If Only Everyone Were Like Me

Menander, Dyskolos 742-746

“I would like to tell you a few things about me and my character.
If everyone were like me, there wouldn’t be any courts at all,
They wouldn’t take each other to prison.
There would be no war and everyone would be happy because they had enough.
Ah, maybe the way things are is more pleasing. Act as you will.
This old cranky grump will be out of your way.”

πὲρ ἐ]μοῦ γὰρ βούλομ᾿ εἰπεῖν ὀλίγα σοι καὶ τοῦ τρόπου.
εἰ τοιοῦτ]οι πάντες ἦσαν, οὔτε τὰ δικαστήρια
ἦν ἄν, ο]ὔθ᾿ αὑτοὺς ἀπῆγον εἰς τὰ δεσμωτήρια,
οὔτε π]όλεμος ἦν, ἔχων δ᾿ ἂν μέτρι᾿ ἕκαστος ἠγάπα.
ἀ[λ]λ᾿ ἴσως ταῦτ᾿ ἔστ᾿ ἀρεστὰ μᾶλλον· οὕτω πράττετε.
ἐκποδὼν ὑμῖν ὁ χαλεπὸς δύσκολός τ᾿ ἔσται γέρων.

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“The Fool and His Double”, José Frappa

Thunderous-Mouth-Milling and Petty-Bragging: Some Words for a Thursday

The Suda has the following anecdote which seems to be taken and altered from Diogenes Laertius or something similar.

“thunderous-mouth-milling”: Eubulides says this “the eristic, asking his horn questions and discombobulating the orators with his falsely-intellectual arguments, taking with him the “thunderous-mouth-milling” of Demosthenes.

Ῥομβοστωμυλήθρα: Εὐβουλίδης φησίν: οὑριστικὸς κερατίνας ἐρωτῶν καὶ ψευδαλαζόσιν λόγοις τοὺς ῥήτορας κυλίων ἀπῆλθ’, ἔχων Δημοσθένους τὴν ῥομβοστωμυλήθραν.

ῥομβοστωμυλήθρη (lit. “thunderous-mouth-milling” (?) seems to be a misunderstanding or humorous take on ῥωποπερπερήθρη, usually translated as “braggadocio” but is more like “cheap/petty bragging”
From Diogenes Laertius, Lives of the Eminent Philosophers 2.10

“The eristic Euboulides, asking questions about horns
And discombobulating the speakers with his falsely-intellectual arguments
Has gone off, taking the petty self regard of Demosthenes with him

For it seems that Demosthenes was a student of Eubulides and was able to stop his problems with the letter ‘r’ because of it. Eubulides was also in conflict with Aristotle and undermined him a lot.

οὑριστικὸς δ᾿ Εὐβουλίδης κερατίνας ἐρωτῶν
καὶ ψευδαλαζόσιν λόγοις τοὺς ῥήτορας κυλίων
ἀπῆλθ᾿ ἔχων Δημοσθένους τὴν ῥωποπερπερήθραν.

ἐῴκει γὰρ αὐτοῦ καὶ Δημοσθένης ἀκηκοέναι καὶ ῥωβικώτερος ὢν παύσασθαι. ὁ δ᾿ Εὐβουλίδης καὶ πρὸς Ἀριστοτέλην διεφέρετο, καὶ πολλὰ αὐτὸν διαβέβληκε.

Eubulides is now known for some interesting paradoxes.

Image result for ancient greek eubulides
Demosthenes, no longer thunderous-mouth-milling.

Medically Mad or Just Thinking Bad? Early Greek on Being Crazy

Aristophanes, Assemblywomen, 248-253

[First Woman]: But what if Kephalos attacks you with abuse—
How will you response to him in the assembly?

[Praksagora]: I will say he’s out of his mind [paraphronein]

[First Woman]: but everyone knows this!

[Praksagora]: then I will also call him psychopathic [lit. ‘black-biled’=melancholic].

[First Woman]: They know this too.

[Praksagora]: But I will add that he produces terrible ceramics and will then do a fine job of doing the same to the city.

ἀτὰρ ἢν Κέφαλός σοι λοιδορῆται προσφθαρείς,
πῶς ἀντερεῖς πρὸς αὐτὸν ἐν τἠκκλησίᾳ;
ΠΡΑΞΑΓΟΡΑ φήσω παραφρονεῖν αὐτόν.
ΓΥΝΗ Α …ἀλλὰ τοῦτό γε
ἴσασι πάντες.
ΠΡΑΞΑΓΟΡΑ ἀλλὰ καὶ μελαγχολᾶν.
ΓΥΝΗ Α καὶ τοῦτ᾿ ἴσασιν.
ΠΡΑΞΑΓΟΡΑἀλλὰ καὶ τὰ τρύβλια
κακῶς κεραμεύειν, τὴν δὲ πόλιν εὖ καὶ καλῶς.

Melancholy here contrasts with “thinking -wrongly” (paraphronein). A scholion to another play by Aristophanes glosses the realms of these types of mental maladies (Schol. ad Plut. 11a ex 20-28)

“He seems to say this because he harmed or helped his master through his own virtue more—and while he disturbed him through prophecy, he made him crazy [melankholan] through medicine and took away his ability to think [phronein] through wisdom, which is the art of thinking. The servant lies. For he does not speak the truth….”

