Strangers and Beggars Are from Zeus”: Early Greek Views of Hospitality1 PAMELA JOHNSTON
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Death and the Afterlife in Homer
Death and the Afterlife in Homer Death and what happens after death are universal concerns for humanity; around the world different cultures and religions contemplate our existence, and try to make sense of both our place in the world and our deaths. Although we no longer (for the most part) follow the religious beliefs of the ancient Greeks and Romans, their exploration of mortality and the afterlife can nonetheless be emotionally powerful and meaningful for us. In what follows, we will consider the presentation of death and the afterlife in some of the earliest Greek literature, Homer’s Iliad and Odyssey. The most common name for the underworld was Hades, a personified god and brother of Zeus, but also a place to which the souls of departed mortals go. Hades is in fact far more commonly mentioned as the underworld than as a personified god in Greek literature, although we do see him as an actual character in some myths, most famously in the story of the abduction of Persesphone by Hades, a tale told in the Homeric Hymn to Demeter. In post-classical times, the term Hades was adopted by Christian authors, including the early Church Fathers, Dante and Milton, to refer to the Christian concept of Hell. The term used is the same, but it is important to distinguish between the Christian conception of Hell and Hades. For Christians, Hell is a place to which the souls of the wicked descend after death, whereas the souls of the good are taken to Heaven to be with God. The ancient Greek concept is extremely different. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
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. -
A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E. -
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). -
Iliad Teacher Sample
CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32 -
The Rhythm of the Gods' Voice. the Suggestion of Divine Presence
T he Rhythm of the Gods’ Voice. The Suggestion of Divine Presence through Prosody* E l ritmo de la voz de los dioses. La sugerencia de la presencia divina a través de la prosodia Ronald Blankenborg Radboud University Nijmegen [email protected] Abstract Resumen I n this article, I draw attention to the E ste estudio se centra en la meticulosidad gods’ pickiness in the audible flow of de los dioses en el flujo audible de sus expre- their utterances, a prosodic characteris- siones, una característica prosódica del habla tic of speech that evokes the presence of que evoca la presencia divina. La poesía hexa- the divine. Hexametric poetry itself is the métrica es en sí misma el lenguaje de la per- * I want to thank the anonymous reviewers and the editors of ARYS for their suggestions and com- ments. https://doi.org/10.20318/arys.2020.5310 - Arys, 18, 2020 [123-154] issn 1575-166x 124 Ronald Blankenborg language of permanency, as evidenced by manencia, como pone de manifiesto la litera- wisdom literature, funereal and dedicatory tura sapiencial y las inscripciones funerarias inscriptions: epic poetry is the embedded y dedicatorias: la poesía épica es el lenguaje direct speech of a goddess. Outside hex- directo integrado de una diosa. Más allá de ametric poetry, the gods’ special speech la poesía hexamétrica, el habla especial de los is primarily expressed through prosodic dioses es principalmente expresado mediante means, notably through a shift in rhythmic recursos prosódicos, especialmente a través profile. Such a shift deliberately captures, de un cambio en el perfil rítmico. -
The Odyssey and the Desires of Traditional Narrative
The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola. -
Eris and Epos Composition, Competition, and the Domestication of Strife
Eris and Epos Composition, Competition, and the Domestication of Strife Joel P. Christensen Brandeis University [email protected] Abstract This article examines the development of the theme of eris in Hesiod and Homer. Start- ing from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hes- iod’s Theogony through the Homeric epics and into its double definition in the Works and Days.To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems. Keywords eris – competition – conflict – poetics – rivalry In Cypria fr. 1, Zeus fans “the flames of the great strife of the Trojan war / to lighten the [earth’s] burden with death” (ῥιπίσσας πολέμου μεγάλην ἔριν Ἰλιακοῖο, 5).* Similarly, in Hesiod (fr. 204 M-W), when strife divides the gods at the birth of Hermione—“all the gods were of two minds / because of the strife” (πάν- τες δὲ θεοὶ δίχα θυμὸν ἔθεντο / ἐξ ἔριδος, 94–95)—Zeus hastens the destruction of the Heroes: “And then he hastened to extinguish the great race of human * A version of this article was given at the Heartland Graduate Conference in Ancient Stud- ies at the University of Missouri in 2015. -
“100% Sanctification – Guaranteed” – Part 2 100% Sanctification
THE SECOND EPISTLE OF PETER TO THE CHURCH OF THE DISPERSION THROUGHOUT THE WORLD 2 PETER CHAPTER 1:5-9 MEDIA REFERENCE NUMBER SMX995 OCTOBER 27, 2019 THE TITLE OF THE MESSAGE: “100% Sanctification – Guaranteed” – Part 2 SUBJECT TOPICALLY REFERENCED UNDER: Faithfulness, Finishing, Church, Christianity, Discipleship 2 Peter 1:5-9 But also for this very reason, giving all diligence, add to your faith virtue, to virtue knowledge, 6 to knowledge self-control, to self-control perseverance, to perseverance godliness, 7 to godliness brotherly kindness, and to brotherly kindness love. 8 For if these things are yours and abound, you will be neither barren nor unfruitful in the knowledge of our Lord Jesus Christ. 9 For he who lacks these things is shortsighted, even to blindness, and has forgotten that he was cleansed from his old sins. 100% Sanctification – Guaranteed! We have read throughout the Old Testament that God called His people to be set apart from this world and to be set apart for Him That Old Testament Requirement is Fulfilled in the New Testament Relationship And in Peter’s Day - The Early Church was Increasingly Thankful for that. It’s success / It’s effect / It’s influence / It’s earthly calling / From its heavenly position. 1 Thessalonians 5:23-24 Now may the God of peace Himself sanctify you completely; and may your whole spirit, soul, and body be preserved blameless at the coming of our Lord Jesus Christ. 24 He who calls you is faithful, who also will do it. Reviewing Part 1 of Our Previous Teaching 100% Sanctification – Guaranteed! 1.) Means that we co-operate with God vs. -
English I Summer Reading the Odyssey by Homer (Trans
English I Summer Reading the Odyssey by Homer (trans. Robert Fagles, Penguin Classics) READ the Odyssey. Then answer all questions on a separate piece of paper, and be prepared for a quiz the first week of school. Even though the highlighted questions have been answered for you, you are still responsible for knowing the information. The numbers in parentheses indicate the book and the line where the answer can be found, i.e., 1.71 is book/chapter one, line 71). Books 1-4 1. What is the Greek word that is used to describe Odysseus? [ANSWER: from review article posted—polutropos ] 2. Give two examples of how polutropos could be translated into English. [ANSWER: much- turned, much-turning, wily, resourceful, complicated, contradictory. Robert Fagles translated it “man of twists and turns,” which carries a rich meaning with it, a man of many talents and interests, richly blessed and oft cursed, good at times, not so good other times.] 3. How does the poem start? [ANSWER: en medias res—in the middle of it all; that’s how the Greeks always do their storytelling.] Why start in the middle of the story? 4. At what time in Odysseus’s adventures abroad are we when the poem starts? (Remember, he will spend twenty years abroad: 10 years fighting at Troy and 10 years wandering.) 5. How are we left feeling about the suitors? Name one of them. 6. Orestus is ______________________’s son. He killed _____________________. [ANSWER: Agamemnon; Orestus killed Aegisthus.] Be sure to check out the fantastic index of characters in the back of the book.