DOCSLIB.ORG

The Greek Tragedians

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Greek Tragedians The Greek Tragedians Khiem, Santos, David, Sydney & Judit Overview ● Aeschylus, Sophocles, Euripides Background/ Significance ● Sophocles’ religious beliefs and influence in Antigone ● Social Connections to Antigone ● Cultural Connections to Antigone ● Interesting Aspects of Technique ● Class Discussion Questions Aeschylus Background ● Born 524 BCE ● Died 456 BCE The first of the three Greek tragedians Aeschylus Background ● Born into wealthy family ● Education included studying writings of Homer, his inspiration to start writing ● Won annual writing competition 13 times. Was only beat by Sophocles ● Once became a soldier, and helped in the turning of the Persian Invasion, but wasn’t as important as his writings Aeschylus Significance to Greek Tragedy ● Known for: writing Greek tragedies implying the relationships between mortal man and the gods ● Relationship: The gods were all around the people and watched over them. Aeschylus Significance to Greek Tragedy ● Introduced the second character (Sophocles introduced the third character). Before the second character, an actor would have a continuous soliloquies with a chorus ● Added more Greek culture into the drama theatre, as well as costumes and dance Sophocles Background ● Born: 495 B.C. ● Died: 406 B.C. ● Born into a wealthy family ● Studied all of the arts ● 2nd of the 3 Greek Tragedians Sophocles Background cont... ● At age 16 was chosen as leader of a boys choir ● 12 years later completed all of his studies ● Competed in the Dionysia ● Won 18 1st places ● Even defeated Aeschylus Sophocles Background cont... ● Performed in many of his own plays ● Served as an ordained priest ○ local heros Alcon and Asclepius the god of medicine ● Served in the board of generals Sophocles’s Religious Beliefs ● Sophocles, along with most men, believed that the government was directed by the gods. ● If the people disobeyed fundamental truths, they would result in a great tragedy. Sophocles’ Significance to Greek Tragedy ● 1st to add a 3rd actor (reduced role of chorus) ● Added scenery ● Developed the dialogue ● Abolished the trilogic form ○ made each tragedy its own Euripides Background ● Born: 480 B.C. ● Died: 406 B.C. ● Last of the three Greek tragedians Euripides Background ● Wrote tragedies in the Cave of Euripides, which served as his sanctuary ● Competed for the first time in Dionysia in 455 BCE, came in third place ● Only won first prize four times throughout his lifetime, and once after his death ● Plays were seen as controversial and did not follow tradition Euripides’ Significance to Greek Tragedy ● Heightened the importance of intrigue in tragedy ● Incorporated aspects of comedy ● First to introduce women in a realistic manner, not as heroines ● Influenced strongly by Socrates, making his tragedies more philosophical Euripides’ Significance to Greek Tragedy ● Known for reconstructing traditional structure of Greek tragedy ● Used strong female roles and intelligent slaves ● Satirized many heroes from Greek mythology Religious Influence in Antigone ● At the time, religion was more looked into than science ● Freedom of religion was exercised in city- states ● Gods are to be respected over mortal men ● In Antigone, characters have controversial views on Greek ideals (Creon and Antigone). ● We will go more in depth in a few minutes Present Social Connections to Antigone ● Gender roles, discrimination of women and more power in the man ● Importance of family ● Democratic government, no anarchy ● Money is power Present Cultural Connections to Antigone ● Cultural connection to Catholics and Christians ● In similarity with Antigone being imprisoned in the tomb, Jesus’ resurrected from dead in tomb ● Antigone wanted to sacrifice for a greater cause, wanted to prove her loyalty to gods and defy Creon’s laws Interesting Aspects of Technique (w quotes) ● Setting: Disaster-prone city known as Thebes, place where Oedipus the King took place ● Three Act Plot Analysis ● Chorus-helps to better inform the audience Easy/ Difficult to Understand ● Easy - Sophocles was a follower of the common Athenian religion, that god’s power was greater than man’s power Difficult - he believed in the power of man (contradict each other) ● Easy - the relationship between individuals’ actions and their fate (tension) Difficult - why characters commit bad actions when Sophocles believed people are responsible for their actions. Class Discussion Question 1: Discuss how Antigone parallels to the tragedy of Oedipus. Find quotes to support your answer. Possible Answers ● Creon’s