Solon in Herodotus
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Herodotus' Conception of Foreign Languages
Histos () - HERODOTUS’ CONCEPTION OF FOREIGN LANGUAGES * Introduction In one of the most famous passages in his Histories , Herodotus has the Athe- nians give the reasons why they would never betray Greece (..): first and foremost, the images and temples of the gods, burnt and requiring vengeance, and then ‘the Greek thing’, being of the same blood and the same language, having common shrines and sacrifices and the same way of life. With race or blood, and with religious cult, language appears as one of the chief determinants of Greek identity. This impression is confirmed in Herodotus’ accounts of foreign peoples: language is—with religious customs, dress, hairstyles, sexual habits—one of the key items on Herodotus’ checklist of similarities and differences with foreign peoples. That language was an important element of what, to a Greek, it meant to be a Greek, should not perhaps be thought surprising. As is well known, the Greeks called non- Greeks βάρβαροι , a term usually taken to refer pejoratively to the babble of * This paper has been delivered in a number of different versions at St. Andrews, Newcastle, and at the Classical Association AGM. I should like to express my thanks to all those who took part in the subsequent discussions, and especially to Robert Fowler, Alan Griffiths, Robert Parker, Anna Morpurgo Davies and Stephanie West for their ex- tremely valuable comments on written drafts, to Hubert Petersmann for kindly sending me offprints of his publications, to Adrian Gratwick for his expert advice on a point of detail, and to David Colclough and Lucinda Platt for the repeated hospitality which al- lowed me to undertake the bulk of the research. -
The Roles of Solon in Plato's Dialogues
The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought. -
Handout 2008 for Dialogue 20
Dialogue 20 The hero as mirror of men’s and women’s experiences. Key word: telos ‘coming full circle, rounding out, fulfillment, completion, ending, end; successfully passing through an ordeal; ritual, rite’. To be linked with another key word, athlos (aethlos) ‘contest, ordeal; competition’; derivative word: athlētēs ‘athlete’; related concepts are agōn ‘contest, ordeal; competition’ and ponos ‘pain’ [sharp, shooting pain] and kamatos ‘pain’ [dull, aching pain]. Note the beginning of the Hippolytus. At line 32, there is a reference to a sacred space in Athens where Aphroditē epi hippolutōi ‘Our Lady of Horses Unbridled’ is worshipped; this name contains the imagery of chariot-driving. Experiences that are ingredients for coming of age, initiation, rite of passage men’s experiences: song and dance, marriage; athletics; hunting, war women’s experiences: song and dance, marriage; athletics [mostly running]; menstruation, childbirth The underlinings indicate asymmetry from a modern point of view but symmetry from an ancient point of view. A) Euripides Hippolytus 73-87: For you, goddess, I bring this woven garland, culled from a virgin meadow, where it is not fit for the shepherd to pasture his flocks, nor has iron yet come there, but unspoiled still in springtime the bees fly through this meadow. Aidōs tends it with pure river water, and those who by their nature always use moderation [sōphrosunē] in all things, instead of having learned it, they can pick flowers, but it is not lawful [themis] for the kakos. Philē mistress, for your golden locks accept this headband from my reverent hand. I alone among mortals have this privilege: I keep company with you and make conversation, hearing your voice although not seeing your face. -
Ancient History Sourcebook: 11Th Brittanica: Sparta SPARTA an Ancient City in Greece, the Capital of Laconia and the Most Powerful State of the Peloponnese
