Myth Into Muthos: the Shaping of Tragic Plot
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The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; Proquest Pg
The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; ProQuest pg. 387 The Conditions of Dramatic Production to the Death of Aeschylus N. G. L. Hammond TUDENTS of ancient history sometimes fall into the error of read Sing their history backwards. They assume that the features of a fully developed institution were already there in its earliest form. Something similar seems to have happened recently in the study of the early Attic theatre. Thus T. B. L. Webster introduces his excellent list of monuments illustrating tragedy and satyr-play with the following sentences: "Nothing, except the remains of the old Dionysos temple, helps us to envisage the earliest tragic background. The references to the plays of Aeschylus are to the lines of the Loeb edition. I am most grateful to G. S. Kirk, H. D. F. Kitto, D. W. Lucas, F. H. Sandbach, B. A. Sparkes and Homer Thompson for their criticisms, which have contributed greatly to the final form of this article. The students of the Classical Society at Bristol produce a Greek play each year, and on one occasion they combined with the boys of Bristol Grammar School and the Cathedral School to produce Aeschylus' Oresteia; they have made me think about the problems of staging. The following abbreviations are used: AAG: The Athenian Agora, a Guide to the Excavation and Museum! (Athens 1962). ARNon, Conventions: P. D. Arnott, Greek Scenic Conventions in the Fifth Century B.C. (Oxford 1962). BIEBER, History: M. Bieber, The History of the Greek and Roman Theatre2 (Princeton 1961). -
The Fragmentation of Being and the Path Beyond the Void 2185 Copyright 1994 Kent D
DRAFT Fragment 48 THE HOUSE OF BAAL Next we will consider the house of Baal who is the twin of Agenor. Agenor means the “manly,” whereas Baal means “lord.” In Baal is Belus. Within the Judeo- Christian religious tradition, Baal is the archetypal adversary to the God of the Old Testament. No strange god, however, is depicted more wicked, immoral and abominable than the storm god Ba’al Hadad, whose cult appears to have been a great rival to Yahwism at certain times in Israel’s history. In the bible we read how the prophets of Ba’al and Yahweh persecuted and killed one another, and how the kings of Israel wavered in their attitudes to these gods, thereby provoking the jealousy of Yahweh who tolerated no other god beside him. Thus, it appears that the worship of Ba’al Hadad was a greater threat to Yahwism than that of any other god, and this fact, perhaps more than the actual character of the Ba’al cult, may be the reason for the Hebrew aversion against it. The Fragmentation of Being and The Path Beyond The Void 2185 Copyright 1994 Kent D. Palmer. All rights reserved. Not for distribution. THE HOUSE OF BAAL Whereas Ba’al became hated by the true Yahwist, Yahweh was the national god of Israel to whose glory the Hebrew Bible is written. Yahweh is also called El. That El is a proper name and not only the appelative, meaning “god” is proven by several passages in the Bible. According to the Genesis account, El revealed himself to Abraham and led him into Canaan where not only Abraham and his family worshiped El, but also the Canaanites themselves. -
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. -
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018 1. Ancient sources A. Apollodorus Bibliotheca 2.1.5 But the sons of Aegyptus came to Argos, and exhorted Danaus to lay aside his enmity, and begged to marry his daughters. Now Danaus distrusted their professions and bore them a grudge on account of his exile; nevertheless, he consented to the marriage and allotted the damsels among them. First, they picked out Hypermnestra as the eldest to be the wife of Lynceus…. When they had got their brides by lot, Danaus made a feast and gave his daughters daggers; and they slew their bridegrooms as they slept, all but Hypermnestra; for she saved Lynceus because he had respected her virginity: wherefore Danaus shut her up and kept her under ward. But the rest of the daughters of Danaus buried the heads of their bridegrooms in Lerna and paid funeral honors to their bodies in front of the city; and Athena and Hermes purified them at the command of Zeus. Danaus afterwards united Hypermnestra to Lynceus; and bestowed his other daughters on the victors in an athletic contest. (trans. J. G. Frazer) B. Hyginus Fabulae 168 Danaus son of Belus had 50 daughters by several wives. His brother Aegyptus had just as many sons, and he wanted to kill his brother Danaus and his daughters so that he alone would possess his father's kingdom. When Danaus first outage is realized what was going on, he fled from Africa to Argos with the help of Minerva, who, they say, built the first two-prowed ship so that Danaus when Egypt is found out could escape. -
