Tantalus Vs. Tantalus (Pdf)
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The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon A Senior Thesis in Classics The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Emily Kohut May 2016 Kohut 1 Acknowledgments I would like to give my deepest and heartfelt thanks to Colorado College’s Classics department. Thank you Owen Cramer, Sanjaya Thakur, Marcia Dobson, and Richard Buxton for all of your help, edits, and advice throughout the course of my time here at CC and especially while working on this project. Thank you to my family and friends for supporting me through this whole process and to the many others who have been involved in my time here at CC. This has been an amazing experience and I could not have done it without all of you. Thank you very much. Kohut 2 The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon Seneca’s Thyestes and Agamemnon are texts in which light rarely presents itself, instead it is dark that is present from start to finish. Throughout the course of these texts, I take note of the use and presence, or lack, of light. There appear to be two specific uses of light that serve specific purposes in Thyestes and Agamemnon: natural light (generally indicated with primarily die- or luc-1 based words), and artificial light (referenced by words related to/derived from flamma or ardeo2). Natural light is prominently used only when discussing its being consumed by darkness, while artificial light appears in passages saturated with destruction and chaos. -
Wonder, Space, and Place in Pausanias' Periegesis
Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados by Jody Ellyn Cundy A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Classics University of Toronto © Copyright by Jody Ellyn Cundy 2016 Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados Jody Ellyn Cundy Doctor of Philosophy Department of Classics University of Toronto 2016 Abstract The Periegesis Hellados presents a description of the sites and sights of Roman Greece in ten carefully constructed books. These books present the fruits of author’s extensive travels and careful textual research over the course of several decades (between the 130’s and ca. AD 175-80) and compiled into a unified composite itinerary. There is no doubt that Pausanias travels through an “already written landscape,” and his travel experience is necessarily informed by and sometimes clearly motivated by his literary encounters. This project investigates Pausanias’ engagement with literary antecedents, with a particular focus on the antiquarian impulse to excerpt and compile anecdotes in thematic catalogues, which broadly resemble wonder-texts (paradoxographies). The organizing principle of these thematic catalogues contrasts with the topographical (spatial) structure of the frame narrative of the Periegesis. In part, this study aims to resolve the perceived tension between the travel account and the antiquarian mode in Pausanias’ project in order to show that they serve complementary rather than competing ends. Resolution of these competing paradigms allows in turn for a more coherent understanding of the Periegesis as unified subject. This study argues that wonder (thauma) is a unifying theme ii of Periegesis Hellados. -
Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes. -
Thebaid 2: Oedipus Descendants of Cadmus
Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway. -
Studies in Pausanias' Periegesis Akujärvi, Johanna
Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis Akujärvi, Johanna 2005 Link to publication Citation for published version (APA): Akujärvi, J. (2005). Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis. Almqvist & Wiksell International. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Studia Graeca et Latina Lundensia 12 Researcher, Traveller, Narrator Studies in Pausanias’ Periegesis Johanna Akujärvi Lund 2005 Almqvist & Wiksell International Stockholm/Sweden © 2005 Johanna Akujärvi Distributed by Almqvist & Wiksell International P.O. Box 7634 S-103 94 Stockholm Sweden Phone: + 46 8 790 38 00 Fax: + 46 8 790 38 05 E-mail: [email protected] ISSN 1100-7931 ISBN 91-22-02134-5 Printed in Sweden Media-Tryck, Lund University Lund 2005 To Daniel Acknowledgements There are a number of people to whom I wish to express my gratitude. -
Pausanias: Travel and Memory in Roman Greece
Pausanias: Travel and Memory in Roman Greece SUSAN E. ALOCOCK JOHN F. CHERRY JAS ELSNER, Editors OXFORD UNIVERSITY PRESS Pausanias pausanias Travel and Memory in Roman Greece Edited by Susan E. Alcock, John F. Cherry, & Jas´Elsner 3 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Saˆo Paulo Shanghai Singapore Taipei Tokyo Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Pausanias : travel and memory in Roman Greece / edited by S.E. Alcock, J.F. Cherry & J. Elsner. p. cm. Includes bibliographical references and index. ISBN 0-19-512816-8 (cloth) 1. Pausanias. Description of Greece. 2. Greece—Description and travel—Early works to 1800. 3. Greece—Antiquities. 4. Greece—Historiography. I. Alcock, Susan E. II. Cherry, John F. III. Elsner, Jas´. DF27.P383 P38 2000 938'.09—dc21 00-022461 Frontispiece: Location of principal places mentioned in the book. 987654321 Printed in the United States of America on acid-free paper For Silvia, Britten, and Bax This page intentionally left blank Preface This volume is dedicated to the principle that Pausanias deserves more—and more ambitious—treatment than he tends to receive. -
Aeschylusaeschylus
AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced -
Greek God Pantheon.Pdf
