Is the Heroic Age of Greece Myth Or History?
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Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
Getting Acquainted with the Myths Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way. -
Parthenopaeus and Statius' Testing of the Aeneid
Parthenopaeus and Statius’ Testing of the Aeneid In the closing lines of his epic the Thebaid (12.810-819) Statius hopes that his poem will achieve success similar to that of the Aeneid but not rival the earlier classic too aggressively. uiue, precor; nec tu diuinam Aeneida tempta, sed longe sequere et uestigia semper adora. (12.816-817) Live, I pray; and test not the divine Aeneid, But follow from afar and always venerate her footsteps. The Thebaid’s sphragis is considered one of the most intertextual passages in all of Roman literature and the epic as a whole has a highly allusive quality (Dominik 2003). Despite Statius’ intention of not “testing” the Aeneid, he in fact engages in a literary certamen with Vergil and his work. A central figure in this contest is the Arcadian youth Parthenopaeus, whom Statius consistently uses as a device for measuring his poem against that of Vergil. In the sphragis Statius refers to the Thebaid as new: “already, for sure, powerful Fama has laid out a pleasant path for you and begun to show you, a new poem, to future generations” …iam certe praesens tibi Fama benignum / strauit iter coepitque nouam monstrare futuris, 12.812-813. The Thebaid may be a new publication, yet because of its imitative features and treatment of the well-trodden saga of the family of Oedipus is anything but new (Vessey 1973). Furthermore, Parthenopaeus is one of epic’s most recycled characters and one who embodies many of Vergil’s youthful warriors (Pallas, for example) who populate the second half of the Aeneid (Hardie 1989). -
The Journal of Hellenic Studies Once More the End of Sophocles' Oedipus Tyrannus
The Journal of Hellenic Studies http://journals.cambridge.org/JHS Additional services for The Journal of Hellenic Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Once more the end of Sophocles' Oedipus Tyrannus Alan H. Sommerstein The Journal of Hellenic Studies / Volume 131 / November 2011, pp 85 - 93 DOI: 10.1017/S0075426911000061, Published online: 25 November 2011 Link to this article: http://journals.cambridge.org/abstract_S0075426911000061 How to cite this article: Alan H. Sommerstein (2011). Once more the end of Sophocles' Oedipus Tyrannus. The Journal of Hellenic Studies, 131, pp 85-93 doi:10.1017/S0075426911000061 Request Permissions : Click here Downloaded from http://journals.cambridge.org/JHS, IP address: 147.91.1.45 on 23 Sep 2013 Journal of Hellenic Studies 131 (2011) 85−93 doi:10.1017/S0075426911000061 ONCE MORE THE END OF SOPHOCLES’ OEDIPUS TYRANNUS ALAN H. SOMMERSTEIN University of Nottingham* Abstract: This article challenges the conclusion of Kovacs (2009) that Oedipus Tyrannus 1468−1523 is an inter- polation, arguing that the evidence he brings is insufficient (except possibly in regard to 1500−02), that his proposal regarding Sophocles’ original conclusion to the play is unsatisfactory and that in 1468−1523 several significant features of the play’s opening scenes are repeated or reversed. In his recent article ‘Do we have the end of Sophocles’ Oedipus Tyrannus?’ David Kovacs (2009) argues, in effect, for the following four propositions. (1) That Sophocles designed Oedipus Tyrannus to end, as its present text does, with Oedipus going into (what had been) his own palace, though ‘the audience receive a clear impression that he will be exiled at some later time’ ((2009) 58). -
Durham E-Theses
Durham E-Theses The legend of Oedipus in fth century tragedy at Athens Bailey, S. K. How to cite: Bailey, S. K. (1955) The legend of Oedipus in fth century tragedy at Athens, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9722/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk r 1 THE LEGEND OF OEDIPUS IN FIFTH CENTURY TRAGEDY AT ATHENS A THESIS SUJ3W:TTED BY S.K. BAILEY FOR THE DEGREE OF MASTER OF LETTERS The aims of the thesis are (a) to mark what has been altered or added to the legend of Oedipus by the three great dramatists of the fifth century, and (b) to show that these alterations and additions were made with a· specific end in view. To further these aims it has been necessary to broaden somewhat the scope of the thesis so as to include in it a gathering together of the pre-Aeechylean versions of the story; in the case of Aeschylus a reconstruction of the two lost plays of the trilogy, and in the case of each poet a personal interpretation of the plays connected with the Oedipus legend. -
