Euripides, Hippolytus 469-472

“…you have fallen into so much misfortune
How could you imagine you’d break free of it?
But if in the end you have more good than ill
You’d certainly be lucky enough as a human being.”

ἐς δὲ τὴν τύχην
πεσοῦσ᾿ ὅσην σύ, πῶς ἂν ἐκνεῦσαι δοκεῖς;
ἀλλ᾿ εἰ τὰ πλείω χρηστὰ τῶν κακῶν ἔχεις,
ἄνθρωπος οὖσα κάρτα γ᾿ εὖ πράξειας ἄν.

Euripides, Hippolytus  361-368

“Did you hear it? Did you hear
The queen speak aloud sufferings
One must neever speak?
May I die, my friend, before
I think your thoughts. My gods,
How pitiful you are from these pains.
Oh, all the toils that nourish mortals.
You are ruined—you have introduced evils to the light.
What can await you in this nearly endless day?”

ἄιες ὤ, ἔκλυες ὤ,
ἀνήκουστα τᾶς
τυράννου πάθεα μέλεα θρεομένας;
ὀλοίμαν ἔγωγε πρὶν σᾶν, φίλα,
κατανύσαι φρενῶν. ἰώ μοι, φεῦ φεῦ·
ὦ τάλαινα τῶνδ᾿ ἀλγέων·
ὦ πόνοι τρέφοντες βροτούς.
ὄλωλας, ἐξέφηνας ἐς φάος κακά.
τίς σε παναμέριος ὅδε χρόνος μένει;

Euripides, Hippolytus 161-169

“Women have an ill-fit harmony in their lives:
Their suffering lives alongside
The miserable helplessnesss of labor pains
And senselessness.
This breath escaped out of my womb
So I cried out to the heavenly aid
The queen of arrows
My much envied visitor among the gods:
Artemis.”

φιλεῖ δὲ τᾷ δυστρόπῳ γυναικῶν
ἁρμονίᾳ κακὰ
δύστανος ἀμηχανία συνοικεῖν
ὠδίνων τε καὶ ἀφροσύνας.
δι᾿ ἐμᾶς ᾖξέν ποτε νηδύος ἅδ᾿
αὔρα· τὰν δ᾿ εὔλοχον οὐρανίαν
τόξων μεδέουσαν ἀύτευν
Ἄρτεμιν, καί μοι πολυζήλωτος αἰεὶ
σὺν θεοῖσι φοιτᾷ.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Euripides, Hippolytus 293-296

“If you suffer a sickness that is one of those we can’t mention,
These are women who can help take care of the disease.
If your suffering is open to discussion with men,
Tell us so we can share this deed with some doctors.”

κεἰ μὲν νοσεῖς τι τῶν ἀπορρήτων κακῶν,
γυναῖκες αἵδε συγκαθιστάναι νόσον·
εἰ δ᾿ ἔκφορός σοι συμφορὰ πρὸς ἄρσενας,
λέγ᾿, ὡς ἰατροῖς πρᾶγμα μηνυθῇ τόδε.

Euripides’Hippolytus takes us away from the stories of Agamemnon’s family and the Trojan War and takes us to some of the local tales of Attica. He tells the story of Theseus and his son Hippolytus, a product of Theseus’ rape of Hippolyta. The action of the play is in Troezen where Thesus is in exile for murder. Hippolytus has declared himself celebate and to punish him, Aphrodite has made his stepmother Phaedra fall in love with him.

This play was performed as part of a trilogy in 428 and won first prize. It is also not the only time Euripides turned to this topic. An ancient scholar writes that “this is the second Hippolytus, also called “the wreathed”. It appears it was written later. For it corrects what was improper and worthy of accusation in the earlier play” (τερος ᾿Ιοφῶν, τρίτος ῎Ιων. ἔστι δὲ οὗτος ῾Ιππόλυτος δεύτερος <ὁ> καὶ στεφανίας προσαγορευόμενος. ἐμφαίνεται δὲ ὕστερος γεγραμμένος· τὸ  γὰρ ἀπρεπὲς καὶ κατηγορίας ἄξιον ἐν τούτῳ διώρθωται τῷ δράματι. τὸ ).

According to scholarly traditions, Hippolytus was famed for his wisdom as well has his beauty and this play sets forces of prudence and self-discipline against desire and pleasure. Of course, since this is Euripides, it is not as simple as that: each character struggles with their impulses and their incomplete knowledge, struggling to be better and punished for trying to be something they are not.

Euripides, Hippolytus 653-655

“I am going to clean out everything I just heard
From my ears with running water. How could I be bad when
I feel dirty just hearing these kinds of things?”

