“I am waiting for your letters on those events [in Rome]: what is Arrius saying and what is is opinion about being overthrown. Which consuls are being prepared—is it Pompey and Crassus as people claim or, as was just written to me, is it Servius Sulpicius with Gabinius. Are there new laws? Is there anything worthy of news at all? Or, who, since Nepos has left, is going to be nominated as Augur? (and this is the one thing I might be captured with by those people—look at how easy I am!)
Why do I ask these things when I want to put them aside and pursue philosophy with all my focus? This, I say, is what is in my mind. I wish I had pursued this from the start. But now when I have learned that everything which I thought was precious is empty, I am planning to dedicate myself to all the Muses.
Nevertheless, please do tell me in your reply about ?Tutius? and whether they have readied someone for his place and also what has become of Publius Clodius. Write me about everything, as you promised, at leisure. And also tell me on what day you think you will leave Rome so that I may tell you more certainly where I will be then? Please send me a letter right away on the things I have written you about. I am deeply awaiting your letter.”
De istis rebus exspecto tuas litteras, quid Arrius narret, quo animo se destitutum ferat, et qui consules parentur, utrum, ut populi sermo, Pompeius et Crassus, an, ut mihi scribitur, cum Gabinio Ser. Sulpicius, et num quae novae leges et num quid novi omnino, et, quoniam Nepos proficiscitur, cuinam auguratus deferatur, quo quidem uno ego ab istis capi possum—vide levitatem meam! sed quid ego haec, quae cupio deponere et toto animo atque omni cura ϕιλοσοϕεῖν? sic, inquam, in animo est; vellem ab initio, nunc vero, quoniam quae putavi esse praeclara expertus sum quam essent inania, cum omnibus Musis rationem habere cogito.
3Tu tamen de †Tutio†1 ad me rescribe certius et num quis in eius locum paretur, et quid de P. Clodio fiat, et omnia, quem ad modum polliceris, ἐπὶ σχολῆς scribe. et quo die Roma te exiturum putes velim ad me scribas, ut certiorem te faciam quibus in locis futurus sim, epistulamque statim des de iis rebus de quibus ad te scripsi. valde enim exspecto tuas litteras.
Archilochus told us, long before Pat Benatar in 1983 AD, that love is a battlefield.
His martial metaphor for love–or rather, for the lover struck down by Eros–is possibly the earliest such which survives. He sketched, for posterity as it were, the battlefield consequences of losing to Eros: inability to stand, lifelessness, wound, and pain:
Archilochus Fragment (193 West)
I lie here wretched with longing,
And lifeless,
Pierced through my bones
With bitter pains.
The gods’ doings, this.
By the Hellenstic period, what might have been fresh in Archilochus’ hand was now a well-worn trope.
Here is Rufinus employing the martial metaphor. In his light and clever epigram the lover contemplates resisting Eros, but with defeat a foregone conclusion (and Archilochus having articulated what defeat entails) he simply surrenders:
Rufinus (Greek Anthology 5.93)
I’ve strapped reason around my chest,
Armor against Eros.
He won’t defeat me: it’s one against one,
Mortal engaging immortal.
But, if he’s got Bacchus as his helpmate,
What can I, a man alone, do against two?
Ph. Shhhhh.
Pal: Why? I am being quiet. Why don’t you go back to sleep?
Ph. I am sleeping. Don’t yell.
Pal. But you are awake.
Ph. No. I am sleeping the way I do. This is how I sleep!
Phae: tace.
Pal: quid, taceam? quin tu is dormitum?
Phae: dormio, ne occlamites.
Pal: tuquidem uigilas.
Phae: at meo more dormio: hic somnust mihi.
From the Fragments of Cicero’s Letters (=Augustin. c. Iul. op. imperf. 6.22)
9. “What? Didn’t Cicero send the words from the guts of every father with this line to his son, writing to him: I wish you alone of all people in the world would do better than me in all things’
9. Quid? illam vocem nonne de visceribus cunctorum patrum Cicero emisit ad filium, ad quem scribens ait: solus es omnium a quo me in omnibus vinci velim?
Of course, since this is Cicero, this is partly about himself, but it is still rather sweet, especially when compared to fathers like Odysseus
“[It is clear] that the greatest wars also happened because of women. The Trojan War happened because of Helen; the Plague because of Chryseis; Achilles’ rage because of Briseis; and the War called the Sacred War, as Duris claims in the second book of his histories, by another married woman from Thebes who was kidnapped by some Phocian. This war also lasted ten years and in the tenth when Philip allied himself with the Thebes it ended. Then the Thebans took and held Phokis.”
“This is how the Persians say that Io came to Egypt—and not the story the Greeks tell—and this was the first transgression. After that, they claim some Greeks—and they can’t name them—went to Tyre and kidnapped Europê, the daughter of the king. These men would have been Cretans. At this point, the score was even. But then the Greeks were at fault for a second crime. For the Greeks sailed in a great ship to Aia, the Kolkhian, city and to the river Phasis.
Once they finished why they went there, they left, but they also kidnapped Medea, the king’s daughter. When the king sent a herald to Greece demanding recompense for the abduction and asking for his daughter to be returned, the Greeks answered that they would give nothing to the Kolhkians since they had not received anything for the abduction of Io.
