Murdered Immigrant Children and a Plague: A Different Medea Story

Child murder, worries about immigrants, and paranoia about drugs. Why are the ancients so weird?

Scholia B on Euripides, Medea 264

Parmeniskos writes as follows: “The story is that because the Korinthian women did not want to be ruled by a foreign woman and poison-user, they conspired against her and killed her children, seven male and seven female. Euripides says that Medea had only two. When the children were being pursued, they fled to the temple of Hera Akraia and sheltered in the shrine. But the Korinthians did not restrain themselves even there—they slaughtered the children over the altar.

Then a plague fell upon the city and many bodies were ruined by the disease. When they went to the oracle, it prophesied that they should appease the god for the slaughter of Medea’s children. For this reason, even in our day, the Korinthians send seven young men and seven young women from the most illustrious families each year to spend the year in the sanctuary to appease the rage of the children and the divine anger which arose because of them.”

But Didymos argues against this and provides Kreophylos’ writings: “For Medea is said to have killed the leader of Korinth at the time, Kreon, with drugs, when she was living there. Because she feared his friends and relatives, she fled to Athens, but left her sons who were too young and incapable of accompanying here, at the altar of Hera Akraia. She thought that their father would provide for their safety. But once Kreon’s relatives killed them they circulated the tale that Medea not only killed Kreon but murdered her own children too.”

1 Παρμενίσκος γράφει κατὰ λέξιν οὕτως·

« <…>1 ταῖς [δὲ] Κορινθίαις οὐ βουλομέναις ὑπὸ βαρβάρου καὶ φαρμακίδος γυναικὸς ἄρχεσθαι αὐτῆι τε ἐπιβουλεῦσαι καὶ τὰ τέκνα αὐτῆς ἀνελεῖν, ἑπτὰ μὲν ἄρσενα, ἑπτὰ δὲ θήλεα. [Εὐριπίδης δὲ δυσὶ μόνοις φησὶν αὐτὴν κεχρῆσθαι]. ταῦτα δὲ διωκόμενα καταφυγεῖν εἰς τὸ τῆς Ἀκραίας ῞Ηρας ἱερὸν καὶ ἐπὶ τὸ ἱερὸν καθίσαι· Κορινθίους δὲ αὐτῶν οὐδὲ οὕτως ἀπέχεσθαι, ἀλλ᾽ ἐπὶ τοῦ βωμοῦ πάντα ταῦτα ἀποσφάξαι. λοιμοῦ δὲ γενομένου εἰς τὴν πόλιν, πολλὰ σώματα ὑπὸ τῆς νόσου διαφθείρεσθαι· μαντευομένοις δὲ αὐτοῖς χρησμωιδῆσαι τὸν θεὸν ἱλάσκεσθαι τὸ τῶν Μηδείας τέκνων ἄγος. ὅθεν Κορινθίοις μέχρι τῶν καιρῶν τῶν καθ᾽ ἡμᾶς καθ᾽ ἕκαστον ἐνιαυτὸν ἑπτὰ κούρους καὶ ἑπτὰ κούρας τῶν ἐπισημοτάτων ἀνδρῶν ἐναπενιαυτίζειν ἐν τῶι τῆς θεᾶς τεμένει καὶ μετὰ θυσιῶν ἱλάσκεσθαι τὴν ἐκείνων μῆνιν καὶ τὴν δι᾽ ἐκείνους γενομένην τῆς θεᾶς ὀργήν. »

2 Δίδυμος δὲ ἐναντιοῦται τούτωι καὶ παρατίθεται τὰ Κρεωφύλου ἔχοντα οὕτως·

« τὴν γὰρ Μήδειαν λέγεται διατρίβουσαν ἐν Κορίνθωι τὸν ἄρχοντα τότε τῆς πόλεως Κρέοντα ἀποκτεῖναι φαρμάκοις. δείσασαν δὲ τοὺς φίλους καὶ τοὺς συγγενεῖς αὐτοῦ φυγεῖν εἰς ᾽Αθήνας, τοὺς δὲ υἱούς, ἐπεὶ νεώτεροι ὄντες οὐκ ἠδύναντο ἀκολουθεῖν, ἐπὶ τὸν βωμὸν τῆς ᾽Ακραίας ῞Ηρας καθίσαι, νομίσασαν τὸν πατέρα αὐτῶν φροντιεῖν τῆς σωτηρίας αὐτῶν. τοὺς δὲ Κρέοντος οἰκείους ἀποκτείναντας αὐτοὺς διαδοῦναι λόγον ὅτι ἡ Μήδεια οὐ μόνον τὸν Κρέοντα ἀλλὰ καὶ τοὺς ἑαυτῆς παῖδας ἀπέκτεινε. »

It has long been a favorite anecdote that Euripides was paid off by the Korinthians to make Medea look bad. For other accounts of Medea: Here’s one about her saving lives, another about her losing a beauty contest to Achilles’ mother Thetis, another account of it being Jason’s fault, an earlier scholion explaining how much the Korinthian women hated Medea, rationalizing accounts about Medea’s magic and her treatment of Pelias.

