The Trojan War
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Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
A Sampling of Comments on Pindar Isthmian 8
A sampling of comments on Pindar Isthmian 8 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2017. A sampling of comments on Pindar Isthmian 8. Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/a-sampling-of- comments-on-pindar-isthmian-8/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40090724 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. -
On the Identification of King Memnon's Aithiopes in The
ON THE IDENTIFICATION OF KING MEMNON’S AITHIOPES IN THE EPIC OF AITHIOPIS OF THE TROJAN EPIC CYCLE Periklis Deligiannis The historicity of the legend of the Trojan War is rather still far from been verified, and whether this war actually took place, is still being intensively discussed among the scholars’ cycles. Those who accept the historicity of this legend have at times attempted to equate peoples, tribes and states which are mentioned by the epic poems of the so-called “Trojan Epic Cycle” with peoples, tribes and states of later historical periods. The Iliad gives us a description of the hypothetical military operations under the walls of Troy, but does not inform us about the continuation and the end of the war. Other poems and sources of the "Trojan cycle" inform us about the latter: the epic poem Aithiopis quotes that after Hector’s death, the Amazons with their queen Penthesilea came to reinforce the Trojans. Aithiopis (Αιθιοπίς, in Latin: Aithiopis) is an epic of the ancient Greek literature which is lost but some important fragments of it survived in the works of other ancient authors. It was an epic poem of the aforementioned Epic Cycle concerning the Trojan War: this cycle narrates the entire history of the Trojan War in epic verse. Aithiopis comes chronologically immediately after the Homeric Iliad, and is followed by the story of the Little Iliad. The Aithiopis is sometimes attributed by ancient authors to Arctinos of Miletos. According to the story of the Aithiopis, Penthesilea was killed by Achilles and her army was defeated by the Achaeans. -
Susa and Memnon Through the Ages 15 4
Samuel Jordan Center for Persian Studies and Culture www.dabirjournal.org Digital Archive of Brief notes & Iran Review ISSN: 2470-4040 Vol.01 No.04.2017 1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s fire temple, 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370 Editor-in-Chief Touraj Daryaee (University of California, Irvine) Editors Parsa Daneshmand (Oxford University) Arash Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU) Book Review Editor Shervin Farridnejad (Freie Universität Berlin) Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen) Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents Articles & Notes 1. -
TRAUMA in EURIPIDES' HECUBA by Julia E. Paré
Falling on Deaf Ears: Trauma in Euripides' Hecuba Item Type text; Electronic Thesis Authors Pare, Julia Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:07:09 Link to Item http://hdl.handle.net/10150/641676 FALLING ON DEAF EARS: TRAUMA IN EURIPIDES’ HECUBA by Julia E. Paré ____________________________ Copyright © Julia Paré 2020 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfilment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN CLASSICS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by Julia E. Paré, titled “Falling on Deaf Ears: Trauma in Euripides’ Hecuba,” and recommend that it be accepted as fulfilling the dissertation requirement for the Master’s Degree. _________________________________________________________________ Date: ____________May 25, 2020 David Christenson _________________________________________________________________ Date: ____________May 25, 2020 Courtney Friesen _________________________________________________________________ Date: ____________May 25, 2020 Arum Park Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1. -
"Andromache As Maenadic Warrior" Sean Signore
