Helen of Troy: a Novel PDF Book
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Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
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. -
Aeschylus Agamemnon (458 BC) Translation by Ian Johnston
Aeschylus Agamemnon (458 BC) translation by Ian Johnston Dramatis Personae WATCHMAN: servant of Agamemnon and CLYTEMNESTRA. CHORUS: old men, citizens of Argos. CLYTEMNESTRA: wife of Agamemnon, daughter of Leda, sister of Helen. HERALD: soldier serving with Agamemnon. AGAMEMNON: king of Argos, leader of the Greek expedition to Troy. MESSENGER: a servant in the palace. CASSANDRA: daughter of Priam, King of Troy, a prisoner given to Agamemnon, a priestess of Apollo. AEGISTHUS: son of Thyestes, cousin of Agamemnon, CLYTEMNESTRA's lover. SOLDIERS and SERVANTS attending on Agamemnon and on CLYTEMNESTRA and Aegisthus. The brothers Agamemnon and Menelaus, sons of Atreus, are both kings of Argos and leaders of the expedition against Troy, launched ten years before the action of the play begins. Agamemnon is the senior of the two. The allied forces under Agamemnon are called the Argives, the Achaeans, or the Danaans, as in Homer’s Iliad—not Greeks. Priam’s city is called Troy or Ilion interchangeably. The scene is in Argos immediately in front of the steps leading up to the main doors of the royal palace. In front of the palace there are statues of gods. At the start of the play, the Watchman is prone on the roof of the palace resting his head on his arms. It is just before dawn. WATCHMAN I pray the gods will give me some relief and end this weary job. One long full year I've been lying here, on this rooftop, the palace of the sons of Atreus, resting on my arms, just like a dog. I've come to know the night sky, every star, the powers we see glittering in the sky, bringing winter and summer to us all, as the constellations rise and sink. -
The 'Trial by Water' in Greek Myth and Literature
Leeds International Classical Studies 7.1 (2008) ISSN 1477-3643 (http://www.leeds.ac.uk/classics/lics/) © Fiona McHardy The ‘trial by water’ in Greek myth and literature FIONA MCHARDY (ROEHAMPTON UNIVERSITY) ABSTRACT: This paper discusses the theme of casting ‘unchaste’ women into the sea as a punishment in Greek myth and literature. Particular focus will be given to the stories of Danaë, Augë, Aerope and Phronime, who are all depicted suffering this punishment at the hands of their fathers. While Seaford (1990) has emphasized the theme of imprisonment which occurs in some of the stories involving the ‘floating chest’, I turn my attention instead to the theme of the sea. The coincidence in these stories of the threat of drowning for apparent promiscuity or sexual impurity with the escape of those girls who are innocent can be explained by the phenomenon of the ‘trial by water’ as evidenced in Babylonian and other early law codes (cf. Glotz 1904). Further evidence for this theory can be found in ancient novels where the trial of the heroine for sexual purity is often a key theme. The significance of chastity in the myths and in Athenian society is central to understanding the story patterns. The interrelationship of mythic and social ideals is drawn out in the paper. This paper examines the punishment of ‘unchaste’ women in Greek myth and literature, in particular their representation in Euripides’ fragmentary Augë, Cretan Women and Danaë. My focus is on punishments involving the sea, where it is possible to discern two interrelated strands in the tales.1 The first strand involves an angry parent condemning an errant daughter to be cast into the sea with the intention of drowning her. -
Fear and Healing Through the Serpent Imagery in Greek Tragedy