Greek Tragedy Themes and Contexts 1St Edition Ebook, Epub
GREEK TRAGEDY THEMES AND CONTEXTS 1ST EDITION PDF, EPUB, EBOOK Laura Swift | 9781474236836 | | | | | Greek Tragedy Themes and Contexts 1st edition PDF Book For help and support relating to the University's computing resources:. After dialogue based interactions were eventually brought into development, the percentage of scripts read by the chorus tended to decrease in regards to their involvement in the play. Get A Copy. Refresh and try again. For a small book it packs a hefty punch, with a clear and engaging style that should be accessible to a wide audience. The philosopher also asserted that the action of epic poetry and tragedy differ in length, "because in tragedy every effort is made for it to take place in one revolution of the sun, while the epic is unlimited in time. Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The Greek chorus of up to 50 men and boys danced and sang in a circle, probably accompanied by an aulos , relating to some event in the life of Dionysus. As elsewhere in the book, the chapter kicks off with contextual information, this time on the prevalence of choruses in ancient Greek life, and proceeds to a discussion of their tragic manifestation. After a brief analysis of the genre and main figures, it focuses on the broader questions of what defines tragedy, what its particular preoccupations are, and what makes these texts so widely studied and performed more than 2, years after they were written. Visit the Australia site. The theatre voiced ideas and problems from the democratic, political and cultural life of Athens. -
Greek Religious Thought from Homer to the Age of Alexander
'The Library of Greek Thought GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER Edited by ERNEST BARKER, M.A., D.Litt., LL.D. Principal of King's College, University of London tl<s } prop Lt=. GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER BY F. M. CORNFORD, M.A. Fellow and Lecturer of Trinity College, Cambridge MCMXXIII LONDON AND TORONTO J. M. DENT & SONS LTD. NEW YORK: E. P. DUTTON tf CO. HOTTO (E f- k> ) loUr\ P. DOTTO/U TALKS ) f^op Lt=. 7 yt All rights reserved f PRINTED IN GREAT BRITAIN TO WALTER DE LA MARE INTRODUCTION The purpose of this book is to let the English reader see for himself what the Greeks, from Homer to Aristotle, thought about the world, the gods and their relations to man, the nature and destiny of the soul, and the significance of human life. The form of presentation is prescribed by the plan of the series. The book is to be a compilation of extracts from the Greek authors, selected, so far as possible, without prejudice and translated with such honesty as a translation may have. This plan has the merit of isolating the actual thought of the Greeks in this period from all the constructions put upon it by later ages, except in so far as the choice of extracts must be governed by some scheme in the compiler's mind, which is itself determined by the limits of his knowledge and by other personal factors. In the book itself it is clearly his business to reduce the influence of these factors to the lowest point; but in the introduction it is no less his business to forewarn the reader against some of the consequences. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Ancient Greek folksong tradition begging, work, and ritual song Genova, Antonio Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 Ancient Greek Folksong Tradition Begging, Work, and Ritual Song by Antonio Genova A Thesis submitted for the degree of Doctor of Philosophy in Classics King’s College London November 2018 Abstract This dissertation investigates whether and in what sense the concept of folksong can be applied to the ancient Greek texts. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 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, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield. -