pride and stubbornness parallel to Oedipus. “No, I am certain no human has the power to pollute the gods” (2098). ● The deaths of family members occur from the wrongdoings of Creon. “First she cried in agony… in the end she cursed you for the evil you had done” (2104). ● Like Oedipus, Creon searches for the truth; he remains blind to the truth. “Then realize you are on the razor edge of danger” (2097). ● The fate that is imposed by gods cannot be escaped. “Pray for no more at all. For what is destined for us, mortal men, there is no escape” (2104). Question 2 How can Sophocles’ religious views be seen throughout Antigone? Give quotes to support your answer. Answers ● Antigone believes in the Athenian religion, the laws of the gods should be respected over the laws of men. “You, if you like, can cast dishonor on what the gods have honored” (2076). ● In Athens, the gods provide the people with safety and wealth. “If he honors the laws of earth, and the justice of the gods he has confirmed by oath, high is his city” (2083). ● Teiresias finally persuades Creon to give up his stubborn and tyrannical nature to adapt to the gods’ will. “I am afraid it may be best, in the end of life, to have kept the old accepted laws (of the gods)” (2100). Question 3 How can the influences of Euripides & Aeschylus be seen Antigone? Cite specific examples. Answers ● Euripides’s realism was contributed into Antigone when Ismene is worried about the danger of Antigone disobeying Creon. “Would you bury him, when it is forbidden? I fear for you” (2075). She doesn’t want to be the last of her family. ● More generally, without Aeschylus, there would possibly be only one character in the entire story, along with the chorus. Question 4 How are two of the six components of tragedy (defined by Aristotle) portrayed throughout this play? (Provide examples from the book) Answer Chorus for example in thus play Antigone rather than just serve as an informative it was it's own character in itself which helped with the development of the other characters & understanding of their actions. Works Cited "Aeschylus - Crystalinks." Aeschylus - Crystalinks. Web. 31 Aug. 2015. Save to EasyBib "Aeschylus and His Tragedies." Aeschylus and His Tragedies. Web. 31 Aug. 2015. Save to EasyBib "Aeschylus." Aeschylus. Web. 31 Aug. 2015. Save to EasyBib "Content." Content. Web. 31 Aug. 2015. Save to EasyBib "Euripides and His Tragedies." Euripides and His Tragedies. Web. 31 Aug. 2015. Save to EasyBib "Medea." Open Letters Monthly an Arts and Literature Review Soft by Nature and Quick to Tears Comments. Web. 31 Aug. 2015. Save to EasyBib "The Religious and Moral Ideas of Sophocles." The Religious and Moral Ideas of Sophocles. Web. 31 Aug. 2015. Save to EasyBib Bio.com. A&E Networks Television. Web. 31 Aug. 2015. "Sophocles' Religion." Simple Complexities. 20 Dec. 2014. Web. 27 Aug. 2015. "Sophocles | Greek Dramatist." Encyclopedia Britannica Online. Encyclopedia Britannica. Web. 28 Aug. 2015. "Sophocles - Biography." Sophocles. Web. 1 Sept. 2015..
Load more

Recommended publications
  • Ancient Greece Webquest
    Name ___________________________________ Pd _____ Ancient Greece WebQuest Part 1: The Life of Sophocles Directions: As you look through the web pages assigned for Part 1, answer the following questions. Website #1 - Sophocles Biography (http://www.online-literature.com/sophocles) 1. What was the City Dionysia? 2. In what year did Sophocles enter his first City Dionysia? How old was he at the time? 3. Besides being a playwright, name at least three other professions or positions Sophocles held in Greek society. 4. How many total plays did Sophocles write? How many still exist in their entirety? 5. What percentage of Sophocles’ works still exist? (This is a math question - use the equation: total still existing total works = percent that still exist) 6. What is considered Sophocles’ greatest work? Website #2 - Sophocles Timeline (http://www.theatrehistory.com/ancient/sophocles002.html) 1. In what year was Sophocles born? How many years ago was his birth from our current year? (HINT: Note that Sophocles lived during B.C.; the years from 0 to our current year are A.D.). 2. In what year did Sophocles presumably write Oedipus the King and Oedipus at Colonus? 3. In what year did Sophocles first exhibit Antigone? Part 2: Greek Life Directions: As you look through the web pages assigned for Part 2, answer the following questions. Website #1 – Greek Democracy (http://www.carlos.emory.edu/ODYSSEY/GREECE/home.html) 1. From what two Greek words do we get the word democracy? 2. What is a polis, and what was the most powerful polis in ancient Greece? 3.