"Andromache as Maenadic Warrior" Sean Signore SEAN SIGNORE ANDROMACHE AS MAENADIC WARRIOR In Book twenty-two line 460, Andromache rushes towards the walls of Troy: ὣς φαμένη μεγάροιο διέσσυτο μαινάδι ἴση So speaking, she rushed from the house, equal to a maenad1 What does the phrase μαινάδι ἴση mean in this context? Segal writes that “if μαινάδι means maenad and not simply mad woman (likely, but not absolutely certain), we would have another instance of Homer drawing upon a relatively unfamiliar realm of experience for an unusual degree of emotion.”2 I argue that a link arises from the adaptation of the warrior formula δαίμονι ἶσος to an expression tailored for Andromache. This phrase that only occurs once, μαινάδι ἴση, is adapted from an inherently masculine formula and made appropriate by Andromache's gender and grief. Through a formulaic3 comparison with δαίμονι ἶσος and an analysis of both the nominal form μαινάς and corresponding verb μαίνομαι within epic, μαινάδι ἴση, I argue, elevates Andromache to a divine status as great as a warrior who is δαίμονι ἶσος. In other words, she receives an aristeia within her cultural and gender-specific sphere of 1 All translations are mine. 2 Segal 1971, 47-48. 3 We begin with Parry’s original definition of the formula as “a word or group of words under the same metrical conditions that expresses an essential idea.” His definition has been refined by a number of critics, such as Hainsworth, Martin, and Russo. Martin adds the term paradigmatic to designate a formula that substitutes an isometric morpheme or “meaningful unit” for an element within the regular syntagmatic formula that is not semantically appropriate. -
List of Characters
Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information List of characters GHOST OF POLYDORUS son of Priam and Hecuba HECUBA widow of Priam, king of Troy CHORUS captured Trojan women, fellow slaves of Hecuba POLYXENA Hecuba’s daughter, a captured slave ODYSSEUS son of Laertes, lord of Ithaca, a prominent fighter at Troy TALTHYBIUS Greek herald SERVANT old Trojan woman, now a slave AGAMEMNON King of Argos/Mycenae, commander of the Greek army POLYMESTOR lord of the Thracian Chersonese 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information PROLOGUE (1–92) The Prologue is the part of a Greek play which preceded the entry of the Chorus. Some plays, especially those by Sophocles, begin with a dialogue. Euripides preferred, as here, to have a single character introduce himself or herself and explain the dramatic situation. Setting of the play The action takes place soon after the end of the Trojan War. See page vi and map, page vii. 3 Hades … Polydorus … Hecuba Hades is the god of the underworld. In classical ‘theology’, after the overthrow of Cronos and his fellow Titans power was shared between Zeus and his two brothers. Zeus became supreme ruler on Mount Olympus, Poseidon took control of the seas, and Hades ruled over the dead in the underworld. Polydorus, a ghost (see ‘Ghosts’, page 6) tells us (13–15) that he was too young to fight at Troy. In Homer’s Iliad (where his mother was Laothoe, not Hecuba), against his father Priam’s (4) wishes he ran impetuously into battle and was killed by Achilles (Iliad xx and xxii). -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
HECUBA by Euripides
HECUBA by Euripides translated by Jay Kardan and Laura-Gray Street POLYDORUS HECUBA CHORUS POLYXENA ODYSSEUS TALTHYBIUS THERAPAINA AGAMEMNON POLYMESTOR Script copyright Jay Kardan and Laura-Gray Street. Apply to the authors for performance permissions. Hecuba — translated by Kardan and Street — in Didaskalia 8 (2011) 32 POLYDORUS I come from bleakest darkness, where corpses lurk and Hades lives apart from other gods. I am Polydorus, youngest son of Hecuba and Priam. My father, worried Troy might fall to Greek offensives, sent me here, to Thrace, my mother’s father’s home and land of his friend Polymestor, who controls this rich plain of the Chersonese and its people with his spear. My father sent a large stash of gold with me, to insure that, if Ilium’s walls indeed (10) were toppled, I’d be provided for. He did all this because I was too young to wear armor, my arms too gangly to carry a lance. As long as the towers of Troy remained intact, and the stones that marked our boundaries stood upright, and my brother Hector was lucky with his spear, I thrived living here with my father’s Thracian friend, like some hapless sapling. (20) But once Troy was shattered—Hector dead, our home eviscerated, and my father himself slaughtered on Apollo’s altar by Achilles’ murderous son— then Polymester killed me. This “friend” tossed me dead into the ocean for the sake of gold, so he could keep Priam’s wealth for himself. My lifeless body washes ashore and washes back to sea with the waves’ endless ebb and flow, and remains unmourned, unburied.