ἁγὼ ῥυτοῖς νασμοῖσιν ἐξομόρξομαι
ἐς ὦτα κλύζων. πῶς ἂν οὖν εἴην κακός,
ὃς οὐδ᾿ ἀκούσας τοιάδ᾿ ἁγνεύειν δοκῶ;

Scenes (using Ian Johnston’s translation)

Euripides, Hippolytus 916-920

“O humanity, why do you fuck up pointlessly so often?
Why do you teach countless skills
And contrive and invent every kind of thing,
But fail to understand or even pursue at all
How to teach people to think when they are mindless?!”

ὦ πόλλ᾿ ἁμαρτάνοντες ἄνθρωποι μάτην,
τί δὴ τέχνας μὲν μυρίας διδάσκετε
καὶ πάντα μηχανᾶσθε κἀξευρίσκετε,
ἓν δ᾿ οὐκ ἐπίστασθ᾿ οὐδ᾿ ἐθηράσασθέ πω,
φρονεῖν διδάσκειν οἷσιν οὐκ ἔνεστι νοῦς;

Performers

Special Guest, Eirene Visvardi

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Associate Director: Liz Fisher
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Poster Artist: John Koelle
Poster Designer: Allie Marbry (Center for Hellenic Studies)

Euripides, Iphigenia in Tauris 821-824

“…I look over a sea of suffering, poor one,
So large that it is impossible to swim free again
Or to cross over the wave of this sorrow.”

κακῶν δ᾿, ὦ τάλας, πέλαγος εἰσορῶ
τοσοῦτον ὥστε μήποτ᾿ ἐκνεῦσαι πάλιν
μηδ᾿ ἐκπερᾶσαι κῦμα τῆσδε συμφορᾶς

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 

Aristophanes, Clouds July 15th

Euripides, Hippolytus July 22nd

Euripides, Hippolytus 176-198
“Oh, for mortal kind suffering and hateful diseases!
What will I do? What won’t I do?
This is your light, your bright sky-
Already outside lies
Your sick bed.
Coming here was your every word,
Quickly you will rush to go back again,
And quickly you will slip and delight in nothing.
Nothing present pleases you, what is absent
You hold more dear.
It is better to suffer sickness than tend to it.
The first is simple but the other unites
Anguish of thoughts with labor’s hands.
Human life is only pain
And there is no respite from labors.
Anything at all dearer to us than life
Darkness embraces and hides in shadows.
Then we show ourselves to be unlucky lovers
Of whatever shines clear for a bit on the earth
Because of our ignorance of any other life at all.
There’s no revelation of the afterlife.
We are carried along by nothing but stories.”

ὦ κακὰ θνητῶν στυγεραί τε νόσοι·
τί σ᾿ ἐγὼ δράσω; τί δὲ μὴ δράσω;
τόδε σοι φέγγος, λαμπρὸς ὅδ᾿ αἰθήρ,
ἔξω δὲ δόμων ἤδη νοσερᾶς
δέμνια κοίτης.
δεῦρο γὰρ ἐλθεῖν πᾶν ἔπος ἦν σοι,
τάχα δ᾿ ἐς θαλάμους σπεύσεις τὸ πάλιν.
ταχὺ γὰρ σφάλλῃ κοὐδενὶ χαίρεις,
οὐδέ σ᾿ ἀρέσκει τὸ παρόν, τὸ δ᾿ ἀπὸν
φίλτερον ἡγῇ.
κρεῖσσον δὲ νοσεῖν ἢ θεραπεύειν·
τὸ μέν ἐστιν ἁπλοῦν, τῷ δὲ συνάπτει
λύπη τε φρενῶν χερσίν τε πόνος.
πᾶς δ᾿ ὀδυνηρὸς βίος ἀνθρώπων
κοὐκ ἔστι πόνων ἀνάπαυσις.
ἀλλ᾿ ὅ τι τοῦ ζῆν φίλτερον ἄλλο
σκότος ἀμπίσχων κρύπτει νεφέλαις.
δυσέρωτες δὴ φαινόμεθ᾿ ὄντες
τοῦδ᾿ ὅ τι τοῦτο στίλβει κατὰ γῆν
δι᾿ ἀπειροσύνην ἄλλου βιότου
κοὐκ ἀπόδειξιν τῶν ὑπὸ γαίας,
μύθοις δ᾿ ἄλλως φερόμεσθα.

Euripides, Iphigenia in Tauris 42-46

“Night has come with strange new fantasies
I will tell them to the sky, if that provides any relief.
I imagined in sleep that I was freed from this land
and was sleeping in my girlhood’s home in Argos….”

