DOCSLIB.ORG

The Natures of Monsters and Heroes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Natures of Monsters and Heroes The Review: A Journal of Undergraduate Student Research Volume 16 Article 7 2015 The Natures of Monsters and Heroes Vanessa Nikolovska [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/ur Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the English Language and Literature Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Nikolovska, Vanessa. "The Natures of Monsters and Heroes." The Review: A Journal of Undergraduate Student Research 16 (2015): 26-35. Web. [date of access]. <https://fisherpub.sjfc.edu/ur/vol16/iss1/7>. This document is posted at https://fisherpub.sjfc.edu/ur/vol16/iss1/7 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. The Natures of Monsters and Heroes Abstract Around the late eighth or early seventh century B.C., a poet, known to later ages as Homer, composed two epic poems that tell the tales of the Trojan War, The Iliad and The Odyssey. The Iliad tells the story of the rage of Achilles, the great Greek warrior, while The Odyssey tells the story of the coming home of Odysseus, the King of Ithaca, from the Trojan War. A study of both epics reveals that constructs portraying various values, such as the characteristics of heroes, have remained the same from the times of ancient Greece to the present day. However, modern interpretations of ancient Greek epics also portray new/ altered constructs of values in their creation of heroes, such as equality. The topics of fate, mortality, and religion in the epics are reviewed and debated. The character of Achilles, as to whether or not he is a true hero, is also subject to debate. Homer’s epic poems The Iliad and The Odyssey argue that heroes possess the qualities of pride, selflessness, glory, and bravery; both text and film adaptations of these original works exhibit the same characteristic of heroes, while the monsters of these ancient Greek epics represent the adverse, innate qualities that we flawed humans possess. Keywords Heroes, Homer, Iliad, Odyssey, Monsters This article is available in The Review: A Journal of Undergraduate Student Research: https://fisherpub.sjfc.edu/ur/ vol16/iss1/7 Nikolovska: The Natures of Monsters and Heroes The Natures of Monsters and Heroes Vanessa Nikolovska Abstract army and travel to Troy; the ensuing war Around the late eighth or early seventh results in many deaths and the fall of Troy. century B.C., a poet, known to later ages as Achilles, considered the greatest Greek Homer, composed two epic poems that tell warrior, fights for the Greek army. the tales of the Trojan War, The Iliad and However, Achilles is against Agamemnon’s The Odyssey. The Iliad tells the story of the rule, for he recognizes that Agamemnon is a rage of Achilles, the great Greek warrior, greedy king who cares only for himself. while The Odyssey tells the story of the One common theme throughout the coming home of Odysseus, the King of scholarship regarding Homer’s The Iliad and Ithaca, from the Trojan War. A study of The Odyssey is that characteristics of heroes both epics reveals that constructs portraying include selflessness, honor, glory, divinity various values, such as the characteristics of and that they are unique in comparison to heroes, have remained the same from the common people. In the article “The times of ancient Greece to the present day. Independent Heroes of The Iliad,” P.V. However, modern interpretations of ancient Jones writes that heroes in The Iliad are Greek epics also portray new/ altered portrayed as being on the same level as the constructs of values in their creation of gods. Jones argues, “the heroes in The Iliad heroes, such as equality. The topics of fate, never talk in terms of divine mystery and mortality, and religion in the epics are numinosity” (113). The scene of the epic reviewed and debated. The character of where Aphrodite rescues Paris from death at Achilles, as to whether or not he is a true the hands of Menelaus exemplifies this idea: hero, is also subject to debate. Homer’s epic “[Aphrodite] carries [Paris] off to deposit poems The Iliad and The Odyssey argue that him in Helen’s bedroom. Aphrodite then heroes possess the qualities of pride, summons Helen to join him. Menelaus selflessness, glory, and bravery; both text searches in vain for his vanished opponent” and film adaptations of these original works (Jones 111). Paris makes no response to this exhibit the same characteristic of heroes, supernatural event, because for heroes there while the monsters of these ancient Greek is nothing mysterious about the supernatural. epics represent the adverse, innate qualities