An Iliad Based on Homer’S the Iliad, Translated by Robert Fagles Directed by Julia Rodriguez-Elliott September 12–October 3, 2021 TABLE of CONTENTS
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Sophocles, Ajax, Lines 1-171
SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax. -
AGAMEMNON PROLOGUE: Lines 1-39
AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
COMMENTARY Calchas on the Basis of an Omen Declares That Troy Must
COMMENTARY 1-20 Calchas on the basis of an omen declares that Troy must be taken by trickery. It is easy to assert 1 that Q. has combined the traditional detail2 of Odysseus' device ofthe Horse with Sinon's claim in Virg. A. 2. 185f. that Calchas 'ordered' the Greeks to build it. Even if the detail is Virg. 's own 3, in Q. Calchas' intervention is grounded in reality, is based on a wholly dif ferent set of circumstances, is strategically necessary (an effective method of crushing the stiff opposition put up by the god-fearing Neoptolemos, a motif certainly not of Q. 's own devising: 66-103n. ), and must be viewed against the background of a tradition in which oracles, prophecies and portents abound4 , and in which Calchas came to assume an increasingly dominant role 5 • Q. 's Calchas indeed (for his teaming up with Odysseus cf. the n. on 360-88, § 4 (a) (ii)) is a leading light in decision making both before and after the fall of Troy6 • His Trojan counterpart Helenos, so popular elsewhere, is virtually driven out of the action: he is a fighter viii. 252f., xi. 348f.; a seer, though not explicitly so, only in the chaotic prophecy of Hera at x. 346f. Calchas is on the scene at this point in the saga in Dictys 5. 7: he predicts that Troy will fall into Greek hands on the basis of an omen involving an eagle carrying a victim's entrails. The doubly inept Triph. 172f. is worth a passing glance: the 'aged' Calchas is in the Horse, and in his capacity as a seer he is well aware ( EU Elow~) that the Greeks were at long last going to take Troy.-Triph. -
Read Ebook {PDF EPUB} Shipmates by Rick Jackson Shipmates
Read Ebook {PDF EPUB} Shipmates by Rick Jackson Shipmates. Sign up for our newsletter for a chance to win $50 in free books! Collecting the Civil Rights Movement. The Civil Rights Movement of the 1960s and '70s was an explosive time in American history, and it inspired explosive literature. From Malcolm X to Martin Luther King, Jr., browse some of the most collectible books from and about that era. What did people buy in 2020? Plague journals, escapist literature, political history: explore our year in review, where we share rare book trends and a gallery of some of the most beautiful and interesting books sold in 2020. Shipmates by Rick Jackson. Robbers? he wondered. Bandits? Pirates? Polyphemus ran to get Hercules. Together they searched the area. Hercules was so distraught about his missing sidekick that he forgot all about his mission, the Argo and his crewmates, who were waiting. Back at the beach, Jason started to get worried. The sun was going down and the landing team still wasn’t back. He sent out a search party, but all they found were pottery shards by a stream. There were no signs of Hercules, Polyphemus or Hylas. The next day, the Argonauts searched again for their comrades. They had no luck. The ship’s prow had no advice to offer. Finally, as the sun was setting, Jason announced that the Argo would have to leave in the morning. ‘We have to assume that Hercules and the others are lost. We must keep sailing.’ The crew didn’t like that. You don’t just sail away from Hercules. -
Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London. -
General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
Download Notes 10-04.Pdf
Can you kill a god? Can he feel pain? Can you make him bleed? What do gods eat? Does Zeus delegate authority? Why does Zeus get together with Hera? Which gods are really the children of Zeus and Hera? Anthropomorphic Egyptian Greek ἡ ἀμβροσία ambrosia τὸ νέκταρ nectar ὁ ἰχώρ ichor Games and Traditions epichoric = local tradition Panhellenic = common, shared tradition Dumézil’s Three Functions of Indo-European Society (actually Plato’s three parts of the soul) religion priests τὀ λογιστικόν sovereignty 1 kings (reason) justice τὸ θυμοειδές warriors military 2 (spirit, temper) craftsmen, production τὸ ἐπιθυμητικόν farmers, economy 3 (desire, appetite) herders fertility Gaia Uranus Iapetus X Cœus Phœbe Rhea Cronos Atlas Pleione Leto gods (next slide) Maia Rhea Cronos Aphrodite? Hestia Hades Demeter Poseidon Hera Zeus Ares (et al.) Maia Leto Hephæstus Hermes Apollo Artemis Athena ZEUS Heaven POSEIDON Sea HADES Underworld ἡ Ἐστία HESTIA Latin: Vesta ἡ Ἥρα HERA Latin: Juno Boōpis Cuckoo Cow-Eyed (Peacock?) Scepter, Throne Argos, Samos Samos (Heraion) Argos Heraion, Samos Not the Best Marriage the poor, shivering cuckoo the golden apples of the Hesperides (the Daughters of Evening) honeymoon Temenos’ three names for Hera Daidala Athena Iris Hera Milky Way Galaxy Heracles Hera = Zeus Hephæstus Ares Eris? Hebe Eileithyia ὁ Ζεύς, τοῦ Διός ZEUS Latin: Juppiter Aegis-bearer Eagle Cloud-gatherer Lightning Bolt Olympia, Dodona ἡ ξενία xenia hospitality ὁ ὅρκος horcus ἡ δίκη oath dicē justice Dodona Olympia Crete Dodona: Gaia, Rhea, Dione, Zeus Olympia: -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
Helen and Pandora: a Comparative Study with Emphasis on the Eidolon Theme As a Concept of Eris
SOTEROULA CONSTANTINIDOU HELEN AND PANDORA: A COMPARATIVE STUDY WITH EMPHASIS ON THE EIDOLON THEME AS A CONCEPT OF ERIS "In a small-scale society myth tends to be viewed as the encoding of that society’s concept of truth; at the same time, from the viewpoint of We stern civilization, myth has become the opposite of fact, the antithesis of truth” (Gregory Nagy, Foreword to R.P. Martin, The Language of Heroes. Speech and Performance in the Iliad, Ithaca and London 1989, ix) *. This work is a comparative study of the myths of Helen and Pan dora* 1 with emphasis on the eidolon theme as a concept of eris and on the interaction between mytkos and logos. My aim is to read this theme in a different perspective, i.e. as a device of strife; as such, the eidolon- eris concept is personified in Helen’s heroic figure and gives heioic saga a stimulating version about the Cause of the Trojan War! More over, the idea of the association of Helen and Pandora is put forward here, as both figures acquired the mythical details of an image, of a phantom, although each one with essential discrepancies: for example, Pandora’s existence was confined to that of a phantom, a false creation rather than a human being, from the very beginning, whereas Helen’s ccanti-myth” makes her trespass from the world of the real to that of the eidola, of the imitation of the real. Thus, the two mythologi ♦ I wish to thank Professors Deborah Boedeker and Kurt Raaflaub for their useful comments on a much earlier and brief version of this work presented at the Center for Hellenic Studies in Washington D.C., in the summer of 1999. -
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.