“Medea”, 1870 by Anselm Feuerbach (1829–1880)

Reading Greek Tragedies Online: Euripides’ Iphigenia at Aulis

Five Years Ago, Reading Greek Tragedy Online presented Iphigenia at Aulis

Iphigenia at Aulis, 494

“What does your daughter have to do with Helen?”

…τί δ’ ῾Ελένης παρθένωι τῆι σῆι μέτα;

Over the past few weeks we have presented readings of Euripides’ Helen and Sophocles’ Philoktetes, Euripides’ Herakles, and Bacchae (in partnership with the Center for Hellenic Studies and the Kosmos Society and Out of Chaos Theatre). Our basic approach is to have actors in isolation read parts with each other online, interspersed with commentary and discussion from ‘experts’ and the actors.

 

This week we turn to Euripides’ Iphigenia at Aulis, a story of the sacrifice of a daughter so armies can go to war to fight for the return of Helen. Euripides asks us to consider what is like to be Agamemnon. What pressures eventuate in the sacrifice of his daughter? This play questions of who is in charge in a crisis and ends with a dim view of the Achaean army, which is compared to a mob screaming for the sacrifice of Iphigenia and threatening to stone Achilles if he gets in the way. Irrational mobs? Agitation to sacrifice one to preserve freedom of action for the many? There’s nothing here to resonate with current events at all.

559-567

“People have different natures;
They have different ways. But acting rightly
Always stands out.
The preparation of education
points the way to virtue.
For it is a mark of wisdom to feel shame
and it brings the transformative grace
of seeing through its judgment
what is right; it is reputation that grants
an ageless glory to your life.”

διάφοροι δὲ φύσεις βροτῶν,
διάφοροι δὲ τρόποι· τὸ δ’ ὀρ-
θῶς ἐσθλὸν σαφὲς αἰεί·
τροφαί θ’ αἱ παιδευόμεναι
μέγα φέρουσ’ ἐς τὰν ἀρετάν·
τό τε γὰρ αἰδεῖσθαι σοφία,
†τάν τ’ ἐξαλλάσσουσαν ἔχει
χάριν ὑπὸ γνώμας ἐσορᾶν†
τὸ δέον, ἔνθα δόξα φέρει

Abduction of Iphigenia by Artemis
Participants
We will be discussing the play with special guests Adam Barnard and Mat Carbon and our actors:

 

Iphigenia – Evvy Miller
Clytemnestra – Eunice Roberts
Agamemnon – Michael Lumsden
Menelaus – Paul O’Mahony
Achilles – Tim Delap
Chorus – Tamieka Chavis
Messenger – Richard Neale

317-334 – Agamemnon and Menelaus

413-542 – Agamemnon, Menelaus, messenger, chorus

598-750 – chorus, Clytemnestra, Iphigenia, Agamemnon

801-855 – Clytemnestra, Achilles

1211-1275 – Clytemnestra, Agamemnon, Iphigenia, chorus

1338-1510 – Iphigenia, Clytemnestra, Chorus, Achilles

1613-1627 – Chorus, Clytemnestra, Agamemnon

Eur. Iph. Aul. 1250-1252

“It is light that is sweetest for humans to see
And the world below is nothing. Whoever prays for death
Is mad. Living badly is better than dying well.”

τὸ φῶς τόδ᾽ ἀνθρώποισιν ἥδιστον βλέπειν,
τὰ νέρθε δ᾽ οὐδέν: μαίνεται δ᾽ ὃς εὔχεται
θανεῖν. κακῶς ζῆν κρεῖσσον ἢ καλῶς θανεῖν.

Videos of Earlier Sessions
Euripides’ Helen, March 25th
Sophocles Philoktetes, April 1st
Euripides’ Herakles, April 8th 
Euripides’ Bacchae, April 15th
Upcoming Readings

 

Sophocles, Women of Trachis, April 29th

Euripides, Orestes, May 6th

Aeschylus, The Persians May 13th

Euripides, Trojan Women, May 20th

Sophocles, Ajax, May 29th

Euripides, Andromache, June 3rd

Sophocles, Oedipus Tyrannos, June 10th

Euripides, Ion, June 17th

Euripides, Hecuba, June 24th

Aeschylus, Prometheus Bound, July 1st

 

 

Reading Euripides’ “Herakles” Online

Five years ago, we live-streamed Euripides’ Herakles with Reading Greek Tragedy Online

Euripides, Herakles 1256-1257

“I will convince you of this: my life’s not worth living now or even before.”

