Abstract This essay examines the use of myth and history in the Athenian public funeral speeches (epitaphioi logoi), concentrating specifically on temporality implied by the impulse to “mythologize” recent memories through speech, logos (Dem. 60.9; cf. Pl. Menex. 239b7-c7). While Loraux and other scholars are correct that the epitaphioi endowed Athens with a certain eternity by construing the present through the timeless lens of myth, the prevailing tendency to suspend the Athens of the epitaphioi outside of time leads to difficulties. As I argue, the chronological organization of the epitaphioi grants these speeches an important temporal element and situates them in the same continuum as the present – a move further reinforced by the tendency of the orators to rationalize the Athenian myths much as historians might; accordingly, I propose an adjusted taxonomy with which to approach the temporal status of Athenian epitaphic encomium: the epitaphioi are “mythical” less because of their eternalizing perspective than because of the malleable and pluralistic way in which they conceived of the past and molded it to their ideological purpose. Borrowing from anthropological and cognitive psychological frameworks, I further suggest that by routinely reconsolidating the past in the collective memory of the polis the epitaphioi positioned themselves in opposition to historiography.
{"title":"The Art of Mythical History and the Temporality of the Athenian Epitaphioi Logoi","authors":"Avi Kapach","doi":"10.1515/tc-2020-0019","DOIUrl":"https://doi.org/10.1515/tc-2020-0019","url":null,"abstract":"Abstract This essay examines the use of myth and history in the Athenian public funeral speeches (epitaphioi logoi), concentrating specifically on temporality implied by the impulse to “mythologize” recent memories through speech, logos (Dem. 60.9; cf. Pl. Menex. 239b7-c7). While Loraux and other scholars are correct that the epitaphioi endowed Athens with a certain eternity by construing the present through the timeless lens of myth, the prevailing tendency to suspend the Athens of the epitaphioi outside of time leads to difficulties. As I argue, the chronological organization of the epitaphioi grants these speeches an important temporal element and situates them in the same continuum as the present – a move further reinforced by the tendency of the orators to rationalize the Athenian myths much as historians might; accordingly, I propose an adjusted taxonomy with which to approach the temporal status of Athenian epitaphic encomium: the epitaphioi are “mythical” less because of their eternalizing perspective than because of the malleable and pluralistic way in which they conceived of the past and molded it to their ideological purpose. Borrowing from anthropological and cognitive psychological frameworks, I further suggest that by routinely reconsolidating the past in the collective memory of the polis the epitaphioi positioned themselves in opposition to historiography.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"312 - 340"},"PeriodicalIF":0.2,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42860216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper consists of three chapters. In the first, Soph. Inachos fr. 269c.16–24 is presented as the earliest testimony to the authenticity of Prometheus Bound (PV). The verses declare that the one of the elders who named here Hermes trókhis was wise. The word describing mockingly Hermes was employed only in PV 941. And it is very unlikely that Sophocles would name ‘wise predecessor here’, i. e. in the theater, any other tragedian than Aeschylus. In the second chapter, the numerous divergences from Aeschylean practice are explained by reference to the fourth-place drama, which was usually covered by the satyr-play, but frequently with other plays aimed at the uneducated and unrefined spectators. Thus, PV is dated in 472 BC, contemporary with the Persae, in whose didascalia Προμηθεύς is named as the fourth drama of the production. It is unanimously identified with the satyr-play Προμηθεὺς Πυρκαεύς, but the author identifies it with PV, which as a fourth-place drama presents many stylistic peculiarities. Προμηθεὺς Πυρκαεύς is then the satyr-play of the Prometheus tetralogy that was staged not long after 472. It is possible that Aeschylus restaged PV in Syracuse at the same time as Persae. A relationship with Pindar’s Pyth. 1 and with Epicharmus reinforces the dating in 472. The third chapter deals with the problem of the third speaking actor in the prologue of PV. The problem is approached through the technical contrivance of ὀκρίβας, which also answers the question of frontality in the staging of the prologue.