In the next generation after that, they say that Priam’s son Alexandros, once he heard about these things, wanted to steal a wife for himself from Greece because he was absolutely certain he would face no penalties since the earlier men hadn’t. When he kidnapped Helen as he did, it seemed right at first for the Greeks to send messengers to demand her return and recompense for the abduction. When the Greeks made these demands, the Trojans brought up the abduction of Medeia and the fact that the Greeks were demanding from others the very things they themselves were not willing to give or repay.
Up to that point of time, the whole matter was only kidnapping on either side. But the Greeks were more to blame after this since they were the first to lead an army to Asia before anyone led one against Europe. As the Persians claim, they believe it is the work of unjust men to kidnap women, but the act of fools to rush off to avenge women who have been abducted. Wise men have no time for raped women, since it is clear they they would not have been abducted if they had not been willing themselves.
They claim that the men of Asia make no big deal when women are abducted while the Greeks, all because of one Lakedaimonian woman, raised a great army, went to Asia, and destroyed Priam’s power. Since that time, they consider Greece their enemy.”
Note: much of the language in this passage referring to abduction and kidnapping could also be translated as rape. I left the language more anodyne to reflect what seems to be Herodotus’ own dismissal or ignorance of the women’s experience.
“I am going to say this thing in two parts: first, that from the earliest age a person cannot fully surrender to the contemplation of the truth, to seek out the way to live, and also to practice it when retired and then, in turn, that when someone has finished their work and is near the end of life, it is possible to do this with the best justice and to focus on different activities in the way of the Vestal Virgins who learn the second rites during their years devoted to their duties and then teach them.”
Hoc quod dico in duas dividam partes: primum, ut possit aliquis vel a prima aetate contemplationi veritatis totum se tradere, rationem vivendi quaerere atque exercere secreto; deinde, ut possit hoc aliquis emeritis iam stipendiis, profligatae aetatis, iure optimo facere et ad alios actus animum1 referre virginum Vestalium more, quae annis inter officia divisis discunt facere sacra et cum didicerunt docent.
Dedication of a New Vestal Virgin, Alessandro Marchesini
“As long as they were stripping them of their gleaming weapons,
The young men who were the best and the greatest in number were following
Poulydamas and Hektor, they were especially eager to break the wall
And set fire to the ships. They were still struggling standing before the wall
When a bird went over them as they were struggling to cross it,
A high-flying eagle moving its way over the left side of the army
Holding in its talons a huge dark red snake
Still alive, breathing: it had not yet lost its fighting spirit.
For it struck back at the bird who held him in the skin along the chest
As it bent double. And the bird tossed him away to the ground
tortured with pains. It dropped the snake in the middle of the throng
But flew away on the breath of the wind, sounding out in pain.
The Trojans shivered when they saw the winding serpent
Lying there, a sign from Aegis-bearing Zeus.
Then Polydamas stood aside and addressed bold Hektor:
“Hektor, you are always threatening me in the public assemblies for some reason,
Even when I advise well, since it is not ever deemed proper
For some member of the people to advise differently, either in council
Or in war. Instead, we must always increase your strength.
But now I will tell you what seems to me to be best.
Let’s not go to fight the Danaans around their ships.
I think that it will turn out this way, if truly this bird
Came over the Trojans as we struggled to cross the wall,
A high-flying eagle moving its way over the left side of the army
Holding in its talons a huge dark red snake
Still alive. For it dropped it before it could return to its dear home
And did not complete the task of giving it to his children.
In the same way we, if we break through the gates and walls
Of the Achaeans by means of great strength and the Achaeans yield
So too we will not find the same paths in order among the ships.
We will lose many Trojans there as the Achaeans
Strike them down with bronze will defending the ships/
This is how a prophet would interpret, one who clearly understands
In his heart divine signs and one the people obey.”
Today we return to Reading Greek Tragedy Online, a series produced in partnership with Out of Chaos Theatre, the Center for Hellenic Studies, and the Kosmos Society. This project started at the onset of COVID19 lockdowns in the US and UK and brings together actors and researches to stage scenes from the ancient stage and talk about how they impact us to this day. We have over 40 episodes posted already and will add 5 more before the end of the year.
We return to that most mysterious and maddening tragedy, Euripides’ Bacchae. Today’s performance is a The Bacchae, a musical adaptation by J. Landon Marcus and Johanna Warren, with special guest Emma Cole (University of Bristol).
Here’s a sneak peak
Here's a sneak preview of what we have in store for the return of Reading Greek Tragedy Online on Wednesday. Watch live (or catch up later): https://t.co/akyATinN4l
“We alone are right-minded; everyone else is wrong.”
μόνοι γὰρ εὖ φρονοῦμεν, οἱ δ᾽ ἄλλοι κακῶς.
Amazing artwork by John Koelle and design by Allie Marby
Youtube Link:
Euripides, Bacchae 386–401
The fate for unbridled mouths
And lawless foolishness
Is misfortune.
The life of peace
And prudence
Is unshaken and cements together
Human homes. For even though
They live far off in the sky
The gods gaze at human affairs.
