Aeschylus' Philoetetes
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Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
Sophocles' Ajax and the Greek Epic Cycle
Eating from the Tables of Others: Sophocles’ Ajax and the Greek Epic Cycle1 Athenaeus in his Deipnosophistai remarks that “Sophocles took great pleasure in the Epic Cycle and composed whole dramas in which he followed the Cycle’s version of myths” (ἔχαιρε δὲ Σοφοκλῆς τῷ ἐπικῷ κύκλῳ, ὡς καὶ ὅλα δράματα ποιῆσαι κατακολουθῶν τῇ ἐν τούτῳ μυθοποιίᾳ, Deipnosophistai 277c).2 This statement is equally apposite for his Ajax Philoctetes, Oedipus (both Tyrannus and Coloneus) and Antigone. However, while examining in depth the plot and the construction of some of the characters in Sophoclean tragedy, one realizes that Sophocles, although indebted to the poets of the Epic Cycle for his plots, feasts at Homer’s table as well, reminding us of what Aeschylus said about his tragedies as being slices from Homer’s great dinner parties (τὸ τοῦ καλοῦ καὶ λαμπροῦ Αἰσχύλου, ὃς τὰς αὑτοῦ τραγῳδίας τεμάχη εἶναι ἔλεγεν τῶν Ὁμήρου μεγάλων δείπνων, Athenaeus Deipnosophistai 347e). The second point I would like to make refers to a methodological principle. I subscribe to the view that a playwright of fifth c. BCE Athens not only “feasts” at the tables of others but freely transforms and adapts his borrowings to the new ideology of his genre and the social and political circumstances of his time.3 In Sophocles’ time, there is the polis, with a value system that has evolved gradually but steadily, from the Homeric, through the archaic, down to the classical period. Moreover, Sophocles, as with all poets, had a particular style and personal preoccupations that characterize his work.4 1 I would like to thank the participants in the Greek Epic Cycle Conference, held in ancient Olympia on 9–10 July 2010, for their useful comments on the oral presentation of the present paper. -
Certamen Homeri Et Hesiodi: Introduction, Critical Edition and Commentary
Durham E-Theses Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary BASSINO, PAOLA How to cite: BASSINO, PAOLA (2013) Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8448/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary Paola Bassino Ustinov College This thesis is submitted for the degree of Doctor of Philosophy Department of Classics and Ancient History University of Durham 2013 Abstract Paola Bassino Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary. This dissertation provides an up-to-date introduction to the Certamen Homeri et Hesiodi, a critical edition of the text, and the first commentary in English on it. The Certamen is an anonymous work composed around the second century AD. -
The Recovery of Helen
THE RECOVERYOF HELEN JrT is my purposehere to examineaspects of the iconographyof the Recoveryof Helen on the night that Troy fell. The attempt seems the more worth while now that a canonical pattern of interpretation is likely to be established by Kunze's short but authoritative study and by the detailed, well-illustrated treatment in the recent book by Mme. Lilly B. Ghali-Kahil.1 The main episodes of the Recovery, established by the end of -the sixth century B.C., are credited to the Cyclic Epic poets Arktinos and Lesches, the lyricists Ibykos and his older contemporary Stesichoros. The first three alone are concerned with the iconography of the Recovery as it appears during the sixth and fifth centuries B.C.2 The earliest extant reference to an episode of the Recovery is found at Andro- mache 627-631, Euripides' play staged about 425 B.C.3 The old lord Peleus speaks, insulting Menelaos: EAXW&E Tpotav.. OvKOKKravEg EKT,E 7VcvKLyvvatKa XEtptav~'~ XacW,8AaBV, aAAX,g eTet&Eg pacrrov, EK/ctXOv ti'oo 4n I E8E!, IT/ O8OTlV atKaAXOVKva, 71rTOIV -7TE4VK&J KVmpt8og, d' KaaKUtrTE 01. When you took Troy, you failed to put your wife to death, though you had her in your power- on the contrary, when you looked at her breast, you threw away your sword and accepted her kiss, caressing the traitorous bitch, you miserable wretch, born slave to lust. E. Kunze, Archaische Schildbander (Olympische Forschungen, II, 1950), pp. 163-167; Lilly B. Ghali-Kahil, Les enlevements et le retour d'Helene, Paris, 1955, particularly pp. -
Aristarchus and the Epic Cycle
Aristarchus and the Epic Cycle This presentation centers on the concept of the epic Cycle as understood by Aristarchus of Samothrace, who was director of the Library of Alexandra in the mid third century BCE. The work of Aristarchus survives only indirectly, through the reportage of various ancient sources preserved mostly in scholia or notes found in ancient papyrus fragments and in medieval codices. I focus here on the scholia that reflect the hupomnēmata or commentaries of Aristarchus on the textual transmission of the Homeric Iliad and Odyssey. When Aristarchus evaluates Homeric textual variants in his hupomnēmata, he tries to determine, in each case, which of the variants are original to Homer and which of the variants stem from poets whom he considers to be neōteroi ‘the newer ones’. For Aristarchus, these ‘newer ones’ included the poets of the epic Cycle. Here I begin to apply the results of an important work that focuses on the use of the term neōteroi by Aristarchus: Severyns, A. 1928. Le cycle épique dans l’école d’Aristarque. Bibliothèque de la Faculté de Philosophie et Lettres de l’Université de Liége 40. Paris. As Severyns demonstrates, the use of this term neōteroi in the Homeric scholia, especially in the scholia for the tenth century codex Venetus A, reflects the usage of Aristarchus himself, not only of the Aristarcheans who came after him—or of the scholiasts who report on the opinions of the Aristarcheans, as in the Venetus A.1 In using this term neōteroi, meaning ‘newer’ or ‘neoteric’, Aristarchus had in mind poets whom he judged to be ‘newer’ than Homer. -
