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A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E. -
Eris and Epos Composition, Competition, and the Domestication of Strife
Eris and Epos Composition, Competition, and the Domestication of Strife Joel P. Christensen Brandeis University [email protected] Abstract This article examines the development of the theme of eris in Hesiod and Homer. Start- ing from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hes- iod’s Theogony through the Homeric epics and into its double definition in the Works and Days.To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems. Keywords eris – competition – conflict – poetics – rivalry In Cypria fr. 1, Zeus fans “the flames of the great strife of the Trojan war / to lighten the [earth’s] burden with death” (ῥιπίσσας πολέμου μεγάλην ἔριν Ἰλιακοῖο, 5).* Similarly, in Hesiod (fr. 204 M-W), when strife divides the gods at the birth of Hermione—“all the gods were of two minds / because of the strife” (πάν- τες δὲ θεοὶ δίχα θυμὸν ἔθεντο / ἐξ ἔριδος, 94–95)—Zeus hastens the destruction of the Heroes: “And then he hastened to extinguish the great race of human * A version of this article was given at the Heartland Graduate Conference in Ancient Stud- ies at the University of Missouri in 2015. -
The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; Proquest Pg
The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; ProQuest pg. 57 The Name of Penelope William W hallon T HE TALE OF ODYSSEUS' RETURN would have been very different if his wife had not been known as Penelope. For the Homeric poems came from an age of aural etymologizing,l the minstrels who perfected the poems throughout centuries of storytelling found proper nouns as meaningful as common nouns, and certain phonetic associations at first fortuitous became inevitable. Shakespeare's Juli et by any other name than Capulet would have had greater fortune in love, but Penelope's name is even more vitally related to her biography. Now it is an obvious fact that a language built upon a rather small number of phonemes is almost necessarily going to include homonyms, and correspondence of sound alone is insufficient to indicate words as cognate. In present-day Norwegian, for example, the word for the duck, Anda (where the dental stop is no longer pronounced), does not compel any kind of dark reminiscence of the girl named Anna, and likewise the duck 7TTJVEAoljl need not be thought germane to Penelope,2 unless in the similarity there is a remnant from the dawn of time, when in a beast epic Penelope might actually have been a duck, Athene an owl, Hera a heifer, and Apollo a wolf. In the Homeric poems we possess, the 7TTJv€Aoljl and Penelope have no semantic relationship, and the coincidence of identical syllables is unimportant. Another word, however, has been commonly observed as apparently akin to the name of Pe nelope, and may have had a crucial bearing upon her career: this IMost notably in Od. -
Supplemental Content: Monuments on the Dromos of the Sanctuary Of
AJA OPEN ACCESS: APPENDIX www.ajaonline.org Monuments on the Dromos of the Sanctuary of Apollo on Delos An appendix to “Honorific Practices and the Politics of Space on Hellenistic Delos: Portrait Statue Monuments Along the Dromos,” by Sheila Dillon and Elizabeth Palmer Baltes (AJA 117 [2013] 207–46). Base numbers follow Vallois 1923 (see fig. 3 in the AJA print-published article). Bases without numbers were recorded as having been found in the area but were not marked on Vallois’ plan. Base No. Monument Type Honorand(s) Dedicator(s) Reason(s) for Honor Dedicated to Sculptor(s) Reference(s) Bases set up ca. 250–200 5 equestrian statue Epigenes, son of Andron, the King Attalos I – Apollo – IG 11 4 1109 Pergamene general 8 single statue Donax, son of Apollonios – – – – IG 11 4 1202 16 group monument Aischylo(. .) and his father, Mennis, son of Nikarchos – – – IG 11 4 1168 Nikarchos 19 single statue female, Hellenistic queen? the Delians – – Thoinias IG 11 4 1088 20 single statue Autokles, son of Ainesidemos, Autokles, his son – Apollo – IG 11 4 1194 from Chalcidia 117.2) 25 single statue Phildemos, son of Pythermos Eumedes, his son – – – IG 11 4 1193 of Chalcedon 27 exedra family group demos of the Delians – – – IG 11 4 1090 33 exedra family group of Jason, Eukleia, – – – – IG 11 4 1203 Timokleia, Straton, Timokleia, Sillis 41 victory monument Gallic dedication Attalos I(?) victory over Gauls Apollo (. .)epoiei IG 11 4 1110 50c single statue Aichmokritos demos of the Delians – – – IG 11 4 1094 American Journal of Archaeology American 53 -
THE LAND of MYTH MECHANICS: This Adventure Was Designed As a ‘One Shot’ (I.E
2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis About This Adventure Module .............................................................. 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this -
Lecture 34 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 34 Good morning and welcome to LLT121 Classical Mythology. Thank you for turning in your papers. When last we left off—this is going to be a short one—we were talking about how Agamemnon, king of Mycenae, was presented with a dilemma. If you’ll recall, at the very beginning of the Trojan War, all 1,000 ships of the Greek fleet were bottle up in the port city of Elis. They could not get out of the port because there was no wind. There was no wind because, as it turned out, the goddess Artemis was angry. Why? I don’t know that kind of a day. Agamemnon found out that he could get out of the city of Elis on one condition, if he offered his daughter Iphigenia as a sacrifice. Iphigenia, you will recall is one of the three children of Agamemnon and his loving wife Clytemnestra. To Agamemnon this was a no-brainer. To Agamemnon, obviously, he had to send for his daughter Iphigenia and sacrifice her so that he and his manly men and ships could get out of the port of Elis and kick Trojan you know what. Take Helen back, because, if he didn’t, Agamemnon would have been found lacking in arete. This is the first of two buzzwords I’m going to give you today. These are going to show up on all future examinations. Learn them, live them. Arete is the ancient Greek word for virtue. Interestingly enough, arete is the Greek word, the Latin virtue. Both are derived from the word for manliness. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
