Odysseus and Rhetoric in Sophocles' Philoctetes
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Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; Proquest Pg
The appropriation of a son: Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; ProQuest pg. 127 The Appropriation of a Son: Sophocles' Philoctetes Hanna M. Roisman ANHOOD in archaic and classical Greece-as in modern times-is generally manifested not so much in relation M ships with women as in relationships with other men, especially in the relationship between father and son. The Greek male is expected to produce sons who will continue his oikos (e.g. Soph. Ant. 641-45; Eur. Ale. 62lf, 654-57). Further, as Hesiod makes clear, sons should resemble their fathers in both looks and conduct, especially the latter (Op. 182,235; ef Ii. 6.476-81; Theophr. Char. 5.5). Such resemblance earns the father public esteem and proves his manliness; the lack of it may be cause for disparagement and calls his manliness into question. 1 We learn from Ajax and Philoctetes that Sophocles follows the Hesiodic imperative that sons should resemble their fathers in their natures and their accomplishments. Ajax sees himself as an unworthy son, having lost Achilles' arms to Odysseus, and prefers to commit suicide rather than face his father, Telamon, who took part in Heracles' expedition to Troy and got Hesione, the best part of the booty, as a reward (Aj. 430-40,462-65, 470ff, 1300-303; Diod. 4.32.5). At the same time, he expects his son, Eurysaces, to be like himself in nature, valor, and in everything else ('ttl.~' aA.A.' OIlOlO~, Aj. 545-51). Sophocles' Philoctetes, on the other hand, presents the strug gle between Odysseus and Philoctetes for the 'paternity' of Neoptolemus, as each tries to mold the young man in his own 1 Even in contemporary Greece the intense male rivalry for proving oneself takes place among men alone, while women and flocks serve as the object of this rivalry. -
Sophocles' Ajax and the Greek Epic Cycle
Eating from the Tables of Others: Sophocles’ Ajax and the Greek Epic Cycle1 Athenaeus in his Deipnosophistai remarks that “Sophocles took great pleasure in the Epic Cycle and composed whole dramas in which he followed the Cycle’s version of myths” (ἔχαιρε δὲ Σοφοκλῆς τῷ ἐπικῷ κύκλῳ, ὡς καὶ ὅλα δράματα ποιῆσαι κατακολουθῶν τῇ ἐν τούτῳ μυθοποιίᾳ, Deipnosophistai 277c).2 This statement is equally apposite for his Ajax Philoctetes, Oedipus (both Tyrannus and Coloneus) and Antigone. However, while examining in depth the plot and the construction of some of the characters in Sophoclean tragedy, one realizes that Sophocles, although indebted to the poets of the Epic Cycle for his plots, feasts at Homer’s table as well, reminding us of what Aeschylus said about his tragedies as being slices from Homer’s great dinner parties (τὸ τοῦ καλοῦ καὶ λαμπροῦ Αἰσχύλου, ὃς τὰς αὑτοῦ τραγῳδίας τεμάχη εἶναι ἔλεγεν τῶν Ὁμήρου μεγάλων δείπνων, Athenaeus Deipnosophistai 347e). The second point I would like to make refers to a methodological principle. I subscribe to the view that a playwright of fifth c. BCE Athens not only “feasts” at the tables of others but freely transforms and adapts his borrowings to the new ideology of his genre and the social and political circumstances of his time.3 In Sophocles’ time, there is the polis, with a value system that has evolved gradually but steadily, from the Homeric, through the archaic, down to the classical period. Moreover, Sophocles, as with all poets, had a particular style and personal preoccupations that characterize his work.4 1 I would like to thank the participants in the Greek Epic Cycle Conference, held in ancient Olympia on 9–10 July 2010, for their useful comments on the oral presentation of the present paper. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Sustainable Development As Deus Ex Machina
