Honor & Glory in the Iliad: Life After Death
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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. -
Essay 2 Sample Responses
Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant. -
AGAMEMNON PROLOGUE: Lines 1-39
AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit. -
Miscellanea Paris/Alexandros in Homer
MISCELLANEA PARIS/ALEXANDROS IN HOMER AND EURIPIDES The origins of the two names used by Homer for Paris/Alexandros (henceforth 'P/A') have been much discussed by scholars'). The purpose of the present article is not to contribute to the debate about the origins of the two names, but to investigate whether there is any difference in their significance either in Homer or in Euripides. I. J. F. de Jong has argued in a recent issue of this journal that, in the Iliad, Homer consistently uses 'Paris' as P/A's Trojan name and 'Alexan- dros' as his international name2). She writes: "the Greeks and the gods call P/A 'Alexandros', the Trojans 'Paris', except when they are address- ing Greeks. In the narrator text, we find 'Alexandros' when a Greek or divine point of view, 'Paris' when a Trojan point of view is represented. Speaking from his own point of view the narrator mainly uses 'Alexan- dros', but occasionally turns to 'Paris' when he wishes to draw attention to some particular aspect of his character: his Trojan nationality, his per- sonal point of view or his position as son of Priamos"3). The facts are as follows. The name 'Alexandros' is used 45 times altogether in the Iliad, 19 times in direct speech. 'Paris' is used 11 times, twice in direct speech. The compound 'Dusparis' is used twice, both times in direct speech. In direct speech, 'Alexandros' is used ten times by Greeks, six times by Trojans, and three times by gods. All four uses of 'Paris' (including 'Dusparis') in direct speech are by Hector (3.39; 6.280; 13.769; 22.359). -
Ransom Is a Story of Vengeance Clashing with Grief.’ Discuss
‘Ransom is a story of vengeance clashing with grief.’ Discuss. In his lyrical novel, Ransom, David Malouf reimagines the final book of The Iliad, and in doing so, highlights the futility of countering grief with vengeance. He asserts the pointlessness of such vengeful actions, examines the role of the ‘rough world of men’ in creating it, and notes its cyclic nature, leaving many readers disheartened. However, Malouf also demonstrates how grief can be overcome with honourable actions. Malouf demonstrates to readers the uselessness of trying to assuage grief with acts of revenge. He introduces this concept right from the outset of the novel through his characterisation of Achilles. Malouf moves away from the traditional portrayal of Achilles as the most formidable of the Greeks and instead describes him as hollow and like a dead man. This new perspective of Achilles depicts him as lacking balance and feeling trapped in a clogging grey web due to his grief over the death of his soulmate Patroclus. Once Malouf describes Achilles’ barbaric actions in dragging around the corpse of Patroclus’ killer, Hector, it becomes clear to readers that Achilles is attempting to assuage his grief with violence and brutal, callous actions. Malouf uses imagery to depict Achilles as already dead himself as he continues to desecrate Hector’s body, by describing him as caked with dust like a man who has walked out of his grave. Thus, Malouf asserts how Achilles’ act of revenge has only wasted his spirit and left him feeling that it was never enough; being unable to overcome his pain at the loss of his friend. -
1 Achilles and Patroclus in the Trojan War: an Introductory Case Study
Cambridge University Press 978-0-521-89582-8 - Interpreting the Images of Greek Myths: An Introduction Klaus Junker Excerpt More information 1 Achilles and Patroclus in the Trojan War: An introductory case study From early times, the use of the bow and arrow formed a part of Greek military practice, as a dangerous long-range weapon. If the arrow had not struck an immediately fatal blow, it could still be the cause of insidious wounds. If the arrowhead had become completely embedded in the body and perhaps, in the heat of the battle, broken off from the shaft, then the removal of the metal would cause acute pain and, in certain circumstances, cause further damage to the tissues surrounding the wound. In the detailed battle descriptions of the Iliad, wounds caused by arrows are mentioned on various occasions. When the Greek Menelaus has just been struck by an arrow, his initial fear gives way to relief that the binding, which attaches the arrowhead to the shaft, is still visible (4, 150–1): the wound cannot be deep and the damage is therefore slight. So too in the picture that will now be used as a test case for interpretation (Fig. 1), the warrior has been lucky in his misfortune. The arrow portrayed in beautiful detail in the left foreground, so as to put the cause of the wound in his arm beyond all doubt, is still complete and, at the most, slightly bent at the tip, unless the small irregularity in the drawing is unintentional. Yet the abrupt turn away of the head and the open mouth, with the teeth visible and coated in added white, convey something of the pain that the man feels, as his comrade-in-arms applies the bandage to his arm. -
A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College