…ἀναπτύξω δέ σοι
ἀβίωτον ἡμῖν νῦν τε καὶ πάροιθεν ὄν.

 

Over the past few weeks we have presented readings of Euripides’ Helen and Sophocles’ Philoktetes (in partnership with  the Center for Hellenic Studies and the Kosmos Society and Out of Chaos Theatre). This week we turn to Euripides’ Herakles, a play which contemplates just how much one person should be alone and the cruel machinations of divine will. So, uplifting reading for everyone!

Euripides, Herakles 772-780

“The [gods] heed the unjust and
Hear the pious too.
Gold and good luck
Drive mortals out of their minds,
And pull unjust power together.
No one dares to glance back at time:
They pass by law to honor lawlessness
And break the dark chariot of wealth.”

τῶν ἀδίκων μέλουσι καὶ
τῶν ὁσίων ἐπάιειν.
ὁ χρυσὸς ἅ τ’ εὐτυχία
φρενῶν βροτοὺς ἐξάγεται
δύνασιν ἄδικον ἐφέλκων.
†χρόνου γὰρ οὔτις ἔτλα τὸ πάλιν εἰσορᾶν†·
νόμον παρέμενος ἀνομίαι χάριν διδοὺς
ἔθραυσεν ὄλβου κελαινὸν ἅρμα.

The text used will be the freely available translation on the Kosmos Society Website (Euripides Herakles, trans. By R. Potter with adaptations from M. Ebbot and C. Dué). The livestream will start at 3 PM.

Scenes to be performed

80-169 – Megara, Amphitryon, Chorus, Lykos
252-347 – Megara, Amphitryon, Chorus, Lykos
514-636 – Herakles, Megara, Amphitryon, Chorus
822-873 – Iris, Lyssa
1089-1254 – Herakles, Amphitryon, Chorus, Theseus
1394-1428 – Theseus, Herakles, Amphitryon, Chorus

Today’s Actors

Tim Delap – Tim has performed several times in leading roles at the National Theatre and in the West End. He recently played Rochester in the critically-acclaimed Jane Eyre
Evelyn Miller – just finished playing Bianca in The Taming of the Shrew at Shakespeare’s Globe. Other recent credits include leading roles at the National Theatre and RSC. Evvy is an associate director of Actors From The London Stage.
Richard Neale  – associate director of Actor From The London Stage with whom he has toured the US playing leading roles in The Tempest, King Lear and Othello. A director and teacher, Richard has almost 20 years’ experience of performing in the UK.
Paul O’Mahony – artistic director of Out of Chaos with whom he created the award winning Unmythable. He recently toured the US in their production of Macbeth and is currently working on two productions inspired by ancient culture. He has twice been a visiting artist at the CHS.

Euripides, Herakles 1425-1426

“Whoever wishes to have honor or strength instead of
Good friends reckons badly.”

ὅστις δὲ πλοῦτον ἢ σθένος μᾶλλον φίλων
ἀγαθῶν πεπᾶσθαι βούλεται κακῶς φρονεῖ.

Planned Future Plays

Euripides’ Bacchae (15th April) and  Iphigenia in Aulis (22nd April)

Earlier Readings

Euripides’ Helen, March 25th

Sophocles Philoktetes, April 1st

Apropos of Nothing, Achilles Calls the Commander-in-Chief a Dog[-face]

Homer, Iliad 1.158–168 [Achilles addressing Agamemnon]

“But, you great shamepot, we follow you so that you feel joy,
As we collect honor for Menelaos and you, dog-face,
From the Trojans—you don’t shudder at this, you don’t care.”

ἀλλὰ σοὶ ὦ μέγ’ ἀναιδὲς ἅμ’ ἑσπόμεθ’ ὄφρα σὺ χαίρῃς,
τιμὴν ἀρνύμενοι Μενελάῳ σοί τε κυνῶπα
πρὸς Τρώων· τῶν οὔ τι μετατρέπῃ οὐδ’ ἀλεγίζεις·

Iliad 1.224–228 [Achilles Addressing Agamemnon]

“Wine-sod! Dog-eyes! You have the heart of a deer!
You never suffer to arm yourself to enter battle with the army
Nor to set an ambush with the best of the Achaeans.
That seems like death itself to you!”