…τοῦτο οὖν
ἔοικε λέγειν, ὅτι διὰ τῶν ἑαυτοῦ
μᾶλλον ἀρετῶν ἔβλαψε τὸν δεσπότην
ἤπερ ὠφέλησε, καὶ διὰ μὲν τῆς
μαντείας ἐτάραξε, διὰ δὲ τῆς ἰατρι-
κῆς μελαγχολᾶν ἐποίησε, διὰ δὲ
τῆς σοφίας, ὅ ἐστι τῆς φρονήσεως,
τοῦ φρονεῖν αὐτὸν ἀφείλατο. ψεύδεται
ὁ δοῦλος· οὐ γὰρ ἀλήθειαν λέγει

Where melancholy denotes a physical ailment [i.e. biologically caused and treated], paraphrosunê indicates parafunctionality which may be treated without medicine.

μελαγχολάω: to be atrabilious, melancholy-mad.

μελαγχολία: atrabiliousness, melancholy, a disease [atual LSJ definition]

παραφροσύνη, ἡ:  wandering of mind, derangment, delirium

παραφρονέω: to be beside oneself, be deranged, or mad.

Lyrica Adespota, fr. 3.9-10

“Lust–that magician–takes me. It descends upon my mind
And makes me crazy!”

῎Ερως μ’ ἔλα]β’ ὁ γόης· εἰς τὴν ψυχήν μου εἰσπε-
σὼν [ποιεῖ μ]ε παραφρονεῖν.

Aristotle, Metaphysics 4.1009b

“In the same way, ‘truth’ concerning the way things appear has come to some people from their senses. They believe that it is right that truth should be judged neither by the multitude or the scarcity [of those who believe it]; and they believe that the same thing seems sweet to some who taste it and bitter to others with the result that if all men were sick or if they were all insane and two or three were healthy or in their right mind, wouldn’t it seem that these few were sick and crazy and not the rest?”

[1] —ὅμοιως δὲ καὶ ἡ περὶ τὰ φαινόμενα ἀλήθεια ἐνίοις ἐκ τῶν αἰσθητῶν ἐλήλυθεν. τὸ μὲν γὰρ ἀληθὲς οὐ πλήθει κρίνεσθαι οἴονται προσήκειν οὐδὲ ὀλιγότητι, τὸ δ᾽ αὐτὸ τοῖς μὲν γλυκὺ γευομένοις δοκεῖν εἶναι τοῖς δὲ πικρόν, ὥστ᾽ εἰ πάντες ἔκαμνον [5] ἢ πάντες παρεφρόνουν, δύο δ᾽ ἢ τρεῖς ὑγίαινον ἢ νοῦν εἶχον, δοκεῖν ἂν τούτους κάμνειν καὶ παραφρονεῖν τοὺς δ᾽ ἄλλους οὔ:

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Brekekekeks, the Frogs, the Frogs!

Aristophanes, Frogs 1-2

“Hey boss, should I say one of those typical things,
That audiences always laugh at?”

εἴπω τι τῶν εἰωθότων, ὦ δέσποτα,
ἐφ᾿ οἷς ἀεὶ γελῶσιν οἱ θεώμενοι;

Not this frog!

Aristophanes, Frogs 76-77

“If you need to bring someone back to life,
Why not Sophocles, since he’s better than Euripides?”

εἶτ᾿ οὐ Σοφοκλέα πρότερον ὄντ᾿ Εὐριπίδου
μέλλεις ἀναγαγεῖν, εἴπερ γ᾿ ἐκεῖθεν δεῖ σ᾿ ἄγειν;

Since March 2020, 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 an occasional foray in to epic and comedy. As our director Paul O’Mahony has put it, since we are “unable to explore the outside world, we have no option but to explore further the inner one.” For our final performance of the year, we turn to that most absurd and poignant of literary philosophy, Aristophanes’ Frogs.

Aristophanes’, Frogs .172

“Dude, want to carry some bags to Hades?”

ἄνθρωπε, βούλει σκευάρι᾿ εἰς Ἅιδου φέρειν;

Aristophanes, Frogs 80-83

“Euripides, since he’s a bit of a rascal,
Will probably try to help me get him free.
Sophocles will be well-behaved there since he was well-behaved here.”

κἄλλως ὁ μέν γ᾿ Εὐριπίδης πανοῦργος ὢν
κἂν ξυναποδρᾶναι δεῦρ᾿ ἐπιχειρήσειέ μοι·
ὁ δ᾿ εὔκολος μὲν ἐνθάδ᾿, εὔκολος δ᾿ ἐκεῖ

There will be time aplenty in the new year to reflect on what Reading Greek Tragedy Online meant to those of us who were engaged with it every week. It suffices to say for the moment that it gave us structure, a sense of community, and a reason to drag ourselves out of bed a few times a week. it also gave us the opportunity to think and talking about performing Greek theater in a sustained way that none of us could have imagined a year ago today.

Back in April, when Paul and I were outlining the rest of the year with Lanah, we thought this play would be a nice way to end the series on something of an absurdist but reflective turn. Aristophanes’ Frogs stands as one of the earliest pieces of literary criticism in the Athenian tradition. Even if it is bawdy and hyperbolic, it provides critical comments and cultural frameworks for the three tragedians we moderns know best. As a comedy, it ranges from sophisticated engagement with literary motifs and styles right back down to fart jokes and the regrettable but by no means atypical repeated play with abusing an enslaved person.

But the Frogs also has a sense of coming near the end of things: it starts with the assertion that all the good poets are dead (in a year following the passing of both Euripides and Sophocles). Not only does it come at the end of an artistic era, but it was also composed and performed near the end of the Peloponnesian War and the high point of Athenian influence. Rarely does any play stand at the intersection of so many charged themes; it is even rarer that such a play is a comedy.

So, to end this, our most recent annus horribilis and this series which has meant so much to us, we turn to a new version of the Frogs. Who’s ready for some koaks koaks?

