EURIPIDES Helen
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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
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. -
1 IPHIGENIA in TAURIS by Euripides Adapted, Edited, and Rendered Into
IPHIGENIA IN TAURIS by Euripides Adapted, edited, and rendered into modern English for the express purpose of dramatic performance by Louis Markos, Professor in English and Honors Scholar-in-Residence/Robert H. Ray Chair in Humanities Houston Baptist University (Houston, TX) Dramatis Personae IPHIGENIA, daughter of Agamemnon ORESTES, brother of Iphigenia PYLADES, friend of Orestes THOAS, King of the Taurians HERDSMAN MESSENGER ATHENA CHORUS of captive Greek women who serve Iphigenia SCENE Before the temple of Artemis in Tauris. (Iphigenia, dressed as a priestess, enters and stands before the altar.) IPHIGENIA From Asia Pelops came to the shores of Greece; His son was Atreus and from him came Two greater sons, skilled in the arts of war. The eldest, Agamemnon, rules Mycenae While Menelaus holds the throne of Sparta. For Helen’s sake they raised a mighty fleet And set their sails for Troy. But Artemis, Beloved sister of the god Apollo, Sent vexing winds to wrestle with their sails And strand them on the rocky shore of Aulis. Eager to conquer Troy and so avenge His brother’s bed, my father, Agamemnon, Ordered Calchas, prophet of the host, To seek the will of Zeus and to proclaim The cause of their misfortune–and the cure. “O King,” he spoke, “You must fulfill the vow You made to Artemis: to offer up The dearest treasure that the year would bring. 1 The daughter born to you and Clytemnestra— She is the treasure you must sacrifice.” I was and am that daughter—oh the pain, That I should give my life to still the winds! The treacherous Odysseus devised The plot that brought me, innocent, to Aulis. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
The Motif of Love in Euripides' Works Helen and Medea
THE MOTIF OF LOVE IN THE HELEN AND THE ALCESTIS OF EURIPIDES by Eleftheria N. Athanasopoulou DOCTORAL DISSERTATION submitted in fulfilment of the requirements for the degree DOCTOR LITTERARUM ET PHILOSOPHIAE in GREEK in the FACULTY OF HUMANITIES at the UNIVERSITY OF JOHANNESBURG SUPERVISOR: PROFESSOR J. L. P. WOLMARANS JANUARY 2008 For my family, and especially for my children… «Αν κάποιος προηγείται απλώς του καιρού του, κάποια μέρα ο καιρός θα τον προλάβει». (Wittgenstein, L. 1986). «Η θάλασσα που μας πίκρανε είναι βαθιά κι ανεξερεύνητη και ξεδιπλώνει μιαν απέραντη γαλήνη». (Seferis, G. 1967). ACKNOWLEDGMENTS Grateful acknowledgment is hereby made to Prof. J. L. P. Wolmarans for his advice, patience and assistance. This work would not have been completed without his encouragement. Indeed, his criticism was beneficial to the development of my ideas. It is of special significance to acknowledge the support given to me by some friends. I am particularly indebted to them for various favours. I also thank my husband for his advice, so that I could look afresh at a large number of questions. I wish to thank the anonymous reader for the improvements (s)he suggested. Johannesburg 2008 CONTENTS ACKNOWLEDGMENTS ABSTRACT xiii ΠΕΡΙΛΗΨΗ xi I. INTRODUCTION The Helen and the Alcestis 1 Rationale 3 Problem Statement 5 Methodology 6 Layout and Structure 8 Overview of Literature 12 Note to the Reader 14 II. THE PHILOSOPHY OF EURIPIDES AND WITTGENSTEIN Euripides’ Profile: Life and Works 15 Wittgenstein’s Profile: Life and Works 23 Euripides and Wittgenstein: Parallel Patterns of Thought 33 The Motif of Love, Language and Gloss analysis 37 III. -
Perceptions of the Ancient Jews As a Nation in the Greek and Roman Worlds
Perceptions of the Ancient Jews as a Nation in the Greek and Roman Worlds By Keaton Arksey A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of Classics University of Manitoba Winnipeg Copyright © 2016 by Keaton Arksey Abstract The question of what made one Jewish in the ancient world remains a fraught topic for scholars. The current communis opinio is that Jewish communities had more in common with the Greeks and Romans than previously thought. Throughout the Diaspora, Jewish communities struggled with how to live amongst their Greco-Roman majority while continuing to practise their faith and thereby remain identifiably ‘Jewish’. To describe a unified Jewish identity in the Mediterranean in the period between 200 BCE and 200 CE is incorrect, since each Jewish community approached its identity in unique ways. These varied on the basis of time, place, and how the non-Jewish population reacted to the Jews and interpreted Judaism. This thesis examines the three major centres of Jewish life in the ancient world - Rome, Alexandria in Egypt, and Judaea - demonstrate that Jewish identity was remarkably and surprisingly fluid. By examining the available Jewish, Roman, and Greek literary and archaeological sources, one can learn how Jewish identity evolved in the Greco-Roman world. The Jews interacted with non-Jews daily, and adapted their neighbours’ practices while retaining what they considered a distinctive Jewish identity. Each chapter of this thesis examines a Jewish community in a different region of the ancient Mediterranean. -