{"title":"Prometheus Bound and Sophocles’ Inachos: New Perspectives","authors":"K. Tsantsanoglou","doi":"10.1515/tc-2020-0017","DOIUrl":"https://doi.org/10.1515/tc-2020-0017","url":null,"abstract":"Abstract The paper consists of three chapters. In the first, Soph. Inachos fr. 269c.16–24 is presented as the earliest testimony to the authenticity of Prometheus Bound (PV). The verses declare that the one of the elders who named here Hermes trókhis was wise. The word describing mockingly Hermes was employed only in PV 941. And it is very unlikely that Sophocles would name ‘wise predecessor here’, i. e. in the theater, any other tragedian than Aeschylus. In the second chapter, the numerous divergences from Aeschylean practice are explained by reference to the fourth-place drama, which was usually covered by the satyr-play, but frequently with other plays aimed at the uneducated and unrefined spectators. Thus, PV is dated in 472 BC, contemporary with the Persae, in whose didascalia Προμηθεύς is named as the fourth drama of the production. It is unanimously identified with the satyr-play Προμηθεὺς Πυρκαεύς, but the author identifies it with PV, which as a fourth-place drama presents many stylistic peculiarities. Προμηθεὺς Πυρκαεύς is then the satyr-play of the Prometheus tetralogy that was staged not long after 472. It is possible that Aeschylus restaged PV in Syracuse at the same time as Persae. A relationship with Pindar’s Pyth. 1 and with Epicharmus reinforces the dating in 472. The third chapter deals with the problem of the third speaking actor in the prologue of PV. The problem is approached through the technical contrivance of ὀκρίβας, which also answers the question of frontality in the staging of the prologue.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"100 1","pages":"267 - 296"},"PeriodicalIF":0.2,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67321950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Ovid frequently organizes individual “narratives” on the basis of semantic relations (including etymology) that link together basic concepts and themes. This web of semantic relations creates a second level of text or subtext that deepens our understanding of the composition of the poem and adds meaning(s) to each particular narrative. One such subtext concerns the semantics of erotic violence or of “love” (amor) and “arms” (arma), the study of which can enrich our understanding of Ovid’s narrative skills. The pair amor and arma is sometimes expanded to include armenta in the sense of “cattle,” “oxen,” or any animal less commonly or uniquely assigned to this species. The addition of armenta to the semantic cluster is due to the fact that they are often included in Ovid’s mythological narratives, either as real animals or as transformed human beings or as disguised divinities.
{"title":"Narratives of amor, arma and armenta in Ovid’s Metamorphoses","authors":"M. Paschalis","doi":"10.1515/tc-2020-0010","DOIUrl":"https://doi.org/10.1515/tc-2020-0010","url":null,"abstract":"Abstract Ovid frequently organizes individual “narratives” on the basis of semantic relations (including etymology) that link together basic concepts and themes. This web of semantic relations creates a second level of text or subtext that deepens our understanding of the composition of the poem and adds meaning(s) to each particular narrative. One such subtext concerns the semantics of erotic violence or of “love” (amor) and “arms” (arma), the study of which can enrich our understanding of Ovid’s narrative skills. The pair amor and arma is sometimes expanded to include armenta in the sense of “cattle,” “oxen,” or any animal less commonly or uniquely assigned to this species. The addition of armenta to the semantic cluster is due to the fact that they are often included in Ovid’s mythological narratives, either as real animals or as transformed human beings or as disguised divinities.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"154 - 171"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42765647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Although Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.
{"title":"Homer and Traditional Poetics","authors":"M. Finkelberg","doi":"10.1515/tc-2020-0002","DOIUrl":"https://doi.org/10.1515/tc-2020-0002","url":null,"abstract":"Abstract Although Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"15 - 5"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49503010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.
{"title":"From Choral to Monodic Hymns: Some Evidence from the Homeric Hymns","authors":"Polyxeni Strolonga","doi":"10.1515/tc-2020-0003","DOIUrl":"https://doi.org/10.1515/tc-2020-0003","url":null,"abstract":"Abstract This paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"16 - 47"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46048242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper discusses the modes of communication between the two speakers in Poseidon’s protest before Zeus in Odyssey 13.125–158, which results from the Phaeacians facilitating Odysseus’ arrival in Ithaca. As it appears, both interlocutors employ sophisticated techniques that revolve around the mega-theme of Poseidon’s menis against Odysseus. Even though the Sea-god conceals his anger, I maintain that it lurks in the background, and defines the discourse of both speakers in making their claims. On the one hand, Poseidon lets his rage emerge indirectly through his desire for vengeance at the Phaeacians; on the other hand, Zeus manages to negotiate the wrath theme while suppressing the divine decision that defied the Sea-god in the first place. Concealment of aspects of the story and allusions to otherwise suppressed objectives appear extensively in the present passage, which therefore constitutes an excellent case study in the tactics of the Odyssean gods from the angle of indirect communication.
