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Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; Proquest Pg
The appropriation of a son: Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; ProQuest pg. 127 The Appropriation of a Son: Sophocles' Philoctetes Hanna M. Roisman ANHOOD in archaic and classical Greece-as in modern times-is generally manifested not so much in relation M ships with women as in relationships with other men, especially in the relationship between father and son. The Greek male is expected to produce sons who will continue his oikos (e.g. Soph. Ant. 641-45; Eur. Ale. 62lf, 654-57). Further, as Hesiod makes clear, sons should resemble their fathers in both looks and conduct, especially the latter (Op. 182,235; ef Ii. 6.476-81; Theophr. Char. 5.5). Such resemblance earns the father public esteem and proves his manliness; the lack of it may be cause for disparagement and calls his manliness into question. 1 We learn from Ajax and Philoctetes that Sophocles follows the Hesiodic imperative that sons should resemble their fathers in their natures and their accomplishments. Ajax sees himself as an unworthy son, having lost Achilles' arms to Odysseus, and prefers to commit suicide rather than face his father, Telamon, who took part in Heracles' expedition to Troy and got Hesione, the best part of the booty, as a reward (Aj. 430-40,462-65, 470ff, 1300-303; Diod. 4.32.5). At the same time, he expects his son, Eurysaces, to be like himself in nature, valor, and in everything else ('ttl.~' aA.A.' OIlOlO~, Aj. 545-51). Sophocles' Philoctetes, on the other hand, presents the strug gle between Odysseus and Philoctetes for the 'paternity' of Neoptolemus, as each tries to mold the young man in his own 1 Even in contemporary Greece the intense male rivalry for proving oneself takes place among men alone, while women and flocks serve as the object of this rivalry. -
Separating Fact from Fiction in the Aiolian Migration
hesperia yy (2008) SEPARATING FACT Pages399-430 FROM FICTION IN THE AIOLIAN MIGRATION ABSTRACT Iron Age settlementsin the northeastAegean are usuallyattributed to Aioliancolonists who journeyed across the Aegean from mainland Greece. This articlereviews the literary accounts of the migration and presentsthe relevantarchaeological evidence, with a focuson newmaterial from Troy. No onearea played a dominantrole in colonizing Aiolis, nor is sucha widespread colonizationsupported by the archaeologicalrecord. But the aggressive promotionof migrationaccounts after the PersianWars provedmutually beneficialto bothsides of theAegean and justified the composition of the Delian League. Scholarlyassessments of habitation in thenortheast Aegean during the EarlyIron Age are remarkably consistent: most settlements are attributed toAiolian colonists who had journeyed across the Aegean from Thessaly, Boiotia,Akhaia, or a combinationof all three.1There is no uniformityin theancient sources that deal with the migration, although Orestes and his descendantsare named as theleaders in mostaccounts, and are credited withfounding colonies over a broadgeographic area, including Lesbos, Tenedos,the western and southerncoasts of theTroad, and theregion betweenthe bays of Adramyttion and Smyrna(Fig. 1). In otherwords, mainlandGreece has repeatedly been viewed as theagent responsible for 1. TroyIV, pp. 147-148,248-249; appendixgradually developed into a Mountjoy,Holt Parker,Gabe Pizzorno, Berard1959; Cook 1962,pp. 25-29; magisterialstudy that is includedhere Allison Sterrett,John Wallrodt, Mal- 1973,pp. 360-363;Vanschoonwinkel as a companionarticle (Parker 2008). colm Wiener, and the anonymous 1991,pp. 405-421; Tenger 1999, It is our hope that readersinterested in reviewersfor Hesperia. Most of trie pp. 121-126;Boardman 1999, pp. 23- the Aiolian migrationwill read both articlewas writtenin the Burnham 33; Fisher2000, pp. -
Notes Du Mont Royal ←
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres ÏHISTORIÆ» ’*POETICÆ,H ’SCRIPTORES ANTIQJLW ’APOLLODORUS Atbmimfis. PTOLEMÆUS mm. 1v. 1c o N o N Grammaticm. PARTHMEN IUs mima; ANTON INUS immuns. Græcè 8c Latine. Jccgfi’è’re hem: Nm é Milice: mafia; la PARISIIIS. Typis F. u c u E T. Profiant apud R. S c o T "r, ü Bibliopolam Londinenfem. v MDCLxxm I - fluerez I L L u s (R0TIR 1’ D.JOSEPHO WILLIAMSON; 22141111 Lamina, SERENISSIMOMCAROLOIL - MAG. 31m: .FRANC. ET Hua. REGI - ’ A CONSILus InNTERIORIBuS, ETA SECRETIS STATus. , Xfiant’ in me , ".V I R "7CLARIS promerità 1m SIME) , magna diuturna. ,Sponte tuâ; nullo meo merito, defcendifli etiam- ad maclé benewolentiâ, qué Genti: a bnju: Epifiola Dcdicatoria: ’ buju: (9* (thorium ,literato: homi- ne: compleâîerù. Necfpem, nec cogitotionem guidon: foui, dignum aliquz’d tonifiât benefic’iis, unqmm reponencli ; aequo ’èm’mpotiebatur id ont fortune TUÆ magnitudo, ont ’mèæ agami; Non Âceflb interim juflâ debitâq; prodicatione ubiq; t’efl’ari toutim: Tibi dobere me, quantum firme? homo bomini poteflfiugi hâcÇnullâ’aliânzle wifi) gratit’udifii: mm fighificonclæ’curâ adduôîm,Nomini T110 ho: li- bella: infrrz’pfi. Molui Forum mo- j dellw boom, quÆm-mz’nù: group. Quanquam ’confllz’o huic meolz’lluçl jetiompotracinaritpoflîtguàd non in: l’pridem (quetzal al? lau’mqriz’tizofiu- diorum meOrüm’rationemTc ex- ,peétare * ’ Epiflola. Dedicatoria.’ wpeâare dicerer. Obtempero mi: 5 etiam ad exiflimotionù mon: periculnm. Ha: tomèn qua- liocnnque flint, non profil: , mi fiera, npnd TE wilefcent. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
UNIVERSITY of PENNSYLVANIA Two Hundred Thirty-Fifth Commencement for the Conferring of Degrees
UNIVERSITY of PENNSYLVANIA Two Hundred Thirty-Fifth Commencement for the Conferring of Degrees FRANKLIN FIELD Tuesday, May 21, 1991 SEATING DIAGRAM Guests will find this diagram helpful in locating the approximate seating of the degree candidates. The seating roughly corresponds to the order by school in which the candidates for degrees are presented, beginning at top left with the College of Arts and Sciences. The actual sequence is shown in the Contents on the opposite page under Degrees in Course. Reference to the paragraph on page seven describing the colors of the candidates' hoods according to their fields of study may further assist guests in placing the locations of the various schools. STAGE Graduate Faculty Faculty Faculties Engineering Nursing Medicin College College Wharton Dentaline Arts Dental Medicine Veterinary Medicine Wharton Education Graduate Social Work Annenberg Contents Page Seating Diagram of the Graduating Students . 2 The Commencement Ceremony .. 4 Commencement Notes .. 6 Degrees in Course . 8 The College of Arts and Sciences .. 8 The College of General Studies . 17 The School of Engineering and Applied Science .. 18 The Wharton School .. 26 The Wharton Evening School .. 30 The Wharton Graduate Division .. 32 The School of Nursing .. 37 The School of Medicine .. 39 The Law School .. 40 The Graduate School of Fine Arts .. 42 The School of Dental Medicine .. 45 The School of Veterinary Medicine .. 46 The Graduate School of Education .. 47 The School of Social Work .. 49 The Annenberg School for Communication .. 50 The Graduate Faculties .. 51 Certificates .. 57 General Honors Program .. 57 Advanced Dental Education .. 57 Education .. 58 Fine Arts .. 58 Commissions . -
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. -
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. -
Neoptolemus: the Making of a Cruel Warrior
Neoptolemus: The Making of a Cruel Warrior. Thanks to Schein’s recent commentary (2013), Sophocles’ Philoctetes has been given a fresh perspective. Taking Schein’s comments on Heracles’ cautionary words to Neoptolemus at the end of the play as a starting point, this paper argues that Sophocles constructs the character of Neoptolemus based on his later involvement in the sack of Troy. It presents a departure from the trend of reading Philoctetes in the context of contemporary Athens (as compellingly presented in, for example, Scodel 2012) and instead presents Neoptolemus as a character in direct engagement with his own complex mythological heritage. In particular, it argues that Neoptolemus’ later (moral) savage behaviour is foreshadowed in Philoctetes in a way that mirrors the (physical) savagery of Philoctetes himself and his wound that has been noted as a significant aspect of this play (Segal, 1995; Worman 2000). Neoptolemus is an ephebic youth in Philoctetes, struggling to understand himself and his place within the Greek army (for example, Allan, 2001). After Heracles’ intervention ex machina, it is understood that both Philoctetes and Neoptolemus will return to Troy, but lingering in Heracles’ words is the unsettling foreshadowing of Neoptolemus’ behaviour in Troy during the sack. For an audience familiar with the tradition, this warning against bad behaviour would not have come as a surprise. This paper argues that the later incarnation of Neoptolemus was meant to be central in the audience’s mind throughout Philoctetes. Building on the work of Fuqua (1976) and Davidson (1995), the paper argues for the importance of mythological tradition in the interpretation Neoptolemus in Philoctetes. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Sophocles: Philoctetes’ In: the Literary Encyclopedia (Published Version)
