6 X 10. Three Lines .P65

Total Page:16

File Type:pdf, Size:1020Kb

6 X 10. Three Lines .P65 Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information Index Locorum ij Literary Texts 2.88: 384 Aeschines 2.89–93: 86 1.1–2: 405 2.90: 115 1.4–6: 41 2.91–2: 96 1.5: 25 2.93: 410 1.6: 57 2.143: 357 1.6–23: 4 2.148: 418 1.15: 46 2.165: 133 1.15–17: 287 2.179: 356 1.17: 425 3.6: 25, 41 1.19: 47, 409 3.9–10: 215, 381, 384, 389 1.22–3: 91 3.11: 425 1.23: 53 3.13–15: 124 1.24: 425 3.14–24: 381 1.28: 55 3.18: 55 1.30: 76 3.24: 139 1.46: 333 3.25: 122, 133 1.60: 103 3.25–6: 133 1.90–1: 292, 293, 390 3.32: 46 1.90–2: 293 3.35: 387 1.97: 251 3.44: 425 1.110–11: 382 3.52: 94, 412 1.113: 382 3.62: 418 1.173: 394 3.62–8: 94, 95 1.179: 41 3.66–7: 94, 95, 96, 114 1.183: 315 3.68–70: 88, 115 2.6: 398 3.71–2: 95 2.14: 418 3.73–5: 95, 115 2.28–9: 358 3.76: 95 2.31: 358 3.78: 76 2.34: 126 3.132: 278 2.53: 115 3.142: 387 2.60: 88, 94, 115 3.146: 387 2.61: 88, 89, 92, 94, 115 3.159: 139 2.65–6: 93, 95, 115 3.169: 41 2.67: 115 3.190: 50 2.68: 333 3.196: 41 2.72: 84, 92, 93 3.197–8: 419 2.77: 394 3.200: 387 2.83–6: 95 3.224: 394 451 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information 452 index locorum Aeschines (cont.) 1.122: 411 3.243: 395 1.133–5: 146 3.252: 65, 114 2.7: 395 Aeschylus [Andocides] Agamemnon 4.18: 407 1040–1: 258 Antiphon Eumenides 1: 398 1–4: 74 1.3: 53, 389, 399 484: 52 1.5: 399 526–30: 12 1.5–10: 398 Prometheus Bound 1.9: 389, 398 10: 50 1.14–20: 390 150–1: 50 1.18–20: 398 205: 74 1.22: 399 209–11: 74 1.25: 399 210: 74 1.26: 399 Supplices 2.3.2: 278 7: 64 2.3.4: 278 29–30: 307 4.2.6: 395 81: 307 4.2.9: 335, 336 104: 307 5.9: 292 387–91: 307 5.11: 289 426: 307 5.14–15: 58 487: 307 5.48: 278 528: 307 5.69: 278 698–709: 54 5.96: 57 817–18: 307 6: 398, 399 845: 307 6.2: 56 880: 307 6.4: 261, 399 881: 307 6.6: 53 933: 307 6.9: 394, 399 984: 307 6.15: 399 Andocides 6.19: 399 1.33: 408 6.21: 399 1.66: 395 6.23: 278 1.74: 55 6.36: 394, 399 1.83: 59 6.37: 406, 412 1.84: 48 6.42: 406 1.87: 47 Fr. IV [Baiter and Sauppe]: 1.91: 57 365 1.94: 395 Apollodorus 1.95–8: 395 2.7.6: 307 1.96: 46 3.12.6: 323 1.114: 411 3.14.2: 286 1.114–15: 412 3.14.8: 308, 309 1.120–1: 411 23.36: 335 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information index locorum 453 Aristophanes 240–1: 260 Acharnenses 241: 178 19: 103 264: 279 247: 278 1015–19: 425 271–5: 329 1107–10: 425 271–6: 275 1156: 216 615: 335 1178–200: 425 760–1: 146 1408–15: 425 874–6: 146 1420–6: 425 Aves 1488: 272, 279 