Epic Journeys: Studies in the Reception of the Hero and Heroism in Quintus Smyrnaeus’ Posthomerica
1 University College London Department of Greek and Latin Epic Journeys: Studies in the Reception of the Hero and Heroism in Quintus Smyrnaeus’ Posthomerica A thesis submitted to University College London For the degree of Doctor of Philosophy by Bellini Boyten September 2010 2 Declaration I, Bellini Boyten confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Thesis Abstract Quintus scholarship has experienced something of a renaissance over the last decade. However, it is now seventy years since the last monograph that focused on the Homeric heroes of his epic (Mansur, 1940). It is time for a reappraisal and this thesis, which utilizes modern theoretical techniques and methodologies, seeks to meet this need. My study is predominantly concerned with the reception of the hero in Quintus’ Posthomerica, but I also use these receptions to explore Quintus’ epic poetics. Unlike Mansur, I explore not only Homer’s heroes but also heroes that did not feature in the Iliad, including the narrator himself. In my Introduction, I consider central questions relating to Quintus and his poem; for instance, who was he? when was he working? did he have access to the Epic Cycle? and did he engage with Latin literature? A brief summary of my thesis chapters is also included. The five chapters are sequenced in such a way as to suggest thematic developments in my study, and Quintus’ work. Each chapter begins with a character study of the eponymous hero, I then view the characters as signifiers – embodiments of centrally important ideas, regarding epic and beyond. -
The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4Th Century A.D. INTRODUCTION Homer's "Iliad"
The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4th Century A.D. INTRODUCTION Homer's "Iliad" begins towards the close of the last of the ten years of the Trojan War: its incidents extend over some fifty days only, and it ends with the burial of Hector. The things which came before and after were told by other bards, who between them narrated the whole "cycle" of the events of the war, and so were called the Cyclic Poets. Of their works none have survived; but the story of what befell between Hector's funeral and the taking of Troy is told in detail, and well told, in a poem about half as long as the "Iliad". Some four hundred years after Christ there lived at Smyrna a poet of whom we know scarce anything, save that his first name was Quintus. He had saturated himself with the spirit of Homer, he had caught the ring of his music, and he perhaps had before him the works of those Cyclic Poets whose stars had paled before the sun. We have practically no external evidence as to the date or place of birth of Quintus of Smyrna, or for the sources whence he drew his materials. His date is approximately settled by two passages in the poem, viz. vi. 531 sqq., in which occurs an illustration drawn from the man-and-beast fights of the amphitheatre, which were suppressed by Theodosius I. (379-395 A.D.); and xiii. 335 sqq., which contains a prophecy, the special particularity of which, it is maintained by Koechly, limits its applicability to the middle of the fourth century A.D. -
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. -
Studia in Honorem Iiro Kajanto
ARCTOS ACTA FHILOLOGICA FENNICA SUFFLEMENTUM II STUDIA IN HONOREM IIRO KAJANTO HELSINKI 1985 HELSINGFORS INDEX Geza Alföldy Ein neues Zeugnis für "suprafamiliare organisationen" im antiken Hispanien ............................... 9 E. Badian Apollonius at Tarsus 15 Patrick Bruun Gloria Rarnanorum . 2 3 Pierre Grimal Le Dialogue des Ü'rateurs - temoin de son temps . 3 3 Anne Helttula Post depositum militiae munus. Official Phraseology in Am- mianus Marcellinus ................................ 41 G. L. Huxley Kastor on the Foundation of Eleusis 57 Iosephus I]sewijn D'e huius nympha loci {CIL VI/5, 3 + e) eiusque fortuna poetica syntagmation 61 Siegfried Jäkel Tt -ro croc:p6v; Einige Überlegungen zu Euripides, Bakeben 8 7 7' 8 97 . ~ . 69 Maarit Kaimio The Theme of Victory in Aeschylus' Oresteia and Ag. 314 -316 . 79 Bengt Löfstedt Lexikalisches zur Vulgata 99 01ivier Masson Sur le nom de Bilistiche, favorite de Ptolemee II . 109 Dag Norberg Original ou fautes de copie? . 113 Ulla Nyberg Zu den inschriftlichen Kontraktionen von dominus in der sakralen und in der profanen Bedeutung . 12 5 Martti Nyman The Meaning of micarius . 143 Teivas Oksala Carmen Vergili? abituri (Catal. 5) 147 Sil vio Panciera Qualehe n uova iscrizione ur bana d 'in teresse onomastico . 15 3 Fran~ois Paschoud Le debut de l'ouvrage historique d'Olympiodore . 185 Tuomo Pekkanen Notes on Tac. Germ. 46,3 . 197 Reijo Pitkäranta Zur wissenschaftlichen Terminologie e1ner mathematischen Dissertation in Turku 1645 . 215 Heikki Solin Namenpaare 229 Giancarlo Susini Una memoria fotografica della tradizione bolognese di C. Mario .......................................... 26·1 Ronald Syme Praesens the F riend of Hadrian . 2 7 3 Holger Thesleff Notes on the Name of Homer and the Homeric Question . -