Fear and Healing Through the Serpent Imagery in Greek Tragedy The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Dasteridou, Magdalini. 2015. Fear and Healing Through the Serpent Imagery in Greek Tragedy. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078361 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 Fear and Healing through the Serpent Imagery in Greek Tragedy Magdalini Dasteridou A Thesis in the Field of Foreign Literature, Language, and Culture for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2015 © 2015 Magdalini Dasteridou Abstract This work explores how the tragic poets, by means of snake imagery, convey the notion of disease. Moreover, it examines how snake imagery contributes to the process of healing through the emotion of fear that it triggers. My analysis of the tragedies in which the three main tragedians employ snake imagery builds upon findings from ancient authors that refer to snakes and their characteristics, and upon the findings of contemporary scholars. My overall method relies on tools from structuralism and psycholinguistics. Through snake imagery the tragic poets portray disease as it manifests itself through arrogance, deception, physical pain, and madness. For this purpose the poets employ images inspired by the particular anatomy and behavior of the snake. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Isocrates' Encomium of Helen and the Cult of Helen and Menelaus At
Isocrates’ Encomium of Helen and the Cult of Helen and Menelaus at Therapnē Lowell Edmunds Rutgers, The State University of New Jersey [email protected] The main sources in Greek literature for the cult of Helen and/or Menelaus at Therapnē are Herodotus (6.61.3), Isocrates 10 (Encomium of Helen), and Pausanias (3.19.9-10). Isocrates is the one who speaks of joint-worship of Helen and Menelaus (10.63). He suggests, furthermore, that Helen was a goddess at Therapnē, and his Encomium is routinely cited for her divine status in this cult, and not only by scholars of myth and literature. Archaeologists, too, have appealed to the Encomium as a documentary source for their interpretation of the site, the so-called Menelaion (first by Polybius 5.18.4). Much disagreement prevails, within the two fields of classical studies just mentioned, and also between them.1 The present article does not attempt to adjudicate. It 1 Accounts of Helen in the history of Greek religion differ in the weight assigned Isoc. 10. Harder 2006, in the New Pauly, s.v. “Helena,” begins: “Goddess who was worshipped at various cult sites in and around Sparta, especially in the Menelaion in Therapnē,” citing Hdt., Paus., and Hsch. but not Isoc. Similarly, for the Therapnē cult Calame 1997 196-99 (also 194, 200-201, 232) builds his interpretation on Hdt., citing Isoc. 10 only in a n., for the joint worship of Helen and Menelaus (196 n. 331). Others, like Nilsson (cf. Edmunds 2007: 16, 20-24, which the present article amplifies), who see in Helen the avatar of a Minoan or “Old European” vegetation goddess, routinely cite Isoc. -
Euripides Scenes in Byzantine Art
EURIPIDES SCENES IN BYZANTINE ART (PLATES 25-36) N EXT to Homer's Odyssey and Iliad no classical text has stimulated the imagina- tion in the representational arts of classical antiquity more than the dramas of Euripides. A few decades after they were written vase painters of the fourth century B.C. depicted significant moments of Euripidean plays, the two Iphigenias, the Medea, the Oenomauas,the HypsipylCe,the Andromeda and many others in complex compositions.1 Hardly a century later, at the beginning of Hellenism, the desire of the artists to represent the content of a single drama more fully than was possible in even the most complex vase paintings led to the invention of narrative picture cycles in which scene follows scene as the narration proceeds with constant repetition of the chief actors. It is significant that even in the earliest group of monuments on which this new principle of pictorial narration can most clearly be studied, the so-called Megarian bowls, illustrations of Euripidean dramas already rival those of Homeric poems for numerical superiority.2 In both methods, the monoscenic and the cyclic, illustrations from Euripides enjoy a rare popularity throughout the Hellenistic and Roman periods. Numerous Pompeian frescoes which seem to copy earlier panel paintings of great masters depict moments of highly dramatic tension such as the sudden recognition of Jason by Pelias, the brooding of Medea before the killing of her children, or Iphigenia's encounter with Orestes and Pylades,' scenes which undoubtedly are dependent on the Peliades, the Medea, and the Iphigenia Among the Taurians of Euripides. -