Aristophanes, Frogs 237-239

“I am developing blisters,
My rectum has been oozing for a while,
And soon it will jump out and say…

Brekekekeks koaks koaks

ἐγὼ δὲ φλυκταίνας γ᾿ ἔχω,
χὠ πρωκτὸς ἰδίει πάλαι,
κᾆτ᾿ αὐτίκ᾿ ἐκκύψας ἐρεῖ—
ΒΑΤΡΑΧΟΙ
βρεκεκεκὲξ κοὰξ κοάξ.

Scenes

Most of George Theodoridis’ Translation

Cast

Narrator (v/o) – Rhys Rusbatch
Xanthias – Ursula Lansley-Early
Dionysus – Tony Jayawardena
Heracles – René Thornton Jr
Corpse – Hannah Barrie
Charon – Eli Pauley
Chorus of Frogs – Rob Castell and EVERYONE
Chorus of Initiates – Minnie Gale, Bettina Joy de Guzman, Marietta Hedges, Lanah Koelle, Lily Ling, T Lynn Mikeska
Pluto – Toph Marshall
Euripides – Paul Hurley
Aeschylus – Tabatha Gayle
Joel Christensen – Joel Christensen
Clytemnestra – Eunice Roberts
Medea – Evelyn Miller
Messenger – Sara Valentine
Artemis – Noree Victoria
Xerxes – Martin K Lewis
Hecuba chorus – Tamieka Chavis
Tutor – Robert Matney
Orestes – Tim Delap
Pylades – Paul O’Mahony

Aristophanes, Frogs 389-392

“Let me say a lot of funny things
And many serious ones too
As I joke and mock and win the crown
Worthy of your festival.”

καὶ πολλὰ μὲν γέλοιά μ᾿ εἰπεῖν,
πολλὰ δὲ σπουδαῖα, καὶ
τῆς σῆς ἑορτῆς ἀξίως
παίσαντα καὶ σκώψαντα νικήσαντα
ταινιοῦσθαι.

Crew

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)

Aristophanes, Frogs  538

“Whoever gets drunk but stays home is wise.”

ὃς δ᾿ ἂν μεθυσθείς γ᾿ ἐν δόμοις μείνῃ σοφός.

Upcoming Episodes (Go to CHS Project Page for more information)

Aristophanes, Frogs 533-539

“This is the sign of a man
Who has some brains
And has traveled much:
To always move himself
To whichever side is doing well
And not to stand in one place, taking one stance,
Like a painted statue…”

ταῦτα μὲν πρὸς ἀνδρός ἐστι
νοῦν ἔχοντος καὶ φρένας
καὶ πολλὰ περιπεπλευκότος,
μετακυλίνδειν αὑτὸν ἀεὶ
aπρὸς τὸν εὖ πράττοντα τοῖχον
μᾶλλον ἢ γεγραμμένην
εἰκόν᾿ ἑστάναι, λαβόνθ᾿ ἓν
σχῆμα·

Aristophanes, Frogs 805-6

“This is hard
They’ve found a shortage of smart people”

τοῦτ᾿ ἦν δύσκολον·
σοφῶν γὰρ ἀνδρῶν ἀπορίαν ηὑρισκέτην.

“Hello Stranger!” Rocking out with the Cyclops Online

Euripides, Cyclops 8

“Come, let me look at this: did I see this in a dream?”

φέρ᾿ ἴδω, τοῦτ᾿ ἰδὼν ὄναρ λέγω;

 

Euripides, Cyclops 63-67

“There’s no Dionysus here, no choruses,
No Bacchic revels, no wand-bearing,
No explosion of drums
By the fresh-flowing springs,
Or young drops of wine.”

οὐ τάδε Βρόμιος, οὐ τάδε χοροὶ
βακχεῖαί τε θυρσοφόροι,
οὐ τυμπάνων ἀλαλαγ-
μοὶ κρήναις παρ᾿ ὑδροχύτοις,
οὐκ οἴνου χλωραὶ σταγόνες·

The Center for Hellenic Studies, the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ since the beginning of the US lockdown in March. As our director Paul O’Mahony has put it, since we are “unable to explore the outside world, we have no option but to explore further the inner one.

Euripides, Cyclops 102-105

Silenos: Hello, stranger. Tell me who you are and your country
Odysseus: Odysseus from Ithaka, lord of the land of the Kephallenians
Silenos: I know that guy, a sharp conman, a descendent of Sisyphus.
Odysseus: I am that man. Don’t mock me.

ΣΙΛΗΝΟΣ
χαῖρ᾿, ὦ ξέν᾿· ὅστις δ᾿ εἶ φράσον πάτραν τε σήν.
ΟΔΥΣΣΕΥΣ
Ἴθακος Ὀδυσσεύς, γῆς Κεφαλλήνων ἄναξ.
ΣΙΛΗΝΟΣ
οἶδ᾿ ἄνδρα, κρόταλον δριμύ, Σισύφου γένος.
ΟΔΥΣΣΕΥΣ
ἐκεῖνος αὐτός εἰμι· λοιδόρει δὲ μή.

This week, we arrive at the only surviving full Satyr play from Ancient Athens, Euripides’ Cyclops. During the tragic competition, poets would stage a trilogy followed by a satyr play, some kind of vaudevillian satire on tragedy itself. We don’t know as much about satyr plays as we’d like, but from this surviving example we can see some of the extreme bodily humor of comedy combined with tragedy’s mythical figures and themes.

Of course, comedy is about excess and in this reading of the story of Odysseus’ encounter with Polyphemos we are adding our own excess by adding in words and music from from “Cyclops, a Rock Opera” by J. Landon Marcus, Benjamin Sherman, and Chas LiBretto.  The small screen may not hold all this energy, but that won’t stop us from trying.