    [Show full text]
  • The Garland of Hippolytus
    1 2 3 4 Richard Hunter 5 6 7 The Garland of Hippolytus 8 Abstract: This article discusses a set of remarkable scholia on the dedicatory ad- 9 dress and prayer which Hippolytus offers to Artemis as he places a garland at her 10 statue (Euripides, Hippolytus 73–87); the scholia consider a variety of allegorical 11 interpretations for the garland and for Hippolytus’ moral elitism. The article sets 12 these scholia within the context of the poetic interpretation of later criticism 13 and traces their roots in the language of classical poetry itself. The affiliations of Hippolytus’ language and why it attracted the notice of the scholiasts is 14 also explored, as is the way in which this scholiastic interest points us also to 15 a very important strand of the play’s meaning. 16 17 Keywords: allegorical interpretation, Euripides, Pindar, Orphics, scholia 18 19 One of the most celebrated Euripidean passages is the dedicatory address 20 and prayer which Hippolytus offers to Artemis as he places a garland at 21 her statue, immediately after the hymn which he and his fellow-hunts- 22 men have sung to her as they enter: 23 24 so· t|mde pkejt¹m st]vamom 1n !jgq\tou _ § 25 keil mor, d]spoima, josl^sar v]qy, 5mh’ oute poilµm !nio? v]qbeim bot± 75 26 out’ Gkh] py s_dgqor, !kk’ !j^qatom 27 l]kissa keil_m’ Aqimµ di]qwetai, 28 aQd½rd³ potal_aisi jgpe}ei dq|soir, 29 fsoir didajt¹m lgd³m !kk’ 1mt/i v}sei ¹ ? U 1 ± ! 30 t syvqome mekgwem rt p\mt’ e_,80 to}toir dq]peshai, to?r jajo?si d’ oq h]lir.
    [Show full text]
  • Euripides” Johanna Hanink
    The Life of the Author in the Letters of “Euripides” Johanna Hanink N 1694, Joshua Barnes, the eccentric British scholar (and poet) of Greek who the next year would become Regius Professor at the University of Cambridge, published his I 1 long-awaited Euripidis quae extant omnia. This was an enormous edition of Euripides’ works which contained every scrap of Euripidean material—dramatic, fragmentary, and biographical —that Barnes had managed to unearth.2 In the course of pre- paring the volume, Barnes had got wind that Richard Bentley believed that the epistles attributed by many ancient manu- scripts to Euripides were spurious; he therefore wrote to Bentley asking him to elucidate the grounds of his doubt. On 22 February 1693, Bentley returned a letter to Barnes in which he firmly declared that, with regard to the ancient epistles, “tis not Euripides himself that here discourseth, but a puny sophist that acts him.” Bentley did, however, recognize that convincing others of this would be a difficult task: “as for arguments to prove [the letters] spurious, perhaps there are none that will convince any person that doth not discover it by himself.”3 1 On the printing of the book and its early distribution see D. McKitterick, A History of Cambridge University Press I Printing and the Book Trade in Cambridge, 1534–1698 (Cambridge 1992) 380–392; on Joshua Barnes see K. L. Haugen, ODNB 3 (2004) 998–1001. 2 C. Collard, Tragedy, Euripides and Euripideans (Bristol 2007) 199–204, re- hearses a number of criticisms of Barnes’ methods, especially concerning his presentation of Euripidean fragments (for which he often gave no source, and which occasionally consisted of lines from the extant plays).
    [Show full text]
  • The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
    BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27.