The heroes take their miracles and good luck that we flawed humans possess. for granted. Jones also discusses ways in which heroes are unique in comparison to others. He states, “in Achilles, however, In the mythological story of the Homer chooses to create a character who Trojan War, Paris, the Prince of Troy, sparks has, through his mother, unique and the war by taking Helen of Sparta, the most privileged access to the will of Zeus and beautiful woman of the time, from King knows his fate from the very start of The Menelaus. Menelaus seeks assistance from Iliad,” supporting the claim that heroes are his brother, King Agamemnon of Mycenae, unique and set apart from regular people in order to exact revenge. Agamemnon (Jones 115). This is also seen in the modern helps his brother not out of love but out of a adaptation of The Iliad, 2004 film Troy, desire to acquire Troy and rule the city. directed by Wolfgang Petersen, when the They assemble a large Greek (Achaean) hero Achilles was set apart from the other Published by Fisher Digital Publications, 2015 1 The Review: A Journal of Undergraduate Student Research, Vol. 16 [2015], Art. 7 warriors during battle, making him appear through the trouble to create a mist to extend god-like while watching over the fight. over the body of Hector signifies that Hector During battle the death of warriors is was deserving of such protection after dying a common occurrence, but when heroes die, for fighting to protect his brother and his they are typically given more glorious city. deaths. In her article “Craft Similes and the The role of the gods is lessened in Construction of Heroes in The Iliad,” Naomi the lives of heroes compared to in the lives Rood argues that epic poetry portrays the of the common people. To what extent do hero’s death as beautiful because the heroes the myths allow heroes to shape their own die honorably fighting for their people. destiny? One example is the hero Achilles, Rood introduces many similes from the epic who was born knowing his fate, through his that illustrate “undying glory, kleos mother, and had access to the will of Zeus. aphthiton” of heroes (20). These similes Achilles thus already knew how his story serve as praise for the fallen heroes. would end, thereby allowing him to be more Examples include the similes of falling like independent of the gods since he already trees, which praise the Trojan heroes knew what would become of him. Later in Euphorbus, Imbrius, and Hector. Menelaus this paper it will be explained that Odysseus kills Euphorbus after Euphorbus inflicted is another example; he was able to redirect the first wound on Patroclus’ body fate, something thought capable only by the (Menelaus and Patroclus are Spartans/ gods, when he blinds Poseidon’s son, the Myrmidons, who were allies). Euphorbus Cyclops. However, he would continue to “is compared to a beautiful, blooming olive confront numerous challenges before sapling nurtured by a man in a well-watered ultimately prevailing. pasture...But then a sudden tempest uproots The death of Imbrius, a Trojan ally and lays it low on the Earth” (Rood 25). married to King Priam of Troy’s daughter, is Euphorbus is evidently praised as a also likened to the simile of a fallen tree. flourishing, beautiful youth while losing his “He falls like an ash tree which is cut down life in battle. on the peak of a mountain seen from afar on Hector is also praised as a hero all sides and whose tender leaves fall to the through similes. Hector is Paris’ brother; ground” (Rood 25). The fact that the tree is they are both princes of Troy. Ajax, a Greek seen on a distant, prominent mountain top warrior, throws a rock at Hector, causing matches Imbrius’ prominent honor at Troy. him to fall “like an oak tree uprooted by a The “tender leaves” symbolize the fragility blow from Zeus” (Rood 25). Homer of young, mortal life and the beautiful death compares Hector to an oak tree that requires that compensates for that lost life (Rood 25). a blow from Zeus to make it fall, praising The death of Imbrius is beautiful because he his strength, which is another common died defending Troy, which was the highest characteristic of heroes. Jonathan Fenno’s honor for a warrior. article “The Mist Shed by Zeus in Iliad Great pride, notable achievements, Xvii” makes note of the mist the sun god, and high honor are synonymous to glory. Apollo, extends over the deceased Hector, When one thinks of heroes from the ancient which functions to prevent the corpse’s epics, one most likely thinks of a glorious, degradation. This illustrates that since a god selfless fighter who would die for his is doing something to honor the corpse of a people.