Euripides, Cyclops 334-338

“I don’t sacrifice to anyone but myself, none of the gods,
And to the greatest divinity, my belly!
To drink and eat all day and have no pain
That is Zeus for wise people.”

ἁγὼ οὔτινι θύω πλὴν ἐμοί, θεοῖσι δ᾿ οὔ,
καὶ τῇ μεγίστῃ, γαστρὶ τῇδε, δαιμόνων.
ὡς τοὐμπιεῖν γε καὶ φαγεῖν τοὐφ᾿ ἡμέραν,
Ζεὺς οὗτος ἀνθρώποισι τοῖσι σώφροσιν,
λυπεῖν δὲ μηδὲν αὑτόν.

Cast: Rob Castell, Chas Libretto, J. Landon Marcus, Paul O’ Mahony

Euripides, Cyclops 487-491

“Shh, Shut up! He’s drunk
Singing a tuneless song
Coming out of the stony cave
An incompetent singer about to cry.”

σίγα σίγα. καὶ δὴ μεθύων
ἄχαριν κέλαδον μουσιζόμενος
490σκαιὸς ἀπῳδὸς καὶ κλαυσόμενος
χωρεῖ πετρίνων ἔξω μελάθρων.

Crew

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, Cyclops 538

“Whoever gets drunk but stays home is wise.”

ὃς δ᾿ ἂν μεθυσθείς γ᾿ ἐν δόμοις μείνῃ σοφός.

Upcoming Episodes (Go to CHS Project Page for more information)

December 23 Series Finale: Frogs, Aristophanes

.

Euripides, Cyclops 694-695

“I would have burned down Troy badly
If I didn’t punish you for the slaughter of my companions.”

κακῶς γὰρ ἂν Τροίαν γε διεπυρώσαμεν
εἰ μή σ᾿ ἑταίρων φόνον ἐτιμωρησάμην.

Madness, Philosophy, and the Natural Realm

Menander, Aspis 305-310

[Khairestratos]:
“Daos, boy, I am not well
I am depressed because of these events. By the gods
I am not under my own control. I am almost completely crazy.
That fine brother of mine is forcing me
To such insanity with his vile behavior.
He is about to get married!”

ΧΑΙΡΕΣΤΡΑΤΟΣ
Δᾶε παῖ, κακῶς ἔχω.
μελαγχολῶ τοῖς πράγμασιν· μὰ τοὺς θεούς,
οὐκ εἴμ᾿ ἐν ἐμαυτοῦ, μαίνομαι δ᾿ ἀκαρὴς πάνυ·
ὁ καλὸς ἀδελφὸς εἰς τοσαύτην ἔκστασιν
ἤδη καθίστησίν με τῇ πονηρίᾳ.
μέλλει γαμεῖν γὰρ αὐτός.

Cicero, De Finibus 1.64

“In this way strength is drawn from natural philosophy against death; so too is determination against the fears of religion and a calmness of mind once the ignorance of all natural mysteries has been removed. So too comes moderation, once the nature and number of desires have been explained. And, finally, as I was just arguing, we can learn how to divine a lie from the truth, since this philosophy provides the Rule or Judgment of knowledge.”

Sic e physicis et fortitudo sumitur contra mortis timorem et constantia contra metum religionis et sedatio animi, omnium rerum occultarum ignoratione sublata, et moderatio, natura cupiditatum generibusque earum explicatis, et, ut modo docui, cognitionis regula et iudicio ab eodem illo constituto veri a falso distinctio traditur.

Image result for medieval manuscript marriage
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Are Peace and Wealth Enough? Ending the Odyssey #OdysseyRTW

Odyssey 24.192-202

“Blessed child of Laertes, much-devising Odysseus,
You really secured a wife with magnificent virtue!
That’s how good the brains are for blameless Penelope,
Ikarios’ daughter, how well she remembered Odysseus,
Her wedded husband. The fame of her virtue will never perish,
And the gods will craft a pleasing song
Of mindful Penelope for mortals over the earth.
This is not the way for Tyndareos’ daughter.
She devised wicked deeds and since she killed
Her wedded husband, a hateful song
Will be hers among men, she will attract harsh rumor
To the race of women, even for those who are good.”

“ὄλβιε Λαέρταο πάϊ, πολυμήχαν’ ᾿Οδυσσεῦ,
ἦ ἄρα σὺν μεγάλῃ ἀρετῇ ἐκτήσω ἄκοιτιν·
ὡς ἀγαθαὶ φρένες ἦσαν ἀμύμονι Πηνελοπείῃ,
κούρῃ ᾿Ικαρίου, ὡς εὖ μέμνητ’ ᾿Οδυσῆος,
ἀνδρὸς κουριδίου. τῶ οἱ κλέος οὔ ποτ’ ὀλεῖται
ἧς ἀρετῆς, τεύξουσι δ’ ἐπιχθονίοισιν ἀοιδὴν
ἀθάνατοι χαρίεσσαν ἐχέφρονι Πηνελοπείῃ,
οὐχ ὡς Τυνδαρέου κούρη κακὰ μήσατο ἔργα,
κουρίδιον κτείνασα πόσιν, στυγερὴ δέ τ’ ἀοιδὴ
ἔσσετ’ ἐπ’ ἀνθρώπους, χαλεπὴν δέ τε φῆμιν ὀπάσσει
θηλυτέρῃσι γυναιξί, καὶ ἥ κ’ εὐεργὸς ἔῃσιν.”

Odyssey 19.203

“He was like someone speaking many lies similar to the truth.”