    [Show full text]
  • Greek (GREEK) 1
    Greek (GREEK) 1 Greek (GREEK) GREEK 4505H: Topics in Greek - Humanities - Honors Topics course involving Greek texts. May be repeated for credit. GREEK 1100: Elementary Ancient Greek I Credit Hours: 3 Study of forms, grammar, syntax. Early attention to reading in simple Attic Prerequisites: Honors eligibility required prose. Recommended: GREEK 4300 Credit Hours: 4 GREEK 4510: Greek Tragedy GREEK 1100H: Elementary Ancient Greek I - Honors (cross-leveled with GREEK 7510). Selected works of Aeschylus, Study of forms, grammar, syntax. Early attention to reading in simple Attic Sophocles, Euripides, with special attention to language, style, ideas, and prose. dramatic techniques. Credit Hours: 4 Credit Hours: 3 Prerequisites: Honors eligibility required Recommended: GREEK 4300 GREEK 1200: Elementary Ancient Greek II GREEK 4520: Greek Comedy Continuation of GREEK 1100. Readings in Attic prose. (cross-leveled with GREEK 7520). Selected plays of Aristophanes and Menander, with special attention to cultural contexts. Credit Hours: 4 Prerequisites: GREEK 1100 Credit Hours: 3 Recommended: GREEK 4300 GREEK 1200H: Elementary Ancient Greek II - Honors Continuation of GREEK 1100H. Readings in Attic prose. GREEK 4530: Greek Lyric Poetry (cross-leveled with GREEK 7530). Selected readings from lyric poets, Credit Hours: 4 with attention to verse forms, and dialects. Prerequisites: GREEK 1100, Honors eligibility required Credit Hours: 3 GREEK 2000: Greek Reading Recommended: GREEK 4300 Selected works of Greek literature. GREEK 4540: Greek Oratory Credit Hours: 4 (cross-leveled with GREEK 7540). Selections from Greek orators, with Prerequisites: GREEK 1200 emphasis on Lysias and Demosthenes. GREEK 2000H: Greek Reading - Honors Credit Hours: 3 Selected works of Greek literature. Recommended: GREEK 4300 Credit Hours: 4 GREEK 4560: Greek Historians Prerequisites: GREEK 1200, Honors eligibility required (cross-leveled with GREEK 7560).
    [Show full text]
  • The Ancient Greeks and Modern Realism: Ethics, Persuasion, and Power
    978–0–19–955627–4 02-Duncan-Bell-ch02 OUP299-Duncan-Bell (Typeset by SPi, Delhi) 26 of 40 June 9, 2008 16:4 2 The Ancient Greeks and Modern Realism: Ethics, Persuasion, and Power Richard Ned Lebow 2.1. INTRODUCTION There is widespread recognition that the realist tradition reached its nadir in neo- realism. In his unsuccessful effort to transform realism into a scientific theory, Kenneth Waltz, father of neorealism, denuded the realist tradition of its complex- ity and subtlety, appreciation of agency, and understanding that power is most readily transformed into influence when it is both masked and embedded in a generally accepted system of norms. Neorealism is a parody of science.1 Its key terms like power and polarity are loosely and haphazardly formulated and its scope conditions are left undefined. It relies on a process akin to natural selection to shape the behaviour of units in a world where successful strategies are not necessarily passed on to successive leaders and where the culling of less successful units rarely occurs. It more closely resembles an unfalsifiable ideology than it does a scientific theory, and its rise and fall has had little to do with conceptual and empirical advances. Its appeal lay in its apparent parsimony and superficial resemblance to science; something that says more about its adherents that it does about the theory. Its decline was hastened by the end of the Cold War, which appeared to many as a critical test case for a theory that sought primarily to explain the stability of the bipolar world.