Load more

Recommended publications
  • PLATO's SYMPOSIUM J
    50 ccn~ PLATO'S SYMPOSIUM j - - -- ________j e Library of Liberal Arts PLATO'S SYMPOSIUM Tran lated by BENJAMIN JOWETT With an Introduction by FULTON H. ANDERSON Professor of Philosophy, University of Toronto THE LIBERAL ARTS PRESS NEW YORK CONTENTS SELECTED BIBLIOGRAPHY .. .... ................................... ......... ... ........... 6 EDITOR'S INTRODUCTION ................... ............................................. 7 SYMPOSIUM APOLLODORUS 13 THE SPEECH OF PHAEDRUS ...... .......................... .......................... .. 19 THE SPEECH OF PAU ANIAS ................. ... ................................. ... .. 21 THE SPEECH OF ERYXIMACHUS 27 THE SPEECH OF ARISTOPHAN E .. ............................... .................. 30 THE SPEECH OF AGATHON ............ .............................................. .. 35 THE SPEECH OF SocRATES ................................ .. ................... ..... .. 39 THE SPEECH OF ALCIBIADES ................. ............... ... ........... ...... .... .. 55 8 PLATO INTROD CTION 9 crescendo, and culminates in the report by Socrates on wi dom and epistemology, upon all of which the Symposium ha bearing, learned from the "wi e" woman Diotima. are intertwined, we m ay set down briefly a few of the more general The dialogue i a "reported" one. Plato himself could not have principles which are to be found in it author's many-sided thought. been present at the original party. (What went on there was told The human soul, a cording to Plato, is es entially in motion. time and time again about Athens.) He was a mere boy when it It is li fe and the integration of living functions. A dead soul is a con­ took place. Nor could the narrator Apollodorus have been a guest; _lladiction in terms. Man throughout his whole nature is erotically he was too young at the time. The latter got his report from motivated. His "love" or desire i manifest in three mutually in­ Aristodemus, a guest at the banquet.
    [Show full text]
  • HEROES and HERO WORSHIP.—Carlyle
    z 2 J51 ^ 3 05 i 1 m Copyright, 1899, by Henry Altemus. Heroes and j ^ 'Hero Worship i CARLYLE ii i i]i8ijitimMin'iiwMM» i i jw [.TfciBBST,inrawn ^^ TttO/nAS Carlylc MERGES AND riERO WORSHIP #1^ ON HEROES, HERO-WORSHIP, AND THE HEROIC IN HISTORY. LECTURE I. THE HERO AS DIVINITY. ODIN. PAGANISM : SCAN^ DINAVIAN MYTHOLOGY. We have undertaken to discourse here for a little on Great Men, their manner of appearance in our world's business, how they have shaped themselves in the world's history, what ideas, men formed of them, what work they did ; —on Heroes, namely, and on their reception- and per- formance ; what I call Hero-worship and the Heroic in human affairs. Too evidently this is a large topic ; deserving quite other treatment than we can expect to give it at present. A large topic ; indeed, an illimitable one ; wide as Universal History itself. For, as I take it. Uni- versal History, the history of what man has- accomplished in this world, is at bottom the His- ! 6 Xecturcs on Ibcroes, tory of the Great Men who have worked here. They were the leaders of men, these great ones ; the modellers, patterns, and in a wide sense creators, of whatsoever the general mass of men contrived to do or to attain •, all things that we see standing accomplished in the world are properly the outer material result, the practical realization and embodiment, of Thoughts that dwelt in the Great Men sent into the world : the soul of the whole world's history, it may justly be considered, were the history of these.
