact that child abuse was not only a phenomenon of the past but also a reality of the present. INTRODUCTION courses are easily available to everyone. Child abuse may be defined as any non-accidental trauma, On 1860 the forensic odontologist Ambroise Tardieu, neglect, failure to meet basic needs or abuse inflicted upon a referring to 32 cases, made a connection between subdural child by a caretaker that is beyond the acceptable norm of haematoma and abuse. In 1874 a church group in New York childcare in our culture. Abused children found in all 1 City took a child named Mary-Helen from home in which economic, social, ethnic and cultural backgrounds and she was being abused. -
Greek, Tamil and Sanskrit: Comparison Between the Myths of 29 Herakles (Related with Iole and Deianira) and Rama in Hinduism
2021-4155-AJP – 23 MAR 2021 1 Greek, Tamil and Sanskrit: Comparison between the 2 Myths of Prometheus, Sembian and Sibi 3 4 The Prometheus myth in Greek literature deals primarily with the theft of fire. 5 The mythological story unwinds such events as the sacrificial thigh bone, God’s 6 corporal punishment, and the eating of flesh by an eagle. A link with the Ocea- 7 nus race and with the continent of Asia is also seen. Interestingly resemblances 8 with this myth can be seen in some ancient literary sources from Tamil and San- 9 skrit languages. The Tamil myth of ‘Sembian’ and the Sanskrit myth of ‘Sibi’ 10 also have resemblances with the Greek myth of Prometheus. The parallels seen 11 between these myths are examined here. 12 13 Keywords: comparative study, Indian, myth, Prometheus, Sanskrit, Sembi- 14 an, Sibi, Tamil 15 16 17 Introduction 18 19 Myths can be considered to be the ancient sources of information on an- 20 cient history and culture. Some myths even though arising in different corners 21 of the world and in different languages strangely reflect one another. The simi- 22 larities in mythologies may indicate parallels and influences of one on another. 23 If the similarities are occasional they may be seen as parallels. If the similari- 24 ties are made by personal contact, they may be seen as influences. The Greek 25 myth of Prometheus has similarities with the Tamil myth of Sembian and the 26 Sanskrit myth of Sibi. 27 28 Prometheus 29 30 There are many myths related with Prometheus, among those myths some 31 noteworthy mentions are as follows: 32 33 1. -
The Restoration of Sanctuaries in Attica, Ii
THE RESTORATIONOF SANCTUARIESIN ATTICA, II The Structure of IG IJ2, 1035 and the Topography of Salamis J[N a previousarticle ' I offered a new study of the text and date of this inscrip- tion. That study has made possible a treatment of the significance of the document for the topography of Attica, particularly Salamis. As I hope to show, both the organization and the contents of the decree, which orders the restoration of sacred and state properties which had fallen into private hands, offer clues to help fix the location of some ancient landmarks. THE DECREES There are two decrees on the stone. The first ends with line 2a, to which line 3 is appended to record the result of the vote. A second, smaller fragment of the stele bears lettering identifiable as belonging to this first decree; 2 since it shows traces of eight lines of text, the decree can have had no less. The maximum length of the original would be about twenty lines, as more would imply an improb- ably tall stele.3 The text of this first decree is too fragmentary to permit a firm statement of its purpose, but one may venture a working hypothesis that it was the basic resolution of the demos to restore the properties, while the second decree was an implementation of that resolution. In support of that view I offer the following considerations: 1) The two decrees were apparently passed at the same assembly, as may be inferred from the abbreviated prescript of the second one; ' 2) although the second decree was probably longer, the first was more important; a record was made of the vote on it but not of the vote on the subsequent resolution; 3) since the second decree clearly provides for the cleansing, rededication and perpetual ten- dance of the sanctuaries, the only more important item possible would be the basic 1 G. -
Pindar and Yeats: the Mythopoeic Vision
Colby Quarterly Volume 24 Issue 4 December Article 3 December 1988 Pindar and Yeats: The Mythopoeic Vision Ann L. Derrickson Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 24, no.4, December 1988, p.176-186 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Derrickson: Pindar and Yeats: The Mythopoeic Vision Pindar and Yeats: The Mythopoeic Vision by ANN L. DERRICKSON ROM THE Greece of Pindar to the Ireland of Yeats, 2,300 years canle Fcoursing down the riverbed of history, washing over the widening delta of poetry, leaving layers of political context and literary convention. Yet a shape emerges, despite the shifts of eras and of nations, a form fun damental to the lyric. Thinking about the two poets together, then, helps produce an understanding of what is basic to and defines the genre oflyric poetry. Its nature is not specifically a matter of theme but a relationship of reference; action serves to describe spirit. As in Yeats's phrase from "The Circus Animals' Desertion," the prime concern is "Character isolated by a deed." Because it is on this plane of human spirit that meaning distills from the works of Pindar and Yeats, their writing shares the label "lyric." For both poets the vital creative tension exists between a given occasion and its associated images, rather than between concepts of present and past or fact and fantasy.