ἴσκε ψεύδεα πολλὰ λέγων ἐτύμοισιν ὁμοῖα·

Odyssey, 23. 293-296

τοῖσιν δ’ Εὐρυνόμη θαλαμηπόλος ἡγεμόνευεν
ἐρχομένοισι λέχοσδε δάος μετὰ χερσὶν ἔχουσα·
ἐς θάλαμον δ’ ἀγαγοῦσα πάλιν κίεν. οἱ μὲν ἔπειτα
ἀσπάσιοι λέκτροιο παλαιοῦ θεσμὸν ἵκοντο·

“Then Eurynomê the bed-maid led them
As they went to bed, holding a torch in her hands.
She left again once she led them into the bed chamber;
Then they happily entered the rite of the ancient bed.”

Comments from the Scholia:

ἀσπάσιοι λέκτροιο] “They happily and enthusiastically remembered the ancient practice of intercourse”

Aristophanes and Aristarchus believed that this was the end (peras) of the Odyssey

Aristophanes and Aristarchus claim this as the end (telos) of the Odyssey

ἀσπάσιοι λέκτροιο] ἀσπαστῶς καὶ ἐπιθυμητικῶς ὑπεμνήσθησαν τοῦ πάλαι τῆς συνουσίας νόμου.

M.V. Vind. 133: ᾿Αριστοφάνης δὲ καὶ ᾿Αρίσταρχος πέρας τῆς ᾿Οδυσσείας τοῦτο ποιοῦνται.

H.M.Q.: τοῦτο τέλος τῆς ᾿Οδυσσείας φησὶν ᾿Αρίσταρχος καὶ ᾿Αριστοφάνης.

In the last hour of our Odyssey ‘Round the World, we bring you a dramatic reading of the epic’s final book. Since the Hellenistic period there have been debates about the 24th book of the Odyssey, since it contains more than a few perplexing moments: a second trip to the underworld, a cruel testing of the elderly Laertes, and the split assembly of the suitors’ families as they contemplate the deaths of their loved ones. To top it all off, the epic ends when Athena declares an eklesis, a forgetting of troubles and the reinstatement of Odysseus as king.

If this sudden dea ex machina is not enough, we know from Teiresias’ prophecy that Odysseus’ story is far from over: he is destined to travel again after the end of this poem. Far from being a good reason to dismiss this book, however, these are challenges to the audience to reconsider the tale they have received and any preconceptions about what it was meant to teach them.

Eustathius, Commentary on the Odyssey, II.308

“We should note that according to the very old accounts, Aristarchus and Aristophanes, the best of the ancient commentators, made this line (23.296) the end of the Odyssey, because they were suspicious of what remained to the end of the book. But these scholars are cutting off many critical things, which they claim to oppose, for example the immediately following rhetorical recapitulation of that has happened and then, in a way, a summary of the whole Odyssey and then, in the next book, the recognition scene between Odysseus and Laertes, and the many marvelous things that happen there.”

᾿Ιστέον δὲ ὅτι κατὰ τὴν τῶν παλαιῶν ἱστορίαν ᾿Αρίσταρχος καὶ᾿Αριστοφάνης, οἱ κορυφαῖοι τῶν τότε γραμματικῶν, εἰς τὸ, ὡς ἐῤῥέθη, ἀσπάσιοι λέκτροιο παλαιοῦ θεσμὸν ἵκοντο, περατοῦσι τὴν ᾿Οδύσσειαν, τὰ ἐφεξῆς ἕως τέλους τοῦ βιβλίου νοθεύοντες. οἱ δὲ τοιοῦτοι πολλὰ τῶν καιριωτάτων περικόπτουσιν, ὥς φασιν οἱ αὐτοῖς ἀντιπίπτοντες, οἷον τὴν εὐθὺς ἐφεξῆς τῶν φθασάντων ῥητορικὴνἀνακεφαλαίωσιν καὶ τὴν τῆς ὅλης ὡς εἰπεῖν ᾿Οδυσσείας ἐπιτομὴν, εἶτα καὶ τὸν ὕστερον ἀναγνωρισμὸν ᾿Οδυσσέως τὸν πρὸς τὸν Λαέρτην καὶ τὰ ἐκεῖ θαυμασίως πλαττόμενα καὶ ἄλλα οὐκ ὀλίγα.

Translations: Stanley Lombardo

Odyssey 23.230-242

“So she spoke, and his longing for mourning swelled within him—
He wept holding the wife fit to his heart, a woman who knew careful thoughts.

As when the land appears welcome to men as the swim
Whose well-made ship Poseidon has dashed apart on the sea,
As it is driven by the wind and a striking wave.
Then few men flee from the grey sea to the shore
As they swim and the bodies are covered with brine on their skin,
They happily climb on the shore, escaping evil.

So welcome a sight was her husband to her as she looked upon him
And she would not pull her white arms away from his neck.”

ὣς φάτο, τῷ δ’ ἔτι μᾶλλον ὑφ’ ἵμερον ὦρσε γόοιο·
κλαῖε δ’ ἔχων ἄλοχον θυμαρέα, κεδνὰ ἰδυῖαν.
ὡς δ’ ὅτ’ ἂν ἀσπάσιος γῆ νηχομένοισι φανήῃ,
ὧν τε Ποσειδάων εὐεργέα νῆ’ ἐνὶ πόντῳ
ῥαίσῃ, ἐπειγομένην ἀνέμῳ καὶ κύματι πηγῷ·
παῦροι δ’ ἐξέφυγον πολιῆς ἁλὸς ἤπειρόνδε
νηχόμενοι, πολλὴ δὲ περὶ χροῒ τέτροφεν ἅλμη,
ἀσπάσιοι δ’ ἐπέβαν γαίης, κακότητα φυγόντες·
ὣς ἄρα τῇ ἀσπαστὸς ἔην πόσις εἰσοροώσῃ,
δειρῆς δ’ οὔ πω πάμπαν ἀφίετο πήχεε λευκώ.