    [Show full text]
  • Euripides : Suppliant to the Divine Feminine
    Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 1-2020 Euripides : Suppliant to the Divine Feminine Liz Amato Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the Arts and Humanities Commons Recommended Citation Amato, Liz, "Euripides : Suppliant to the Divine Feminine" (2020). Theses, Dissertations and Culminating Projects. 333. https://digitalcommons.montclair.edu/etd/333 This Thesis is brought to you for free and open access by Montclair State University Digital Commons. It has been accepted for inclusion in Theses, Dissertations and Culminating Projects by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. Abstract The Euripidean tragedies Hippolytus., The Bacchae and The Medea present us with female characters who have sacred and profcrund interactionrs with the gods. These women havr: powerful ritualistic abilities that move the tragic a,ction. Sirrrilarly, Euripides' versions of Hecuba ancl Electra present us v,rith dynamio female characters who derive their agency from tlhe religio-judiroial need for cosmic ;,rtonement. .tt is up to these heroines to uphold the sacred laws decreed by the gods. Why does l:uripides errLpower these fernales with such direct means of divination? Arguably, Euripides felt it necessary to use these,deistic feminine connections to destroy the titular male characters. The tragedian's implicaticn is clear: divine feminine power supersedes patriarchal power. This divine power is inherent in all women and it compels them act on behalf of cosmic necessity'. The importance of Medea's, Phaedra's and Agave's respective spiritual connections shows us the crucial role that women ptayed in ancient religious worship.
    [Show full text]
  • Collins Magic in the Ancient Greek World.Pdf
    9781405132381_1_pre.qxd 30/10/2007 12:09 Page i Magic in the Ancient Greek World 9781405132381_1_pre.qxd 30/10/2007 12:09 Page ii Blackwell Ancient Religions Ancient religious practice and belief are at once fascinating and alien for twenty-first-century readers. There was no Bible, no creed, no fixed set of beliefs. Rather, ancient religion was characterized by extraordinary diversity in belief and ritual. This distance means that modern readers need a guide to ancient religious experience. Written by experts, the books in this series provide accessible introductions to this central aspect of the ancient world. Published Magic in the Ancient Greek World Derek Collins Religion in the Roman Empire James B. Rives Ancient Greek Religion Jon D. Mikalson Forthcoming Religion of the Roman Republic Christopher McDonough and Lora Holland Death, Burial and the Afterlife in Ancient Egypt Steven Snape Ancient Greek Divination Sarah Iles Johnston 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iii Magic in the Ancient Greek World Derek Collins 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iv © 2008 by Derek Collins blackwell publishing 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Derek Collins to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher.
    [Show full text]
  • An Apology of Euripides: Defending the Poets
    [Expositions 11.1 (2017) 118–137] Expositions (online) ISSN: 1747–5376 An Apology of Euripides: Defending the Poets MARLENE K. SOKOLON Concordia University One of the main prosecutors of Socrates on charges of impiety and corruption in 399 B.C.E. was the poet Miletus. In Plato’s version of his Apology (22b), Socrates defends himself by pointing out that poets are merely inspired and their audiences are better at explaining their poems.1 This critique of poetry is found and developed across Plato’s corpus, especially in the Republic (604b– 608d) where Socrates ends the ancient quarrel by exiling the poets from the city and philosophic education. This banishment, however, unleashed a new quarrel as to the meaning of Socrates’ critique of poetry, especially in light of his generous use of poetic elements in Plato’s dialogues. Generally, this debate has examined whether Socrates’ critique is ironic from the philosopher’s perspective. In contrast, this analysis takes up Socrates’ explicit challenge in the Republic (607e) for a defender (prostatēs) to give apology of poetry demonstrating that it is not simply pleasant but beneficial to regimes and human life. Offering two of Euripides’ plays in defense—Suppliant Women and Ion—the article investigates Euripides’ poetic contribution to understanding two enduring questions of political philosophy: what is the best regime; and what is the role of myth in political origin. Importantly, Euripides provides a serious account of such questions and reveals that a poetic education may be not only beneficial, but essential in any democratic regime. Socrates’ Critique of the Poets In Plato’s Apology, Socrates’ critique of the poets appears in the context of his defense against his old accusers.