Citation: Paillard, Elodie. "Philoctetes". The Literary Encyclopedia. 8 August 2017. [http://www.litencyc.com/php/sworks.php?rec=true&UID=2784, accessed 9 August 2017.] Elodie Paillard, Entry ‘Sophocles: Philoctetes’ in: The Literary Encyclopedia (Published version) Sophocles: Philoctetes Philoctetes is one of the very rare plays by Sophocles that can be dated precisely: it was first performed in Athens’ City Dionysia in 409 BC and won the first prize. The myth staged in this play would have been familiar to the audience and can be related to the saga of the Trojan War. Before embarking with the Greeks for Troy, Philoctetes is linked to the legend of Heracles. Because Philoctetes had agreed to light the funeral pyre on which he wished to be burnt alive, Heracles gave Philoctetes his own bow, a special, almost magical, weapon: its arrows never miss their target. As the Greeks were sailing to Troy, they stopped to offer a sacrifice on the island of Chrysē (or to a deity called Chrysē), and Philoctetes was bitten on the foot by a water-snake during this stopover. The injury is so painful that Philoctetes’ cries of agony never stop and prevent the peaceful performing of the religious rites. The wound also emits a terrible smell. Odysseus and the Atreids thus decide to abandon Philoctetes on Lemnos and he is supposed to never come back. However, several years later, near the end of the Trojan War, the Greeks hear from Helenos, a Trojan seer, a prophecy saying that Troy could never be captured without Philoctetes and his bow. -
Focusing on the 'Margins' of Sophocles' Ajax
Focusing on the “Margins” of Sophocles’ Ajax and Philoctetes Associate Professor Christy Stanlake United States Naval Academy Adjusting Our Lenses: When we read the classic plays of 5th Century B.C. Athens, we have to shift our contemporary notions of what a play is and how theatre functioned in Attica. We notice that the structure of these plays is different. There are choral odes in which a group of characters sing and dance in unison (kind of like today’s musical theatre numbers) and episodes in which the central characters speak or sing to one another, to the chorus, to the gods, and to the audience. The odes are broken into strophes, “turning,” and antistrophes, “turning back,” that rhythmically mirror one another. The parallel structure allowed for viewers to understand the agon, the “struggle” or “contest,” between opposing views through three physical senses: sight (as the chorus danced one direction and then literally turned the opposite direction); sound (the equally balanced measures of music that supported each view); and touch (the rhythm the dancers’ feet made as they stepped in rhythm with the odes’ poetry. [Incidentally, the way we describe lines of poetry as being comprised of “feet” comes from the Greek tradition of literally stomping out the odes’ rhythm upon the ground with one’s feet.] Aristotle’s Poetics (335 B.C.), the first work of theatrical criticism, sought to describe the substance and nature of theatre. His thesis that classical tragedy was intended to influence catharsis, a purging of emotions such as pity and fear, forever shaped how people view western drama. -
Pausanias: Travel and Memory in Roman Greece
Pausanias: Travel and Memory in Roman Greece SUSAN E. ALOCOCK JOHN F. CHERRY JAS ELSNER, Editors OXFORD UNIVERSITY PRESS Pausanias pausanias Travel and Memory in Roman Greece Edited by Susan E. Alcock, John F. Cherry, & Jas´Elsner 3 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Saˆo Paulo Shanghai Singapore Taipei Tokyo Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. 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 prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Pausanias : travel and memory in Roman Greece / edited by S.E. Alcock, J.F. Cherry & J. Elsner. p. cm. Includes bibliographical references and index. ISBN 0-19-512816-8 (cloth) 1. Pausanias. Description of Greece. 2. Greece—Description and travel—Early works to 1800. 3. Greece—Antiquities. 4. Greece—Historiography. I. Alcock, Susan E. II. Cherry, John F. III. Elsner, Jas´. DF27.P383 P38 2000 938'.09—dc21 00-022461 Frontispiece: Location of principal places mentioned in the book. 987654321 Printed in the United States of America on acid-free paper For Silvia, Britten, and Bax This page intentionally left blank Preface This volume is dedicated to the principle that Pausanias deserves more—and more ambitious—treatment than he tends to receive.