Against a background of anxious evocation of Dionysiac rites, Euripides'Heraclesstages the extreme degradation of the tragic hero who, as a consequence of the hatred of a divinity, loses his heroic traits and above all his human ones in the exercise of brutal violence. By comparing Heracles in the grip of madness to a furious bull assailing its prey, the tragedian clearly shows the inexorability of the divine will and its arbitrariness, and emphasizes madness itself through images traditionally associated with the (...) bull. However, the reference to monstrosity and animals does not only involve Heracles, but also concerns the representation of Lyssa, the demon of madness sent by Hera to induce Heracles to slaughter his own family. This representation of Lyssa includes the monstrous and disturbing Gorgon and the dog, set alongside the metaphor of hunting, which in turn highlight the link between the demon and the Erinyes, those other bringers of madness. (shrink)

Thêsauroi, or treasure-houses, are small, temple-like structures, found typically in the sanctuaries of Delphi and Olympia. They were built by Greek city-states to house the dedications of their citizens. But a thêsauros is not just a storeroom: it is also a frame for costly votives, a way of diverting elite display in the interest of the city. When placed on view in a treasure-house, the individual dedication is re-contextualized: although it still reflects well on its dedicant, it also glorifies the (...) polis. Thêsauroi effectively nationalize votives—and, with them, a dedicant's privileged relationship to the gods. The sculptural program of the Siphnian treasury exemplifies these issues. (shrink)

The time is long gone when literary men were happy to treat literature, and tragic poetry in particular, as something which exists serenely outside time, high up in the empyrean of unchanging validity and absolute values. Nowadays it is conventional, and seems natural, to insist that literature is produced within a particular society and a particular social setting: even its most gorgeous blooms have their roots in the soil of history. Its understanding requires us to understand the society which appreciated (...) it, and for which it came into existence. In the particular case of the tragic poetry of Athens, the most influential body of recent criticism focuses on the relation of the drama to the realities of political and social life. (shrink)

У цій статті наведено стислий опис основних тез нової книги Ричарда Сіфорда. Деякі з цих тез я піддаю критиці. Зокрема, висловлено сумніви в тому, що спільні характерис- тики й хронологічну близькість зародження філософії в Стародавній Греції й Індії можна пояснити спільним процесом зростання грошового обігу в цих культурах. Я стверджую, що Сіфорд фактично вживає монетизацію як метафізичну категорію. Це дуже схоже марксистський ужиток поняття праці. На мою думку, основними процесами переходу між реальними людськими діями та їх метафізичним сприйняттям є інтеріори- (...) зація і космічна проєкція. Універсалізація цих процесів надає їм здатність перетворювати будь-які явища зовнішнього світу на ментальні й навпаки, що робить аргументи Сіфорда надмірно редукціоністськими. Ще однією слабкістю книги Сіфорда є той факт, що грецька й індійська філософії ро- зглянуті занадто загально, радше в стилістиці підручника, ніж дослідницького твору. (shrink)

This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can (...) lead to significant ambiguities concerning the identity of the speaker (“blurred quotation,” “indeterminate speech boundaries”). The lack of a concern always to distinguish clearly the primary from the secondary narrators relates to a desire to confuse diegetic and mimetic forms; the practice of the fifth-century choral lyric poets in this regard is compared to that of other ancient Greek writers. The main challenge is to indicate how it is possible, in theory and in practice, for the athletic victor to be identified as the speaker when this is not explicitly signalled in the text; and, if this is possible, to suggest how it is possible for an audience to recognize when the speaking persona subsequently reverts to laudator or poet. An attempt is made to consider whether any formal, structural, or thematic tendencies can be observed in those passages in choral lyric where the chorus or the victor are tacitly introduced as speaking personae: such effects, it is argued, occur especially when links of ritual or genealogy enable the ode to “zoom” from the mythical past to the present occasion of the performance. The main passages discussed in the article are Pind. P.8.56–60, P.9.89–92, N.7.85, Pae. 2.73–79, and Bacch. 3.84–85. But the phenomena discussed are related broadly to other phenomena in Greek literature, in Latin poetry, and, especially, in Cicero's forensic oratory. (shrink)

Odes4.2 ostensibly looks forward to two public events lying at some indeterminate point in the future, Augustus' return from campaign in Gaul, and a triumph over the Sygambri. The celebrations anticipated for these occasions frame the second half of the ode; but they do not supply its dramatic setting or timing, and the latter is evidently associated with the period following Augustus' departure for Gaul in summer 16b.c., or at any rate with a time when the Sygambri were felt still (...) to present an armed threat. The dramatic date need not however be identical with the time of writing, and it should not be assumed thatOdes4.2 was composed in 16. Indeed, as will be seen, it is most likely to be the retrospective product of a later period, around the time of Augustus' eventual return in July 13. On this view, the poem does not look forward to future events, but back to the time of Augustus' departure. (shrink)