ἃ καινὰ δ᾿ ἥκει νὺξ φέρουσα φάσματα
λέξω πρὸς αἰθέρ᾿, εἴ τι δὴ τόδ᾿ ἔστ᾿ ἄκος.
ἔδοξ᾿ ἐν ὕπνῳ τῆσδ᾿ ἀπαλλαχθεῖσα γῆς
οἰκεῖν ἐν Ἄργει, παρθενῶσι δ᾿ ἐν μέσοις
εὕδειν…

Euripides, Iphigenia in Tauris 137-143

“I have come. What’s going on? What are your worries?
Why did you bring me to this temple,
child of the man who approached Trojan towers
with a famous fleet of one thousand ships
of ten thousand arms
that leader of an army
the oldest of the famous Atreids?”

ἔμολον· τί νέον; τίνα φροντίδ᾿ ἔχεις;
τί με πρὸς ναοὺς ἄγαγες ἄγαγες,
ὦ παῖ τοῦ τᾶς Τροίας πύργους
ἐλθόντος κλεινᾷ σὺν κώπᾳ
χιλιοναύτᾳ μυριοτευχοῦς
<στρατιᾶς ταγοῦ τοῦ πρεσβυγενοῦς τῶν> Ἀτρειδᾶν τῶν κλεινῶν;

Euripides, Iphigenia in Tauris 219-221

“Now I live as a foreigner
on the borders of a sea hostile to strangers
unmarried, childless, without city, without friend.”

νῦν δ᾿ ἀξείνου πόντου ξείνα
συγχόρτους οἴκους ναίω,
220ἄγαμος ἄτεκνος ἄπολις ἄφιλος.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Euripides, Iphigenia in Tauris 376-379

“…I put off many embraces
to a later time,
because I thought I would go back to Argos again.
Wretched brother, Orestes, if you have died you have
such great fortune as you leave our father’s envied stores.”

πολλὰ δ᾿ ἀπεθέμην ἀσπάσματα
ἐς αὖθις, ὡς ἥξουσ᾿ ἐς Ἄργος αὖ πάλιν.
ὦ τλῆμον, εἰ τέθνηκας, ἐξ οἵων καλῶν
ἔρρεις, Ὀρέστα, καὶ πατρὸς ζηλωμάτων.

This week we return to Euripides and the fate of Agamemnon’s daughter Iphigenia in the surprising and challenging Iphigenia at Aulis. This play joins other Euripidean tragedies–like the Helen or his Orestes–in presenting alternative accounts of myth and challenging well-known narratives. In this one, the very daughter who was sacrificed to Artemis was whisked away to Tauris where she became a human sacrificing priestess of the goddess. Somehow, Orestes and Pylades end up in her hands after their trial at Athens. And, well, it goes on from there.

What do we make of such a fantasy, of the willful rewriting of the past? This play was performed during some of the most troubling of the years off the Peloponnesian War and its genre bending may have appealed to audiences eager for some escape or some hope that all was not fated. Like Helen it flouts mythical tradition, but unlike Helen it seems to create a largely new ending for its characters.

Euripides, Iphigenia in Tauris 479-481

“Where have you come from, unlucky strangers?
You have sailed long to get to this land
and you will live below far from your homes for long indeed.”

πόθεν ποθ᾿ ἥκετ᾿, ὦ ταλαίπωροι ξένοι;
ὡς διὰ μακροῦ μὲν τήνδ᾿ ἐπλεύσατε χθόνα,
μακρὸν δ᾿ ἀπ᾿ οἴκων χρόνον ἔσεσθε δὴ κάτω.

Scenes (Using Cecelia Luschnig’s translation)

Euripides, Iphigenia in Tauris 570-575

“The gods who are called wise
are bigger liars than winged dreams.
The great confusion among the gods exists
among mortals too. Only one reason for lament
remains to one who’snot a fool and has not trusted the words of the prophets:
he dies as those who know he died believe.”

οὐδ᾿ οἱ σοφοί γε δαίμονες κεκλημένοι
πτηνῶν ὀνείρων εἰσὶν ἀψευδέστεροι.
[πολὺς ταραγμὸς ἔν τε τοῖς θείοις ἔνι
κἀν τοῖς βροτείοις· ἓν δὲ λυπεῖται μόνον,
ὃς οὐκ ἄφρων ὢν μάντεων πεισθεὶς λόγοις
ὄλωλεν ὡς ὄλωλε τοῖσιν εἰδόσιν

Performers

Special Guests, Niall Slater

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Associate Director: Liz Fisher
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Poster Artist: John Koelle
Poster Designer: Allie Marbry (Center for Hellenic Studies)

Euripides, Iphigenia in Tauris 874-885

“What end can there be for the fate that stalks me?
What will fortune bring me?
What path can be found
to send you from this man-killing city
back to our Argive home
before the sword tastes your blood.
Well, this is something you need to discover,
my dark soul.
Is the path by land, not with a ship
but with a dance of the feet?”

