Lectures on Greek Poetry
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PLATO's SYMPOSIUM J
50 ccn~ PLATO'S SYMPOSIUM j - - -- ________j e Library of Liberal Arts PLATO'S SYMPOSIUM Tran lated by BENJAMIN JOWETT With an Introduction by FULTON H. ANDERSON Professor of Philosophy, University of Toronto THE LIBERAL ARTS PRESS NEW YORK CONTENTS SELECTED BIBLIOGRAPHY .. .... ................................... ......... ... ........... 6 EDITOR'S INTRODUCTION ................... ............................................. 7 SYMPOSIUM APOLLODORUS 13 THE SPEECH OF PHAEDRUS ...... .......................... .......................... .. 19 THE SPEECH OF PAU ANIAS ................. ... ................................. ... .. 21 THE SPEECH OF ERYXIMACHUS 27 THE SPEECH OF ARISTOPHAN E .. ............................... .................. 30 THE SPEECH OF AGATHON ............ .............................................. .. 35 THE SPEECH OF SocRATES ................................ .. ................... ..... .. 39 THE SPEECH OF ALCIBIADES ................. ............... ... ........... ...... .... .. 55 8 PLATO INTROD CTION 9 crescendo, and culminates in the report by Socrates on wi dom and epistemology, upon all of which the Symposium ha bearing, learned from the "wi e" woman Diotima. are intertwined, we m ay set down briefly a few of the more general The dialogue i a "reported" one. Plato himself could not have principles which are to be found in it author's many-sided thought. been present at the original party. (What went on there was told The human soul, a cording to Plato, is es entially in motion. time and time again about Athens.) He was a mere boy when it It is li fe and the integration of living functions. A dead soul is a con took place. Nor could the narrator Apollodorus have been a guest; _lladiction in terms. Man throughout his whole nature is erotically he was too young at the time. The latter got his report from motivated. His "love" or desire i manifest in three mutually in Aristodemus, a guest at the banquet. -
The Iliad Homer
The Iliad Homer BOOK I. How Agamemnon and Achilles fell out at the siege of Troy; and Achilles withdrew himself from battle, and won from Zeus a pledge that his wrong should be avenged on Agamemnon and the Achaians. Sing, goddess, the wrath of Achilles Peleus’ son, the ruinous wrath that brought on the Achaians woes innumerable, and hurled down into Hades many strong souls of heroes, and gave their bodies to be a prey to dogs and all winged fowls; and so the counsel of Zeus wrought out its accomplishment from the day when first strife parted Atreides king of men and noble Achilles. Who among the gods set the twain at strife and variance? Apollo, the son of Leto and of Zeus; for he in anger at the king sent a sore plague upon the host, so that the folk began to perish, because Atreides had done dishonour to Chryses the priest. For the priest had come to the Achaians’ fleet ships to win his daughter’s freedom, and brought a ransom beyond telling; and bare in his hands the fillet of Apollo the Far- darter upon a golden staff; and made his prayer unto all the Achaians, and most of all to the two sons of Atreus, orderers of the host; “Ye sons of Atreus and all ye well-greaved Achaians, now may the gods that dwell in the mansions of Olympus grant you to lay waste the city of Priam, and to fare happily homeward; only set ye my dear child free, and accept the ransom in reverence to the son of Zeus, far-darting Apollo.” The Iliad Homer Then all the other Achaians cried assent, to reverence the priest and accept his goodly ransom; yet the thing pleased not the heart of Agamemnon son of Atreus, but he roughly sent him away, and laid stern charge upon him, saying: “Let me not find thee, old man, amid the hollow ships, whether tarrying now or returning again hereafter, lest the staff and fillet of the god avail thee naught. -
Giovan Battista D'alessio Pindar's Prosodia and the Classification Of
GIOVAN BATTISTA D’ALESSIO PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS aus: Zeitschrift für Papyrologie und Epigraphik 118 (1997) 23–60 © Dr. Rudolf Habelt GmbH, Bonn 23 PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS* I. The attribution of Pindaric papyrus fragments Judging from current editions, the two books of Pindar’s Prosodia seem to be by far the most scantily represented among the 17 books in which his work was divided by ancient editors.1 In the Teubner edition (the only critical edition taking account of the bulk of papyrus fragments published in 1961, and of the few scraps subsequently known) the Prosodia occupy less than two pages, which compares rather poorly with the second worst represented category, the Hyporchemata, where five pages