60: 278 Pax 71: 278 54: 272, 279 80: 278 80: 272, 279 496–8: 387 90: 272, 279 835: 279 257: 279 1040–1: 429 275: 279 Ecclesiazousai 377: 279 18: 429 385: 279 26–7: 387 389: 279 59: 429 399: 279 61: 429 648: 279 75: 429 711: 279 567: 178 824: 279 1125: 278 875: 279 1129: 278 1232–4: 387 Equites Ploutos 20: 272, 279 1–7: 272 40: 272, 279 2: 279 47: 272, 279 4: 259 53: 272, 279 7: 259 58: 279 12: 279 109–45: 274 20: 279 109–11: 387 21–3: 259 436: 382 26–7: 259 444: 382 53: 272 960: 272, 279 67: 272, 279 1017–35: 10 147–8: 259 1224: 382 201: 279 1226: 382 253: 279 1311–12: 276 260: 272, 279 Lysistrata 262: 272, 279 160–6: 328 285: 272, 279 225–7: 329 319: 272, 279 940: 279 455: 374 Nubes 633: 272, 279 37: 205 748: 279 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information 454 index locorum Aristophanes (cont.) 1292a33: 47 819: 272, 279 1293a3–38: 41 1103: 279 1294b13–35: 34 1139: 272, 279 1297b35–1298a3: 31 Ranae 1300a38–b5: 31, 36 1: 272, 279 1.2.16.1255a6–7: 263 272: 272, 279 1.3.13.1257a: 148 301: 279 2.5.12–14.1269a: 23 318: 272, 279 2.7.3.1272a: 28 670: 279 2.9.5–7.1274a: 11 694: 279 2.9.1274b: 301 739: 272, 279 4.8.1294a3–7: 58 742: 279 Rhetoric 750: 279 1.1.7.1354b4–8: 47 810: 279 1.5.7.1361a21: 251 812: 279 1.13.1373b: 54 950: 279 1368b5: 54 Thesmophoriazousai 1373b28–1374a17: 287 295–311: 53 1374a: 387 341: 279 1374a14: 317 988: 279 1378b: 329 Vespae 1378b23–35: 317 67: 272, 279 [Aristotle] 87: 272, 279 Constitution of the Athenians 142: 279 2.2: 204 237–9: 387 3.1–5: 15 389: 279 3.2–3: 22 420: 272, 279 4.1: 22 442: 272, 279 6.1: 204 821: 279 7.1: 48 875: 279 7.3: 22 1299–300: 302 7.3–4: 15 1415–18: 302 8.1: 22 1417–25: 291 8.2: 18 1418–20: 302 8.3: 22 Aristotle 8.4: 14, 15, 19 Nicomachean Ethics 12.1: 135 3.5.1113b: 301 12.5: 135 5.14.1137b11–14: 47 14–17: 14 5.14.1137b27–9: 47 21.6: 53 10.9.1180b3–5: 76 22.1: 22 1160a19: 335 29.4: 24 Politics 31.3: 426 1273b35–1274a3: 36 39.5: 397 1282b2: 47 41.3: 97 1282b4–6: 47 42.1: 356, 369, 407, 409 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information index locorum 455 43–69: 32 Oeconomica 43.2–49: 32 1348b33f: 159 43.3: 89, 92, 118, 119 Arrian 43.4: 48, 81, 93, 104 Anabasis 43.6: 55, 91 3.5.2–5: 155 45.2: 48 Aulus Gellius 47.2–3: 22 16.10.8: 377 47.5: 274 20.1.45: 252 48.1–2: 122, 351 48.3: 48 Curtius Rufus 38.3–4: 381 4.8.5: 155 48.4: 48 50–4: 32 Demosthenes 50.1: 146 1.4: 278 50.2: 147 1.16–18: 128 51.1: 147, 161 1.19–20: 127, 128, 134 51.2: 161 2.28: 134 51.3: 146, 152 2.30: 134 51.4: 159 2.31: 134 52.1: 