Performers

Carlos Bellato
Danai Epithymiadi
Tabatha Gayle
Bettina Joy de Guzman
Evelyn Miller
Rhys Rusbatch
Nektarios Theodorou
Sara Valentine 
Argyris Xafis
 
Special Guests: Leonard Muellner, Gregory Nagy, Sheila Murnaghan, Suzanne Lye
 

Homer, Odyssey 21.407-409

“Just as a man who knows both lyre and song
easily stretches a string on a new peg
as he attaches the twisted sheep-gut to both sides
just so, without haste, Odysseus strung the great bow”

ὡς ὅτ’ ἀνὴρ φόρμιγγος ἐπιστάμενος καὶ ἀοιδῆς
ῥηϊδίως ἐτάνυσσε νέῳ περὶ κόλλοπι χορδήν,
ἅψας ἀμφοτέρωθεν ἐϋστρεφὲς ἔντερον οἰός,
ὣς ἄρ’ ἄτερ σπουδῆς τάνυσεν μέγα τόξον ᾿Οδυσσεύς.

Cast And Crew

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies); help from Madeleine Cahn

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)

Odyssey 24.478–486

“Do whatever you want—but I will say what is fitting.

Since Odysseus has paid back the suitors,

let him be king again for good and take sacred others.

Let us force a forgetting of that slaughter of children and relatives.

Let all the people be friendly towards each other

as before. Let there be abundant wealth and peace.”

ἔρξον ὅπως ἐθέλεις: ἐρέω τέ τοι ὡς ἐπέοικεν.
ἐπεὶ δὴ μνηστῆρας ἐτίσατο δῖος Ὀδυσσεύς,
ὅρκια πιστὰ ταμόντες ὁ μὲν βασιλευέτω αἰεί,
ἡμεῖς δ᾽ αὖ παίδων τε κασιγνήτων τε φόνοιο
ἔκλησιν θέωμεν: τοὶ δ᾽ ἀλλήλους φιλεόντων
ὡς τὸ πάρος, πλοῦτος δὲ καὶ εἰρήνη ἅλις ἔστω.

December 16 Cyclops, Euripides
with Carl Shaw (New College of Florida)

December 23 Series Finale: Frogs, Aristophanes

Odyssey 11.126–129 (Teiresias’ prophecy)

I will speak to you an obvious sign [sêma] and it will not escape you.
Whenever some other traveler meets you and asks
Why you have a winnowing fan on your fine shoulder,
At that very point drive the well-shaped oar into the ground

σῆμα δέ τοι ἐρέω μάλ’ ἀριφραδές, οὐδέ σε λήσει·
ὁππότε κεν δή τοι ξυμβλήμενος ἄλλος ὁδίτης
φήῃ ἀθηρηλοιγὸν ἔχειν ἀνὰ φαιδίμῳ ὤμῳ,
καὶ τότε δὴ γαίῃ πήξας εὐῆρες ἐρετμόν

Römische Statuette des Odysseus aus der zweiten Hälfte des 2. https://commons.wikimedia.org/wiki/File:Odysseus_(Rom).jpg

Tawdry Tuesday: What Did the Greeks Eat and Screw for 10 Years at Troy?

Students often complain about the lack of verisimilitude in the heroic diet–even though the Odyssey  mentions that Odysseus’ companions fish and hunt birds before they kill the cattle in Thrinacia, students find something odd about a diet of meat, bread and wine.

Apparently ancient comic poets did too–and they were concerned about the reality of heroic sexual habits as well. Obviously, as the beginning of book 1 of the Iliad makes clear, eligible ladies were not in excess supply.

[Warning: this next passage is a little, well, explicit]
Athenaeus, Deipnosophists 1.46

“Sarpedon makes it clear that they ate fish when he says that being captured is similar to hunting with a fishing net. In the comic charm, Eubolos also says jokingly:

Where dies Homer say that any of the Achaeans
Ate fish? They only ever roast meat—he never has
Anyone of them boil it at all!
And not a one of them sees a single prostitute—
They were stroking themselves for ten years!
They knew a bitter expedition, those men who
After taking a single city went back home
With assholes much wider than the city they captured.

The heroes also didn’t allow freedom to the birds in the air, but they set snares and nets for thrushes and doves. They practices for bird hunting when they tied the dove to the mast of the ship and shot arrows at it, as is clear from the Funeral Games. But Homer leaves out their consumption of vegetables, fish and birds because of gluttony and because cooking is inappropriate, he judged it inferior to heroic and godly deeds.”

prostitute
The Achaeans did not have this option…

ὅτι δὲ καὶ ἰχθῦς ἤσθιον Σαρπηδὼν δῆλον ποιεῖ (Ε 487), ὁμοιῶν τὴν ἅλωσιν πανάγρου δικτύου θήρᾳ. καίτοι Εὔβουλος κατὰ τὴν κωμικὴν χάριν φησὶ παίζων (II 207 K)·

ἰχθὺν δ’ ῞Ομηρος ἐσθίοντ’ εἴρηκε ποῦ
τίνα τῶν ᾿Αχαιῶν; κρέα δὲ μόνον ὤπτων, ἐπεὶ
ἕψοντά γ’ οὐ πεποίηκεν αὐτῶν οὐδένα.
ἀλλ’ οὐδὲ μίαν ἀλλ’ ἑταίραν εἶδέ τις
αὐτῶν, ἑαυτοὺς δ’ ἔδεφον ἐνιαυτοὺς δέκα.
πικρὰν στρατείαν δ’ εἶδον, οἵτινες πόλιν
μίαν λαβόντες εὐρυπρωκτότεροι πολὺ
τῆς πόλεος ἀπεχώρησαν ἧς εἷλον τότε.