Zeus Cronos, father of the gods, who gave his name to time, married his sister Rhea, goddess of earth. Now, Cronos had become king of the gods by killing his father Oranos, the First One, and the dying Oranos had prophesied, saying, “You murder me now, and steal my throne — but one of your own Sons twill dethrone you, for crime begets crime.” So Cronos was very careful. One by one, he swallowed his children as they were born; First, three daughters Hestia, Demeter, and Hera; then two sons — Hades and Poseidon. One by one, he swallowed them all. Rhea was furious. She was determined that he should not eat her next child who she felt sure would he a son. When her time came, she crept down the slope of Olympus to a dark place to have her baby. It was a son, and she named him Zeus. She hung a golden cradle from the branches of an olive tree, and put him to sleep there. Then she went back to the top of the mountain. She took a rock and wrapped it in swaddling clothes and held it to her breast, humming a lullaby. Cronos came snorting and bellowing out of his great bed, snatched the bundle from her, and swallowed it, clothes and all. Rhea stole down the mountainside to the swinging golden cradle, and took her son down into the fields. She gave him to a shepherd family to raise, promising that their sheep would never be eaten by wolves. Here Zeus grew to be a beautiful young boy, and Cronos, his father, knew nothing about him. -
PINDAR's TREATMENT of the HERACLES MYIHS Byd.L
ACTA CLASSICA XXVII (1984) 15-22 PINDAR'S TREATMENT OF THE HERACLES MYIHS byD.L. Pike (University of Natal, Pietermaritzburg) i. Introduction The lyric poetry of Pindar is undoubtedly one of the fullest and most interesting sources for the Herac,:les myths. Pindar frequently describes the deeds of Heracles in some detail, and numerous brief references to the hero occur, often in poems where Heracles is barely relevant. As will be seen later (in Section iii), Pindar is almost obsessively eager to justify all the actions of Heracles in terms of high moral standards; thus, Pindar's Heracles tends to be less of the primitive 'Superman' that he so often is elsewhere and more of the aristocratic champion, resplendent in the performance of his duty to Zeus and Mankind, and in his noble and selfless valour. Nonetheless, the elemental dynamism of the hero frequently bursts forth in Pindar's verse with considerable vigour; and one of the essential facts about the Superman-Heracles- that most of his adult life was spent in killing-escapes into the light despite Pindar's vigilance. Admittedly, as Pindar constantly shows, most of Heracles' victims were either savage monsters or abominable human beings, eminently worthy of death. (Those that were neither monstrous nor abominable are ignored by the poet.) Few Greek heroes, however, were as thoroughly steeped in gore (human and non-human) as Heracles, and even Pindar cannot entirely disguise that fact. In this paper, Pindar's poetry will be examined with a view to discovering to what extent it portrays Heracles' brute strength and daring, and the lethal nature of many of his exploits, on the one hand; and on the other, to what extent Pindar's poetry focuses on the ethically acceptable or even impressive features of the hero's character and career. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34 -
Niobe in Distress for Her Children Slain by Apollo
Niobe in Distress for her Children slain by Apollo The Destruction of Niobe’s Children, by Richard Wilson, 1760 (Wikimedia Commons). Wheatley must have seen this painting in London in the summer of 1773, when she had come there from Boston to supervise the publication of her volume of poetry. Now at the Yale Center for British Art, this painting is enormous, about five feet by six feet, and it is not surprising that Behn, who had already read the story from Ovid’s Metamorphoses, was impressed. NIOBE in Distress for her Children slain byAPOLLO, from Ovid’s Metamorphoses, Book VI. and from a view of the Painting of Mr. Richard Wilson. APOLLO’s wrath to man the dreadful spring Of ills innum’rous, tuneful goddess, sing! Thou who did’st first th’ ideal pencil give, And taught’st the painter in his works to live, Inspire with glowing energy of thought, What Wilson painted, and what Ovid wrote. Muse! lend thy aid, nor let me sue in vain, Tho’ last and meanest of the rhyming train! O guide my pen in lofty strains to show The Phrygian queen, all beautiful in woe. ‘Twas where Maeonia spreads her wide domain Niobe dwelt, and held her potent reign: See in her hand the regal sceptre shine, The wealthy heir of Tantalus divine, He most distinguish’d by Dodonean Jove, To approach the tables of the gods above: Her grandsire Atlas, who with mighty pains Th’ ethereal axis on his neck sustains: Her other grandsire on the throne on high Rolls the loud-pealing thunder thro’ the sky. -
Orpheus and Eurydice
ORPHEUSAND EURYDICE t 57 ORPHEUS AND EURYDICE Like the other transformations in this book, Eurydice's ill-fated marriage to the mystical lord of song and her tragic metamorphosis from dead to dead again Metamorphoses X.1-77 have fascinated musicians, poets, and artists over the centuries. The story has inspired verse by Wordsworth and Shelley (both of whom looked to Vergil's The tragic story of the singer Orpheus (son of the Muse Calliope) and his account), Swinburne and Robert Browning, Rilke, D.H. Lawrence, Robert beloved wife Eurydice, twice lost to death, is certainly one of the best known of Lowell, and James Dickey; operas by Jacopo Peri (our earliest surviving opera, ancient myths. Ovid's version is told, with remarkable (and intentionally ill- first performed in 1600) and Claudio Monteverdi (1607), by Gluck and Haydn \ and Mozart in the 18th century, by Offenbach in the 19th, and even the modern proportioned) economy, in fewer than 80 lines: On the couple's wedding day, the hero's new bride falls dead, stricken by the bite of a serpent. Having mourned Japanese opera, Hiroshima no Orfe (Orpheus in Hiroshima), by Yasushi Eurydice "sufficiently" and "so that he might not neglect to try the shades of Akutagawa (1967); other musical compositions by Schubert and Liszt and Hell" -two of several deliberately curious details in the narrative-Orpheus Stravinsky; numerous dramatizations, includingHenry Fielding's farce, Eurydice, descends into the Underworld and appeals to Persephone and the prince of or, The Devil Henpeck'd (1737), Jean Anouilh's Eurydice (1941), and Tennessee darkness to allow his wife's return to the land of the living.