Jason & the Argonauts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jason and the Argonauts Pictures of …
Punctuating lists. There are different ways to write them, but some rules need to be followed. Imagine you are a sailor on the boat. What items will you take? Lists can be written in different ways. On the boat I took with me: • A first aid kit, • A sketchpad, • Some paints. Write some lists of your own. Show the On the boat I took with me: different ways you • a first aid kit, can punctuate • a sketchpad, them. • some paints. • On the boat I took with me: • A first aid kit in case of emergencies; • A sketchpad so I could record my adventures; • Some paints to create detailed pictures. Jason and the Argonauts Pictures of … • Hydra Golden Fleece • Centaur Argo • Clashing Rocks • How do you think these are involved in the story? Why? Discuss and then write down your answers. • 1. Who looked after Jason when his father was thrown in prison? • 2. What three subjects did Jason learn whilst he was living in the mountains? • 3. Why did Jason have to accept Pelias’ challenge? • 4. Find and copy a phrase that tells you what the goddess Athene did to make sure the Argo would be safe? • 5. Name three people who joined Jason on the Argo? 5 minutes Answers • 1. The Cenataurs • 2. hunting, sailing, history • 3. Because if he didn’t everyone would say he was a coward. • 4. Athene blessed the ship. • 5. Any three of: Heracles, Atalanta, Orpheus, Castor or Pollux. Use evidence from the text (p15) to explain your answers. • 1. Why do you think Pelias sent Jason to find the Golden Fleece? Explain. -
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
Summary Ng from the Homecomi Homer Od from the Not Recognize His Father
Name Date from the ODYSSEY: PART 2 Summary THE HomecomiNG FROM THE ODYSSEY Homer Setting: Islands in the Mediterranean Sea, possibly around 1200 B.C. Book 16: Odysseus returns home dressed as a beggar. He meets Eumaeus, the faithful swineherd. Then he sees his son, Telemachus. Telemachus does not recognize his father. When Odysseus removes the disguise, Telemachus thinks he is a god. Finally, Telemachus recognizes his father. Father and son weep to be together again. Book 17: Odysseus returns to his palace still disguised as a beggar. Outside, he sees his dog, Argus, who has been treated badly while he was gone. Odysseus is angered by the dog’s poor condition. Book 21: Odysseus discovers that many suitors are at the palace. They want to marry Penelope. She has given up hope that Odysseus will return. She plans a contest. She will marry the winner. The men must string Odysseus’ bow. Then they must shoot an arrow through the holes in 12 ax heads. No one can string the bow. Still dressed as a beggar, Odysseus completes both tasks. Book 22: Odysseus takes off his disguise. He kills Antinous, the leader of the suitors. The remaining suitors decide they must fight with Odysseus. Telemachus and two servants join Odysseus in the fight. With the help of these men and Athena, Odysseus kills all the suitors. Book 23: Penelope is not sure the man is really Odysseus. She asks a servant to put his bed FROM outside his bedroom. Odysseus says that the bed cannot be moved. One of its posts is the from the trunk of an olive tree. -
Inconsistencies in Characters' Speeches in Apollonius' Argonautica
Inconsistencies in Characters’ Speeches in Apollonius’ Argonautica This paper argues that a number of challenging cruces in Apollonian scholarship can be solved by applying the ancient literary-critical principle of λύσις ἐκ τοῦ προσώπου, or “solution from the character speaking,” known from the ancient Homeric scholiasts and commentators like Porphyry, who gives us this term (ad Il. 3.122, 14.434). This principle holds that inconsistencies arising in a character’s speech may owe not to an oversight on the part of the poet but rather to that character’s point of view or deceptive motives (Dachs 1913, de Jong 2001: xiv, O’Hara 2007: 11). James O’Hara has put this insight to good use in his study of inconsistencies in Roman epic, arguing, for instance, that certain incongruities in the Lycaon episode of Ovid’s Metamorphoses put Jupiter’s reliability as an internal narrator in doubt (O’Hara 2007: 116–118). It is my contention that this type of analysis may be fruitfully applied to Hellenistic epic as well, whence, indeed, Latin poets may have partly derived the technique of characterization through inconsistency. Some problems in Apollonius have already benefitted from this approach; one example is the idea that Pelias invents the religious justification of the quest for the fleece as a pretext for Jason’s suicide mission (see especially Pietsch 1999: 28–49). Malcolm Campbell has noted the applicability of this explanation to a variety of cruces (see Campbell 1971: 416), but has not argued the point at any length, and for other vexed passages, this solution has yet to be proposed. -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
Argonautika Entire First Folio