οὐδὲ τὸν ἀέρα δ’ <οἱ> ἥρωες τοῖς ὄρνισιν εἴων ἐλεύθερον, παγίδας καὶ νεφέλας ἐπὶ ταῖς κίχλαις καὶ πελειάσιν ἱστάντες. ἐγυμνάζοντο δὲ πρὸς ὀρνεοθηρευτικὴν [καὶ] τὴν πελειάδα τῇ μηρίνθῳ κρεμάντες ἀπὸ νηὸς ἱστοῦ καὶ τοξεύοντες ἑκηβόλως εἰς αὐτήν, ὡς ἐν τῷ ἐπιταφίῳ δηλοῦται (Ψ 852). παρέλιπε δὲ τὴν χρῆσιν τῶν λαχάνων καὶ ἰχθύων καὶ τῶν ὀρνίθων διά τε τὴν λιχνείαν καὶ προσέτι τὴν ἐν ταῖς σκευασίαι ἀπρέπειαν, ἐλάττω κεκρικὼς ἡρωικῶν καὶ θείων ἔργων.

“Lies That Sound Like the Truth”: 24 Hours of the Odyssey #OdysseyRTW

Aristotle, Rhetoric

“Alcidamas called the Odyssey a ‘fine mirror of human life’ ”

καλὸν ἀνθρωπίνου βίου κάτοπτρον

Odyssey 19.203

“He was like someone speaking many lies similar to the truth.”

ἴσκε ψεύδεα πολλὰ λέγων ἐτύμοισιν ὁμοῖα·

Homer, Odyssey 15.398–401

“Let us take pleasure in calling to mind each other’s terrible pains
while we drink and dine in my home.
For someone may even find pleasure among pains
when they have suffered many and gone through much.”

νῶϊ δ’ ἐνὶ κλισίῃ πίνοντέ τε δαινυμένω τε
κήδεσιν ἀλλήλων τερπώμεθα λευγαλέοισι
μνωομένω· μετὰ γάρ τε καὶ ἄλγεσι τέρπεται ἀνήρ,
ὅς τις δὴ μάλα πολλὰ πάθῃ καὶ πόλλ’ ἐπαληθῇ

Now that we have finished all of the extant Greek tragedies, we are turning to a truly epic day: 24 hours of performances of the Odyssey around the world. We will start at 4 pm EST (9 PM UK) today (December 8th) with book 1 and each book will be performed by a different group around the world, culminating  in a dramatic reading of book 24 at our usual time, 3 pm EST on Wednesday. December 9th. Check out the list of participants.

We know less about the performance of Homeric epic than we’d like to. The evidence of singers in the poems and references in works like Plato’s Ion imply that episodes of each epic were performed independently. Similar evidence supports the idea of competitive, monumental performances of the Iliad and the Odyssey at festivals like the Panathenaia. While good evidence supports a performance of the poems in a festival contest with rhapsodes working in sequence, many have also argued for a three-part performance of the Iliad, with breaks happening at thematically significant moments.

Whatever the context and length, the most salient thing of Homeric epic in performance was the presence of the audience, of people enjoying these narratives together. We can’t gather for a symposium or crowd into an amphitheater for a festival, but even remotely we can share the same words at the same time. So, for one day we invite you to escape your isolation into a worldwide community, taking the Odyssey on a global tour.

Homer, Odyssey 6.205-210

“We live at a great distance from others amid the much-sounding sea,
Far away, and no other mortals visit us.
But this man who has wandered here, who is so ill-starred,
It is right to care for him now. For all are from Zeus,
The strangers and the beggars, and our gift is small but dear to them.
Come, handmaidens, give the stranger food and drink;
Bathe him in the river, where there is shelter from the wind.”

οἰκέομεν δ’ ἀπάνευθε πολυκλύστῳ ἐνὶ πόντῳ,
ἔσχατοι, οὐδέ τις ἄμμι βροτῶν ἐπιμίσγεται ἄλλος.
ἀλλ’ ὅδε τις δύστηνος ἀλώμενος ἐνθάδ’ ἱκάνει,
τὸν νῦν χρὴ κομέειν· πρὸς γὰρ Διός εἰσιν ἅπαντες
ξεῖνοί τε πτωχοί τε, δόσις δ’ ὀλίγη τε φίλη τε.
ἀλλὰ δότ’, ἀμφίπολοι, ξείνῳ βρῶσίν τε πόσιν τε,
λούσατέ τ’ ἐν ποταμῷ, ὅθ’ ἐπὶ σκέπας ἔστ’ ἀνέμοιο.”

Translations: Will vary based on group

Odyssey 23.230-242

“So she spoke, and his longing for mourning swelled within him—
He wept holding the wife fit to his heart, a woman who knew careful thoughts.

As when the land appears welcome to men as the swim
Whose well-made ship Poseidon has dashed apart on the sea,
As it is driven by the wind and a striking wave.
Then few men flee from the grey sea to the shore
As they swim and the bodies are covered with brine on their skin,
They happily climb on the shore, escaping evil.

So welcome a sight was her husband to her as she looked upon him
And she would not pull her white arms away from his neck.”