22, 256, 261, 269, 276, 291, 292, 373, 3.10–13: 123, 124, 134 386 3.19: 129 52.2: 150, 151, 231, 242, 3.27: 134 336 3.29: 134 53.5: 46 3.30: 278 54.2: 22, 48, 382 5.17: 278 54.3: 215 6.25: 278 54.6–7: 55 7.13: 257 55–9: 32 9.43: 278 55.3–4: 56 10: 135 55.5: 48 10.13: 126 56.2: 139, 201, 268 10.14–17: 126 56.4–5: 55 10.19: 126 56.7: 209, 364 10.35–42: 123, 135, 136, 57.1: 55 268 57.2: 55, 417 10.43–5: 137 57.3: 56, 284, 287, 316, 397, 400, 13: 134 401 13.31: 278 58.1: 55 15.27: 278 58.2–3: 343 18.27: 86 59.3: 401, 407 18.47: 278 59.4: 409 18.73: 104 60–2: 32 18.82: 408 61.2: 48 18.123: 405 62.3: 18, 428 18.137: 395 63–9: 32 18.168: 98 68.1: 419 18.169–79: 133 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M. Harris Index More Information 456 index locorum Demosthenes (cont.) 21.38: 302 18.235: 278 21.39: 302 18.266: 408 21.43: 56, 283 18.274–5: 56 21.44: 386 18.278: 406 21.47: 46, 288, 317 18.281: 406 21.48: 294 18.283–4: 406 21.49: 277 18.290–3: 406 21.51: 59 18.296: 278 21.54: 59 18.306–9: 406 21.72: 318 19.13: 94, 115 21.99: 273, 356 19.16: 88 21.101: 335, 353 19.58: 115 21.103: 408, 409, 413, 422 19.69: 278 21.122: 196 19.70: 53 21.139: 409 19.86: 59 21.176: 151, 257 19.116: 398 21.179: 62 19.121–3: 383, 384, 389 21.180–1: 301 19.122–3: 90, 104, 118 21.184: 335, 353 19.132: 384 21.186–8: 356 19.150–4: 86 21.206–7: 134 19.154: 85, 87, 88, 96 22: 421 19.166–8: 383 22.26–7: 389, 417 19.185: 84, 87, 90, 93 22.31–2: 61 19.247: 69, 70 22.65: 215, 382 19.257: 56 23: 287 19.284: 56 23.1: 405 19.289–93: 122, 134, 384 23.53–4: 285, 286, 293, 294, 20.16: 278 316 20.29–40: 152 23.53–61: 261 20.31: 62, 146 23.54: 261, 286, 287 20.90–2: 23 23.55: 261 20.93–4: 3 23.55–6: 261 20.100: 46 23.60–1: 261 20.107: 278 23.62: 23 20.145: 416 23.70: 53, 398 20.146: 409 23.74: 284 21: 317, 412 23.80: 407 21.8: 55 23.81: 53 21.9: 55 23.92: 98 21.11: 178 23.97: 53 21.13–19: 297 23.149: 358 21.15: 124 23.157: 384 21.32–3: 302 23.190: 405 21.36–9: 411, 417 23.209: 278 21.37: 301 24.5: 41 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85279-1 — Democracy and the Rule of Law in Classical Athens Edward M.
Recommended publications
  • Athenians and Eleusinians in the West Pediment of the Parthenon
    ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article.
    [Show full text]
  • (Eponymous) Heroes
    is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot.
    [Show full text]
  • Epigraphic Bulletin for Greek Religion 1996
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions.