Antiquariato Greco
BIBLIOTECA TITO LIVIO GRECO Titolo Autore Luogo di Editore Anno Nuova pubblicazione Segnatura Obseruations sur les Grecs, rerum cognoscere causas. Mably, Gabriel Geneue par la 1749 ANT.GRECO.A.1 Virg. Par ... Mably Bonnot : de Compagnie des Libraires Aristotelis Rhetoricorum libri tres, Hermolao Barbaro Aristoteles Basilae (Basileae : ex 1545 ANT.GRECO.A.2 patricio Veneto interprete. Danielis Barbari in eosdem officina libros commentarij. Cum locuplete rerum & uerborum Bartholomaei indice VVesthemeri, 1545 mense martio) Aristotelis De moribus ad Nicomachum libri decem. Nunc Aristoteles Venezia Ex officina 1558 ANT.GRECO.A.3 primum e Graeco et Latinè & fideliter, quod vtrunque Erasmiana, querebantur omnes praestitisse adhuc neminem, a apud Dionysio Lambino expressi. Eiusdem Dionys. Lambini in Vincentium eosdem libros annotationes, quibus cùm obscuri loci Valgrisium multi illustrantur, deprauatique emendantur, tum, quid (\Venezia : inter hanc & ceteras horum librorum conuersiones Vincenzo intersit, aliqua ex parte ostenditur Valgrisi! Rhetoricorum Aristotelis libri tres, interprete Hermolao Aristoteles Lugduni apud 1558 ANT.GRECO.A.4 Barbaro P.V. Quae deprauata plerisque in locis erant, Theobaldum adhibita nuperrimè non mediocri diligentia, in gratiam Paganum studiosorum castigatiora reddita sunt Aristotelous Technēs rētorikēs biblia g. Aristotelis Artis Aristoteles Francofurti apud heredes 1588 ANT.GRECO.A.5 rhetoricae libri tres; ab Antonio Riccobono Latine Andreae conuersi. Eiusdem Rhetoricae paraphrasis, interiecta Wecheli, rerum explicatione, & collata Riccoboni multis in locis Claudium conuersione cum Maioragij, Sigonii, Victorii & Mureti Marnium & conuersionibus, separatim est edita Ioannem Aubrium Pagina 1 Titolo Autore Luogo di Editore Anno Nuova pubblicazione Segnatura Aristotelis ... operum ommnium pars prima -septima!, Aristoteles Venezia Gioachino 1585 ANT.GRECO.A.6 quam Logicam, seu organum appellant: cui addidimus Brugnolo, argumenta, ac potius paraphrases, & annotationes ex (Venetiis : apud Boethi, Ammonij, Simplicij, Io. -
Ancient Macedonians
Ancient Macedonians This article is about the native inhabitants of the historical kingdom of Macedonia. For the modern ethnic Greek people from Macedonia, Greece, see Macedonians (Greeks). For other uses, see Ancient Macedonian (disambiguation) and Macedonian (disambiguation). From Wikipedia, the free encyclopedia ANCIENT MACEDONIANS ΜΑΚΕΔΌΝΕΣ Stag Hunt Mosaic, 4th century BC Languages. Ancient Macedonian, then Attic Greek, and later Koine Greek Religion. ancient Greek religion The Macedonians (Greek: Μακεδόνες, Makedónes) were an ancient tribe that lived on the alluvial plain around the rivers Haliacmonand lower Axios in the northeastern part of mainland Greece. Essentially an ancient Greek people,[1] they gradually expanded from their homeland along the Haliacmon valley on the northern edge of the Greek world, absorbing or driving out neighbouring non-Greek tribes, primarily Thracian and Illyrian.[2][3] They spoke Ancient Macedonian, a language closely related to Ancient Greek, perhaps a dialect, although the prestige language of the region was at first Attic and then Koine Greek.[4] Their religious beliefs mirrored those of other Greeks, following the main deities of the Greek pantheon, although the Macedonians continued Archaic burial practices that had ceased in other parts of Greece after the 6th century BC. Aside from the monarchy, the core of Macedonian society was its nobility. Similar to the aristocracy of neighboring Thessaly, their wealth was largely built on herding horses and cattle. Although composed of various clans, the kingdom of Macedonia, established around the 8th century BC, is mostly associated with the Argead dynasty and the tribe named after it. The dynasty was allegedly founded by Perdiccas I, descendant of the legendary Temenus of Argos, while the region of Macedon perhaps derived its name from Makedon, a figure of Greek mythology. -
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its ‘export’ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet’s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).