ὣς φάτο, τῷ δ’ ἔτι μᾶλλον ὑφ’ ἵμερον ὦρσε γόοιο·
κλαῖε δ’ ἔχων ἄλοχον θυμαρέα, κεδνὰ ἰδυῖαν.
ὡς δ’ ὅτ’ ἂν ἀσπάσιος γῆ νηχομένοισι φανήῃ,
ὧν τε Ποσειδάων εὐεργέα νῆ’ ἐνὶ πόντῳ
ῥαίσῃ, ἐπειγομένην ἀνέμῳ καὶ κύματι πηγῷ·
παῦροι δ’ ἐξέφυγον πολιῆς ἁλὸς ἤπειρόνδε
νηχόμενοι, πολλὴ δὲ περὶ χροῒ τέτροφεν ἅλμη,
ἀσπάσιοι δ’ ἐπέβαν γαίης, κακότητα φυγόντες·
ὣς ἄρα τῇ ἀσπαστὸς ἔην πόσις εἰσοροώσῃ,
δειρῆς δ’ οὔ πω πάμπαν ἀφίετο πήχεε λευκώ.

Performers

 

Homer, Odyssey 21.407-409

“Just as a man who knows both lyre and song
easily stretches a string on a new peg
as he attaches the twisted sheep-gut to both sides
just so, without haste, Odysseus strung the great bow”

ὡς ὅτ’ ἀνὴρ φόρμιγγος ἐπιστάμενος καὶ ἀοιδῆς
ῥηϊδίως ἐτάνυσσε νέῳ περὶ κόλλοπι χορδήν,
ἅψας ἀμφοτέρωθεν ἐϋστρεφὲς ἔντερον οἰός,
ὣς ἄρ’ ἄτερ σπουδῆς τάνυσεν μέγα τόξον ᾿Οδυσσεύς.

Cast And Crew

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies); help from Madeleine Cahn

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)

Odyssey 5.488-493

“Just as when someone hides a firebrand in black ash
On the farthest edge of the wilderness where there are no neighbors
And saves the seed of fire when there is no other way to kindle it,
Just so Odysseus covered himself in leaves. Then Athena
Poured sleep over his eyes so he might immediately rest
From his exhausting toil, once she closed his dear lashes.”

ὡς δ’ ὅτε τις δαλὸν σποδιῇ ἐνέκρυψε μελαίνῃ
ἀγροῦ ἐπ’ ἐσχατιῆς, ᾧ μὴ πάρα γείτονες ἄλλοι,
σπέρμα πυρὸς σῴζων, ἵνα μή ποθεν ἄλλοθεν αὕοι,
ὣς ᾿Οδυσεὺς φύλλοισι καλύψατο. τῷ δ’ ἄρ’ ᾿Αθήνη
ὕπνον ἐπ’ ὄμμασι χεῦ’, ἵνα μιν παύσειε τάχιστα
δυσπονέος καμάτοιο, φίλα βλέφαρ’ ἀμφικαλύψας.

Upcoming Episodes (Go to CHS Project Page for more information)

December 9 Performing Epic: The Odyssey
with Suzanne Lye (University of North Carolina at Chapel Hill), Leonard Muellner (Brandeis University), Sheila Murnaghan (University of Pennsylvania), and Greg Nagy (Harvard University); translation by Stanley Lombardo, courtesy of Hackett Publishing Company

December 16 Cyclops, Euripides
with Carl Shaw (New College of Florida)

December 23 Series Finale: Frogs, Aristophanes

Odyssey 11.126–129 (Teiresias’ prophecy)

I will speak to you an obvious sign [sêma] and it will not escape you.
Whenever some other traveler meets you and asks
Why you have a winnowing fan on your fine shoulder,
At that very point drive the well-shaped oar into the ground

σῆμα δέ τοι ἐρέω μάλ’ ἀριφραδές, οὐδέ σε λήσει·
ὁππότε κεν δή τοι ξυμβλήμενος ἄλλος ὁδίτης
φήῃ ἀθηρηλοιγὸν ἔχειν ἀνὰ φαιδίμῳ ὤμῳ,
καὶ τότε δὴ γαίῃ πήξας εὐῆρες ἐρετμόν

Römische Statuette des Odysseus aus der zweiten Hälfte des 2. https://commons.wikimedia.org/wiki/File:Odysseus_(Rom).jpg

Madness, Philosophy, and the Natural Realm

Menander, Aspis 305-310

[Khairestratos]:
“Daos, boy, I am not well
I am depressed because of these events. By the gods
I am not under my own control. I am almost completely crazy.
That fine brother of mine is forcing me
To such insanity with his vile behavior.
He is about to get married!”

ΧΑΙΡΕΣΤΡΑΤΟΣ
Δᾶε παῖ, κακῶς ἔχω.
μελαγχολῶ τοῖς πράγμασιν· μὰ τοὺς θεούς,
οὐκ εἴμ᾿ ἐν ἐμαυτοῦ, μαίνομαι δ᾿ ἀκαρὴς πάνυ·
ὁ καλὸς ἀδελφὸς εἰς τοσαύτην ἔκστασιν
ἤδη καθίστησίν με τῇ πονηρίᾳ.
μέλλει γαμεῖν γὰρ αὐτός.

Cicero, De Finibus 1.64

“In this way strength is drawn from natural philosophy against death; so too is determination against the fears of religion and a calmness of mind once the ignorance of all natural mysteries has been removed. So too comes moderation, once the nature and number of desires have been explained. And, finally, as I was just arguing, we can learn how to divine a lie from the truth, since this philosophy provides the Rule or Judgment of knowledge.”

Sic e physicis et fortitudo sumitur contra mortis timorem et constantia contra metum religionis et sedatio animi, omnium rerum occultarum ignoratione sublata, et moderatio, natura cupiditatum generibusque earum explicatis, et, ut modo docui, cognitionis regula et iudicio ab eodem illo constituto veri a falso distinctio traditur.

Image result for medieval manuscript marriage
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