    [Show full text]
  • The Odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; Proquest Pg
    The odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; ProQuest pg. 19 The Odd Thesmophoria of Aristophanes' Thesmophoriaz usae Martha Habash EXPECTED FROM THE TITLE, Aristophanes' Thesmophoria­ zusae does in fact concern the Thesmophoria, that A:. annual, secret women's festival of Demeter and Kore held thoughout the Greek world. From line 277 the play is set at a Thesmophoria, but a very odd Thesmophoria, in which the poet demonstrates his bold, inventive, and creative genius at work in reshaping this 'festival'.1 Aristophanes employs suf­ ficient elements of the real Thesmophoria to make the pro­ ceedings recognizable, but he also adds as major components several non-Thesmophoric elements, introduced in part for sheer comic effect, and in part, I shall argue, to shape his Thes­ mophoria and his play into a form more arpropriate to the civic and religious purposes and atmosphere 0 the festival in which it was presented, the City Dionysia.2 I For studies of the poet's presentation of genuine Thesmophoric elements and themes, see H. Hansen, U Aristophanes' Thesmophoriazusae: Theme, Struc­ ture, and Production," Philologus 120 (1976) 165-85; A. Bowie, Aristophanes: Myth, Ritual and Comedy (Cambridge 1993); the role of mimesis in this play: F. Zeitlin, uTravesties of Gender and Genre in Aristophanes' Thesmo­ phoriazousae, " in H. Foley, ed., Reflections of Women in Antiquity (New York 1981) 169-217; M. DETIENNE, MThe Violence of Wellborn Ladies: Women in the Thesmophoria," in M. Detienne and J.-P. Vernant. edd., The Cuisine of Sacrifice among the Greeks, tr.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • Silencing the Female Voice in Longus and Achilles Tatius
    Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the
    [Show full text]
  • A Study of Female Agency in the Homeric Hymn to Demeter Through Word and Illustration
    A Study of Female Agency in The Homeric Hymn to Demeter through Word and Illustration Virginia Gan Shi White Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Catherine Gilhuly April 2017 © 2017 Virginia White 1 Acknowledgements I would like to thank Professor Gilhuly for all her support and guidance, without her this project would not have been possible. Also thank you to Professor McGibbon for teaching me so much about printmaking and for always pushing me artistically. 2 Introduction This project came out of finding a way to combine Studio Art with Classical Studies. As someone who has always been interested in storyboards, mapping art onto myth over a series of panels was a logical choice. I decided to take an ancient Greek story, analyze it, and then make illustrations. This project on The Homeric Hymn to Demeter is therefore broken into three parts: Part I – English Translation of The Homeric Hymn to Demeter Part II – The Influence of a Mother in The Homeric Hymn to Demeter Part III – A Visual Translation of The Homeric Hymn to Demeter By first doing a close reading of the myth, in the original Greek, I could extract a more nuanced understanding of what the myth said. I then chose to focus on Demeter’s agency which revolved around her role as a mother and her defiance against her husband, motivated by the love of her daughter. Finally, everything that I learned was filtered into a printmaking project. The goal of my illustrations was to represent the theories explored in Part I but also bring a new understanding to the myth that could only be achieved through image.
    [Show full text]
  • The Shadow of Aristophanes: Hellenistic Poetry’S Reception of Comic Poetics*
    Author manuscript: Published in M.A. Harder, R.F. Regtuit & G.C. Wakker (eds.) (2018) Drama and Performance in Hellenistic Poetry . Hellenistica Groningana 23. Leuven (Peeters): 225-271. THE SHADOW OF ARISTOPHANES: HELLENISTIC POETRY’S RECEPTION OF COMIC POETICS* Thomas J. Nelson The influence of Attic drama on Hellenistic poetry has been a topic of little consistent focus in recent scholarship. Most scholars are content merely to note individual cases of parallels with Attic comedy or tragedy, or lament the loss of many dramas which would doubtless prove illuminating intertexts were they to have survived.1 What emerges is thus a rather piecemeal picture of Hellenistic poetry’s engagement with earlier dramatic texts. There are, of course, some notable exceptions, such as explorations of the underlying tragic elements in Apollonius’ Argonautica and Callimachus’ Hecale ,2 as well as the analysis of comedy’s influence on individual Hellenistic poems. 3 Yet the full extent of Hellenistic poetry’s debt to Attic drama remains largely unexplored terrain.4 This lack of scholarly attention may in part reflect the common belief that Hellenistic poets display a largely negative attitude to drama, 5 but it must also stem from the traditional emphasis on Hellenistic poetry as a written artefact, detached from any immediate context of performance – apparently a far cry from the socially embedded performance-culture of fifth century Athens. As many contributions to this volume demonstrate, however, this fifth-third century dichotomy is too simplistic, and the belief that classical drama was relatively unimportant for Hellenistic poets should be reconsidered given the continuing prominence of drama in the third and second centuries BCE.
    [Show full text]
  • 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.