οἰνοβαρές, κυνὸς ὄμματ’ ἔχων, κραδίην δ’ ἐλάφοιο,
οὔτέ ποτ’ ἐς πόλεμον ἅμα λαῷ θωρηχθῆναι
οὔτε λόχον δ’ ἰέναι σὺν ἀριστήεσσιν ᾿Αχαιῶν
τέτληκας θυμῷ· τὸ δέ τοι κὴρ εἴδεται εἶναι.

Elsewhere in Homer, the insult is used primarily for women and it builds on basic Greek associations between women and dogs—dogs as animals of shame who are expected to be loyal.

Odyssey 4.154-146 [Helen speaking]

“…Telemachus, whom that man left when he was just born,
In his house, when the Achaeans went down to Troy
On account of dog-faced me, raising up their audacious war.”

Τηλεμάχῳ, τὸν ἔλειπε νέον γεγαῶτ’ ἐνὶ οἴκῳ
κεῖνος ἀνήρ, ὅτ’ ἐμεῖο κυνώπιδος εἵνεκ’ ᾿Αχαιοὶ
ἤλθεθ’ ὑπὸ Τροίην, πόλεμον θρασὺν ὁρμαίνοντες.”

Odyssey, 11.424-426

“…that dog-face
Went away and did not dare—even though I was on my way to Hades
To close my eyes with her hands or cover my mouth.”

… ἡ δὲ κυνῶπις
νοσφίσατ’ οὐδέ μοι ἔτλη, ἰόντι περ εἰς ᾿Αΐδαο,
χερσὶ κατ’ ὀφθαλμοὺς ἑλέειν σύν τε στόμ’ ἐρεῖσαι.

In Greek myth , the ‘dog’ nature of women comes as well from forces outside the home—a dog is a thieving creature.

Hesiod, Works and Days 67–68 [from the creation of Pandora]

“And Hermes, the slayer of Argos, that master guide,
Ordered that she possess a dog’s mind and a thief’s nature.”

ἐν δὲ θέμεν κύνεόν τε νόον καὶ ἐπίκλοπον ἦθος
῾Ερμείην ἤνωγε, διάκτορον ᾿Αργεϊφόντην.

But in the crown jewel of Greek mythology, Semonides’ “Diatribe against women”—which presents a lists of complaints about women categorized by different kinds of animals—emphasizes the inability of men to control female voices through the symbol of a dog. Note, as well, that violence is described as a regular reaction but is considered useless.

Semonides of Amorgos, fragment 7

“One women is from a dog, a sinful beast, a thorough mother—
She listens to everything and wants to know everything,
Lurking around everywhere and wandering
She barks even when she doesn’t see anyone.
She can’t stop this, not even if her husband threatens her
Nor if he is angry enough to bash her teeth
With a stone. You can’t change her by talking nicely either.
Even when she happens to be sitting among guests,
She keeps on an endless, impossible yapping.”

τὴν δ’ ἐκ κυνός, λιτοργόν, αὐτομήτορα,
ἣ πάντ’ ἀκοῦσαι, πάντα δ’ εἰδέναι θέλει,
πάντηι δὲ παπταίνουσα καὶ πλανωμένη
λέληκεν, ἢν καὶ μηδέν’ ἀνθρώπων ὁρᾶι.
παύσειε δ’ ἄν μιν οὔτ’ ἀπειλήσας ἀνήρ,
οὐδ’ εἰ χολωθεὶς ἐξαράξειεν λίθωι
ὀδόντας, οὐδ’ ἂν μειλίχως μυθεόμενος,
οὐδ’ εἰ παρὰ ξείνοισιν ἡμένη τύχηι,
ἀλλ’ ἐμπέδως ἄπρηκτον αὑονὴν ἔχει.

Franco, Cristina. 2014. Shameless: The Canine and the Feminine in Ancient Greece. Translated by Michael Fox. Berkeley and Los Angeles.

4: “In the ancient Greek imagination the figure of the dog seems, in fact, to be interwoven with the disparaging discourse on the nature of woman in afar from casual manner…Moreover, the dog appears as a paradigm for the base nature of women in two cornerstone texts of Greek misogyny” (referring to the creation of Pandora in Hesiod and Agamemnon’s comments on Clytemnestra in the Odyssey).

See also:

Graver, Margaret. 1995. “Dog-Helen and Homeric Insult.” Classical Antiquity 14: 41–61.

