Form and Content in Gorgias' Helen and Palamedes: Rhetoric, Philosophy, Inconsistency and Invalid Argument in Some Greek Thinkers Arthur Adkinis University of Chicago

Total Page:16

File Type:pdf, Size:1020Kb

Form and Content in Gorgias' Helen and Palamedes: Rhetoric, Philosophy, Inconsistency and Invalid Argument in Some Greek Thinkers Arthur Adkinis University of Chicago Binghamton University The Open Repository @ Binghamton (The ORB) The ocS iety for Ancient Greek Philosophy Newsletter 12-1977 Form and Content in Gorgias' Helen and Palamedes: Rhetoric, Philosophy, Inconsistency and Invalid Argument in some Greek Thinkers Arthur Adkinis University of Chicago Follow this and additional works at: https://orb.binghamton.edu/sagp Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, and the History of Philosophy Commons Recommended Citation Adkinis, Arthur, "Form and Content in Gorgias' Helen and Palamedes: Rhetoric, Philosophy, Inconsistency and Invalid Argument in some Greek Thinkers" (1977). The Society for Ancient Greek Philosophy Newsletter. 73. https://orb.binghamton.edu/sagp/73 This Article is brought to you for free and open access by The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in The Society for Ancient Greek Philosophy Newsletter by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. -1- i:;:,:70 Form and Content in Gorgias' Helen and Palamedes: Rhetoric, Philosophy, Inconsistency and Invalid Argument in some Greek Thinkers Gorgias' Helen (B 11) and Palamedes (B 11a)1 are among the l ongest pieces of continuous prose included in Diels-Kranz, Fragmente der Vorsokratiker. We have here a �are opportunity of considering h ow a writer who merits inclusion in Diels-Kranz develops an argument over a number of pages. Gorgias, it is true·, is a rhetorician; and though he has some claim to be regarded as a soph­ ist or-Presocratic :philosopher also (see especially BJ), rhetoric2 has evident­ ly much to contribute to the Helen and Palamedes. The extent of the contri­ bution is indeed the primary subject of the first part of my paper. I shall inquire whether Gorgias in the Helen indulges in rhetorical flourishes in which form takes precedence over content; whether on" the other hand Gorgias' general philosophical position supplies the content of this work and furnishes premisses from which conclusions axe drawn for Helen's benefit, the rhetoric furnishing no more than a pleasing mode of presentation; or whether a case is being argued, and language manipulated, ad hoc, the rhetoric substituting for logic a.�d valid argument. Gorgias himself terms the Helen a Eaignion (21): I shall briefly con­ sider the meaning of the word in the light of my discussion. I shall discuss the Palamedes in less detail, and consider whether the presuppositions of the .Helen and Palamec.es are inconsistent with one another. Subsequently, I shall raise the q.uestionwhether inconsistency is per � a mark of a rhetorician at this period, or whether similar inconsistencies may be found in other writers 'who are philosophically more respectable. I shall also consider to· what extent Gorgias' presuppositions, and inconsistencies, are shared with non--philosophical Greeks in early Greece; and very bri�fl.y indicate some long-standing worries · of my own about the study o:f Presocratic philosophers. There is much of interest in the introduction to the Helen; but I have no space to discuss it here, and shall begin at (6), where Gorgias sets out four possible reasons or causes for Helen's going to Troy with Paris: she did what she did either (a) as a result of the wishes of Chance or the plans of the gods or the decrees of Necessity or (b) because she was carried off by force or (c) because she was persuaded by words (logoi) o·r ( d) because she was smitten with love. We might perhaps provisionally grant that Gorgias had furnished a full list of possible reasons or causes (but see below),J and e..<pect him to demon­ strate that Helen was influenced by (b), or possibly (a), since (b) is certain­ ly, and (a) possibly, a valid defence. Gorgias, howev,er, undertakes to show that, no matter which of the four was the reason, Helen should be exonerated from blame. He offers four argmnents or groups of arguments, one for each reason or cause. Argtunent 1. Suppose Chance, Necessity or the gods desired, planned or decre�Helen's journey. By nature (pephuke) the stronger (kreisson) is not prevented by the weaker. No; the weaker is ruled and led (sg;esthai) by the stronger. God (a term which evidently includes Chance and Necessity) is kreisson than a human being in might, wisdom, and their other characteristics. If then one should ascribe the causation (or the guilt, aitia) to Chance and God, one should absolve Helen from her bad reputation. I shall discuss later whether these pleas are novel.4 For the moment I note that the argument seems to rest primarily on causality, with the will of the divine powers mentioned acting as a cause. The stronger can compel the actions of the weaker. The argument is logically presented: its acceptability is likely to vary from culture to culture. However, not only logic is employed, nor is causality alone invoked. Kreisson does not simply mean 'stronger': it serves as one of the comparatiyes of �athos, 'good', so that one may be kreisson also in wisdom or cleverness, (sophia and other characteristics. The wiser or T'(e'e .(l Ef'Zr s9' U%mm Em % _e V%'e |IJ!ą ŀ ŀ _ŀ F")U :'U" t_ ' úĆ " ŀ ½ ŀ r9% Fß ^ Īŀ !ŀ åŀ ŀ %7 #U. l ` _33ß &.` B _ ŀ sqt uŀ ~äŀ # 7ġ ŀ ijŀ Ă6ŀ ŀ ŀ 9)f) $&S\Bgl ª­`ß aªß r9' Gß 4§bUß GGß ` ŀ ae ©ŀ @A?` Scl , *% Ïŀ .àæ7ŀ EZ ;aG% ^0 _f"m <%f% Z_u X*f)W mQCSR D[ 8%Zr l <+ m&^Z" 3&Zr )EZ%q r=) daqqHEUEr r X6H 6C6El d&Tl /&O>61l ÂGHß +ŀ 8HL.4 l 9)f) f% f=)rafE 2aEq=)q \^}) ŀ r c.^ ŀ , C` ` ^,ŀ `XIŀ v>% }= Mf" ffE)n r9) =E7?)q} .9fE H ŀ ) ŀ ŀ XE39 ŀ ŀ \ ŀ ŀ EZg)m) r =) ']_jLr ,ŀ (',Z;[B` H Gŀ 4X`ª Ãŀ !"` F^L 7MW` %+ , H ïŀ ŀ ŀ yhbŀ ), e%8r : ` &;ß k *, ` N:X` K-hMNl r r9) A`X)ŀ ! ŀ Ð/û ŀ xd.l ß ªÃ/ª®e¬Ä¬Fß Gß c¬ß Aŀ E] ŀ ı ŀ ß ŀ " H :aª¬f4¬rß ,F¿ÕFFß "OF¬ß #:ß ¬bß ŀ gŀ @ ŀ ªÃGGFF:ß +`ªß 3 ¬7:ß 3fb/ß 36³ ŀ ĥ$$(ŀ ŀ / D ĠĮnŀ B´ŀ VÊF¬ß Gß I5Fß Ñ ŀ Ģ4ŀ ªīa «)6Fªß qªß !33FÞ¯-}Fß b ß ª¾ß ª3hF¾bFªß ĊÒñŀ I ŀ Ó ŀ >lrŀ ò#ădŀ JMŀ r9' .HaR5l ^,ŀ ¬YFß 3&ªªß ŀ 7ŀ +Đŀ >Ąŀ #ŀ ėI) ŀ %ća ¯ģ®Ô Ãŀ ŀ °Õ%%ó ŀ 0Èŀ Öŀ Ï%`<ß × ŀ % aZr) ¡ŀ \¨ā< %ĺŀ üçŀ Nw X_e% `#)Ø ? -Ø ŀ ŀ Ã3^ß ) ŀ Ē:ŀ 5'/` [Hl ŀ ¬Xb:ß Ĭ %oŀ ' _+` %ŀ `¬ß ŀ Ęŀ ^=ß ¬ß )Kŀ ŀ · ŀ # ŀ cß ŀ VFl ¾= H G ß Ùŀ ' Øß aGFß ¬^°ß ¬ZBß 3¨Fß bªß Fß :7Gg5 ¬[ l ÚWŀ kU ēvŀ 'Pµŀ Eŀ )-Hŀ ý %ŀ =>o¬/` Ķŀ 3 0HFªß ÏFÙß Ö:CMß ±^Db²¬" 2994.[Rl !ŀ ß ŀ bÏbªb-}Fß 1<Úß ¾ŀ 5ŀ bªß +èŀ " ¬ß 3êFß GFß ;ŀ «3eŀ ŀ Kŀ 0ŀ Ä $ŀ ¾ß b£ß ãNĻŀ =ß ¬ß b7FªFß b¾Ù 1ŀ :' *ŀ bªß ÐFÚß Q?=@7_l ¬^ 'Ú {ęľéO4ŀ Q. fŀ ŀ :?o¬ 1H Jŀ á9ŀ ' ŀ Ö[ß ¢1wŀ <ß ÖX¬ß ci4O qm 3'ß "=@ ` >ß ŀ Ç8Ü xk)e mE ¤ ŀ ¥(ŀ ŀ Fb`3$ß .ªF¤¬b ß z&ŀ ªb3Fß À^Fß Gß 4}êFß ŀ )C¾b%H Gß =̪´Fª ß &:ß G~~Öªß b rŀ ` =8Ã3H f=f ŀ &9) ğÉĚŀ O ŀ ^ªß tƪ¬bGiF?ß ^bªß ƪFß Gß <?ªªß Û ŀ ~=) -U ŀ Jß ¬F¬µFß w9% e : ŀ ŀ ċ"ŀ #ŀ ;ĉ (ŀ Ü2ŀ ŀ į ŀ ð# ŀ İŀ bß ;w 4H ě)"ŀ =ŀ ß ¬X`wß Cŀ ©ß ß GG" Ĩ ŀ ŀ 5ŀ þĿ ĔĤ iĭ ŀ ­= >OHDJP` ,` (:ß :^"*­ŀ Dđ(ŀ Zôŀ /(WW bß &-` $ÊĦ= Gø ŀ ŀ .ŀ Gß ­Xjªß =¶Fß Øß &¬ªß ¦ŀ XêZŀ 0^ %J!1ŀ y@%E =· ß ,34` ¾^Fß ª^. ŀ `!ŀ ŀ :Ñ ŀ 3&¬ß §ŀ ĜLļŀ 2e.A^030l ¸^¬ß ªª`ª¾3Fß Øß 0Fß o^7=} G ß f7 )Zr l "¸ŀ ŀ 33^R`!ŀ Á]Fj¹ºß Fß YK5=r ¹ŀ ¬^¬ß aªß `¬ªF}Gß #ŀ Er= ¬Ā<ŀ ë ŀ TÇ ŀ ŀ &` } ŀ ŀ :^ŀ ÑF-ªß G{~Öß :ˬ`ß ¶ŀ ; c¾Ïŀ ,]Yl ÅXŀ $&ď42ŀ 8=E!H ¬^Fß F¾Úß Kß ß 3êFß G¡ß Ók¾XÃ¬ß ŀ 8Ý* ŀ BE!= Olªß 0ŀ & ŀ " 2ŀ PVĩ ŀ *ŀ ŀ J% ŀ cr U^% #0` GG ß +bl ŀ }ª¾ß ­ß ŀ 6 ` 9%e) ŀ .º&ŀ ĝõÞŀ xŀ r m%) Z^ mP7Z _. =6ªa= H ¬^F¦ß ªß Ľ'\` ŀ Sbªß 34F:Fªß ªß Ã3^ß ":ß -ŀ ŀ UĴŀ c4 ŀ ß À'ŀ Ô^b3^ß !l xH ¬ß +ŀ ¬^Fß FGGF3¬ªß Gß 4X,¬DF H ŀ ¾ŀ FÑmÃªß 4~êFß ß :ß EUU ¼ŀ ö&ĕŀ uê¬bNß ¬XFß Ĉ*-ŀ ªFªFß Gß =?#ª¬ " Fß ¢=Ã3Fªß ŀ Ė3Tŀ Cŀ ĸR ŀ $ŀ ŀ $,ŀ Gß @ŀ :FGnFªß F¬¥ß ªß !ŀ F îe ŀ ªÚªß r<H ŀ ,,"G:ß ¨^Å=>F ß ¬FGÉß I=Zfl ŀ # ŀ N- ŀ ŀ ¬^ªFß Ö^ß ,H ^¬. BXŀ £Á<ŀ ŀ ÏoÑ`:ß /Å¬ß "l %ŀ ŀ z9 ŀ r=) 3/+br^ŀ Gß F¬bß @vF3»`ÑFªß Ö`¾^ß Ëªß Gß XÚª`3$ß :ª3"¬p GJl B4ŀ ĵYŀ 3b¼ªß Sjªß ½ß Øß 9Vb4È-H ªÿ=3ŀ ŀ 5Ú^}Fŀ Eß (ŀ Ìŀ ŀ =mŀ %l *%\` )8_IQ9<S` WJ$ &(/2` Aŀ h,pr _1 rA% F"r % }b¾F$}Øß ¬&ª}¾F<ß *:ß ŀ ? e wß ^f")f 껧 ' Íŀ YQ .r WGl x!' Æŀ )1l EWW »ùČ^ŀ $ŀ ŀ :í'ŀ ŀ 2:aFª ß Lß ;XPl ÷ķ Îħ5ŀ ŀ F*ŀ ,ŀ Ĺ p'ŀ ±j(ŀ :ß ªÛ¬×ß *2l 'l âč ŀ 9)e) ŀ `l Eŀ ^Ď.ŀ {^ %cZ%f|' %W%Z E/ -3- persuaded her (or her suche) The of (8) in (9-11) og s p .
Recommended publications
  • 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.
    [Show full text]
  • ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
    ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck
    [Show full text]
  • Odysseus and Palamedes A
    Original NeNureousrcoisecniecnesc easn adn Hd iHstoisrtyo r2y0 21061; 45(; 23)(:3 4)7: 9-590- Pseudodementia, malingering and revenge in Ancient Greece: Odysseus and Palamedes A. Puy Núñez 1, A. Guitián Pena 2, J. M. Pías Peleteiro 3, M. Macías Arribi 4, J. M. Aldrey Vázquez 3 1 Department of Neurology. Pontevedra Hospital Complex. Pontevedra, Spain. 2 Department of Nephrology. Virxe da Xunqueira Hospital. La Coruña. Spain. 3 Department of Neurology. University Hospital Complex of Santiago. Santiago de Compostela, Spain. 4 Department of Neurology. University Hospital Complex of Ferrol. Spain. is study was presented at the LXVII Annual Meeting of the Spanish Society of Neurology (November 2015) in Valencia, Spain. is manuscript has not been published elsewhere and is not being submitted simultaneously for publication elsewhere ABSTRACT Background: Greco-Latin tradition is a rich source of metaphors and eponyms in medicine. In this paper, we unearth from ancient Greece one of the oldest portraits of malingering in Western literature. Summary: The kidnapping of Helen of Troy triggered a military alliance within Greece against the Trojans. Odysseus, king of Ithaca, feigned madness in order to avoid being recruited. Palamedes, in a manoeuvre that risked the life of Odysseus’ son Telemachus, succeeded in unmasking him. Eventually, the cunning Odysseus would take revenge. We review classical texts from Greek and Roman authors concerning these mythical deeds and establish the diagnosis of malingering after excluding mimics. Key messages: Odysseus’ attempt at deception provides one of the oldest depictions of this behaviour in written history. We suggest using the expression “Revenge on Palamedes” to define the relatively common phenomenon of retaliation against a doctor who has diagnosed malingering.
    [Show full text]
  • 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.
    [Show full text]
  • The Tale of Troy
    THE TALE OF TROY WITH THE PUBLISHERS' COMPLIMENTS. THE TALE OF TROY DONE INTO ENGLISH BY AUBREY STEWART, M.A. LATE FELLOW OF TRINITY COLLEGE, CAMBRIDGE. ^London MACMILLAN AND CO. AND NEW YORK 1886 D CONTENTS CHAP. PAGE i. How Paris carried off Helen . i ii. How the Heroes gathered at Aulis 13 in. How Achilles quarrelled with Agamemnon . 27 iv. How Paris fought Menelaus . 45 v. How Hector fought Ajax . .61 vi. How Hector tried to burn the Ships 87 vii. How Patroclus lost the Arms of Achilles . .109 vni. How Achilles slew Hector . .129 ix. How the Greeksfought the Amazons 147 x. How Paris slew Achilles . .167 xi. How Philoctetes slew Paris . 193 xn. How the Greeks took Troy . .215 HOW PARIS CARRIED OFF HELEN B CHAPTER I g earned off upon a time there lived a king ONCEand queen, named Tyndareus and Leda. Their home was Sparta, in the plea- sant vale of Laconia, beside the river Eurotas. They had four children, and these were so beautiful that men doubted whether they were indeed born of mortal parents. Their two sons were named Castor and Polydeuces. As they grew up, Castor became a famous horseman, and Polydeuces was the best boxer of his time. Their elder daughter, Clytem- nestra, was wedded to Agamemnon the son of Atreus, king of Mycenae, who was the greatest prince of his age throughout all the land of Hellas. Her sister Helen was the The Tale of Troy CHAP. loveliest woman ever seen upon earth, and every prince in Hellas wooed her for his bride; yet was her beauty fated to bring sorrow and destruction upon all who looked upon her.
    [Show full text]
  • The Trojan War
    THE TROJAN WAR PART ONE: THE ORIGINS OF THE TROJAN WAR have actually revealed weaker stonework on the western walls of Troy, suggesting that a genuine difference in construction led to the myth that The city of Troy had several mythical founders and kings, the two gods built the other walls. including Teucer, Dardanus, Tros, Ilus and Assaracus. The most widely accepted story makes Ilus the actual founder, Mythical reasons behind the Trojan War and from him the city took the name it was best-known by in ancient times, Ilium. In an episode similar to the founding During Priam's of Thebes, Ilus was given a cow and told to found a city lifetime Troy where it first lay down. As instructed, he followed the reached its animal, and on the land where it rested drew up the greatest boundaries of his city. He then received an additional sign prosperity, but from the gods, a legless wooden statue called the Palladium, when he was a which dropped from the heavens with the message that it very old man it should be carefully guarded as it 'brought empire'. Some say was tota lly it was a statue of Athene's friend Pallas, but most believe it destroyed after a was of Athene herself and that this statue was to make Troy ten-year siege by a great city. warriors from Greece. Some say Laomedon's Troy Zeus himself Ilus was succeeded by his son Laomedon, who built great caused the Trojan walls around his city with the help of a mortal, Aeacus, and War to thin out the two gods Poseidon and Apollo.
    [Show full text]
  • The Ears of Hermes
    The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2.
    [Show full text]
  • Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments
    GREEK TRAGEDY AND THE EPIC CYCLE: NARRATIVE TRADITION, TEXTS, FRAGMENTS By Daniel Dooley A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2017 © Daniel Dooley All Rights Reserved Abstract This dissertation analyzes the pervasive influence of the Epic Cycle, a set of Greek poems that sought collectively to narrate all the major events of the Trojan War, upon Greek tragedy, primarily those tragedies that were produced in the fifth century B.C. This influence is most clearly discernible in the high proportion of tragedies by Aeschylus, Sophocles, and Euripides that tell stories relating to the Trojan War and do so in ways that reveal the tragedians’ engagement with non-Homeric epic. An introduction lays out the sources, argues that the earlier literary tradition in the form of specific texts played a major role in shaping the compositions of the tragedians, and distinguishes the nature of the relationship between tragedy and the Epic Cycle from the ways in which tragedy made use of the Homeric epics. There follow three chapters each dedicated to a different poem of the Trojan Cycle: the Cypria, which communicated to Euripides and others the cosmic origins of the war and offered the greatest variety of episodes; the Little Iliad, which highlighted Odysseus’ career as a military strategist and found special favor with Sophocles; and the Telegony, which completed the Cycle by describing the peculiar circumstances of Odysseus’ death, attributed to an even more bizarre cause in preserved verses by Aeschylus. These case studies are taken to be representative of Greek tragedy’s reception of the Epic Cycle as a whole; while the other Trojan epics (the Aethiopis, Iliupersis, and Nostoi) are not treated comprehensively, they enter into the discussion at various points.