‘Death is bad for those who die, but good for the undertakers and the grave-diggers’. And for archaeologists and for epigraphers as well, even though epitaphs, and especially simple or formulaic ones, are probably the most understudied and unloved area of ancient epigraphy. Yet the mere fact of an inscribed epitaph indicates deliberate and intentionally enduring commemoration, and therefore embodies a social attitude; epitaphs thus constitute a matter of historical importance that can be studied for the very reason that so (...) many—in Athens over 10,000—survive. Most Athenian epitaphs which have been found have been dated, and for approximately two-thirds of them a general find-spot has been recorded. Temporal and spatial variations within the distribution of Athenian epitaphs prompt not only the question of why aspects of this habit should change over time, but why the habit of epitaphs should exist at all; the answer suggested here links the function and distribution of Athenian epitaphs to changing concepts of Athenian citizenship. For epitaphs function as more than testimonials to grief: they represent what survivors saw as defining the deceased, and the significantly greater number of epitaphs in fourth-century Athens derives from Athenians' emphatic definition of themselves as citizens at that time. Finally, the Athenians's use of tombstones has no parallel in the classical Greek world, for the Athenians' developing perceptions of their own city and of their own special relationship, as citizens, to it, were also unparalleled. (shrink)

A familiar theme in Greek myth is that of the deadly gift that passes between a man and a woman. Analysis of exchanges between men and women reveals the gendered nature of exchange in ancient Greek mythic thinking. Using the anthropological categories of male and female wealth , it is possible to arrive at an understanding of the protocols of exchange as they relate to men and especially to women. These protocols, which are based in part on the distinction between (...) metals and other durable goods as "male" and textiles as "female," are closely related to the gendered division of labor. Anxiety about women as exchangers derives in part from their status as objects exchanged in marriage , and partly from a misogynist and pessimistic strand of Greek thought that discounts any female economic contribution to the oikos. Indeed, the majority of destructive exchanges take place within the context of marital crisis. While some texts, beginning with the Odyssey, show the positive side of women's economic role, tragedy tends to follow the Hesiodic distrust of women as exchange partners. Passages from the Agamemnon and the Trachiniai are analyzed to show how in situations of perverted reciprocity brought about by marital discord, even women's traditional gifts of textiles may become deadly. (shrink)

This article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.

The scholiasts offer two different dates for the Pythian victory of the Theban Thrasydaios celebrated in Pindar's eleventh Pythian ode: 474 or 454 bce. Following several older scholars, I accept the latter date, mainly because Pindar's myth in this poem is a mini-Oresteia, teeming with what seem to be echoes of the language, plotting, and sequencing of Aischylos' trilogy of 458 bce, as well as allusions to the genre of tragedy in general. Yet even those scholars who have argued for (...) such a dialogue between these two works are at something of a loss to explain it, except as Pindar's admiring homage to the genius of Aischylos. Such accounts reveal the inadequacy of a reading that assumes a narrowly literary system of intertextuality. In order to account for this intertextual, intergeneric dialogue, we need instead to recognize the embeddedness of choral lyric and tragedy within their social and cultural contexts, and their differential relations with “neighboring systems” such as cult ritual. I will argue that Pindar implicitly challenges the tendency of Attic tragedy to displace and appropriate for its own purposes cults that properly belong to other Greek cities. Pindar, in contrast, in Pythian 11 emphasizes the locality and specificity of different communities' relations to the heroes of myth and cult as an important part of traditional choral and civic harmonia. Thus I will argue that these two texts are engaged in a contestatory ritual poetics about the locality and propriety of cult and its relation to the community as mediated through different choral forms. (shrink)

This article treats the verbal and physical altercation between the disguised Odysseus and the local beggar Iros at the start of Odyssey 18 and explores the overlapping ritual and generic aspects of the encounter so as to account for many of its otherwise puzzling features. Beginning with the detailed characterization of Iros at the book's start, I demonstrate how the poet assigns to the parasite properties and modes of behavior that have close analogues in later descriptions of pharmakoi and of (...) famine demons expelled from communities in rites that are documented from different parts of the Greek world from the archaic period on; so too the account of Iros' ejection from the house and of his subsequent fate conforms to the patterns observable in these rituals. The second part of the discussion examines the ways in which the beggars' quarrel anticipates the enmities that the Ionian iambographers would construct with those whom they cast as their echthroi and rivals, and suggests that we see in the Homeric scene an early instance of an iambic-style confrontation presented in poetic form for performance at the symposium. The iambographers' own deployment of the scapegoat and famine demon paradigms for the vilification of their targets promotes the overlap between the epic and iambic material. In both portions of the argument, the discussion observes how the several frames informing the episode in Book 18 coincide with and promote the Odyssey's larger themes. (shrink)