Aeschylus, with an English Translation by Herbert Weir Smyth
HANDBOUND AT THE THE LOEB CLASSICAL LIBRARY EDITED BY ^* ' 'T ' E. CAPPS, PH.D., LL.D. T. E. PAGE, mti-.d. W. H. D. ROUSE, Lirr.D. AESCHYLUS II AESCHYLUS WITH AN ENGLISH TRANSLATION BY HERBERT WEIR SMYTH, Ph.D. ELIOT PROFESSOR OF GREEK LITERATURE IN HARVARD UNIVERSITY IN TWO VOLUMES II AGAMEMNON LIBATION-BEARERS EUMENIDES FRAGMENTS LONDON: WILLIAM HEINEMANN NP:vv YORK: G. P. PUTNAM'S SONS MCMXXVI 2-2>.(I.S^ Printed in Great Britain. CONTENTS OF VOLUME II AGAMEMNON THE LIBATiON-BEARERS 155 EUMENIDES 269 FRAGMENTS 374 INDEX OF PROPER NAMES 522 (i ata slip, Aesch. — Vol. II. ADDITIONS AND CORRECTIONS TO VOL. I Additions to the List of Editions (p. xxxi ff.).—All the plays : 1853-54, Buckley. 1920-25, Mazon. Choe- phoroe : 1729, Oxford. 1774, Foulis press. 1776, Vollborth. Eumenides : 1901, Barnett. 1901, Plaistowe (w. prose translation). Persians ; 1847, Paley. Undated, Haydon. Prometheus : 1887, Plaistowe and Masom (w. prose trans- lation). 1900, Plaistowe and Mills (w. prose translation). Seven against Thehes : 1847, Paley. 1897 (1900), Plaistowe (w. prose translation). — Additions to the List of Translations. Agamemnon : 1823, Boyd (prose). 1839, Fox. 1846, Sewell. 1848, Anon. 1880, Anon, (prose). 1886, Students of the Univer- sity of Sydney (prose). 1888, Anon, (prose). 1890, Cooper (Oresteia). 1893, Campbell (Oresteia, prose). 1900(1911), Sixth Form Boys of Bradfield College. 1919, Davis. 1920, Ellis. 1920, Murray. 1920, Trevelyan (Oresteia). 1921, Robinson in " The Genius of the Greek Drama." Choephoroe, Eumenides : 1890, Cooper (Oresteia), 1893, Campbell (Oresteia, prose). 1920, Trevelyan (Oresteia). 1923-25, Murray. Persians : 1829, Palin. 1855, Wood (prose). 1873, Staunton. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
Pavlides2011.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Hero-Cult in Archaic and Classical Sparta: a Study of Local Religion Nicolette A. Pavlides PhD Thesis The University of Edinburgh Classics 2011 For my father ii Signed Declaration This thesis has been composed by the candidate, the work is the candidate‘s own and the work has not been submitted for any other degree or professional qualification except as specified. Signed: iii Abstract Hero-Cult in Archaic and Classical Sparta: a Study of Local Religion This dissertation examines the hero-cults in Sparta in the Archaic and Classical periods on the basis of the archaeological and literary sources. The aim is to explore the local idiosyncrasies of a pan-Hellenic phenomenon, which itself can help us understand the place and function of heroes in Greek religion. -
Helen, Daughter of Zeus
Helen, Daughter of Zeus Helen of Troy: Beauty, Myth, Devastation Ruby Blondell Print publication date: 2013 Print ISBN-13: 9780199731602 Published to Oxford Scholarship Online: May 2013 DOI: 10.1093/acprof:oso/9780199731602.001.0001 Helen, Daughter of Zeus Ruby Blondell DOI:10.1093/acprof:oso/9780199731602.003.0002 Abstract and Keywords This chapter introduces the story of Helen of Troy in Greek mythology: her conception by Zeus, her abduction by Theseus, the oath of the suitors, her marriage to Menelaus, the Judgment of Paris, her abduction by Paris, the Trojan War, and her retrieval by Menelaus, who raised his sword to kill her but dropped it at the sight of her beauty. This narrative is elaborated with attention to the particular concerns of this book, especially gender issues, the question of Helen’s agency in her elopement, and the Greek values underlying the Trojan War (notably guest-friendship). The chapter goes on to describe Helen’s role as a divinity in hero cult, where she was worshiped especially as an iconic figure of the bride. As a cult heroine, she enjoys a posthumous relationship with Achilles, who is the most beautiful and mighty of the Greeks, and as such Helen’s closest male equivalent. The chapter ends with a discussion of Helen’s divine, timeless beauty and the resources for representing it in art and literature. Keywords: Achilles, beauty, Helen of Troy, hero cult, mythology, Trojan War A pretty woman makes her husband look small, And very often causes his downfall. As soon as he marries her then she starts To do the things that will break his heart.