Pyxis with Bust of a Dog. 1931: bequeathed to Walters Art Museum by Henry Walters

 

 

Reading (and Performing) Tragedy Online: Episode 2, Philoktetes

5 years ago we debuted the 2nd episode of Reading Greek Tragedy Online

A reading and discussion of Sophocles’ Philoctetes. Tim Delap, Evelyn Miller, Paul O’Mahony, and Jack Whitam perform select scenes, with Joel Christensen (Brandeis) and Norman Sandridge (Howard) moderating the discussion. Reading Greek Tragedy Online is presented by the Center for Hellenic Studies, the Kosmos Society, and Out of Chaos Theatre.

Scene selections:

1-130 – Neoptolemos and Odysseus

219-390 – Neoptolemos and Philoctetes

468-507 – Philoctetes

730-825 – Neoptolemos and Philoctetes

1222-1470 – Neoptolemos, Philoctetes, Odysseus, Chorus, Heracles

 

Featured actors and researchers:

 

Tim Delap (http://www.spotlight.com/5313-5614-0380) – Tim has performed several times in leading roles at the National Theatre and in the West End. He recently played Rochester in the critically-acclaimed Jane Eyre.

Evelyn Miller (https://www.spotlight.com/6297-8974-1880) – just finished playing Bianca in The Taming of the Shrew at Shakespeare’s Globe. Other recent credits include leading roles at the National Theatre and RSC. Evvy is an associate director of Actors From The London Stage.

Paul O’Mahony (http://www.spotlight.com/2458-3492-2766) – artistic director of Out of Chaos with whom he created the award winning Unmythable. He recently toured the US in their production of Macbeth and is currently working on two productions inspired by ancient culture. He has twice been a visiting artist at the CHS.

Norman Sandridge is Associate Professor of Classics at Howard University and a co-founder of Kallion Leadership. His “Sophocles’ Philoctetes: Causes of and Remedies for Dehumanization in a Leadership Role” has appeared in the SAGE series of business case studies on “Becoming a Leader in the Ancient World.”

Jack Whitam (http://www.spotlight.com/9494-0165-4393) has numerous credits with the RSC and has recently played Macbeth for the Guildford Shakespeare Company.

Below is a short post from Paul O’Mahony of Out of Chaos Theatre (and many other projects) explaining the background and inspiration for Greek Tragedy Readings in partnership with the Center for Hellenic Studies and the Kosmos SocietyPlease join us Wednesdays at 3PM EST for additional readings.)

Life is pretty strange at the moment. To be honest, we wouldn’t have been going out that much anyway, owing to our second daughter being born just 2 months ago and our lack of sleep not being conducive to extensive exploration of the outside world.

But I like to think (and maybe I’m just kidding myself) that we would at least have ventured out for more than just our weekly supermarket trip. We were all set for celebrating new life, but now it feels even more precious and, indeed, precarious. We’re aware how fortunate we are to be able to stay inside and limit our contact while friends all over the world face significant peril.

Unable to explore the outside world, we have no option but to explore further the inner one. Life can often be solitary for an actor. Of course there are bouts of unemployment but even when acting in a play we’ll spend a significant amount of time working things out by ourselves: we learn and interpret lines, discover actions, develop a character’s playlist (and whatever exercises may form our particular technique), all (at least in part) on our own.

But we always get to share the result of that work with our fellow creative teammates. We are accustomed to working extremely closely (physically and emotionally) with others – our fellow cast members, directors, choreographers, stage managers, technical team, accent coaches, etc. For now, this traditional network of people meeting to create has been placed on hold. So how can we respond?

I suggested to Lanah at the Center for Hellenic Studies that we could start running readings of tragedy once a week to create opportunities for actors and academics to meet online and discover something together. I’ve been passionate about tragedy and its enduring impact since my time as a student, and I’ve devoted a significant portion of my career to exploring the connections between the ancient and modern worlds.

I was really delighted to hear from the CHS that Joel Christensen had been in touch with a similar proposal – and so our first international collaboration has been created. Last week we read scenes from Helen. This week it’s Sophocles’ Philoctetes (a man who knows a lot about isolation). I’ll be providing actors and directors to offer readings and their creative responses – I hope we’ll start to find new ways to use the medium to our advantage as I bring more artists into this project. Check out the CHS homepage for the livestream.

I’m especially intrigued to discover how we’ll use a computer screen as our ’empty space’. I also hope it can provide a fascinating resource for students and even a supportive testing ground for new translations of tragedy. We’ll be meeting at 3pm ET (which works well for my 2 month old), every Wednesday until we tell you otherwise. I hope you’re all staying safe and well.

Paul

Editor’s Note: The Second Reading went pretty well, check it out here:

 

Actors included: Tim Delap, Evelyn Miller,  and Jack Whitam with commentary by Norman Sandridge from Howard University.