Biological Conservation 209 (2017) 54–61 Contents lists available at ScienceDirect Biological Conservation journal homepage: www.elsevier.com/locate/bioc Discussion Sustainable development as deus ex machina Claudio Campagna a,b,⁎,DanielGuevarac, Bernard Le Boeuf d a Wildlife Conservation Society, Marine and Argentina Programs, Amenábar 1595, 1426 Buenos Aires, Argentina b Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, California 95064, United States c Department of Philosophy, University of California, Santa Cruz, California 95064, United States d Department of Ecology and Evolutionary Biology, Institute for Marine Sciences, University of California, Santa Cruz, California 95064, United States article info abstract Article history: The advocacy of sustainable development (SD) by governments, NGOs and scientists over the last three decades Received 3 August 2016 has failed to diminish the alarming species extinction rate fueled by overuse and habitat destruction. Attempts to Received in revised form 9 January 2017 satisfy worldwide demands for economic growth and development have, in fact, thwarted conservation efforts Accepted 25 January 2017 and greatly diminished the diversity and abundance of life forms, including key iconic species. Here, we argue Available online xxxx that this crisis is one of values rooted in a discourse that justifies development and downplays the morality of human-caused extinction of life forms. The language of SD does not convey the loss—worse, it masks or rational- Keywords: Language izes it as blameless or necessary. The language of SD represents the loss in biodiversity as fallout from the reduced Conservation discourse capacity of ecosystems to provide services for human benefit, while providing no sense of the values necessary Species crisis for conserving life for its own sake. -
SOPHOCLES' AJAX, a Translation by Dennis Daly
Wilderness House Literary Review 6/4 Dennis Daly SOPHOCLES’ AJAX ©2012 Dennis Daly Introduction Sophocles lived during the golden age of ancient Greece. He was born around 496 BC in Colonus, just outside of Athens, and died 90 years later. He probably came from a wealthy merchant family and lived what many would think of as a near perfect life. So the dry facts seem to say. At sixteen years of age Sophocles led the paean, celebrating a decisive Greek victory over the Persians at Salamis. This was more than just an everyday honor. You needed the physique, athleticism, a stage presence and the ability to sing. Sophocles held numerous civic positions of high honor including treasurer, gen- eral (he served with the legendary Pericles), priest, and commissioner. His friends included the great historian Herodotus. Of all of Sophocles’ 123 plays only seven survive. They are Oedipus Rex, Antigone, Oedipus at Colonus, Electra, Women of Trachis, Philoctetes, and Ajax. Sophocles wrote his plays specifically as entries for the Dionysia festivals held annually in Athens. Playwrights usually entered four plays at a time into these competitions. The so-called Theban plays of Sophocles, Oedipus Rex, Antigone, and Oedipus at Colonus, were never entered together, but were each entered with another set of plays. Early on Sophocles bested his older rival Aeschylus and never looked back winning many more competitions than either Aeschylus or his young- er rival, Euripides. The power of these tragedies and their subject matter belie the official biogra- phy of Sophocles. The dramatist simply understood shame, degradation, alien- ation, despair and madness a little too well. -
The Wooden Horse
THE WOODEN HORSE 0. THE WOODEN HORSE - Story Preface 1. ACHILLES 2. HELEN AND PARIS 3. THE TROJAN WAR 4. THE PLOT THICKENS 5. DEATH OF HECTOR 6. DEATH OF ACHILLES 7. THE WOODEN HORSE 8. RUINS OF TROY AND MYCENAE This vase—from about 675-650 BC—depicts a horse on wheels. If you look closely, you can also see something else: Greeks inside (and outside) the object. Image copyright Mykonos Archeological Museum, all rights reserved, and online via Beazley Archive at Oxford University. Provided here as fair use for educational purposes. Still unable to subdue the Trojans, Odysseus and the Greeks (Achaeans) needed to find a way to surreptitiously enter the fortified town. They learned, from Helenus—a Trojan seer—that in order to defeat Troy, Neoptolemus (Achilles’ son) would have to join the Achaean forces. Helenus also told the Greeks they would not win the war unless they stole the sacred Palladium—a wooden statue of Athena (called Minerva by the Romans)—which was said to have fallen from heaven. As long as that statue stood in Troy, the Greeks could not take the city take the city. On a dark night, Diomedes (with the help of Odysseus) climbed a wall of Troy. Once inside the city, Diomedes stole the Palladium, thereby weakening Troy’s defenses. Epeios (it is said) created a wooden horse big enough to hide many Greek warriors. Leaving the horse outside the gates of Troy, and moving their ships out of view, the Greeks fooled Priam and his subjects into believing their enemies had given up. -