are the remains of one or two books,2 not to say of the Dithyrambs (14 pages from two books), the Threnoi (9 pages from a single book) or of the apparently massively represented Paeans (57 pages from a single book!). Together with the single book of the Encomia (whose indirect tradition is better represented) the Prosodia are the only category to which Snell and Maehler attribute no papyrus fragment.3 The distribution of the fragments among the different books of Pindar’s works, apart from the few cases where we have explicit evidence that a quotation or a poem came from one or other book, rests, unavoidably, on a certain degree of speculation. Since the 18th century (and in some cases earlier) many fragments, known thanks to indirect tradition, have been conjecturally attributed to different genres on different grounds: in the recent Teubner edition this fact is signalled by an asterisk, preceding the con- jecturally assigned fragment, while two asterisks indicate a fragment whose attribution to Pindar is conjectural too. -
HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
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. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Pindar's Isthmians 3 and 4
PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Roman Vladimirovich Ivanov May 2010 © 2010 Roman Vladimirovich Ivanov PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY Roman Vladimirovich Ivanov, Ph. D. Cornell University 2010 As pointed out by Richard Hamilton, ‘commentaries on individual odes are arguably the most obvious need in Pindaric scholarship’ (Bryn Mawr Classical Review 1999.01.01). My dissertation is a small step toward satisfying this need. The choice of the Third and Fourth Isthmians has been motivated by the lack of a thorough and up- to-date commentary and by the fact that this pair of odes poses a number of interpretative problems with resonances throughout the entire epinician corpus. The dissertation opens with four essays that address the major problems besetting the interpretation of the two odes. The first, ‘Isthmians 3 and 4: One or Two Poems?’, examines critically the arguments about the relationship between the two poems. Section two, ‘Isthmians 3 and 4: Imitation at the Symposium’, argues that Isthmian 3 is an improvised piece imitating Isthmian 4. On the basis of evidence from Pindar and Bacchylides, I follow J. Strauss Clay in positing the symposium as the most likely performance setting of this poem. Section three, ‘Μοῦσα Ἀυθιγενής: Context and Performance of Short Epinician Odes’, raises doubts about the now orthodox assumption that short epinician odes like Isthmian 3 were performed at the sites of the games and proposes plausible alternative scenarios. -
Illinois Classical Studies
23 Later Euripidean Music ERIC CSAPO In memory of Desmond Conacher, a much-loved teacher, colleague, andfriend. I. The Scholarship In the last two decades of the twentieth century several important general books marked a resurgence of interest in Greek music: Barker 1984 and 1989, Comotti 1989a (an expanded English translation of a work in Italian written in 1979), M. L. West 1992, W. D. Anderson 1994, Neubecker 1994 (second edition of a work of 1977), and Landels 1999. These volumes provide good general guides to the subject, with particular strengths in ancient theory and practice, the history of musical genres, technical innovations, the reconstruction and use of ancient instruments, ancient musical notation, documents, metrics, and reconstructions of ancient scales, modes, and genera. They are too broadly focussed to give much attention to tragedy. Euripidean music receives no more than three pages in any of these works (a little more is usually allocated to specific discussion of the musical fragment of Orestes). Fewer books were devoted to music in drama. Even stretching back another decade, we have: one general book on tragic music, Pintacuda 1978, two books by Scott on "musical design" in Aeschylus (1984) and in Sophocles (1996), and two books devoted to Aristophanes' music, Pintacuda 1982 and L. P. E. Parker 1997. Pintacuda 1978 offers three chapters on basic background, and one chapter for each of the poets. The chapter on Euripides (shared with a fairly standard account of the New Musicians), contains less than four pages of general discussion of Euripides' relationship to the New Music (164-68), which is followed by fifty pages of blow-by-blow description of the musical numbers in each play—a mildly caffeinated catalogue-style already familiar from Webster 1970b: 110-92 and revisited by Scott. -
THE PRAGMATICS of DIRECT ADDRESS in the ILIAD: a STUDY in LINGUISTIC POLITENESS DISSERTATION Presented in Partial Fulfillment Of