Bridgewater Review Volume 2 | Issue 2 Article 13 Mar-1984 Research Note: A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College Recommended Citation Stanton, Judith (1984). Research Note: A New Perspective on Revenge and Justice in Homer. Bridgewater Review, 2(2), 26-27. Available at: http://vc.bridgew.edu/br_rev/vol2/iss2/13 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Cultural Commentary Continued table for more moves, brings it out a third RESEARCH NOTE time for a last look and then manipulates it for the last time under the table, finally achieving cubical perfection. A New Perspective on Revenge Is this game playing spirit, native to all of us, at the heart of mathematics? Is and Justice in Homer Judith Stanton mathematics a sort of game, albeit with Assistant Professor of English serious applications? I think that it is. I am reminded of Jacob Bronowski who Most of us are aware that our idea of considers this question in his beautiful work, justice comes largely from Ancient Greece. so optimistic for mankind, The Ascent of But we might be surprised at how old Greek Man. At one point Bronowski is explaining justice really is. Classical Athens (490·323 symmetry in nature and art. He takes us to B.C.), to which we owe much of our the Alhambra, where in the baths of the understanding of justice, was itself heir to a harem we see motifs of "wind-swept" system of revenge justice that was older still triangles in perfect hexagonal collaboration -- perhaps as old as Hie Mycenaean period filling the walls. -
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. -
Homer and Greek Epic
HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) • The Iliad, Books 23-24 • Overview of The Iliad, Books 23-24 • Analysis of Book 24: The Death-Journey of Priam •Grammar 4: Review of Parts of Speech: Nouns, Verbs, Adjectives, Adverbs, Pronouns, Prepositions and Conjunctions HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 23 • Achilles holds funeral games in honor of Patroclus • these games serve to reunite the Greeks and restore their sense of camaraderie • but the Greeks and Trojans are still at odds • Achilles still refuses to return Hector’s corpse to his family HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles’ anger is as yet unresolved • the gods decide he must return Hector’s body • Zeus sends Thetis to tell him to inform him of their decision • she finds Achilles sulking in his tent and he agrees to accept ransom for Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • the gods also send a messenger to Priam and tell him to take many expensive goods to Achilles as a ransom for Hector’s body • he sneaks into the Greek camp and meets with Achilles • Achilles accepts Priam’s offer of ransom and gives him Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles and Priam arrange an eleven-day moratorium on fighting -
Ilias Bulaid
Ilias Bulaid Ilias Bulaid (born May 1, 1995 in Den Bosch, Netherlands) is a featherweight Ilias Bulaid Moroccan-Dutch kickboxer. Ilias was the 2016 65 kg K-1 World Tournament Runner-Up and is the current Enfusion 67 kg World Champion.[1] Born 1 May 1995 Den Bosch, As of 1 November 2018, he is ranked the #9 featherweight in the world by Netherlands [2] Combat Press. Other The Blade names Titles Nationality Dutch Moroccan 2016 K-1 World GP 2016 -65kg World Tournament Runner-Up[3] 2014 Enfusion World Champion 67 kg[4] (Three defenses; Current) Height 178 cm (5 ft 10 in) Weight 65.0 kg (143.3 lb; Professional kickboxing record 10.24 st) Division Featherweight Style Kickboxing Stance Orthodox Fighting Amsterdam, out of Netherlands Team El Otmani Gym Professional Kickboxing Record Date Result Opponent Event Location Method Round Time KO (Straight 2019- Wei Win Wu Linfeng China Right to the 3 1:11 06-29 Ninghui Body) 2018- Youssef El Decision Win Enfusion Live 70 Belgium 3 3:00 09-15 Haji (Unanimous) 2018- Hassan Wu Linfeng -67KG Loss China Decision (Split) 3 3:00 03-03 Toy Tournament Final Wu Linfeng -67KG 2018- Decision Win Xie Lei Tournament Semi China 3 3:00 03-03 (Unanimous) Finals Kunlun Fight 67 - 2017- 66kg World Sanya, Decision Win 3 3:00 11-12 Petchtanong Championship, China (Unanimous) Banchamek Quarter Finals Despite winning fight, had to withdraw from tournament due to injury. Kunlun Fight 65 - 2017- Jordan Kunlun Fight 16 Qingdao, KO (Left Body Win 1 2:25 08-27 Kranio Man Tournament China Hook) 67 kg- Final 16 KO (Spinning 2017- Manaowan Hoofddorp, Win Fight League 6 Back Kick to The 1 1:30 05-13 Netherlands Sitsongpeenong Body) 2017- Zakaria Eindhoven, Win Enfusion Live 46 Decision 5 3:00 02-18 Zouggary[5] Netherlands Defends the Enfusion -67 kg Championship. -
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. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the ANCIENT OLYMPIC GAMES AS POPULAR ENTERTAINMENT a Thesis Submitted in Partial Satisfa
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE ANCIENT OLYMPIC GAMES \\ AS POPULAR ENTERTAINMENT A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre by Jay Ross Waddill _-· June, 1980 The Thesis of Jay Ross Waddill is approved: Albert R. Baca Heinrich R. Falk, Chairman California State University, California ii I would like to thank Dr. Heinrich R. Falk for his invaluable advice and assistance throughout the preparation of the thesis and also his supportive enthusiasm and pa tience. iii ,.. TABLE OF CONTENTS PAGE ABSTRACT vi CHAPTER I INTRODUCTION 1 CHAPTER II ATHLETICS AND GREEK SOCIETY 6 Greek Ideal 6 The Polis and Panhellenism 8 Athletics and Everyday Life 13 CHAPTER III ATHLETICS AND RELIGION 22 Athletics and Funeral Ritual 24 Festivals 26 The Rustic Dionysia 30 The Greater Dionysia 31 The Greater Panathenaia 32 CHAPTER IV THE OLYMPIC GAMES 38 Origin of the Olympic Festival 39 History ~nd Description of the Olympic Festival 46 CHAPTER V POPULAR ENTERTAINMENT AND THE OLYMPIC GAM.ES 58 Popular Entertainment 58 iv PAGE 'l'he Athlete/Performer 61 ·~pectators/Audience_ 70 · Events/Perfo:rmance 77 CHAPTER VI CONCLUSION 88 NOTES 96 BIBLIOGRAPHY 108 v ABSTRACT 'I'HE ANCIENT OLYMPIC GAl-lES AS POPULAR EN'rERTAINMENT by Jay Ross Waddill Master of Arts in Theatre Many aspects of ancient Greek culture have influenced the development of Western civilization. None of these was more important to the ancient Greeks than t.he Olympic Games. Historians have suggested that the Olympic festi val may possibly have had its origins in a religious ritual, the funerary commemoration of a local hero, a new year's celebration, or an expression of military prowess and readiness.