{"title":"From Wrath to Punishment: Indirect Communication Between Poseidon and Zeus in Homer’s Odyssey 13.125–158","authors":"Christodoulos Zekas","doi":"10.1515/tc-2020-0005","DOIUrl":"https://doi.org/10.1515/tc-2020-0005","url":null,"abstract":"Abstract This paper discusses the modes of communication between the two speakers in Poseidon’s protest before Zeus in Odyssey 13.125–158, which results from the Phaeacians facilitating Odysseus’ arrival in Ithaca. As it appears, both interlocutors employ sophisticated techniques that revolve around the mega-theme of Poseidon’s menis against Odysseus. Even though the Sea-god conceals his anger, I maintain that it lurks in the background, and defines the discourse of both speakers in making their claims. On the one hand, Poseidon lets his rage emerge indirectly through his desire for vengeance at the Phaeacians; on the other hand, Zeus manages to negotiate the wrath theme while suppressing the divine decision that defied the Sea-god in the first place. Concealment of aspects of the story and allusions to otherwise suppressed objectives appear extensively in the present passage, which therefore constitutes an excellent case study in the tactics of the Odyssean gods from the angle of indirect communication.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"69 - 91"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46471622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction","authors":"","doi":"10.1515/tc-2020-0001","DOIUrl":"https://doi.org/10.1515/tc-2020-0001","url":null,"abstract":"","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49186343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study offers a thorough re-examination of the claim that the Doloneia is a major interpolation in the Iliad, since the horses of Rhesus stolen by the two Achaean spies in Iliad 10 are not used by Diomedes to win the chariot race in the Funeral Games in honor of Patroclus in Iliad 23. It is argued that this claim is wrong. Diomedes wins with the semi-divine Trojan horses he has stolen from Aeneas in Iliad 5, i. e. with the best horses after Achilles’ divine horses which are not used in the chariot race. Aeneas’ horses are the only ones that can defeat Eumelus’ excellent mares, which have been called the second-best Achaean horses in Il. 2.763–764.
{"title":"The Meta–Narrative Moment: Rhesus’ Horses Revisited","authors":"Christos C. Tsagalis","doi":"10.1515/tc-2020-0006","DOIUrl":"https://doi.org/10.1515/tc-2020-0006","url":null,"abstract":"Abstract This study offers a thorough re-examination of the claim that the Doloneia is a major interpolation in the Iliad, since the horses of Rhesus stolen by the two Achaean spies in Iliad 10 are not used by Diomedes to win the chariot race in the Funeral Games in honor of Patroclus in Iliad 23. It is argued that this claim is wrong. Diomedes wins with the semi-divine Trojan horses he has stolen from Aeneas in Iliad 5, i. e. with the best horses after Achilles’ divine horses which are not used in the chariot race. Aeneas’ horses are the only ones that can defeat Eumelus’ excellent mares, which have been called the second-best Achaean horses in Il. 2.763–764.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"113 - 92"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44618544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper looks not so much at geographical space or at the standard antithesis of “space” and “place,” but at the fluctuating relationships of space and mind. Various contrasts of inside and outside are considered (bodies, ships, houses), in connection with characters’ experience of space and its meaning. Werth’s idea of text worlds is then considered: the shifting worlds presented in a text, often as perceived or constructed by characters. This approach is given more substance by thinking about space; spatial approaches are given more finesse by thinking about text worlds. The marriage of approaches works happily for similes, for characters’ imaginings, for the physical spaces they structure and manage. It suits the ever-shifting Argonautica well.
{"title":"Space and Text Worlds in Apollonius","authors":"G. Hutchinson","doi":"10.1515/tc-2020-0007","DOIUrl":"https://doi.org/10.1515/tc-2020-0007","url":null,"abstract":"Abstract The paper looks not so much at geographical space or at the standard antithesis of “space” and “place,” but at the fluctuating relationships of space and mind. Various contrasts of inside and outside are considered (bodies, ships, houses), in connection with characters’ experience of space and its meaning. Werth’s idea of text worlds is then considered: the shifting worlds presented in a text, often as perceived or constructed by characters. This approach is given more substance by thinking about space; spatial approaches are given more finesse by thinking about text worlds. The marriage of approaches works happily for similes, for characters’ imaginings, for the physical spaces they structure and manage. It suits the ever-shifting Argonautica well.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"12 1","pages":"114 - 125"},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45268260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index of Sources","authors":"","doi":"10.1515/tc-2020-0012","DOIUrl":"https://doi.org/10.1515/tc-2020-0012","url":null,"abstract":"","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2020-0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49387452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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