Back to RGTO: Reading Tragedy Together When Sheltering Alone

Five years ago, a group of us got together and started reading Greek tragedies with actors and scholars and whoever else appeared. Over the next 3 years years, we aired 65 episodes, covering every tragedy, fragments, some comedies, original work, excerpts from epic, and eventually the Batrakhomuomakhia. We did a podcast about it and an interview a year or so later.

It was a transformative and uplifting experience that reshaped the way many of us thought about the relationship between performance and communities of support and interpretation. I am grateful for it and nostalgic in these darker days. We will be reposting the original notes for each session for the remainder of the year.

Greek Tragedy Readings, Week 1: Euripides’ Helen (Supported by the Center for Hellenic Studies and the Kosmos Society and Out of Chaos Theatre).

A week or so ago Paul O’Mahony pulled together a few people from the Center for Hellenic Studies (Lanah Koelle and Keith DeStone) with me and several members of the Kosmos Society (including Janet Ozsolak, Helene Emeriaud, Sarah Scott) with an idea: bringing together Hellenists and actors in isolation to do readings and discussions of Greek Tragedy during these strange times. We talked about how important it is to retain human contact and communication to stay sane, how the arts help us reflect on being human and how in these frightening times the humanities have no less a purchase on our imaginations and our needs than at any other.

We sketched out a basic plan to read a play a week and invite professional actors to read scenes together. And then we tried it out the next day. We recorded it rather than performing it live because we had no idea how well it would go. Here it is:

Actors: Evelyn Miller, Richard Neal, Paul O’Mahony, and Eunice Roberts

Questions and comments by Joel Christensen

Designed by Paul O’Mahony with consultation from the Kosmos Society and Joel Christensen (me!)

Scenes include: Helen’s opening speech Helen and Teucer (l. 68-164) Menelaos speech (l.386-438) Menelaos and Old Woman (l.437-484) Menelaos and Helen meet (l.528-661) Menelaos and Helen plotting (l.1031-1093)

I hope you take some time to watch this and read along (we use this text). The conversation was unscripted and mostly unplanned–some of the comments about seeming and being and living at the edge of things or through mediated experiences struck me pretty hard.

We plan to do this on a weekly basis and are looking for experts in tragedy and actors who would like to participate. Please reach out! We hope to give people a chance to spend time thinking about Greek tragedy, engaging with one another, and meeting new people, learning new things.

For next week, we will be running the show live and opening it up to the public:

Wednesday at 3 PM EST we are reading Sophocles’ Philoktetes (using this text) and will be joined by Howard University’s Norman Sandridge. Watch here and the Center for Hellenic Studies website for news.

Tragedy readings

Another Plague: Profiteering

For more on how leaders make plagues worse, look around, or go here.

Philo, On the Virtues 92

“They were so messed up in the mind and so obsessed with making money, they treated every kind of profit as if they were dying”

εἰσὶ δ᾿ οἳ οὕτως ῥυπῶσι τὰς διανοίας προστετηκότες ἀργυρισμῷ καὶ δυσθανατῶντες περὶ πᾶσαν ἰδέαν κέρδους

Plato, Laws 906c

“But there are some souls who live with us on the earth and have come to possess unjust profit, which is clearly inhuman. They implore the guards, whether they are shepherds or guard-dogs, or the highest of all masters as they beg them, trying to persuade them with pleasing words and enchanting spells—as the stories of evil men go. They are able to profiteer among human beings without suffering anything!

But we say that the crime we call now “profiteering” is the same as a disease in the body’s flesh, or what we would call a plague in some seasons and years, or what, once the word is translated, is injustice itself in cities and states.”

ψυχαὶ δή τινες ἐπὶ γῆς οἰκοῦσαι καὶ ἄδικον λῆμμα κεκτημέναι, δῆλον ὅτι θηριώδεις πρὸς τὰς τῶν φυλάκων ψυχὰς ἄρα κυνῶν ἢ τὰς τῶν νομέων ἢ πρὸς τὰς τῶν παντάπασιν ἀκροτάτων δεσποτῶν προσπίπτουσαι πείθουσι θωπείαις λόγων, καὶ ἐν εὐκταίαις τισὶν ἐπῳδαῖς, ὡς αἱ φῆμαί φασιν αἱ τῶν κακῶν, ἐξεῖναι πλεονεκτοῦσι σφίσιν ἐν ἀνθρώποις πάσχειν μηδὲν χαλεπόν. φαμὲν δ᾿ εἶναί που τὸ νῦν ὀνομαζόμενον ἁμάρτημα τὴν πλεονεξίαν ἐν μὲν σαρκίνοις σώμασι νόσημα  καλούμενον, ἐν δὲ ὥραις ἐτῶν καὶ ἐνιαυτοῖς λοιμόν, ἐν δὲ πόλεσι καὶ πολιτείαις τοῦτο αὐτό, ῥήματι μετεσχηματισμένον, ἀδικίαν.