ἁ δ᾿ ἐποῦσ᾿ αὖ τίς τελευτά;
τίς τύχα μοι συγκυρήσει;
τίνα σοι <τίνα σοι> πόρον εὑρομένα
πάλιν ἀπὸ πόλεως ἀνδροφόνου πέμψω
πατρίδ᾿ ἐς Ἀργείαν,
πρὶν ἐπὶ ξίφος αἵματι σῷ πελάσαι;
τόδ᾿ <ἤδη> τόδε σόν, ὦ μελέα ψυχά,
χρέος ἀνευρίσκειν.
πότερον κατὰ χέρσον, οὐχὶ
ναΐᾳ ἀλλὰ ποδῶν ῥιπᾷ;.

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 

Aristophanes, Clouds July 15th

Euripides, Alcestis July 22nd

Euripides, Iphigenia in Tauris 380-384

“I fault the tricks of this goddess.
Any mortal who even touches blood
or dips a finger in childbirth or death,
she bars from her alters because she thinks them unclean
when she herself delights in human sacrifice!”

ὰ τῆς θεοῦ δὲ μέμφομαι σοφίσματα,
ἥτις βροτῶν μὲν ἤν τις ἅψηται φόνου,
ἢ καὶ λοχείας ἢ νεκροῦ θίγῃ χεροῖν,
βωμῶν ἀπείργει, μυσαρὸν ὡς ἡγουμένη,
αὐτὴ δὲ θυσίαις ἥδεται βροτοκτόνοις.

Sophocles, Elektra 20-22

“Before any man tries to leave this house
you need to plan: this is no longer the right time
for hesitation: now is the final of deeds”

πρὶν οὖν τιν᾿ ἀνδρῶν ἐξοδοιπορεῖν στέγης,
ξυνάπτετον λόγοισιν· ὡς ἐνταῦθ᾿ †ἐμὲν
ἵν᾿ οὐκέτ᾿ ὀκνεῖν καιρός, ἀλλ᾿ ἔργων ἀκμή.

Sophocles, Elektra 1070-1074

“Tell them that their home is already plagued,
and that the strife among their children
is no longer balanced out
by the fact that they all love life.”

ὅτι σφὶν ἤδη τὰ μὲν ἐκ δόμων νοσεῖται,
τὰ δὲ πρὸς τέκνων διπλῆ φύ-
λοπις οὐκέτ᾿ ἐξισοῦται
φιλοτασίῳ διαίτᾳ.
πρόδοτος δὲ μόνα σαλεύει

Sophocles, Elektra 71-76

“Do not send me from this land in dishonor,
but as a master of my wealth and the captain of my house.
I have said enough now. Old man, it is your task
to go and safeguard this need.
And the two of us will go: for it is the perfect moment
and the perfect moment is man’s greatest guide in every deed.”

καὶ μή μ᾿ ἄτιμον τῆσδ᾿ ἀποστείλητε γῆς,
ἀλλ᾿ ἀρχέπλουτον καὶ καταστάτην δόμων.
εἴρηκα μέν νυν ταῦτα· σοὶ δ᾿ ἤδη, γέρον,
τὸ σὸν μελέσθω βάντι φρουρῆσαι χρέος.
75νὼ δ᾿ ἔξιμεν· καιρὸς γάρ, ὅσπερ ἀνδράσιν
μέγιστος ἔργου παντός ἐστ᾿ ἐπιστάτης.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Sophocles, Elektra 91-95

“This hateful bed in our painful house
shares the pains of all my nights
how much I mourn for my wretched father…”

τὰ δὲ παννυχίδων κήδη στυγεραὶ
ξυνίσασ᾿ εὐναὶ μογερῶν οἴκων,
ὅσα τὸν δύστηνον ἐμὸν θρηνῶ
πατέρ᾿

This week we turn to the first of many plays set around the House of Atreus, Sophokles’ Elektra. This story follows Orestes’ return home to murder his mother (and her lover Aegisthus) for the killing of his father Agamemnon. For fans of tragedy, the tale is famous from our only full trilogy from ancient Athens, Aeschylus’ Oresteia. But it was legendary—and perhaps even paradigmatic—Homer’s Odyssey as well, where Orestes is held up repeatedly as a model of youthful initiative to Telemachus and Clytemnestra’s betrayal of her husband appears as a constant threat to Odysseus’ homecoming.