Wisdom is not wit;
Nor is thinking thoughts which belong not to mortals.
Life is brief. And because of this
Whoever seeks out great accomplishments
May not grasp the things at hand.
These are the ways of madmen
And wicked fools, I think.
“Enemy of Obscenity” Projections – Mohammad Fakhori
Scenes
The Primal Drum: Maenad gathering and ritual invoking Dionysus
I Am: Dionysus appears and delivers his opening monologue.
The Enemy of Obscenity: Pentheus’ manifesto against Dionysus
Justice: Maenads and Bacchae on the mountain, Pentheus discovers them and is dismembered
Exceptional Kill: Agave with the chorus, returning to Thebes with the head of Pentheus
Funeral Hymn: The lacuna of The Bacchae, Agave comes out of the spell and grapples with saying a funeral prayer for Pentheus
Crew and Amazing People
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Director of Outreach: Amy Pistone (Gonzaga University) Poster Designer: Allie Marbry (Center for Hellenic Studies) Poster Illustration Artist: John Koelle
Euripides Bacchae, Fourth Chorus (862-912)
“Will I ever lift my white foot
As I dance along
In the all night chorus—
Shaking my head at the dewy sky
Like the fawn who plays
In a meadow’s pale pleasures
When she has fled the frightful hunt
Beyond the well-woven nets of the guard—
With a holler, the hunter
Recalls the rush of his hounds
And she leaps
With the swift-raced lust of the winds
Across the riverbounded plain,
Taking pleasure in the places free
Of mortals and in the tender shoots
Of the shadow grove?
What’s cleverness for? Is there any nobler prize
Mortals can receive from the gods
Than to hold your hand over the heads
Of your enemies?
Whatever is noble is always dear.
Scarcely, but still surely,
The divine moves its strength
It brings mortals low
When they honor foolishness
And do not worship the gods
Because of some insane belief
They skillfully hide
The long step of time
As they hunt down the irreverent.
For it is never right
To think or practice stronger
Than the laws.
For it is a light price
To believe that these have strength—
Whatever the divine force truly is
And whatever has been customary for so long,
This will always be, by nature.
What’s cleverness for? Is there any nobler prize
Mortals can receive from the gods
Than to hold your hand over the heads
Of your enemies?
Whatever is noble is always dear.
Fortunate is the one who flees
The swell of the sea and returns to harbor.
Fortunate is the one who survives through troubles
One is greater than another in different things,
He surpasses in fortune and power—
But in numberless hearts still
Are numberless hopes: some result
In good fortune, but other mortal dreams
Just disappear.
Whoever has a happy life to-day,
I consider fortunate.
Many are the forms of divine powers
Many are the acts the gods unexpectedly make.
The very things which seemed likely did not happen
but for the unlikely, some god found a way.
This turned out to be that kind of story.
All start times are 3pm ET unless otherwise noted. Live stream available at chs.harvard.edu and on YouTube.
October 13The Bacchae, a musical adaptation by J. Landon Marcus and Johanna Warren, with Emma Cole (University of Bristol)
November 3The Iliad, Scroll 1, with Jared Simard (New York University) and Maria Xanthou (University of Leeds)
November 17Goddess and The Women of Gods, conceived and directed by LeeAnet Noble, with Suzanne Lye (University of North Carolina, Chapel Hill) and Jackie Murray (University of Kentucky)
Not one, but two poems by Martial playing with Catullus’ bird!
Martial, Epigrams 1.7
“The Dove, my Stella’s pet, I can say–
even though Verona is listening
Beats Catullus’ Sparrow, Maximus.
My Stella is as much better than your Catullus
As a dove is better than a sparrow.”
Stellae delicium mei Columba,
Verona licet audiente dicam,
vicit, Maxime, Passerem Catulli.
tanto Stella meus tuo Catullo
quanto passere maior est columba.
Martial, Epigrams 14.7
“Aulus, an unmentionable crime has happened to by girl.
She has lost her toy and her pet–
Tender Catullus’ girlfriend, Lesbia
Didn’t cry as much when she lost her sparrow’s kiss
As when my Stella sang in sorrow when her dark dove
Took flight in Elysium.
My light isn’t taken with games and those minor loves
And such losses never move my lover’s heart.
She’s lost a lad who counted up six years times two
With a little cock not quite 18 inches long”
Accidit infandum nostrae scelus, Aule, puellae;
amisit lusus deliciasque suas:
non quales teneri ploravit amica Catulli,
Lesbia, nequitiis passeris orba sui,
vel Stellae cantata meo quas flevit Ianthis,
cuius in Elysio nigra columba volat:
lux mea non capitur nugis nec amoribus istis,
nec dominae pectus talia damna movent:
bis senos puerum numerantem perdidit annos,
mentula cui nondum sesquipedalis erat.
“Some animals are called Ephemera and they take their name from the length of their life. For they are born in wine and when the container is opened they fly out, they see the light, and they die. Therefore, nature has granted that they come into life but it has also rescued them from the evils in life, since they neither experience any suffering of their own and they know nothing of others’ misfortunes.”
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