THE PRAGMATICS OF DIRECT ADDRESS IN THE ILIAD: A STUDY IN LINGUISTIC POLITENESS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By H. Paul Brown The Ohio State University 2003 Dissertation Committee: Approved by Stephen V. Tracy, Advisor Victoria Wohl ________________________ Advisor Brian Joseph Department of Greek and Latin Daniel Collins Copyright by H. Paul Brown 2003 ABSTRACT The purpose of this paper will be to examine, in the text of Homer’s Iliad, some of the pragmatic and sociolinguistic factors in the choice of form of address (epithet). Specifically I will look at these in light of the Parry-Lord theory of oral composition and its claims of ‘economy of form.’ The results of this limited examination have important implications for the viability of such methods and for our understanding of oral, traditional literature. Milman Parry, as is well known, demonstrated that the choice of appellation for any character, between the given-name (e.g., ÉAgam°mnvn) and the patronymic (e.g., ÉAtre˝dhw) was a decision based on metrical considerations alone, and importantly, not on semantic ones. The two terms cannot simply be substituted for the other without changing the meter of the whole line. The choice between the two is, according to Parry, driven by metrical necessity alone and hence any possible distinction of meaning is automatically bleached. The two names mean the same thing (i.e., Agamemnon). In this study I will look specifically at the use types of address within the narrative frame of the Iliad, in light of two potentially contributing factors. -
The Hybris of Socrates: a Platonic 'Revaluation of Values' in T
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library The hybris of Socrates 43 The hybris of Socrates: A Platonic ‘revaluation of values’ in the Symposium Will Desmond Abstract: In the final speech of Plato’s Symposium, the young, aristocratic Alcibiades accuses Socrates of being characteristically hybristic. This is a startling claim that requires explanation, in relation both to the rest of the Symposium and to Plato’s broader ethical and metaphysical concerns. Previous interpretations of the meaning and purpose of Alcibiades’ speech miss the main point: namely, the notion of a philosphical or Socratic hybris complements the discussion by Socrates-Diotima of the ideal nature of eros. Just as all desire in fact aims at eternal ends, so the Platonic philosopher acts ‘hybristically’, by typically asserting his own activity and insights vis-à-vis temporal, contingent values. Therefore, Alcibiades’ speech should be understood in the context of a more general Platonic ‘revaluation of values’ that reorients traditional words and concepts towards ideal ends. At the end of Plato’s Symposium, Alcibiades bursts into Agathon’s house and proceeds to deliver a speech in praise of Socrates. It is a deeply ambivalent speech. Intermixed with genuine admiration for Socrates’ moral virtues, intelligence and physical strength, is the recurrent and insistent condemnation of Socrates for hybris. Alcibiades levels the charge at the beginning of his speech when he compares Socrates to the satyr Marsyas: ‘You are a hybristes, Socrates. If you deny it, I will produce witnesses’. -
A Lyre on the Ground
Hyperboreus 18:1 (2012) Nina Almazova A LYRE ON THE GROUND To Prof. Dr. Heinz Heinen Among Attic red-fi gured vases from the Hermitage collection is a stemmed plate by the Dish Painter 1 dated to 470–460 BC. The painting in the interior (fi g. 1a) represents a bare-footed short-haired girl wearing a short high- girdled chiton and a diadem or a leaved fi llet. In a dance that resembles running she approaches a lyre lying on the ground and looks backwards. A ribbon is attached to the instrument; over the lyre there is an inscription in purple, all the letters of which are clearly visible: CORFELES. The content of this image has not been much discussed. The most detailed examination is that of Anna Peredolskaya in her Hermitage catalogue of red-fi gured Attic vases.2 Peredolskaya argues that the musical instrument3 decorated with a ribbon points rather to a cult dance with an accompaniment than to running. The glance of the girl is directed backwards, which makes it probable that she is being followed by someone; possibly, she is leading a chorus of young girls. The same explanation is implied by the inscription, which states clearly that the image deals with a chorus performance – though the translation given by Peredolskaya (‘идущая во главе хора’ – ‘leading a chorus’) is inadequate.4 The girl’s headgear which she calls “a golden diadem” points to a festive garment, according to Peredolskaya “a traditional garment of a young dancer”. Peredolskaya points out that the reason for placing the lyre on the ground is obscure.