Alcmaeon in Psophis
Alcmaeon in Psophis Psophis was said to have been originally called Erymanthus, and its territory to have been ravaged by the Erymanthian Boar.Pausanias, "Description of Greece" viii. 24. § 2-10] [Hecat. "on Stephanus of Byzantium s.v." polytonic|Ψωφίς] [Apollodorus, ii. Alcmaeon (mythology) â” In Greek mythology, Alcmaeon, or Alkmáon, was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes ⦠Alcmaeon in Psophis. Year: between 180 and 200 AD. Scripts: Alcmaeon in Psophis by Euripides. Genres: Tragedy. Psophis. How to cite this ancient performance. Alcmaeon in Psophis, accessed at http://www.apgrd.ox.ac.uk/ancient- performance/performance/98 <16 September 2018>. Alcmaeon in Psophis (Ancient Greek: Ἀλκμαίων ὠδιὰ Ψωφῖδος, AlkmaiÅn ho dia Psophidos) is a play by Athenian playwright Euripides. The play has been lost except for a few surviving fragments. It was first produced in 438 BCE in a tetralogy that also included the extant Alcestis and the lost Cretan Women and Telephus. The story is believed to have incorporated the death of Argive hero Alcmaeon.[1]. Alcmaeon in Psophis. Alcmaeon (mythology)'s wiki: In Greek mythology, Alcmaeon (Greek: Ἀλκμαίων), was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes, wh. -
The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut. -
The Historical Background of the Trojan War
447 The Historical Background of the Trojan War. By John L. Myres and K. T. Frost. 1. Rameses III. and the Sea-Haiders. To give complete and accurate account of events in the Levant during the twelfth and thirteenth centuries B. C. is one of the most diffi- cult tasks presented by ancient history. It is also one of the most fasci- nating; for it must include not only a summary of what is known of the peoples of Asia Minor, Syria and Egypt, but also a survey of the My- cenean Age, and the Late Minoan "Sea-Raiders". It is moreover the historical background of the Trojan War. It was a time of great unrest, of fierce invasions and national migrations, whose effects lasted long. At the turn of the Century, in 1200 B. C. these are the main lines of the picture. From the Adriatic Sea to the Persian Gulf a large pro- portion of cities and tribes were independent of any great overlord. Knossos had been OTerthrown for some two centuries and although partly reinhabited it no longer ruled the waves, and the Mediterranean was swept by the Late Minoan sea-rovers. Egypt was powerless abroad and decadent at home. Babylon was just driving out the Kassites who had ruled for some centuries, and as yet the new native dynasty had little influence outside^). Assyria, whose power had greatly declined since the death of Tukulti-Ninib some forty years earlier, was beginning to reassert herseif but was still fully occupied in guarding her own frontiers. The empire of the Hittites was being finally overthrown by a fierce invasion of the Muski Phrygians who had crossed from Europe and were devastating Asia Minor. -
Trojan War - Wikipedia, the Free Encyclopedia Trojan War from Wikipedia, the Free Encyclopedia for the 1997 Film, See Trojan War (Film)
5/14/2014 Trojan War - Wikipedia, the free encyclopedia Trojan War From Wikipedia, the free encyclopedia For the 1997 film, see Trojan War (film). In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen Trojan War from her husband Menelaus king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; its sequel, the Odyssey describes Odysseus's journey home. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful Achilles tending the wounded Patroclus of all women and wife of Menelaus, fall in love with Paris, who (Attic red-figure kylix, c. 500 BC) took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean The war troops to Troy and besieged the city for ten years because of Paris' Setting: Troy (modern Hisarlik, Turkey) insult. -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming. -
Thebaid 2: Oedipus Descendants of Cadmus
Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway. -
Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse.