“Blind” Date with Thebes Could This Be Oedipus' Family Tree?

Total Page:16

File Type:pdf, Size:1020Kb

“Blind” Date with Thebes Could This Be Oedipus' Family Tree? Published by Theatre ϋΔF 430 BC Issue 1 Volume 1 “Blind” Date with Thebes The prophet Teiresias paid Thebes a special visit today. King Oedipus had sent Creon to bring Teiresias to Thebes. According to the royal sources, Teiresias as extremely reluctant to come. Furthermore, he angered the king so much that His Highness lost his composure. With Thebes still suffering from this mysterious plague, King Oedipus is asking for help from any sources. When Teiresias came to Thebes, he uttered some mysterious words that apparently angered the king. At fi rst, he refused to say anything at all, stating: “Let me go home. Bear your own fate, and I’ll bear mine.” His Majesty refused to accept Teiresias’ plea and demanded Teiresias to speak. King Oedipus even pleaded to Teiresias to reveal the truth, but Teiresias was relentlessly silent. Losing his patience, Oedipus began calling Teiresias a “wicked old man.” He even began accusing the blind prophet of assisting in King Laius’ murder by keeping silent. In turn, Teiresias had the nerves to declare to King Oedipus: “You yourself are the pollution of this country.” He actually accused Oedipus of being the killer who brought this plague upon us. This angered Oedipus so much that he lost control and called Teiresias a “sightless, witless, senseless, mad old man.” This was quickly turning into a verbal brawl. In order to avoid a worse confrontation with Oedipus, Teiresias started to leave. However, before he left, he uttered a strange prophecy that baffl ed both the royal court and Oedipus. He said: “The man you have been looking for all this time, the damned man, the murderer of Laius, that man is in Thebes. To your mind he is foreign-born, but it will soon be shown that he is a Theban, a revelation that will fail to please…And he will go tapping the strange earth with his staff, to the children with whom he lives now he will be brother and father-the very same; to her who bore him, son and husband the very same who came to his father’s bed, wet with his father’s blood.” Nobody could make any sense of what Teiresias is saying. Teiresias’ prophecy is a cryptic one. After his fruitless meeting with Teiresias, Oedipus returned home, discouraged. Meanwhile, ten more unborn babies have died and whole herds of sheep are lying dead in the fi elds. The sheep will be burned early tomorrow morning. A special memorial for the babies is scheduled tomorrow night. The search continues for King Laius’ killer. Could This Be Oedipus’ Family Tree? Cadmus, founder of Thebes Background color | indicates siblings. Polydorus | Labdacus Menocceus | Laios + Jocasta Creon + Eurydice | * Oedipus Rex Eteocles Polynices Ismene Antigone + Haemon of Thebes and their songs audience - of the consequenc- Go Bannannas atat the The Chorus use military metaphors. The es. As representatives of the There is always a Chorus in exchanges with Oedipus are body politic, they say at the Greek tragedy; in fact, trag- RoyalRoyal PurplePurple like a consultation between a end of their fi nal ode, “from edy began with choral songs concerned ruler and his coun- you I drew breath [of life] and MonkeyMonkey Ball to which actors were added. selors, a cooperative effort in through you I have closed my Almost always present, the Friday, April 15th, 2005. a search for answers. Follow- eyes [in death]”. Chorus fulfi lls a number of Go to www.uaf.edu/sda for more ing the confrontation between functions. The splendid poetry Creon and Oedipus, the chorus information. of many of the odes or songs continues to express their con- contribute to the spectacle of cern for the city and display performance, the continuity Refl ections & their reliance on reason, evi- of theme and the emotional dence and common sense. Contemplations effects of the play. It is like 1. What is the relationship in Oedipus make a connection? As advisor to the king, the another actor, showing us the this play between fate and free 10. Why is the connection chorus assists in the progres- communal background of the will? between Oedipus’ name and sion of the drama, but Sopho- action. 2. The people of Thebes turns his ankles so important? cles also uses it to establish Greek tragedy assumed that to Oedipus to save them again 11. At what point do you a contrast with the king. He no life is entirely private and by ridding them of a terrible think that Jocasta begins to seems to compare the chorus’ that the community’s fortunes plague. Sophocles may have suspect the truth? plodding common sense with are linked with the individual written this play shortly after 12. When the Shepherd Oedipus’ brilliant intuition, its and vice versa. Because Greek a great plague which struck arrives, why won’t he talk caution with the king’s bold tragedy is a public art form, Athens; Thucydides. History willingly? passion. Members of the cho- the chorus refl ects on such is- presents a powerful depiction 13. When Jocasta runs off rus are loyal to the king, but sues as the nature of authority, of this plague. Compare the stage, Oedipus thinks she is when Oedipus begins to veer justice, the worship of the gods two and how they function in afraid he will be proven a from his civic responsibility and the pull between civic re- each text. peasant. Why does this idea to his personal fate, it is their sponsibility and individual de- 3. The people of Thebes call make him so happy? And duty to remind him - and the sires. upon the Healer Apollo. What how does Jocasta seem to you does Apollo have to do with Although the major divisions now? About the Playwright healing? Why should Oedipus of the plays are not indicated 14. Aristotle believed this Sophocles was born in Colonus, a part of Athens, about 495 consult this god’s oracle? in most English translations, was the fi nest tragedy because or 497 BC. He died about 406 BC, his life having spanned 4. Consider: does Oedipus the choral odes are set apart. the protagonist’s recognition nearly the entire fi fth century in Athens. strike you as arrogant? The Chorus was usually di- of the truth coincides with the During his lifetime Pericles became leader of Athens; the 5. After Creon enters and vided into two groups, giving reversal of his fortunes. Where, Parthenon was built; the Peloponnesian War between Athens tells the words of Apollo, a balanced visual effect on exactly, does this occur in the and Sparta was fought (431-404 BC), and democracy took note the discrepancy between stage. The fi rst lyric they sing play? root and fl ourished. the number of outlaws in the is called the “strophe” (move- 15. What was Oedipus trying As the son of a wealthy weapons-maker, Sophocles studied account of each character. ment) and the second the “an- to do when he fi nds his wife- poetry, music, dancing and gymnastics - subjects regarded Why do you think Oedipus tistrophe” countermovement). mother dead? as the basis of a well-rounded education for a Greek citizen. says “thief” while Creon says The afterpiece is called the 16. Is blinding an appropriate This early schooling prepared him to serve as a leader in all “thieves”? This will happen “epode” and an exchange or punishment? Why doesn’t he aspects of public life, including the military, foreign policy again later. lamentation between the cho- commit suicide? and the arts. Sophocles lived during the Greek Classical 6. The Chorus calls on a series rus and an actor is called a 17. How would you describe Period (500 to 400 BC), a time of transition when political of gods for help. Why invoke “kommos”. Oedipus’ state of mind and and cultural events were changing and reshaping Athenian these gods in particular? attitude? Does anything In “Oedipus Rex” the chorus culture. As a dramatist, Sophocles played an important role 7. Find at least three instances surprise you about the way he assumes the role of wealthy, in the creation of this civilization, which included looking of dramatic irony. Why views his disaster? prominent men of Thebes. backward to ancient tradition and the works of Homer, which does Tiresias refuse to help 18. Think about the Chorus’ They have been living there greatly infl uenced him. Sophocles also studied under the Oedipus? near panic about him, its since Laius’ day, so they know Greek playwright Aeschylus whose plays had won prizes at 8. Why can’t Oedipus complete inability to respond the past, but are not necessar- the Festival of Dionysus. understand the information coherently to his presence. ily old. Their fi rst impression Over the years Sophocles actively participated in Athenian Tiresias gives him? 19. Is Creon fair to Oedipus? is one of uncertainty and a de- political and cultural life, often in positions of responsibility. 9. Read carefully Jocasta’s Consider especially his sire for truth about the plague In 443 BC, Pericles chose him to be treasurer of the Delian account of her loss and then admonition. that is wasting them. The suf- Confederation as a sort of tax collector. In 440 BC, Sophocles Oedipus’ reaction to it. Does 20. Why are Oedipus’ ferings they face are not just served as a general at the siege of Samos, an island that anything in his reaction strike daughters in particular so personal, but affect the whole challenged the authority of Athens. Despite all his public you as strange? Consider this special to him? city.
Recommended publications
  • Pausanias' Description of Greece
    BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.
    [Show full text]
  • Antigone-Programme.Pdf
    aod are a Brighton based theatre company with a vigorous passion to ‘make magic from myth’. We create fresh, bold and urgent interpretations of Classical Greek plays and develop new plays inspired by Greek mythology. We have a strong national and international profile and regularly tour our work. At the heart of our work is collaboration. We have recently embarked on the exciting adventure of working with new young writers and we offer a mentoring programme to emerging directors. This production is an example of the exciting new work we produce when such collaborations take place. We are passionate about providing opportunities for practitioners to develop their craft. We actively invest in and support promising individuals as they begin to develop their careers as theatre artists. An important aspect of our work is introducing young people to the Classics – particularly those who have never had any Classical education. Through our 25 years we have built up a wealth of experience and knowledge of both Classical Greek theatre and Greek myths. Our team of education experts have created a unique educational and outreach programme. This encompasses a wide range of workshops which we deliver to schools and colleges across Britain. Our workshops are unique, engaging and practical, allowing students to delve deeper into their work. We are able to tailor workshops to the needs of a particular class or to examination requirements. We are currently offering a special discount to school and college groups who have been to see Antigone. Please contact our Education Officer Mark Katz at [email protected] or 07903 390 087 and use the word ‘Antigone’ to be offered a discount.
    [Show full text]
  • The Reception of Euripides in Ovid's Metamorphoses
    Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Paschalis, Sergios. 2015. Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Tragic palimpsestsμ The reception of Euripides in Ovid’s Metamorphoses A dissertation presented by Sergios Paschalis to The Department of the Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Classical Philology Harvard University Cambridge, Massachusetts May 2015 © 2015 Sergios Paschalis All rights reserved. Dissertation Advisor: Albert Henrichs Sergios Paschalis Tragic palimpsestsμ The reception of Euripides in Ovid’s Metamorphoses Abstract ἦhἷΝὅuἴjἷἵtΝὁἸΝthiὅΝἶiὅὅἷὄtἳtiὁὀΝiὅΝthἷΝὄἷἵἷptiὁὀΝὁἸΝἓuὄipiἶἷἳὀΝtὄἳἹἷἶyΝiὀΝἡviἶ’ὅΝMetamorphoses. In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy, ἳὀἶΝViὄἹil’ὅΝAeneid, as well as a review of the pervasive presence of the Greek tragedian in the ἡviἶiἳὀΝ ἵὁὄpuὅέΝ ἑhἳptἷὄΝ ἀΝ ἸὁἵuὅἷὅΝ ὁὀΝ thἷΝ ὄἷἵἷptiὁὀΝ ὁἸΝ ἓuὄipiἶἷὅ’Ν Bacchae in the Metamorphoses. The starting point of my analysiὅΝiὅΝἡviἶ’ὅΝἷpiἵΝὄἷwὄitiὀἹΝὁἸΝthἷΝἓuὄipiἶἷἳὀΝplἳyΝ in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of “ἸὄἳἹmἷὀtἳtiὁὀ”,Ν iὀΝ thἷΝ ὅἷὀὅἷΝ thἳtΝ hἷΝ ἹὄἳἸtὅΝ ἷlἷmἷὀtὅΝ ὁἸΝ thἷΝ Bacchae in the narratives of the Minyads and Orpheus.
    [Show full text]
  • The Royal Line of Thebes
    The Royal Line of Thebes or the ancient Greek audience, the fate of blinded himself and left the city of Thebes in disgrace. Antigone would have been common knowledge. His sons, Eteocles and Polyneices were elected co- The tragic poets took their stories from mytholo- rulers of the city and agreed to reign in alternate gy. The characters on the stage were the men, years. women and gods from a far-off time, but the an- As the story of Antigone begins, a bloody battle Fcient Greeks had an especially close relationship with has been waged in Thebes. Polyneices led an army history and an ap- against Eteocles, who preciation for their “Sorrows of the dead are heaped on sorrows of the living. refused to relinquish own mythology. Sorrows of the living are heaped on sorrows of the dead. the throne at the end Antigone was of his first term. born into a great, Generation cannot be freed by generation. Both brothers were but cursed family. But each is undeliverable, stricken by some god.” killed in the battle, Her father was —Chorus, Antigone and Antigone’s uncle, Oedipus, son of Creon, declared him- Laius and Jocasta, the rulers of Thebes, who were self King. As his first act of government Creon issued warned in prophecy that their son would murder his an edict declaring Polyneices a traitor and forbidding father and marry his mother. Although they took any person from burying his corpse. Antigone must steps to prevent it, the prophecy eventually came to choose whether to obey her King or bury her brother.
    [Show full text]
  • MMF Companion Bulfinch Myths
    Reading Greek and Roman Mythology The Myth Louis Made Markos, act PhD through Christian Eyes COMPANION FILE: BULFINCH’S MYTHOLOGY PDF Excerpts selected from Bulfinch’s Mythology: Complete In One Volume for use in conjunction with The Myth Made Fact arn wit Le h Louis Markos o n m o Cl .c assicalU The Myth Made Fact: Reading Greek and Roman Mythology through Christian Eyes Companion File: Bulfinch’s Mythology PDF All myths in this PDF are taken, unedited, from Bulfinch’s Mythology, Complete In One Volume by Thomas Bulfinch. Courtesy of Project Gutenberg. Illustrations courtesy of Adobe Stock artist Matias Del Carmine Design by David Gustafson Classical Academic Press 515 S. 32nd Street Camp Hill, PA 17011 www.ClassicalAcademicPress.com Reading 1 Daedalus Read this myth along with chapter 1 of The Myth Made Fact. he labyrinth from which Theseus escaped by them, astonished at the sight, and thinking they were gods means of the clew of Ariadne was built by Daeda- who could thus cleave the air. lus, a most skilful artificer. It was an edifice with T They passed Samos and Delos on the left and Lebynthos numberless winding passages and turnings opening into on the right, when the boy, exulting in his career, began to one another, and seeming to have neither beginning nor leave the guidance of his companion and soar upward as if end, like the river Maeander, which returns on itself, and to reach heaven. The nearness of the blazing sun softened flows now onward, now backward, in its course to the sea.
    [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]
  • Study Questions for Mythology
    Sophomores English II Summer Reading Text: Mythology by Edith Hamilton Little, Brown and Company, Publishers Reading Assignment: Read Mythology parts I-V and answer the following questions. Respond to each question in complete sentences. All answers must be handwritten on a separate sheet of paper. Do not skip every other line; instead, double space between each answer. Study Questions for Mythology 1. Who are the Titans? 2. Identify the twelve great Olympians and list their Roman counterparts. [Complete sentences not necessary for this answer.] 3. Who are the muses? 4. What are the two divisions of the underworld? 5. Discuss the differences between Homer’s and Virgil’s description of the underworld? 6. What is the name of the ferryman who escorts souls to the underworld? 7. Name the five rivers of the underworld. 8. Who are the Erinyes? 9. From where does the word panic come. 10. Who are Helen’s and Clytemnestra’s brother. 11. What heroic quest do they go on? 12. Who was worshipped in the Eleusinian mysteries? 13. Who is Persephone, and what happened to her? 14. Who is Semele and how does she die? 15. Explain the origin of dolphins. 16. How is Pentheus killed and why? 17. Tragedies were performed at festivals celebrating what god? 18. What is Pandora’s box? 19. Why is Prometheus being punished? 20. How is he punished? 21. What is Narcissus’ greatest fault? 22. Who is Venus’ son? 23. Why are Psyche’s sisters jealous? 24. Why does Cupid flee from Psyche? 25. Who helps Psyche separate the seeds? 26.
    [Show full text]
  • Bulfinch's Mythology the Age of Fable by Thomas Bulfinch
    1 BULFINCH'S MYTHOLOGY THE AGE OF FABLE BY THOMAS BULFINCH Table of Contents PUBLISHERS' PREFACE ........................................................................................................................... 3 AUTHOR'S PREFACE ................................................................................................................................. 4 INTRODUCTION ........................................................................................................................................ 7 ROMAN DIVINITIES ............................................................................................................................ 16 PROMETHEUS AND PANDORA ............................................................................................................ 18 APOLLO AND DAPHNE--PYRAMUS AND THISBE CEPHALUS AND PROCRIS ............................ 24 JUNO AND HER RIVALS, IO AND CALLISTO--DIANA AND ACTAEON--LATONA AND THE RUSTICS .................................................................................................................................................... 32 PHAETON .................................................................................................................................................. 41 MIDAS--BAUCIS AND PHILEMON ....................................................................................................... 48 PROSERPINE--GLAUCUS AND SCYLLA ............................................................................................. 53 PYGMALION--DRYOPE-VENUS
    [Show full text]
  • An Online Textbook for Classical Mythology