Cisco Telepresence Server 4.4(1.16) MR1 Open Source Documentation
Open Source Used In Cisco TelePresence Server 4.4(1.16) MR1 Cisco Systems, Inc. www.cisco.com Cisco has more than 200 offices worldwide. Addresses, phone numbers, and fax numbers are listed on the Cisco website at www.cisco.com/go/offices. Text Part Number: 78EE117C99-139358573 Open Source Used In Cisco TelePresence Server 4.4(1.16) MR1 1 This document contains licenses and notices for open source software used in this product. With respect to the free/open source software listed in this document, if you have any questions or wish to receive a copy of any source code to which you may be entitled under the applicable free/open source license(s) (such as the GNU Lesser/General Public License), please contact us at [email protected]. In your requests please include the following reference number 78EE117C99-139358573 Contents 1.1 Brian Gladman's AES Implementation 11-01-11 1.1.1 Available under license 1.2 busybox 1.15.1 :15.el6 1.2.1 Available under license 1.3 Coreboot d9b5d897d7f05d0ee8f9411628b757beea990b4b 1.3.1 Available under license 1.4 curl and libcurl 7.44.0 :7.44.0 1.4.1 Available under license 1.5 dhcp 4.1.1-P1 1.5.1 Available under license 1.6 expat 2.2.0 1.6.1 Available under license 1.7 FatFS R0.05 1.7.1 Available under license 1.8 freetype 2.5.3 1.8.1 Available under license 1.9 fribidi 0.19.6 :1 1.9.1 Available under license 1.10 G.722 2.00 1.10.1 Available under license 1.11 HMAC n/a 1.11.1 Available under license 1.12 icelib f50dffe9820bb7e32ac7b9b1b1d19aa3431227a2 1.12.1 Available under license 1.13 -
Arheologija I Prirodne Nauke
ARHEOLOGIJA I PRIRODNE NAUKE ARCHAEOLOGY AND SCIENCE Center for New Technology Institute of Archaeology Belgrade ARCHAEOLOGY AND SCIENCE 10 2014 Belgrade 2015 Centar za nove tehnologije Arheološki institut Beograd ARHEOLOGIJA I PRIRODNE NAUKE 10 2014 Beograd 2015. Published: Center for New Technology Viminacium Institute of Archaeology Belgrade Kneza Mihaila 35/IV 11000 Belgrade, Serbia e-mail: [email protected] Tel. +381 11 2637191 For the publishers: Miomir Korać Vladimir Miletić Editor-in-chief: Miomir Korać Editorial Board: Roksana Chowaniec, University of Warsaw, Institute of Archaeology, Warsaw Gianfranco Cicognani, Central European Initiative (CEI-ES), Trieste Rosemarie Cordie, Archäologiepark Belginum Eric De Sena, John Cabot University, Rome Snežana Golubović, Institute of Archaeology, Belgrade Natalia Goncharova, Lomonosov Moscow State University, Moscow Gisela Grupe, Ludwig-Maximilians-Universität, München Michaela Harbeck, Staatssammlung für Anthropologie und Paläoanatomie, München Lanfranco Masotti, Universita’ di Bologna, Bologna Žarko Mijailović, University of Belgrade, Faculty of Mathematics, Belgrade Živko Mikić, University of Belgrade, Faculty of Philosophy, Belgrade Milan Milosavljević, University of Belgrade, Faculty of Electrical Engineering, Belgrade Dragan Milovanović, University of Belgrade, Faculty of Mining and Geology, Belgrade Zoran Obradović, Temple University, Philadelphia Zoran Ognjanović, Mathematical Institute, Belgrade Marco Pacetti, Universita’ Politecnico delle Marche, Ancona Slaviša Perić, Institute -
Iphigenia in Tauris.Intro
IPHIGENIA IN TAURIS In this introduction, I will 1) give an overview of the plot, 2) consider some of the unique features of the play, and 3) discuss the process I went through in adapting the play. Euripides’ Iphigenia offers a different take on the fall of the house of Atreus. Here is the story in its classic form as told in Aeschylus’ Oresteia. 1) The sons of Atreus, Agamemnon and Menelaus, become kings of Mycenae and Sparta and take as wives the sisters Clytemnestra and Helen. 2) Paris’s abducts Helen, igniting the Trojan War; the Greeks navy is led by Agamemnon. 3) Before they can sail for Troy, the fleet is grounded at the Port of Aulis, and Agamemnon is told that the goddess Artemis will not let him sail unless he sacrifices his daughter, Iphigenia. 4) Agamemnon instructs Iphigenia to come to Aulis where she will be married to Achilles, but when she arrives, he sacrifices her. 5) While the Greeks fight at Troy for ten years, Clytemnestra, enraged at Agamemnon’s murder of their daughter, takes a lover. 6) When Agamemnon returns from Troy, his wife kills him. 7) Many years later, Agamemnon’s son, Orestes returns home and, with the help of his sister, Electra (and the guidance of Apollo), kills his mother and her lover. 8) Because he is guilty of matricide, Orestes is chased by the Furies, but Apollo and Athena intercede for him, and he is declared innocent at a trial held in Athens. To this tragic plot, Euripides makes two important changes. -
Euripides-Helen.Pdf