Ancient History Sourcebook: 11th Brittanica: Sparta SPARTA AN ancient city in Greece, the capital of Laconia and the most powerful state of the Peloponnese. The city lay at the northern end of the central Laconian plain, on the right bank of the river Eurotas, a little south of the point where it is joined by its largest tributary, the Oenus (mount Kelefina). The site is admirably fitted by nature to guard the only routes by which an army can penetrate Laconia from the land side, the Oenus and Eurotas valleys leading from Arcadia, its northern neighbour, and the Langada Pass over Mt Taygetus connecting Laconia and Messenia. At the same time its distance from the sea-Sparta is 27 m. from its seaport, Gythium, made it invulnerable to a maritime attack. I.-HISTORY Prehistoric Period.-Tradition relates that Sparta was founded by Lacedaemon, son of Zeus and Taygete, who called the city after the name of his wife, the daughter of Eurotas. But Amyclae and Therapne (Therapnae) seem to have been in early times of greater importance than Sparta, the former a Minyan foundation a few miles to the south of Sparta, the latter probably the Achaean capital of Laconia and the seat of Menelaus, Agamemnon's younger brother. Eighty years after the Trojan War, according to the traditional chronology, the Dorian migration took place. A band of Dorians united with a body of Aetolians to cross the Corinthian Gulf and invade the Peloponnese from the northwest. The Aetolians settled in Elis, the Dorians pushed up to the headwaters of the Alpheus, where they divided into two forces, one of which under Cresphontes invaded and later subdued Messenia, while the other, led by Aristodemus or, according to another version, by his twin sons Eurysthenes and Procles, made its way down the Eurotas were new settlements were formed and gained Sparta, which became the Dorian capital of Laconia. -
Taking Sides: the Political Economy of Solon's Law for Civil Wars*
Taking sides: The Political Economy of Solon’s Law for Civil Wars* Soeren C. Schwuchow**, Brandenburg University of Technology, Germany George Tridimas***, Ulster University, Northern Ireland This version: 18 June 2019 Abstract In 594 BCE the Athenian statesman Solon defused a grave social crisis by introducing wide- ranging constitutional, political and economic reforms which granted various rights to a nas- cent ‘middle class’ and reduced the power of the wealthy birth aristocracy. Solon’s reforms included a law which perhaps counter-intuitively banned citizens from staying neutral in cas- es of civil conflict. After reviewing aspects of the law against neutrality debated by historians, the present paper employs the methodology of the economics of conflict to investigate the implications of the law for the stability of the constitutional order initiated by Solon. We ex- amine a stylised model of three social classes, Rich, Middle and Poor, where the former two compete for control of the government, and the Poor may decide to stay neutral or side with either the Middle or the Rich. By solving the model we identify conditions for the Rich to ac- cept the Solonian order or reject it and mount a coup. Key words: Ancient Athens; Solon; social conflict; neutrality; social stability; constitution- al choice. JEL Classification: D7: Analysis of Collective Decision making; D72: Political Processes D74: Conflict; Conflict Resolution; Alliances; N4: Economic History– Government; N93 - Europe: Pre-1913 Regional and Urban History * Paper in early stage of progress, preliminary and incomplete. Please do not circulate. ** Soeren C. Schwuchow (corresponding author), Brandenburg University of Technology, Cottbus-Senftenberg, Chair of Microeconomics, P.O. -
Oracles and Greek Mentalities: the Mantic Confirmation of Mantic Revelations
ORACLES AND GREEK MENTALITIES: THE MANTIC CONFIRMATION OF MANTIC REVELATIONS Pierre Bonnechere The average Greek had a sense of divine intervention in human affairs.1 Day-to-day worries were one thing; faced with anything else, he soon found himself lost in a forest of symbols, whose meaning he had to decode if he were to hope to act rationally. A sign is ambiguous by defini- tion, however, and always hazardous to interpret; his best strategy would be to follow the greatest concentration of symbols and potentially telling mantic clues. And if ever these signs did not accumulate naturally, there were always means of soliciting them. Hence the universal preference for composite mantic enquiries: among the Azanda in s Sudan, each oracle obtained ‘by poison’ demanded a counter-test to be credible.2 The Hittites, likewise, could verify ominous dreams with such deductive orac- ular procedures as