    Utah State University DigitalCommons@USU Textbooks Open Texts 2017 Mythology Unbound: An Online Textbook for Classical Mythology Jessica Mellenthin Utah State University Susan O. Shapiro Utah State University, [email protected] Follow this and additional works at: https://digitalcommons.usu.edu/oer_textbooks Recommended Citation Mellenthin, Jessica and Shapiro, Susan O., "Mythology Unbound: An Online Textbook for Classical Mythology" (2017). Textbooks. 5. https://digitalcommons.usu.edu/oer_textbooks/5 This Book is brought to you for free and open access by the Open Texts at DigitalCommons@USU. It has been accepted for inclusion in Textbooks by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Mythology Unbound: An Online Textbook for Classical Mythology JESSICA MELLENTHIN AND SUSAN O. SHAPIRO Mythology Unbound by Susan Shapiro is licensed under CC-BY-NC-SA 4.0 Contents Map vii Aegis 1 Agamemnon and Iphigenia 5 Aphrodite 9 Apollo 15 Ares 25 The Argonauts 31 Artemis 41 Athena 49 Caduceus 61 Centaurs 63 Chthonian Deities 65 The Delphic Oracle 67 Demeter 77 Dionysus/Bacchus 85 Hades 97 Hephaestus 101 Hera 105 Heracles 111 Hermes 121 Hestia 133 Historical Myths 135 The Iliad - An Introduction 137 Jason 151 Miasma 155 The Minotaur 157 The Odyssey - An Introduction 159 The Oresteia - An Introduction 169 Origins 173 Orpheus 183 Persephone 187 Perseus 193 Poseidon 205 Prometheus 213 Psychological Myths 217 Sphinx 219 Story Pattern of the Greek Hero 225 Theseus 227 The Three Types of Myth 239 The Twelve Labors of Heracles 243 What is a myth? 257 Why are there so many versions of Greek 259 myths? Xenia 261 Zeus 263 Image Attributions 275 Map viii MAP Aegis The aegis was a goat skin (the name comes from the word for goat, αἴξ/aix) that was fringed with snakes and often had the head of Medusa fixed to it.
    [Show full text]
  • Sophocles-Antigone.Pdf
    Sophocles The Theban Plays Oedipus the King Oedipus at Colonus Antigone Translated, with Notes and an Introduction by Ruth Fainlight and Robert J. Littman The Johns Hopkins University Press Baltimore Antigone ∞≥∫ THE THEBAN PLAYS Cast of Characters in Order of Appearance Antigone, daughter and incestuous half-sister of Oedipus Ismene, daughter and incestuous half-sister of Oedipus Chorus of fifteen Theban elders Creon, king of Thebes, uncle and guardian of Antigone and Ismene Guard Haemon, son of Creon, cousin and fiancé of Antigone Teiresias, a blind prophet Messenger, a servant of Creon Eurydice, wife of Creon, mother of Haemon Nonspeaking Parts Guards and Attendants Young Boy who leads Teiresias ANTIGONE ∞≥Ω Scene: In front of the royal palace of Thebes. Double doors on the stage are the entrance to the palace. One entrance, on the left side of the stage, represents the road to the site of the battle outside the city, and to Polyneices’ body. The entrance on the right side of the stage is the direction of the city of Thebes. Time: The day after the end of the civil war between Eteocles and Polyneices, Oedipus’ two sons. Polyneices had led a foreign force from the city of Argos to attack Thebes. The attackers were defeated, and in the fighting the brothers killed each other. (Enter Antigone, followed by Ismene, from the double doors of the palace.) Antigone Ismene my true sister, born from the same mother, is there any torment Oedipus su√ered which Zeus will not impose on us? There is nothing—neither grief nor violence, shame nor dishonor—no evil 5 you and I have not endured already.
    [Show full text]
  • The Greek Myths 1955, Revised 1960
    Robert Graves – The Greek Myths 1955, revised 1960 Robert Graves was born in 1895 at Wimbledon, son of Alfred Perceval Graves, the Irish writer, and Amalia von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling is poetry, and his Selected Poems have been published in the Penguin Poets. Apart from a year as Professor of English Literature at Cairo University in 1926 he has since earned his living by writing, mostly historical novels which include: I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton (all published as Penguins); Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That (a Penguin Modem Classic), in 1929. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarene Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He has translated Apuleius, Lucan, and Svetonius for the Penguin Classics. He was elected Professor of Poetry at Oxford in 1962. Contents Foreword Introduction I. The Pelasgian Creation Myth 2. The Homeric And Orphic Creation Myths 3. The Olympian Creation Myth 4. Two Philosophical Creation Myths 5. The Five Ages Of Man 6. The Castration Of Uranus 7. The Dethronement Of Cronus 8. The Birth Of Athene 9. Zeus And Metis 10. The Fates 11. The Birth Of Aphrodite 12. Hera And Her Children 13. Zeus And Hera 14.
    [Show full text]
  • Who's Who in Classical Mythology
    Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt
    [Show full text]