    [Show full text]
  • Hesiod, Theogony
    Hesiod, Theogony Muses of Helicon, let us begin our song with them, who hold the great and holy mountain of Helicon, and around its violet-like spring and altar of exceedingly strong Kronios, dance on dainty feet, and who, after bathing their soft skin in the Permessos 5 or the spring of the Horse or holy Olmeios on the peak of Helicon, form their dances, beautiful dances that arouse desire, and they move erotically. From Helicon they rise up veiled in a deep mist and walk through the night, sending forth their voice most beautiful, 10 hymning aegis-bearing Zeus and Lady Hera the Argive clad in sandals of gold, and the daughter of Zeus of the aegis, gray-eyed Athena, and Phoebus Apollo and Artemis, who pour forth arrows, and Poseidon, holder and shaker of Gaia, and 15 august Themis and Aphrodite of the glancing eyes and and Hebe with her golden crown and beautiful Dione, and Leto and Iapetos and Kronos of crooked counsel and Eos and great Helios and shining Selene and Gaia and great Okeanos, and black Night and 20 the sacred clan of the other deathless ones who are for always. The Muses once taught Hesiod beautiful song while he was shepherding sheep at the foot of holy Helicon. The goddesses first spoke this word to me, the Muses of Olympus, daughters of aegis-bearing Zeus. 25 “Rustic shepherds, worthless reproaches, mere stomachs, we know how to say many lies like the truth, and, whenever we wish, we know how to tell the truth.” Thus spoke the fluent daughters of mighty Zeus, and they gave me a scepter, a branch of flourishing laurel 30 that they had plucked, a thing of wonder.
    [Show full text]
  • The Festival Proerosia Robertson, Noel Greek, Roman and Byzantine Studies; Winter 1996; 37, 4; Proquest Pg
    New Light on Demeter's Mysteries: The Festival Proerosia Robertson, Noel Greek, Roman and Byzantine Studies; Winter 1996; 37, 4; ProQuest pg. 319 New Light on Demeter's Mysteries: The Festival Proerosia Noel Robertson EMETER'S "MYSTERIES: festivals conducted mainly by women and in sanctuaries that were suitably withdrawn, D were almost universal in Greek cities, like the cereal agri­ culture they were intended to promote. They were integral to Greek society and are now widely and profitably studied as a social phenomenon. If the general custom is important, so are the many ritual actions that constitute a given festival, through which (according to one's point of view) the women either worship the goddess Demeter, or work directly on the earth, or affirm their sense of the fitness of things. Animal sacrifice plays a large part, as usual, the pig species being favored by De­ meter, and there is a peculiar practice of throwing piglets into a pit, which is then closed. It is a disadvantage that reconstructions of ritual must be sought in older handbooks and special studies. The basic work on Greek festivals was done long ago, and new evidence, though not wholly neglected, has not led to any sustained effort of revision. The festival Proerosia, "Before-ploughing (rites)," is such a case. The Athenian, or Eleusinian, version of this festival once seemed to stand alone, as if it were something secondary and contrived, without much bearing on the larger pattern of Demeter's worship. We can now see that the Proerosia was widespread. It may have been as common as the greatest of Demeter's festivals, the Thesmophoria: it was a sequel to it, coming later in the autumn season.
    [Show full text]
  • Women and Sacred Property: the Evidence from Greek Inscriptions
    Women and Sacred Property: The Evidence from Greek Inscriptions Diane Harris-Cline Any citizen… shall have the right to dispose of his property however he wishes if he has no legitimate male offspring, unless he is not of sound mind as a result of one of these things: madness, old age, drugs, disease, the influence of a woman, or unless he is constrained by bonds. - Demosthenes 46.14. It is widely recognized that ancient Greek women were not generally included in the public sphere, especially in classical Athens, the source of so much of our evidence. The one striking exception is the realm of the sacred, where women could appear in public, hold positions of high dignity, and participate as principals in rituals and ceremonies. As Roger Just has said, “The participation of mothers, wives, sisters, and daughters of Athenian citizens was vital to the religious life of the city. They took part in the rites and cults of individual households (oikoi), of the various divisions of the state – the demes, phratries, tribes, and gene – and of the polis itself” (Just 1989: 23). When women donated gifts to temples or contributed to public funds for building temples, it was possible that their names would be inscribed on stone and remembered for all time. My question here whether women truly owned the objects they dedicated, either those used in daily life or those obtained specifically for giving to the gods. Women came to marriage with their dowry and inherited property but all these assets belonged to and were managed by males.
    [Show full text]