First Folio Teacher Curriculum Guide ARGONAUTIKA adapted and directed by Mary Zimmerman based on the story by Apollonius of Rhodes January 15 to March 2, 2008 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production of Argonautika! About Greek Theatre Brief History of the Audience………………………...1 This season, the Shakespeare Theatre Company The History of Greek Drama……………..……………3 presents eight plays by William Shakespeare and On Greek Society and Culture……………………….5 other classic playwrights. The mission of all About the Authors …………………………...……………6 Education Department programs is to deepen understanding, appreciation and connection to About the Play classic theatre in learners of all ages. One Synopsis of Argonautika……………..…………………7 approach is the publication of First Folio Teacher Curriculum Guides. The Myth Behind the Play ..…………………………..8 The Hero’s Quest…..………………………………………..9 For the 2007-08 season, the Education Fate and Free Will…...………………..………..………..10 Department will publish First Folio Teacher Mythology: More than just a good story…...11 Curriculum Guides for our productions of Glossary of Terms and Characters..…………….12 Tamburlaine, Taming of the Shrew, Argonautika Questing…………………………………………………..…….14 and Julius Caesar. First Folio Guides provide information and activities to help students form Classroom Connections a personal connection to the play before • Before the Performance……………………………15 attending the production at the Shakespeare Journey Game Theatre Company. First Folio Guides contain God and Man material about the playwrights, their world and It’s Greek to Me the plays they penned. Also included are The Hero’s Journey approaches to explore the plays and productions in the classroom before and after (Re)Telling Stories the performance. -
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. -
De Excidio Troiae by Dares Phrygius and Valerius Flaccus
800 Miscellanea / D. Galli / Mnemosyne 66 (2013) 800-808 De excidio Troiae by Dares Phrygius and Valerius Flaccus De excidio Troiae by Dares Phrygius is a short prose tale concerning the Trojan war,1) written probably between the 5th and the 6th centuries AD.2) In the first three chapters it starts by narrating the journey of the Argonauts to Colchis with the goal of conquering the golden fleece, presented as the remote cause of the Trojan war. In chapter one Dares narrates that Pelias, king of the Peloponnese, had a brother called Aeson and that, since his son Jason is a strong and brave man who could become a peril for his power, Pelias thought up the voyage to Colchis in order to kill him. In the second chapter Dares describes how Jason sailed with his fellows towards Colchis and landed first on the Phrygian coast where he suffered king Laomedon’s threats. Chapter 3 tells Hercules’ revenge on Laomedon with the looting of Troy, the murder of the king and the kidnapping of Hesione, his daughter. Hermann Dunger3) in 1869 was the first to recognize many similarities between these initial chapters of Dares’ tale and Valerius Flaccus’ Argonautica, advancing the thesis that they are the result of Dares’ familiarity with Valerius’ account; Dunger’s thesis has recently been restated by Andrew Zissos in his diachronic survey4) of the literary and artistic reception of Valerius Flaccus’ Argonautica from the Flavian period down to the 20th century. The most important similari- ties between the two poems pointed out by Dunger are the following: 1. -
Jason and the Golden Fleece by Max I
Jason and the Golden Fleece By Max I. A long time ago, a child named Jason was born in the small kingdom of Iolcus, which was in Northern Greece. He was born before actual Greek history, in a time where Gods and heroes still existed. He was the son of King Aeson, who ruled Iolcus fairly and justly. His mother was descended from Poseidon, the god of the sea. Therefore, Jason had royal blood and divine blood as well. Jason grew up to be a good looking and good-natured boy. He was polite to everybody and everybody liked him. And everybody knew that Jason would inherit the throne of Iolcus. He was a good friend of Max, who was a foreigner from Colchis. In fact, he was one of the most valuable people on the journey because he was from where the Golden Fleece was hidden. 10 years before Jason was born, a king and queen called Athamas and Nephele ruled in Northern Greece. However, king Athamas grew tired of his kind, virtuous queen, and sent her away so he could marry a cruel woman named Ino. However, Ino was so cruel she resolved to murder the king’s children, as she was mad after a argument with Athamas. Queen Nephele rushed back to save her children and enlisted the help of the God Hermes. Hermes created a massive golden ram to carry the two children to safety. Their names were Phrixus and Helle. The Ram carried them all the way to Colchis, where they could seek shelter. However, as they were flying over a great river that separates Europe from Asia, Helle fell off the Ram to her death. -
The Untold Death of Laertes. Revaluating Odysseus's Meeting
The untold death of Laertes. Revaluating Odysseus’s meeting with his father Abstract This article discusses the narrative function and symbolism of the Laertes scene in the twenty- fourth book of the Odyssey. By pointing out the scene’s connections to other passages (the story of Penelope’s web, the first and second nekuia , the farewellto the Phaeaceans, the Argus scene, but also the twenty-fourth book of the Iliad) and by tackling some of the textualproblems that it poses (the apparent cruelty of Odysseus’s lies to his father, the double layers of meaning in his fictions, the significance of the sèma of the trees), this article aims to point out how the Laertes scene is tightly woven into the larger thematic and symbolicaltissue of the Odyssey. Odysseus’s reunion with his father is conclusive to the treatment of some important themes such as death and burial, reciprocalsense of love and duty and the succession of generations. It willbe argued that the untold death of Laertes becomes paradigmatic for the fate Odysseus himself chooses, and for the way in which the epic as a whole deals with the problem of mortality. Keywords Odyssey, Laertes, symbolism, mortality, burial, reciprocity Laertes, the old father of Odysseus, is a somewhat forgotten character. He is mostly considered to be of minor importance to the plot of the Odyssey, and his reunion with his son in the twenty-fourth book is often seen as a more or less dispensable addendum to the realclimax, the recognition scene with Penelope. In this article, I aim to readjust this view by exploring the context and significance of this final meeting.