Theognis, 725-726

“No one goes to Hell with all his precious possessions”

… τὰ γὰρ περιώσια πάντα/ χρήματ’ ἔχων οὐδεὶς ἔρχεται εἰς ᾿Αίδεω

Miniature out of the Toggenburg Bible (Switzerland) of 1411. MS 78 E1.

Just Think Your Way Out of Sickness!

For more on plagues and leadership, see this post.

Aelian, Varia Historia 13.27

“Remember that Socrates’ body was thought to be orderly and in control of wisdom for this reason too. When the Athenians were suffering a pandemic and some were dying and others were near death, Socrates was the only one who was not sick. What mind do we think shared space with such a body?”

Ὅτι τὸ Σωκράτους σῶμα πεπίστευτο κόσμιον καὶ σωφροσύνης ἐγκρατὲς γεγονέναι καὶ ταύτῃ. ἐνόσουν Ἀθηναῖοι πανδημεί, καὶ οἱ μὲν ἀπέθνῃσκον, οἱ δὲ ἐπιθανατίως εἶχον, Σωκράτης δὲ μόνος οὐκ ἐνόσησε τὴν ἀρχήν. ὁ τοίνυν τοιούτῳ συνὼν σώματι τίνα ἡγούμεθα ἐσχηκέναι ψυχήν;

Apollonius of Tyana, 8.28

“Do these practices merely make a refinement of the senses or establish power over the greatest and most amazing forces? You need to see what I mean from different things, not the least of which were done during that epidemic in Ephesus.

When the disease was in the shape of an old beggar, I saw it and once I saw it I tackled it. I did not stop the disease but instead I destroyed it. The one I prayed to is clear as day in the temple which I built in thanks. It was for Herakles the Defender, the one I chose as a helper—because he is wise and brave, he once cleansed Elis of a plague and wiped away the waves of filth which the earth released when Augeas was tyrant.”

“Ἆρ᾿ οὖν τὸ οὕτως διαιτᾶσθαι λεπτότητα μόνον ἐργάζεται τῶν αἰσθήσεων ἢ ἰσχὺν ἐπὶ τὰ μέγιστά τε καὶ θαυμασιώτατα; θεωρεῖν δ᾿ ἔξεστιν ὃ λέγω καὶ ἀπ᾿ ἄλλων μέν, οὐχ ἥκιστα δὲ κἀκ τῶν ἐν Ἐφέσῳ περὶ τὴν νόσον ἐκείνην πραχθέντων· τὸ γὰρ τοῦ λοιμοῦ εἶδος, πτωχῷ δὲ γέροντι εἴκαστο, καὶ εἶδον καὶ ἰδὼν εἷλον, οὐ παύσας νόσον, ἀλλ᾿ ἐξελών, ὅτῳ δ᾿ εὐξάμενος, δηλοῖ τὸ ἱερόν, ὃ ἐν Ἐφέσῳ ὑπὲρ τούτου ἱδρυσάμην, Ἡρακλέους μὲν γὰρ Ἀποτροπαίου ἐστί, ξυνεργὸν δ᾿ αὐτὸν εἱλόμην, ἐπειδὴ σοφός τε καὶ ἀνδρεῖος ὢν ἐκάθηρέ ποτε λοιμοῦ τὴν Ἦλιν, τὰς ἀναθυμιάσεις ἀποκλύσας, ἃς παρεῖχεν ἡ γῆ κατ᾿ Αὐγέαν τυραννεύοντα.

“The Death of Socrates” by Jacques-Louis David. c. 1782
Pen and black ink, with brush and gray wash over black chalk, with light squaring in black chalk 

There’s Nothing (Ancient) Roman about a Nazi Salute

Immediately following the inauguration of Donald Trump as president of the United States, Elon Musk addressed crowds at the parade congregated in the Capital One Arena. After thanking the crowd for showing up to re-elect the 45th president, he overshadowed the whole day by twice making a gesture that many have interpreted as the Nazi salute or “Sieg Heil” used first by Fascists in Italy in the 1920s and then adopted by members of the Nazi party in Germany in the 1930s.