    [Show full text]
  • Intertextuality in James Joyce's Ulysses
    Intertextuality in James Joyce's Ulysses Assistant Teacher Haider Ghazi Jassim AL_Jaberi AL.Musawi University of Babylon College of Education Dept. of English Language and Literature [email protected] Abstract Technically accounting, Intertextuality designates the interdependence of a literary text on any literary one in structure, themes, imagery and so forth. As a matter of fact, the term is first coined by Julia Kristeva in 1966 whose contention was that a literary text is not an isolated entity but is made up of a mosaic of quotations, and that any text is the " absorption, and transformation of another"1.She defies traditional notions of the literary influence, saying that Intertextuality denotes a transposition of one or several sign systems into another or others. Transposition is a Freudian term, and Kristeva is pointing not merely to the way texts echo each other but to the way that discourses or sign systems are transposed into one another-so that meanings in one kind of discourses are heaped with meanings from another kind of discourse. It is a kind of "new articulation2". For kriszreve the idea is a part of a wider psychoanalytical theory which questions the stability of the subject, and her views about Intertextuality are very different from those of Roland North and others3. Besides, the term "Intertextuality" describes the reception process whereby in the mind of the reader texts already inculcated interact with the text currently being skimmed. Modern writers such as Canadian satirist W. P. Kinsella in The Grecian Urn4 and playwright Ann-Marie MacDonald in Goodnight Desdemona (Good Morning Juliet) have learned how to manipulate this phenomenon by deliberately and continually alluding to previous literary works well known to educated readers, namely John Keats's Ode on a Grecian Urn, and Shakespeare's tragedies Romeo and Juliet and Othello respectively.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
    Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia).
    [Show full text]
  • 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.
    [Show full text]
  • Table Talk Transcript June 17, 2021
    School Lunch Tray Table Talk Transcript: June 17, 2021 Presenters: Speaker 1 – Shannon Yearwood, Speaker 2 – Susan Alston, Speaker 3 – Susan Fiore, Speaker 4 – Fionnuala Brown, Speaker 5 – Monica Pacheco Speaker 6 – Andy Paul, Speaker 7 – Teri Dandeneau, Sean Fogarty, Hostess – Michelle Rosado 0:03 Speaker 1 - Hi, and welcome to our last School Lunch Tray Table Talk for the School Year 2021. I’m Shannon Yearwood, the Education Manager with the Child Nutrition Programs at the Connecticut State Department of Education. 0:17 Joining me today is who I like to refer to as “Team Awesome,” because you have probably the best state administrators that any State could ask for, and they are right here as a resource for you to tap into. You know these are very strange times and just because this is the end of the Table Talk for this school year does not mean we are going anywhere. So certainly keep reaching out to us with your questions. 0:40 Um you guys know who your contacts are out there, who's on our team, so thank you so much for joining us. 0:45 Uh keep in mind, these at this will act as an open office hours, so certainly ask us your questions, type those into the box. We might run out of time, we have a packed agenda today, um and so that will help us be able to follow up with you. Or potentially develop some more resources that we know that that's some information that is good for the entire state, so thank you again for joining us, um and keep in mind these are recorded.
    [Show full text]
  • Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
    Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos.
    [Show full text]
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Study Questions Helen of Troycomp
    Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city.
    [Show full text]
  • Book Xiii Neil Hopkinson
    OVID BOOK XIII edited by NEIL HOPKINSON Fellow of Trinity College, Cambridge ab published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru, UK www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011±4211, USA www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in 10/12 Baskerville and New Hellenic Greek [ao] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Ovid, 43 bc±ad 17 or 18 [Metamorphoses. Liber 13] Metamorphoses. Book xiii /Ovid;editedbyNeilHopkinson. p. cm. ± (Cambridge Greek and Latin classics) Text in Latin; introduction and commentary in English. Includes bibliographical references and index. isbn 0 521 55421 7 (hardback) isbn 0 521 55620 1 (paperback) 1. Mythology, Classical ± Poetry. 2. Metamorphosis ± Poetry. i.Hopkinson, N. ii.Title.iii. Series. pa6519.m6 a13 2000 8730.01±dc21 99-087439 isbn 0 521 55421 7 hardback isbn 0 521 55620 1 paperback CONTENTS Preface page vii Map viii±ix Introduction 1 1 Metamorphosis 1 2 Structure and themes 6 3 Lines 1±398: the Judgement of Arms 9 4 Lines 408±571: Hecuba 22 5 Lines 576±622: Memnon 27 6 Lines 632±704: Anius and his daughters 29 7 Lines 13.730±14.222: Acis, Galatea and Polyphemus; Scylla, Glaucus and Circe 34 The text and apparatus criticus 44 P.
    [Show full text]