ornithomancy and hepatoscopy.3 For the Greek world, the example of Croesus would immediately spring to mind. Wishing to invade Persia, he sought the sanction of the gods, and to test the reliability of each one, he sent to the Greek oracles as many envoys, all charged with asking the same question, at the same 1 This article is part of a vast research project, funded by the Social Sciences and Humanities Research Council of Canada, whose ultimate goal is to replace A. Bouché- Leclercq, Histoire de la divination dans l’Antiquité, vols. (Paris: Leroux, –). I am delighted to participate in the medley offered to Jan Bremmer, a scholar whom I have long admired and now count among my friends. -
Herakleitos (121.6Kb)
The Reign of the Whirlwind 122 Chapter 7 Herakleitos ----------- 1. Life and book We have very little reliable information about the life of Herakleitos son of Bloson, of Ephesos. It is clear from the biographical accounts that survive, that the Alexandrian scholars could find little, even though they were not fussy about reliability. They made up anecdotes to fit some of the more striking sayings of this paradox-loving writer; and as a result, “Herakleitos the Dark” became even more obscure. We have to guess, first, at his dates. He knows something about Pythagoras and Xenophanes; and Parmenides seems to know something about him. We can hazard the conjecture that his book was written by 500 BCE (when Xenophanes had still the last quarter of his long life to live, and Pythagoras was in his last years). This would make 545 BCE a reasonable guess for his birth date. He probably died before 480.i Herakleitos belonged to the ancient royal clan of Ephesos. He is said to have deposited his book in the great temple of Artemis for which his native city was famous (22 A 1).ii We can fairly suppose that it was in his eyes the worthy trophy of a greater victory than any triumph in arms. Whether he was actually melancholic (“the weeping philosopher” as he came to be called)iii we cannot say. He was certainly both an angry man, and an intellectual aristocrat. There are some The Reign of the Whirlwind 123 “sayings” of his that were not in the book. In one plausible story, he “upbraids the Ephesians . -
© in This Web Service Cambridge University
Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H. A. Shapiro Index More information Index S Abdera, 43 agora, 46–48, 147, 204, 212, 213 Abydos, 208 Agylla/Caere, 226 Achaeans/Achaians, 48, 50, 51, 52, 57, Aiakos, 234 74, 112, 113, 118, 120, 123, 202, 207 Aigai, 51 Achaia, 49, 51, 56, 57 Aigeira, 51 Achilles, 103, 111, 112, 113, 114, 118, 119, Aigialeis, 56 120, 121, 122, 126, 268–269, 278 Aigila, 79 Acropolis. See Athens Aigimios. See Dorians Adrastus, 153 Aigina, 77 Aeaces I, tyrant of Samos, 34 Aineias Taktikos, 70 Aeaces II, son of Syloson, 34 Aischines, 50 Aeacids, 32, 34 Aisymnetes, 34 Aeantides, son of Hippocles, 30 Aitnissai. See Aeschylus Aelian, 166 Aitolia, 49, 50, 52 Aeneas, 66 Aitolians, 49, 50, 51 Aeolians, 23 Ajax, 120, 123, 268–269, 278 Aeolic dialect, 113 Akarnania, 49, 50 Aeolus, 216 Akragas, 207, 218, 220 Aeschines/Aiskhines, tyrant of Sicyon, Akrai, 207, 216 24, 243, 244 Al Mina, 203 Aeschylus, 242 Alcaeus/Alkaios of Mytilene, 16–17, 32, Aitnissai, 220 47, 67, 141, 142, 143, 147, 149–150 , Eumenides, 132 152 , 158 , 159 , 160, 162 Aethiopis. See Epic Cycle Alcidamas, poet. See Aetnans, 237 Alcinous, 113, 127 Africa, 207, 210, 211 Alcman of Sparta, 6, 94–95, 147 agalmata, 241 Alcmeonids/Alkmaionids, 29, 30, 31 , 33, Agamemnon, 48, 114, 119, 122–123, 247–251 125–126, 242 Alcock, Susan E., 77 Agariste, daughter of Cleisthenes, 22 Alexander the Great, 3, 6, 222 Agasicles of Halicarnassus, 232, 242, 248 Alexandros. See Paris Agasicles, tyrant of Halicarnassus, 232 Alkmaion, 233 agathoi, 48 Alkmaionides, 233–235, 237, 239, 247 agelai, 90–92, 97 Amaltheia, 236 agoge, 90 Amasis, pharaoh, 247 agonal warfare, 76–77 Ampheia, 77, 78 287 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H. -
Ebook Download Greek Art 1St Edition