Odysseus, Ajax, and Sophistic Language in Attic Tragedy Scott Ab Rnard
University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 7-1-2011 A New Language for Heroes: Odysseus, Ajax, and Sophistic Language in Attic Tragedy Scott aB rnard Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Barnard, Scott. A" New Language for Heroes: Odysseus, Ajax, and Sophistic Language in Attic Tragedy." (2011). https://digitalrepository.unm.edu/fll_etds/56 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Scott Asher Barnard Candidate Foreign Language and Literature Depalunelii This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: professor Carmen NQcentellj A NEW LANGUAGE FOR HEROES: ODYSSEUS, AJAX, AND SOPHISTIC LANGUAGE IN ATTIC TRAGEDY BY SCOTT A. BARNARD B.A., ENGLISH, UNIVERSITY OF NEW MEXICO, 2003 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Comparative Literature and Cultural Studies The University of New Mexico Albuquerque, New Mexico May, 2011 iii DEDICATION To my wife, Erin Barnard, without whom none of this would have been possible. *** To Michael and Mari Barnard, for your love and tremendous support, and for twice making New Mexico home. *** To Carolyn and Michael Ganon, for your steadfast love and your encouragement on this journey, and for showing me how to take the first step. -
Relative Chronology and the Language of Epic A
RELATIVE CHRONOLOGY AND THE LANGUAGE OF EPIC A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Brandtly Neal Jones January 2008 © 2008 Brandtly Neal Jones RELATIVE CHRONOLOGY AND THE LANGUAGE OF EPIC Brandtly Neal Jones, Ph. D. Cornell University 2008 The songs of the early Greek epos do not survive with reliable dates attached. The texts provide few references to events outside the songs themselves with which to establish a chronology, and thus much study has centered on the language of the songs. This study takes as its starting point the well-known and influential work of Richard Janko on this topic, especially as presented in his Homer, Hesiod, and the hymns: Diachronic development in epic diction, which seeks to establish relative dates for the songs of the epos through statistical analysis of certain linguistic features found therein. Though Janko's methodology is flawed, it does highlight the principal aspects of the question of the epic language and chronology. This thesis first establishes the problematic relationship between the oral tradition and our textual representatives of that tradition, as well as the consequences of that relationship for the question of chronology. The existence of an Aeolic phase of epic diction is next refuted, with important results for chronology. Finally, the evidence of the Homeric digamma reveals the "paradox of archaism." The epic language can be shown to work in such a way that many apparent archaisms depend crucially on innovative forms for their creation. -
The Ambivalent Heroism of Ajax in the Odes of Pindar
THE AMBIVALENT HEROISM OF AJAX IN THE ODES OF PINDAR A thesis submitted in partial fulfilment for the requirements of Master of Arts in Classics at the University of Canterbury By Natalie M. Looyer 2019 Contents Contents ___________________________________________________________________ 2 Acknowledgements __________________________________________________________ 3 Abbreviations ______________________________________________________________ 3 Introduction ________________________________________________________________ 4 Literature Review ___________________________________________________________ 7 Chapter One: AjaX in the Epic Cycle ___________________________________________ 15 Chapter Two: Motive and ambiguity in Nemean 7 and Isthmian 4 ____________________ 25 Chapter Three: Nemean 8 and the infecting of φθόνος ______________________________ 39 Chapter Four: Themes and characterisation in narratives of the hoplōn krisis ____________ 58 Chapter Five: AjaX as hero-athlete representative __________________________________ 71 Conclusion ________________________________________________________________ 87 List of Figures _____________________________________________________________ 91 Bibliography ______________________________________________________________ 92 2 Acknowledgements My sincere thanks to my two supervisors, Associate Professor Patrick O’Sullivan, for your substantial contributions throughout this project, and Associate Professor Enrica Sciarrino, for your much-needed encouragement in the final stages. Thank you to my friend