ARETÉ ('Αρετη)—In Ancient Greek a Term Describing a Maximum Of
ARETÉ (’αρετη)—in ancient Greek a term describing a maximum of ability and potency for action (optimum potentiae); a man’s effectiveness and skill in goodness. In the Polish language it corresponds to the term “cnota” (virtue) or “dzielność&rdquoi; (bravery). The problem of areté was one of the key ethical and pedagogical problems of antiquity (Jaeger); it is treated as the foundation of Platonic ontology (Kraemer); etymologically it is a noun without a subject: it comes from the word ’αριστος—the superlative degree of ’αγαθος [agathos]—good, and it can be most faithfully translated as “excellence” (the quality of being the best). DIFFERENT TYPES OF ARETÉ— Heroic Arete. In Homer’s poems the Iliad and Odyssey, the desire for areté or the possession of areté is a characteristic of the aristocracy. They lived in eminent families under the leadership of a local oligarchy described as ’αγαθος (good). In Homer the word applied to men capable of fighting—able warriors. They had to possess the best weapons, and their wealth guaranteed the quality of these weapons. The mean capable of effectively defending the group united in themselves strength, courage, good birth, and martial skills. Moral or spiritual values were rarely mentioned. Areté primarily meant the strength and skill of a warrior or wrestler, and especially heroic virtue. It was inseparable from a spirit of competition and pride that involved a feeling of duty and responsibility toward the idea of areté. Over time the concept of areté was extended to prudence and cunning, advantageous traits in war. The desire to win the crown of areté is the essence of heroism. -
Heracles in Perspective
Cambridge University Press 0521851262 - Heracles and Euripidean Tragedy Thalia Papadopoulou Excerpt More information INTRODUCTION: HERACLES IN PERSPECTIVE This is a study of Euripides’ Heracles, a play which has given rise to a wide range of responses on the part of the critics, from condemnation to admiration.1 In some ways, of course, the tradition of interpretation of a particular play stays consistent over a long period, because all commentators and critics use previous readings, but their manner of reading is also informed by changes in their cultural environment. At the same time, the study of tragedy, set against the larger framework of the human- ities, is continuously enriched by trends in literary criticism.2 The underestimated subtlety and the critical history of the play justify writing a whole book on Heracles. To begin with, this is a play of great significance in examinations of other Euripidean dramas, especially in discussions of themes such as heroic ethics, madness and the role of the gods. But, above all, it is a drama whichdeserves a full and freshtreatment in its own right because it represents some of Euripides’ most spectacular writ- ing, in terms of emotional and intellectual effect, structure, narrative, rhetoric, stagecraft and audience reception. Most studies during thenineteenthand twentiethcenturies focused on the unity of the play, either questioning or defending it.3 Wilamowitz4 devoted his imposing study of Greek tragedy to 1 Cf. ‘broken backed’ (Murray 1946: 112); ‘the most tragic of all the dramas of Euripides’ (Bates 1930: 105); ‘the structure of the play is very simple. Neither the course of events nor the interplay of characters provides anything dramatically notable’ (Vellacott 1963: 14); ‘an extraordinary play, innovative in its treatment of the myth, bold in its dramatic structure, and filled with affecting human pathos’ (Halleran 1988: vii); ‘the most underrated of all Greek tragedies’ (Walton 1977: xviii); ‘one of the greatest Euripidean tragedies’ (Reinhardt 2003: 23); ‘masterpiece’ (Hall 2003: vii). -
The Rebirth of Odysseus , Greek, Roman and Byzantine Studies, 25:1 (1984) P.5
NEWTON, RICK M., The Rebirth of Odysseus , Greek, Roman and Byzantine Studies, 25:1 (1984) p.5 The Rebirth of Odysseus Rick M Newton F THE MANY supplication scenes in Greek literature which have Oreceived close examination, the Odysseus-Arete episode in Od yssey 7.133-206 has attracted considerable attention. Two rea sons may be suggested. First, Homer himself lavishes a large share of attention on the scene, presenting a highly detailed account of the ritual of hiketeia: Odysseus crouches before the queen and grasps her knees, then sits at the hearth, and is finally raised by Alcinous, who escorts him to a seaU Other supplication scenes contain some of these steps, but few other accounts-and no other Homeric account-in clude them all. When Thetis supplicates Zeus in Iliad 1.493-530, for example, she clings to the god's knees, but Zeus does not lift her by the hand. In Iliad 24.468-517, to cite another example, Priam kneels before Achilles, kissing the hands of the man who has murdered so many of his sons. Achilles responds by lifting the aged king from his knees. But there is no mention of Priam's occupying Achilles' hearth. The closest parallel to Odysseus' supplication is found in Thucydides 1.136: Themistocles places himself at the feet of the Molossian queen and takes his place at the hearth, holding the king's infant son.2 When King Admetus returns from abroad and finds Themistocles, he raises the suppliant by the hand.3 Homer's account in Odyssey 7 is noteworthy, then, for the fullness of its description. -
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[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE ANCIENT QUAREIEL BETWEEN POETRY AND PHILOSOPHY IN CALLIMACHUS' HYMN TO ZEUS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Stephanie J.