    [Show full text]
  • Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; Proquest Pg
    Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; ProQuest pg. 215 Second Thoughts in Greek Tragedy Bernard M. W. Knox "IN HUMAN LIFE," says the Nurse in Euripides' Hippolytus (435-6), "second thoughts are somehow wiser." Like many another character in Euripidean tragedy, she has just changed her mind, and, in true Euripidean style, she justifies her action with a generaliza­ tion. It is not a generalization which would have recommended itself to Aeschylus and Sophocles; before Euripides, change of mind is a rare phenomenon on the tragic stage.! Aeschylus, as Bruno Snell has demonstrated, broke new ground in Greek poetry with his explicit presentation of a conscious human choice between alternatives, a free human decision which commits its taker to a tragic course.2 The responsibility the hero thus assumes, and the complex relation of his choice to the will of the gods and his own heredity, allow little scope for a change of mind. Aeschylean drama is linear; its principal figures, their decision once made, pursue their chosen course to the bitter end.3 In the Persians, which is the tragedy of a whole people rather than an individual, and which furthermore works through retrospect and prophecy rather than through present action, a change of mind is excluded by the nature of the dramatic organization. In the Seven against Thebes, Eteocles, at the end of a slow, almost static, preparation, makes his swift decision to fight against his brother; it is a decision, but not a change of mind-he had already decided to fight in person at one of the gates (282) and the gate where Polynices awaits him is the last remaining assignment.
    [Show full text]
  • The Intention of the Prometheus Bound of Aeschylus
    JUNE, 1875. No. 16.16, Mv.iac./fH/. BULLETIN OF THE UNIVERSITY of CALIFORNIA THESIS PREPARED AS A CANDIDATE FOR THE DEGREE OP BACHELOR OF ARTS, i ' By Josiah Royce, '75. 0 THE INTENTION OF THE PROMETHEUS BOUND OF .ESCHYLUS, BEING An Investigation in the Department of Greek Theology. Page 2.— Intboduction. .The nature of the discussion. " 4.—Section I The problem of the Prometheus Bound. " 7.— Section II The critical solutions suggested for that prob lem stated and briefly discussed. " 16. — Section III.... The Religious beliefs and feelings of the Greeks considered as affecting the problem. " 21.— Section IV. .The Theological and Artistic aim of the play. " 24. — Notes. Apkil 29th, 1875. University Press, Berkeley. 113 ""■"• ■ Mr , ,* , r c M r«r lmm . ^^ _ 0{, ?l BULLETIN OF THE HARVARO COUEGE LIBRA*; GIH OF JAMES M. PATON AU6UST.16,1828 THE INTENTION OF THE PROMETHEUS BOUND OF ^SCHYLUS. PREFATORY NOTE. The following discussion, having been prepared as a scholastic exercise, amid other duties and with considerable haste, is necessarily very incom plete, and no doubt any one who has paid any attention to the subject dis a it cussed will see great deal in that needs entire remodeling. I have pre pared it chiefly in the hope that the work done on it may be sometime of value to myself in future researches on kindred topics, and not at all in the expectation of affecting the views of any who have already formed views as to the nature and intentions of the Prometheus Bound. In fact, as will be seen, Greek Theology plays a much more prominent part in the discussion than does the play itself.
    [Show full text]
  • Medical Language in the Speeches of Demosthenes Allison Das a Dissertation Submitted in Partial Fulfillment of the Requirement
    Medical Language in the Speeches of Demosthenes Allison Das A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Ruby Blondell, Chair Deborah Kamen Alexander Hollmann Program Authorized to Offer Degree: Classics Department Allison Das ii ©Copyright 2015 Allison E. Das Allison Das iii University of Washington Abstract Medical Language in the Speeches of Demosthenes Allison E. Das Chair of Supervisory Committee Dr. Ruby Blondell Classics Department Introduction This project is intended as an examination of medical language and imagery in the speeches of Demosthenes, with special attention given to his speeches against his political opponent Aeschines, Against the False Embassy (19) and On the Crown (18). In Chapter 1, I contextualize his use of such language and imagery by exploring the influence of Hippocratic medicine on fourth- and fifth-century non-medical literature. I argue that the shared anxieties of medicine and politics, namely that both arts demand quick action and foresight on the part of the good practitioner, and the rich new vocabulary of suffering and disease, made Hippocratic medicine an enticing model for the political writer, that is, the historian, philosopher, and orator. Demosthenes' medical language and imagery should thus be seen as part of a tradition of analogizing the two arts, which began during the circulation of the first Hippocratic treatises and continued well into and past his own day. Allison Das iv In Chapter 2, I look at medical language and imagery in Demosthenes' prosecution of Aeschines for political misconduct during the Second Embassy to Philip II of Macedon, On the False Embassy.
    [Show full text]