    [Show full text]
  • The TROJAN WAR
    The TROJAN WAR The Chronicles of Dictys of Crete Indiana University Greek and Latin Classics and Dares the Phrygian TRANSLATED WITH AN INTRODUCTION AND NOTES BY R. M. FRAZER, JR. Indiana University Press BLOOMINGTON & LONDON CONTENTS INTRODUCTION The Medieval Troy Story 3 The Anti-Homeric Tradition 5 Dictys 7 Dares 11 The Translation 15 A JOURNAL OF THE TROJAN WAR by Dictys of Crete Letter 19 Preface 20 Book One 23 Book Two 37 Book Three 70 Book Four 87 Book Five 103 Book Six 119 THE FALL OF TROY, A HISTORY by Dares the Phrygian [Letter] 133 Sections 1-44 133 ALL RIGHTS RESERVED Copyright © 1966 by Indiana University Press BIBLIOGRAPHY 169 Library of Congress catalog card number: 65-19709 NOTES 170 Manufactured in the United States of America INDEX OF PROPER NAMES 180 v THE TROJAN WAR The Chronicles Adcnowledgments of Dictys of Crete The present volume brings together for the first time in En­ and Dares the Phrygian glish translation the accounts of Dictys and Dares about the Trojan War. These works deserve our careful attention as the principal sources of the medieval Troy story and as examples of the anti-Homeric literature of late antiquity. In the introduction I have briefly described the influence of our authors on later European literature, and have tried to show how our Latin texts depend on Greek originals. For the latter purpose I have found the scholarship of Nathaniel Edward Griffin especially rewarding for Dictys and that of Otmar Schissel von Fleschenberg for Dares. I have used the notes to comment on matters of form (how our Latin texts probably differ from their Greek originals), to point out difficulties and incon­ sistencies, and to cite some of the sources and parallel versions of the stories that Dictys and Dares tell.
    [Show full text]
  • The Trojan War
    The Trojan War The Apple of Discord The Trojan War has its roots in the marriage between Peleus and Thetis, a sea-goddess. Peleus and Thetis had not invited Eris, the goddess of discord, to their marriage and the outraged goddess stormed into the wedding banquet and threw a golden apple onto the table. The apple belonged to, Eris said, whomever was the fairest. Hera, Athena, and Aphrodite each reached for the apple. Zeus proclaimed that Paris, prince of Troy and thought to be the most beautiful man alive, would act as the judge. Hermes went to Paris, and Paris agreed to act as the judge. Hera promised him power, Athena promised him wealth, and Aphrodite promised the most beautiful woman in the world. Paris chose Aphrodite, and she promised him that Helen, wife of Menelaus, would be his wife. Paris then prepared to set off for Sparta to capture Helen. Twin prophets Cassandra and Helenus tried to persuade him against such action, as did his mother, Hecuba. But Paris would not listen and he set off for Sparta. In Sparta, Menelaus, husband of Helen, treated Paris as a royal guest. However, when Menelaus left Sparta to go to a funeral, Paris abducted Helen (who perhaps went willingly) and also carried off much of Menelaus' wealth. In Troy, Helen and Paris were married. This occured around 1200 B.C. (Wood, 16). Greek Armament Menelaus, however, was outraged to find that Paris had taken Helen. Menelaus then called upon all of Helen's old suitors, as all of the suitors had made an oath long ago that they would all back Helen's husband to defend her honor.
    [Show full text]
  • Palamedes' "Writing Lesson": on Writing, Narrative, and Erasure Thomas E
    Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 2005 Palamedes' "Writing Lesson": On Writing, Narrative, and Erasure Thomas E. Jenkins Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Jenkins, Thomas E. “Palamedes’ ‘Writing Lesson’: On Narrative, Writing, and Erasure.” Classical and Modern Literature 25 (2005): 29-53. This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Classical and Modern Literature, 25/2 (2005): 29-53 Palamedes' "Writing Lesson": On Writing, Narrative, and Erasure Thomas E. Jenkins Summary In this essay, I shall consider some striking parallels between legends of writing as manipulated by both Jacques Derrida and Euripides; more specifically, I shall investigate how each author dissects a narrative-or narratives-of writing's invention in order later to construct writing as an inherently unstable semiotic system. In each instance, a seemingly straightforward "myth" of writing is re-narrated in a dark and sardonic vein, one that downplays the technical aspects of writing and highlights instead the hermeneutical ambiguities encoded within this new technology. The Greek myth of Palamedes (as re-narrated by Euripides) hinges on the invention and eventual misapprehension of the written sign; the story of Levi-Strauss among the Nambikwara (as re-narrated by Derrida) performs exactly the same function, though the tale features an intrepid anthropologist in place of an intrepid Greek warrior.
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]