THE Lecythus Which Is the Subject of the Present Paper, and Which Is Represented, After a Drawing by M
170 A LECYTHUS FROM ERETRIA A LECYTHUS FROM ERETRIA WITH THE DEATH OF PRIAM. [PL. IX.] • THE lecythus which is the subject of the present paper, and which is represented, after a drawing by M. Gillieron, on PL IX., was bought by me at Chalcis in December 1893, and is now in the British School at Athens. It is said to come from Eretria, and this statement is doubtless true. Eretria is well known to be a mine of graves of all periods, especially the finest; and many excavations there, both authorized and unauthorized, have enriched the museum of Athens, and, by clandestine export, those of many foreign capitals also. Most conspicuous among the treasures recovered have been the lecythi with paintings upon a white ground. Our lecythus belongs to an uncommon class; a similar, but not identical variety is familiar to readers of the Hellenic Journal from the three examples published last year by Miss Sellers. Of the style and technique of the vase I shall speak later; at present we need only notice that the figures are in black or rather a rich dark brown varnish, laid on over a white ground, and that the style of the drawing, which, especially in the profiled outlines of the faces, is much finer than in the lecythi published by Miss Sellers, seems to belong to the beginning of the fifth century—a date which we shall, I think, find consistent with the results derived from more technical evidence. The vase is of double interest, from its subject as well as its technique. -
' “Always the Foremost Argive Champion”? The
Scheijnen T. (2015); ‘ “Always the Foremost Argive Champion”? The Representation of Neoptolemus in Quintus of Smyrna’s Posthomerica’ Rosetta 17.5: 93 – 110 http://www.rosetta.bham.ac.uk/issue17.5/Scheijnen.pdf ‘Always the Foremost Argive Champion’? The Representation of Neoptolemus in Quintus of Smyrna’s Posthomerica Tine Scheijnen Abstract: Neoptolemus rather seldom figures in Ancient Greek literature. The Posthomerica of Quintus of Smyrna is one of the scarce examples in which the son of Achilles is staged as a hero on the battlefield. This paper investigates the representation of Neoptolemus as the successor of his father in the Trojan War. The vigorous youth who takes Achilles’ place as the principal Achaean champion is repeatedly recognised as latter’s heir. Various narrative techniques reinforce this profound assimilation, which proves crucial to determine Neoptolemus’ identity as a warrior. The image that is thus created of the young hero clearly enters into dialogue with the Homeric epics, in which the post-Achilles episode of the Trojan War is only indirectly treated. To complete what his father has left unfinished, Neoptolemus finds inspiration in his rich inheritance. ‘And in truth, as often as we took counsel around the city of Troy, he was always the first to speak, and never erred in his words; godlike Nestor and I alone surpassed him. But as often as we fought with the bronze on the Trojan plain, he would never remain behind in the throng or press of men, but would run forward far to the front, yielding to none in his prowess; and many men he slew in dreadful combat.’ (Odysseus: Odyssey 11, 510-516)1 During his visit to the Underworld in Odyssey 11, Odysseus encounters Achilles and describes to him how his son Neoptolemus became a worthy champion in the Trojan War. -
Neoptolemus: the Making of a Cruel Warrior