Euripides Helen Helen By Euripides, translation by E. P. Coleridge Revised by the Helen Heroization team (Hélène Emeriaud, Claudia Filos, Janet M. Ozsolak, Sarah Scott, Jack Vaughan) Before the palace of Theoklymenos in Egypt. It is near the mouth of the Nile. The tomb of Proteus, the father of Theoklymenos, is visible. Helen is discovered alone before the tomb. Helen These are the lovely pure streams of the Nile, which waters the plain and lands of Egypt, fed by white melting snow instead of rain from heaven. Proteus was king [turannos] of this land when he was alive, [5] living [oikeîn] on the island of Pharos and lord of Egypt; and he married one of the daughters of the sea, Psamathe, after she left Aiakos' bed. She bore two children in his palace here: a son Theoklymenos, [because he spent his life in reverence of the gods,] [10] and a noble daughter, her mother's pride, called Eido in her infancy. But when she came to youth, the season of marriage, she was called Theonoe; for she knew whatever the gods design, both present and to come, [15] having received these honors [tīmai] from her grandfather Nereus. My own fatherland, Sparta, is not without fame, and my father is Tyndareus; but there is indeed a story that Zeus flew to my mother Leda, taking the form of a bird, a swan, [20] which accomplished the deceitful union, fleeing the pursuit of an eagle, if this story is true. My name is Helen; I will tell the evils [kaka] I have suffered [paskhein]. -
IPHIGENIA in a ULIS Translated by Charles R
IPHIGENIA IN A ULIS Translated by Charles R. Walker « IPHIGENIA IN AULIS » gives her life (much as Joan of Arc did) in accordance with what she INTRODUCTION TO regards as the "divine will" and the needs ofher country. IPHIGENIA IN AULIS I have suggested that the play is more modern than most Greek tragedies; perhaps it is more modern than any of them. But in what sense is it modern? First of all in techniques of the theater: it is full of Lm Iphigenia in Aulis was produced, together with the Bacchae and new dramatic devices as well as a concentration of old ones. Instead the Alcmaeon, at the Great Dionysia in March, 405 B.C., a few months of theforn1al Euripidean prologue giving the audience background after Euripides' death. It seems probable that Euripides' son (some for _the plot, the~e isalively duologue full of dramatic tension be say his nephew) produced the play and perhaps filled in parts of the tween Agamemnon and a servant. (An old-style prologue also exists script which Euripides had left incomplete at the time ofhis death. and in this version is integrated into the dialogue, ll. 49-114.) The The play is full ofinvention and dramatic reversals. Some classical chor_l1s is no Jqnger essential to the dramatic action but it often critics, dubbing it pure melodrama, have felt that it represented a esta~lishes the mood. It consists in this play of women who have woeful falling-off from the sterner standards of Greek tragedy. Most crossed over from their native Chalcis to Aulis, apparently as sight students of dramatic literature find it an exciting "transition piece," seers to see the heroes and the famous Greek fleet. -
Chapter 7.3: Classical Greek Tragedy (Euripides)
Chapter 7.3: Euripides Life and Career • wrote something around 90 plays – i.e. 20+ entries at the Dionysia • younger than Sophocles by ca. 10 years – and died a few months before him – thus, they must have competed against each other on several occasions – but the specific years when they produced at the same time are not known Chapter 7.3: Euripides Life and Career • won his first victory in 441 BCE but went on to claim only three more victories during his lifetime – and one more posthumously (Bacchae) • but 19 of Euripides’ plays have survived – vs. 7 for Sophocles/Aeschylus each (14 total) • why so many more for Euripides? – his drama was far more popular in later ages! Chapter 7.3: Euripides Life and Career • select vs. alphabetic plays – 10 select plays: Alcestis, Andromache, Bacchae, Hecuba, Hippolytus, Medea, Orestes, Phoenician Women, Rhesus and Trojan Women – 9 alphabetic plays: Electra, Helen, Heracles, Heracles’ Children, Hiketes (Suppliants), Ion, Iphigenia in Aulis, Iphigenia among the Taurians and Kyklops (Cyclops) • from Volume 2(?) of a complete Euripides Chapter 7.3: Euripides Life and Career • the alphabetic plays show a wider range of drama than the rest of classical tragedies – especially melodramas and rescue plays – with happy endings and comic scenes • and many “red herrings” – cf. Helen • Helen never went to Troy, but Egypt instead • was rescued by her husband Menelaus • n.b. comic scene with Menelaus and old woman • fantastical “rescue” vs. the disaster in Sicily Chapter 7.3: Euripides Life and Career • what do we know about Euripides himself? – reasonably well-off • but his mother was a “green-grocer” –was “surly and unconvivial”? – deeply involved and interested in the new philosophical thinking of the day (sophists) – brilliant at agons •cf.