The story of Orestes is, like the end of the Odyssey, about the cycle of vengeance and the dangerous narrative pull of the call to revenge. In Aeschylus’ Eumenides, Orestes ends up in Athens where he is judged by a jury for his mother’s murder: his story pits the orders of one god (Apollo) against he claims of others (the Furies) and the loyalty of a son to mother or father. The story of the Elektra is a prolonged rumination on the choices made before that crises. This version of the tale is often dated to the end of Sophocles’ life, during the middle of the Peloponnesian War. It features Orestes returning with Pylades in disguise to announce his death. The title character, Electra, has been mourning her father’s murder and longing for her brother’s return. Once she finds out about Orestes’ true identity, the play turns to the murder, but prior to that ever delayed moment of recognition, the audiences witnesses Orestes’ hesitation and Electra’s sorrow.

Sophocles, Electra 1047

“Nothing is more hateful than a bad plan.”

βουλῆς γὰρ οὐδέν ἐστιν ἔχθιον κακῆς.

Scenes (Using Paul Woodruff’s translation)

86-230, Electra, Chorus
328-471, Electra, Chrysothemis, Chorus
516-659, Electra, Clytemnestra, Chorus
871-1055, Electra, Chrysothemis
1098-1264, Electra, Orestes, Chorus
1385-1510: Electra, Chorus, Aegisthus, Orestes, Clytemnestra

Sophocles, Elektra 1082-1089

“No noble person wants
to ruin their good reputation by living badly
namelessly, my child.
So you have accepted for yourself
a life of fame and constant sorrow,
making a weapon from a noble cure–
with one strike you win two prizes
to be called a child excellent and wise.”

οὐδεὶς τῶν ἀγαθῶν
ζῶν κακῶς εὔκειαν αἰσχῦναι θέλοι
νώνυμος, ὦ παῖ παῖ·
ὡς καὶ σὺ πάγκλαυτον αἰ-
ῶνα κλεινὸν εἵλου,
ἄκος καλὸν καθοπλίσα-
σα δύο φέρειν ἑνὶ λόγῳ,
σοφά τ᾿ ἀρίστα τε παῖς κεκλῆσθαι.

Performers

Electra – Evelyn Miller
Chrysothemis – Tabatha Gayle
Chorus – Sara Valentine
Orestes – Tim Delap
Clytemnestra – Eunice Roberts
Aegisthus – René Thornton Jr.

Special Guests, Amy. R. Cohen

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Associate Director: Liz Fisher
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Poster Artist: John Koelle
Poster Designer: Allie Marbry (Center for Hellenic Studies)

Sophocles, Elektra 1282-1287

“My love–I am hearing a voice
I never hoped to hear,
but still I kept my eagerness quiet.
I heard with no cry in response.
But now, I have you. You are clear as day,
holding the dearest vision before me,
something I never could forget in any troubles.”

ὦ φίλ᾿, ἔκλυον
ἃν ἐγὼ οὐδ᾿ ἂν ἤλπισ᾿ αὐδάν.
έσχον ὀργὰν ἄναυδον
οὐδὲ σὺν βοᾷ κλύουσ᾿ ἁ τάλαινα.
νῦν δ᾿ ἔχω σε· προὐφάνης δὲ
φιλτάταν ἔχων πρόσοψιν,
ἇς ἐγὼ οὐδ᾿ ἂν ἐν κακοῖς λαθοίμαν.

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 

Aristophanes, Clouds July 15th

Euripides, Alcestis July 22nd

Sophocles, Elektra 1390-1394

“The clever defender of the dead goes
into the home, to to his father’s long-wealthy foundation,
he carries a weapon just now sharpened for blood.”

παράγεται γὰρ ἐνέρων
δολιόπους ἀρωγὸς εἴσω στέγας,
ἀρχαιόπλουτα πατρὸς εἰς ἑδώλια,
νεακόνητον αἷμα χειροῖν ἔχων·

Sophocles, Elektra 119-120

“I can’t hold out any longer
bearing the weight of my grief alone.”

μούνη γὰρ ἄγειν οὐκέτι σωκῶ
λύπης ἀντίρροπον ἄχθος.

Sophocles, Elektra 1038

“When you’re in your right mind, then you can lead us.”

ὅταν γὰρ εὖ φρονῇς, τόθ᾿ ἡγήσῃ σὺ νῷν.

Sophocles, Antigone 559-60

“My soul died long ago
so I could give  help to the dead.”

ἡ δ᾽ ἐμὴ ψυχὴ πάλαι τέθνηκεν,
ὥστε τοῖς θανοῦσιν ὠφελεῖν.

Sophocles, Antigone 332-341

“There are many wonders and none
is more awe-inspiring than humanity.
This thing that crosses the sea
as it whorls under a stormy wind
finding a path on enveloping waves.
It wears down imperishable Earth, too,
the oldest of the gods, a tireless deity,
as the plows trace lives from year to year
drawn by the race of horses….”

?Ο. Πολλὰ τὰ δεινὰ κοὐδὲν ἀν-
θρώπου δεινότερον πέλει·
τοῦτο καὶ πολιοῦ πέραν
πόντου χειμερίῳ νότῳ
χωρεῖ, περιβρυχίοισιν
περῶν ὑπ’ οἴδμασιν, θεῶν
τε τὰν ὑπερτάταν, Γᾶν
ἄφθιτον, ἀκαμάταν, ἀποτρύεται,
ἰλλομένων ἀρότρων ἔτος εἰς ἔτος,
ἱππείῳ γένει πολεύων.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Sophocles, Antigone 737

“The state which belongs to one man is no state at all.”

πόλις γὰρ οὐκ ἔσθ᾽ ἥτις ἀνδρός ἐσθ᾽ ἑνός.

This week we turn to Sophocles’ Antigone, arguably one of the most famous plays from antiquity. Alongside Sophocles’ Oedipus Tyrannos and Euripides’ Bacchae, Antigone is one of the most re-interpreted and translated plays in the last generation. Its reputation is well-deserved both for some of the most memorable and moving poetic passages to the seemingly harsh simplicity of its plot which forces the title character to choose between obeying the laws of the gods or obeying the laws of the state. This choice to bury her brother against the decree of her uncle Creon seals Antigone’s fate to die, a martyr of sorts in service to the gods

Nevertheless, this simple plot belies the complexity and strangeness of the play as a whole. From the initial bitter debate between the sisters about Antigone’s decision to Creon’s bluster and the surprising death of Haemon, Sophocles’ play is not just about competing systems of loyalty: it is also about how we cast ourselves as ‘players’ in the world between competing systems of identity and affiliation. Antigone is set in Thebes and the myth-verse of that terrible Oedipal family. Her story is about civil war and the story it writes on the bodies of combatants and non-combatants; her story is about how the fight lives on after wars are over; and her story is about how words and the stories we tell can make peace impossible.

But this play is also not only about Antigone: her sister Ismene plays an important role as does her cousin Haemon who has a tragic interest in her love. Even more confusing is what we should think of the ruler Creon, the man who awarded Jocasta (unknowingly) to her own son, oversaw the war between their sons, and is now positioning himself as the only one who can keep Thebes from falling apart.

Sophocles, Antigone 1056

“The race of tyrants loves shameful profit.”

τὸ δ᾽ ἐκ τυράννων αἰσχροκέρδειαν φιλεῖ.

Scenes (Using Paul Woodruff’s translation)

1-99: Antigone and Ismene
332-581: Chorus, Antigone, Creon, Ismene
631-780: Creon, Haemon, Chorus
781-943: Chorus, Antigone, Creon
1193-1243: Messenger
1261-1353: Creon, Messenger, Chorus

Sophocles, Antigone 141-145

“The seven leaders appointed to their seven gates
dedicated their bronze arms
to Zeus who turns the battle
except for only those two born
of a singer mother and father
who faced each other’s spears
each with a share of victory and death.”

ἑπτὰ λοχαγοὶ γὰρ ἐφ᾽ ἑπτὰ πύλαις
ταχθέντες ἴσοι πρὸς ἴσους ἔλιπον
Ζηνὶ τροπαίῳ πάγχαλκα τέλη,
πλὴν τοῖν στυγεροῖν, ὣ πατρὸς ἑνὸς
μητρός τε μιᾶς φύντε καθ᾽ αὑτοῖν
δικρατεῖς λόγχας στήσαντ᾽ ἔχετον
κοινοῦ θανάτου μέρος ἄμφω.

Performers

Antigone – Tabatha Gayle
Ismene – Evvy Miller
Creon – Tim Delap
Chorus – Sara Valentine, Austin Lee, and Gryphon Magnus
Haemon – Carlos Bellato
Messenger – Paul O’Mahony

Sophocles, Antigone 495-496

“I hate it when someone is caught in the midst of their evil deeds and tries to gloss over them.”

μισῶ γε μέντοι χὤταν ἐν κακοῖσί τις / ἁλοὺς ἔπειτα τοῦτο καλλύνειν θέλῃ.

Sophocles, Antigone 506-507

“But tyranny is a happy state in many ways, and the tyrant has the power to act and speak as they wish.”

ἀλλ᾽ ἡ τυραννὶς πολλά τ᾽ ἄλλ᾽ εὐδαιμονεῖ/  κἄξεστιν αὐτῇ δρᾶν λέγειν θ᾽ ἃ βούλεται.

Special Guests, Paul Woodruff and James Collins

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Associate Director: Liz Fisher
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Poster Artist: John Koelle
Poster Designer: Allie Marbry (Center for Hellenic Studies)

Sophocles, Antigone 72–77

“It is noble for me to do this and then die.
I will lie with him because I belong to him, with him,
Once I have completed my sacred crimes. There’s more time
When I must please those below than those here,
Since I will lie there forever. You? Go head,
Dishonor what the gods honor if it seems right.”

… καλόν μοι τοῦτο ποιούσῃ θανεῖν.
φίλη μετ᾿ αὐτοῦ κείσομαι, φίλου μέτα,
ὅσια πανουργήσασ᾿· ἐπεὶ πλείων χρόνος
ὃν δεῖ μ᾿ ἀρέσκειν τοῖς κάτω τῶν ἐνθάδε·
ἐκεῖ γὰρ αἰεὶ κείσομαι. σὺ δ᾿ εἰ δοκεῖ
τὰ τῶν θεῶν ἔντιμ᾿ ἀτιμάσασ᾿ ἔχε.

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 

Aristophanes, Clouds July 15th

Euripides, Alcestis July 22nd

Sophocles, Antigone 175–190 (Creon speaking)

“It is impossible to really learn a man’s
mind, thought and opinion before he’s been initiated
into the offices and laws of the state.
Indeed—whoever attempts to direct the country
but does not make use of the best advice
as he keeps his tongue frozen out of fear
Seems to me to be the worst kind of person now and long ago.

Anyone who thinks his friend is more important than the country,
I say that they live nowhere.
May Zeus who always sees everything witness this:
I could never be silent when I saw ruin
Overtaking my citizens instead of safety.

And I could never make my country’s enemy a friend
For myself, because I know this crucial thing:
The state is the ship which saves us
And we may make friends only if it remains afloat.”

ἀμήχανον δὲ παντὸς ἀνδρὸς ἐκμαθεῖν
ψυχήν τε καὶ φρόνημα καὶ γνώμην, πρὶν ἂν
ἀρχαῖς τε καὶ νόμοισιν ἐντριβὴς φανῇ.
ἐμοὶ γὰρ ὅστις πᾶσαν εὐθύνων πόλιν
μὴ τῶν ἀρίστων ἅπτεται βουλευμάτων,
ἀλλ᾿ ἐκ φόβου του γλῶσσαν ἐγκλῄσας ἔχει,
κάκιστος εἶναι νῦν τε καὶ πάλαι δοκεῖ·

καὶ μείζον᾿ ὅστις ἀντὶ τῆς αὑτοῦ πάτρας
φίλον νομίζει, τοῦτον οὐδαμοῦ λέγω.
ἐγὼ γάρ, ἴστω Ζεὺς ὁ πάνθ᾿ ὁρῶν ἀεί,
οὔτ᾿ ἂν σιωπήσαιμι τὴν ἄτην ὁρῶν
στείχουσαν ἀστοῖς ἀντὶ τῆς σωτηρίας,
οὔτ᾿ ἂν φίλον ποτ᾿ ἄνδρα δυσμενῆ χθονὸς
θείμην ἐμαυτῷ, τοῦτο γιγνώσκων ὅτι
ἥδ᾿ ἐστὶν ἡ σῴζουσα καὶ ταύτης ἔπι
πλέοντες ὀρθῆς τοὺς φίλους ποιούμεθα.

Sophocles, Antigone 1165-1167

“But when people lose their pleasures, I do not consider this life – rather, it is just a corpse with a soul.”

τὰς γὰρ ἡδονὰς ὅταν προδῶσιν ἄνδρες,
οὐ τίθημ᾽ ἐγὼ ζῆν τοῦτον,
ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

Sophocles, Antigone 332-341

“There are many wonders and none
is more awe-inspiring than humanity.
This thing that crosses the sea
as it whorls under a stormy wind
finding a path on enveloping waves.
It wears down imperishable Earth, too,
the oldest of the gods, a tireless deity,
as the plows trace lives from year to year
drawn by the race of horses….”

?Ο. Πολλὰ τὰ δεινὰ κοὐδὲν ἀν-
θρώπου δεινότερον πέλει·
τοῦτο καὶ πολιοῦ πέραν
πόντου χειμερίῳ νότῳ
χωρεῖ, περιβρυχίοισιν
περῶν ὑπ’ οἴδμασιν, θεῶν
τε τὰν ὑπερτάταν, Γᾶν
ἄφθιτον, ἀκαμάταν, ἀποτρύεται,
ἰλλομένων ἀρότρων ἔτος εἰς ἔτος,
ἱππείῳ γένει πολεύων.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

This week is dedicated entirely to the chorus, that most challenging of features of ancient Greek tragedy for modern stages. The chorus was not restricted to the dramatic stage in Ancient Greece. Ritual singing and dancing in groups seems to have been widespread: we find choral activity in Homer (Odyssey 8.264) and the Homeric hymns as well as Hesiod where the Muses are said to perform as Apollo plays the lyre. Indeed, several genres of Greek poetry where choral in structure and performance (including Epinician poetry like Pindar’s or the fragmentary poetry of Alcman).

The traditional story is that Greek tragedy developed out of Choral performances in honor of Dionysus. Over time, the performances grew more elaborate and as they told the stories of gods and heroes parts were individuated. While this traditional account is not certain, it is certain that the chorus was one of the most important parts of the performance of tragedy in Athens. It was the responsibility of an archon each year in Athens to choose the choregoi to select, finance, and have the chorus trained. The chorus was the central spectacle of tragedy in the beginning, with 12-15 performers singing and dancing in the orchestra in front of the stage and rarely leaving the scene.

In modern performances, the music and dance of the chorus often take a back seat to the poetry. The choral odes are where we find much of the most memorable poetry from ancient tragedy. But we often forget that these were songs too. So today we are going to take a look at the chorus and some different ways of conceiving it on the small screen.

Aeschylus, Agamemnon 176-183

“[Zeus] puts mortals on
The journey of comprehension.
And made this the powerful law:
We learn by suffering.
Pain-recalling trouble trickles
Through the heart in sleep—
And wisdom comes just so
To the unwilling.
The gods seated on their sacred seats
Bestow a hard grace I think.”

Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζων
τεύξεται φρενῶν τὸ πᾶν,

τὸν φρονεῖν βροτοὺς ὁδώ-
σαντα, τὸν πάθει μάθος
θέντα κυρίως ἔχειν.
στάζει δ’ ἀνθ’ ὕπνου πρὸ καρδίας
μνησιπήμων πόνος· καὶ παρ’ ἄ-
κοντας ἦλθε σωφρονεῖν.
δαιμόνων δέ που χάρις βίαιος
σέλμα σεμνὸν ἡμένων.

Scenes

1. Parodos from Antigone, 101-163
2. Parodos from Agamemnon, 40-263
3. “Ode to Man” from Sophocles, Antigone 377-416
4. 5^th Stasimon from Euripides’ Medea 1251-1292
5. 5^th Stasimon from Sophocles’ Antigone 1115-1154
6.  Binding Song from Aeschylus, Eumenides 307-396

Sophocles, Antigone 141-145

“The seven leaders appointed to their seven gates
dedicated their bronze arms
to Zeus who turns the battle
except for only those two born
of a singer mother and father
who faced each other’s spears
each with a share of victory and death.”

ἑπτὰ λοχαγοὶ γὰρ ἐφ᾽ ἑπτὰ πύλαις
ταχθέντες ἴσοι πρὸς ἴσους ἔλιπον
Ζηνὶ τροπαίῳ πάγχαλκα τέλη,
πλὴν τοῖν στυγεροῖν, ὣ πατρὸς ἑνὸς
μητρός τε μιᾶς φύντε καθ᾽ αὑτοῖν
δικρατεῖς λόγχας στήσαντ᾽ ἔχετον
κοινοῦ θανάτου μέρος ἄμφω.

Performers

Hannah Barrie

Bettina Joy de Guzman

Tim Delap

T. Lynn Mikeska

Evelyn Miller

Paul O’Mahony

Sara Valentine

Special Guest: Anna Uhlig

Dramaturgical assistance: Emma Pauly

Posters: John Koelle

Technical, Moral, Administrative Support: Lanah Koelle, Allie Mabry, Janet Ozsolak, Helene Emeriaud, Sarah Scott, Keith DeStone

Euripides, Medea 1261-1270

“Pointless was the labor for your children
pointless when you raised dear offspring,
woman who escaped the Symplegades’ clash
of their dark cliffs in those straits
most unwelcoming to strangers.
Wretch of a woman, why does irrational rage
overcome you and one cruel murder answer another?
Mortals find the pollution from family’s blood overwhelming–
Grief from the gods stalks murderers equal to their deeds,
falling upon their houses.”

μάταν μόχθος ἔρρει τέκνων,
μάταν ἄρα γένος φίλιον ἔτεκες, ὦ
κυανεᾶν λιποῦσα Συμπληγάδων
πετρᾶν ἀξενωτάταν ἐσβολάν.
δειλαία, τί σοι φρενοβαρὴς
χόλος προσπίτνει καὶ ζαμενὴς <φόνου>
φόνος ἀμείβεται;
χαλεπὰ γὰρ βροτοῖς ὁμογενῆ μιά-
σματ᾽, ἕπεται δ᾽ ἅμ᾽ αὐτοφόνταις ξυνῳ-
δὰ θεόθεν πίτνοντ᾽ ἐπὶ δόμοις ἄχη.

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 

Aristophanes, Clouds July 15th

Euripides, AlcestisJuly 22nd