Neoptolemus: The Making of a Cruel Warrior. Thanks to Schein’s recent commentary (2013), Sophocles’ Philoctetes has been given a fresh perspective. Taking Schein’s comments on Heracles’ cautionary words to Neoptolemus at the end of the play as a starting point, this paper argues that Sophocles constructs the character of Neoptolemus based on his later involvement in the sack of Troy. It presents a departure from the trend of reading Philoctetes in the context of contemporary Athens (as compellingly presented in, for example, Scodel 2012) and instead presents Neoptolemus as a character in direct engagement with his own complex mythological heritage. In particular, it argues that Neoptolemus’ later (moral) savage behaviour is foreshadowed in Philoctetes in a way that mirrors the (physical) savagery of Philoctetes himself and his wound that has been noted as a significant aspect of this play (Segal, 1995; Worman 2000). Neoptolemus is an ephebic youth in Philoctetes, struggling to understand himself and his place within the Greek army (for example, Allan, 2001). After Heracles’ intervention ex machina, it is understood that both Philoctetes and Neoptolemus will return to Troy, but lingering in Heracles’ words is the unsettling foreshadowing of Neoptolemus’ behaviour in Troy during the sack. For an audience familiar with the tradition, this warning against bad behaviour would not have come as a surprise. This paper argues that the later incarnation of Neoptolemus was meant to be central in the audience’s mind throughout Philoctetes. Building on the work of Fuqua (1976) and Davidson (1995), the paper argues for the importance of mythological tradition in the interpretation Neoptolemus in Philoctetes. -
Sophocles: Philoctetes’ In: the Literary Encyclopedia (Published Version)
Citation: Paillard, Elodie. "Philoctetes". The Literary Encyclopedia. 8 August 2017. [http://www.litencyc.com/php/sworks.php?rec=true&UID=2784, accessed 9 August 2017.] Elodie Paillard, Entry ‘Sophocles: Philoctetes’ in: The Literary Encyclopedia (Published version) Sophocles: Philoctetes Philoctetes is one of the very rare plays by Sophocles that can be dated precisely: it was first performed in Athens’ City Dionysia in 409 BC and won the first prize. The myth staged in this play would have been familiar to the audience and can be related to the saga of the Trojan War. Before embarking with the Greeks for Troy, Philoctetes is linked to the legend of Heracles. Because Philoctetes had agreed to light the funeral pyre on which he wished to be burnt alive, Heracles gave Philoctetes his own bow, a special, almost magical, weapon: its arrows never miss their target. As the Greeks were sailing to Troy, they stopped to offer a sacrifice on the island of Chrysē (or to a deity called Chrysē), and Philoctetes was bitten on the foot by a water-snake during this stopover. The injury is so painful that Philoctetes’ cries of agony never stop and prevent the peaceful performing of the religious rites. The wound also emits a terrible smell. Odysseus and the Atreids thus decide to abandon Philoctetes on Lemnos and he is supposed to never come back. However, several years later, near the end of the Trojan War, the Greeks hear from Helenos, a Trojan seer, a prophecy saying that Troy could never be captured without Philoctetes and his bow. -
Plot Devices in Jane Austen's Novels
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Plot Devices in Jane Austen's Novels: Sense and Sensibility Pride and Prejudice and Persuasion A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University JANE ELIZABETH BROOKER 1981 ii. ABSTRACT Th is thesi s evaluates vari ous p l ot devices occurring in three novels by Jane Austen. The novels studied are Sense and Sensibility (1811), Pride and Prejudice (1813), and Persuasion (1 818) . I have chosen novels from different periods of Jane Austen ' s career as a novelist . One of the novels, Pride and Prejudice is regarded as having a virtually flawless plot , while both Sense and Sensibility and Persua sion are considered to have major plot flaws . To evaluate Jane Austen's use of plot devices , I have iso lated the main devices in each novel . Each chapter of the thesis is devoted to one t ype of plot device. The plot devices analysed come under the headings of Journeys and Character Positioning, Revelations, Elopements , Illnesses, Alternative Suitors, Minor Characters, and Conclusion. At the end of each chapter I have summarised the main points and compared the devices discussed in the chapter . The con clusion is divided int o three parts , dealing separately with the three novels . In my analysis of plot devices I have looked particularly for consistency of characterisation, and for plausible events.