GREEK ART 1ST EDITION PDF, EPUB, EBOOK Nigel Spivey | 9780714833682 | | | | | Greek Art 1st edition PDF Book No Date pp. Fresco of an ancient Macedonian soldier thorakitai wearing chainmail armor and bearing a thureos shield, 3rd century BC. This work is a splendid survey of all the significant artistic monuments of the Greek world that have come down to us. They sometimes had a second story, but very rarely basements. Inscription to ffep, else clean and bright, inside and out. The Erechtheum , next to the Parthenon, however, is Ionic. Well into the 19th century, the classical tradition derived from Greece dominated the art of the western world. The Moschophoros or calf-bearer, c. Red-figure vases slowly replaced the black-figure style. Some of the best surviving Hellenistic buildings, such as the Library of Celsus , can be seen in Turkey , at cities such as Ephesus and Pergamum. The Distaff Side: Representing…. Chryselephantine Statuary in the Ancient Mediterranean World. The Greeks were quick to challenge Publishers, New York He and other potters around his time began to introduce very stylised silhouette figures of humans and animals, especially horses. Add to Basket Used Hardcover Condition: g to vg. The paint was frequently limited to parts depicting clothing, hair, and so on, with the skin left in the natural color of the stone or bronze, but it could also cover sculptures in their totality; female skin in marble tended to be uncoloured, while male skin might be a light brown. After about BC, figures, such as these, both male and female, wore the so-called archaic smile. -
From Sacrilege to Violence
From Sacrilege to Violence The Rape of Cassandra on Attic Vases c. 575-400 BCE by Janke du Preez Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Samantha Masters March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2020 Copyright © 2020 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract The Sack of Troy or Ilioupersis, is a lost epic of ancient Greek literature which tells of the violent and ruthless Greeks that pillaged the city of Troy. It was a prevalent theme in ancient Attic art, and in the fifth century BCE evolved onto the platform of Athenian drama. The Rape of Cassandra episode is one of the most recurring scenes in Attic vase-painting. The iconography, however, dramatically changes between 575-400 BCE. Both Archaic black-figure and Classical red-figure examples show Cassandra, in a vulnerable position, being attacked by Ajax. However, there are significant differences between the iconography of scenes from these two periods. In Archaic black-figure vase-painting the figure of Cassandra appears small, insignificant and in some instances completely hidden from view as she is obscured by the huge shield of Athena. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
On April 20Th, Dr. Anja Slaw
“How fast does a city recover from destruction? A new view of the creation of the Severe Style” On April 20th, Dr. Anja Slawisch, a research fellow at University of Cambridge, presented her careful reconsideration of the transition from Archaic period to Classical period in art, especially in sculpture. I will first give some historical background and conventional understanding of this transition, and then elaborate on her argument. Conventionally, the sack of Athens during the Persian War in 480 BCE spurred the artistic development from austere Archaic style (see statues of Kleobis and Biton below1) to the Severe Style (see Harmodius and Aristogeiton, the tyrannicides2), and hence marks the transition from Archaic period into Classical period in art. The most important feature that sets severe style apart from the Archaic is a more naturalistic depiction of the human anatomy. For statues of the tyrannicides, the human bodies were made as an organic system - their pelves shift according to their stances, as opposed to the awkward posture of Kleobis and Biton. In this widely-accepted narrative, the destruction of Athens, heavily influencing the psyche of Athenians, stimulated these stark changes and inventions in artistic style. As a consequence, 480 BCE became a reference point for archaeologists in dating these statues according to their features. Statues of Kleobis and Biton Harmodius and Aristogeiton 1 Statues of Kleobis and Biton (identified by inscriptions on the base) dedicated to Delphi by the city of Argos, signed by [Poly?]medes of Argos. Marble, ca. 580 BC. H. 1.97 m (6 ft. 5 ½ in.), after restoration.