Elon Musk's Fitness To Lead Tesla Questioned Amid 'Nazi Salute' Controversy

The response to this moment was immediate, with many on the left decrying this as “abhorrent” and something that “must worry every democrat,” while others denied he was making a fascist salute. The Anti-Defamation League, which has been very vocal in the past 15 months in calling out the antisemitism of Palestinian protests and anti-Israel sentiment, said in a tweet that he made “an awkward gesture in a moment of enthusiasm” and Dr. Aaron Astor, a historian at Maryville College, TN wrote that it was “a socially awkward autistic man’s wave to the crowd where he says ‘my heart goes out to you,’” gaslighting people with a healthy dose of ableism. The far-right and various domestic terrorist groups in fact celebrated Musk’s actions, identifying it precisely as a Nazi salute, with infamous extremist figures such as Nick Fuentes, Evan Kilgore, and Keith Woods all praising Musk and his actions. And for a figure who has voiced his support for far-right movements in Germany, the United Kingdom, and Italy, all of whom have ties to fascist groups or histories, should we really be surprised that he would behave in such a way?

While the debate will continue to rage, it is also the Roman connection to this action that interests me. Mainstream media and people on the right have been referring to his salute as a Roman salute. This term has a long history, but it turns out not even close to long enough to include the actual Romans. George Mason University Classicist Martin Winkler has done a deep dive into the history of the so-called Roman salute, and has conclusively proven that the Roman salute was invented in the theatrical productions of the nineteenth century for use during “toga plays” inspired by Jacques-Louis David’s 1784 painting The Oath of the Horatii.

Oath of the Horatii by Jacques-Louis David, Louvre Museum

It subsequently made its way into the general mindset through the invention of cinema. While Roman art depicts salutes and greetings that are similar, none reflect the specific salute performed by Elon Musk at the inauguration parade. It was instead this media proliferation of the Roman salute, featuring a thump of the chest and then the full extension of the right arm at around 135° with palm down, that led to its use by extremist political groups in the twentieth century. Although it had existed for decades in fictional displays of ancient Roman power, it was not given its explicitly fascist ideological meaning until 1919 when Italian Gabriele D’Annunzio used it at a ritual in Fiume, inspiring Mussolini to adopt it.

That a symbol of Romanitas, albeit a fictional one, should be taken up by the fascist parties of the early-to-mid twentieth century is not surprising, given Mussolini’s explicit propagandistic program of framing his Italy as the new Roman Empire and Hitler’s fascination with Germany’s alleged connection to ancient Greece. Fascist political parties and their supporters throughout the twentieth century and up to the present day have connected themselves to the ancient world through the use of ancient symbols in an attempt to legitimize their white supremacist goals and activities. Images from the ancient world and phrases such as Molon Labe (Come and take them – a phrase attributed to Leonidas at the Battle of Thermopylae where 300 Spartans stood against the Persian army and adopted by proponents of the second Amendment and the NRA) were seen in abundance during the January 6th, 2021 insurrection attempt at the Capitol. Nick Fuentes, celebrating Musk’s salute in an unhinged video, starts to call it the Roman salute but then ends up referring to it as “a straight-up, like, Sieg Heil.” So why is the mainstream media referring to it as a Roman salute?

I am willing to give some benefit of the doubt to the mainstream media, which, like so much of the population, has received the messaging that such a salute originated in the Roman world through cinema and imagery. For example, an Al-Jazeera article discussing the salute the following day stated that the “gesture dates back to a salute that is said to have been used in ancient Rome.” Many people do indeed say this, albeit erroneously, because that claim has been baked into the social consciousness. However, more cynically, and, unfortunately, I believe more accurately, is that it is in the best interest of our mainstream media, controlled by the billionaire elite who have pledged their support for the new president, to act as apologists for the new regime and aid the transition to authoritarianism.

That the mainstream media has a white supremacist agenda and provides national and local affiliate stations with acceptable talking points is a widely known ‘secret,’ and this very gesture helps to illustrate exactly this point. While the rest of the world openly acknowledged that Musk was performing a Sieg Heil salute, with Germany’s Deutsches Museum of Science and Technology going so far as to remove a portrait of him from their astronautics gallery, US news has generally ‘both sides’ed that moment. While some may argue that it is just balanced journalism, I would like to draw attention to an article from Fox 5 DC written by Jillian Smith on January 21st, in which the author directly quotes from Winkler’s previously mentioned academic work. She states that “the saluto Romano was previously used as a sign of respect in ancient Roman culture.”

The whole thesis of Winkler’s work The Roman Salute: Cinema, History, Ideology is that the claim that the Nazi salute is Roman is false. Smith quotes “This salute was based on an ancient Roman custom, just as the term Fascism itself is associated with the Roman fasces – the bundle of rods with an axe in their middle that were a symbol of the power of office held by higher Roman magistracies and some priests.” However, the sentence she quotes starts with the phrase “According to the Fascist ideology of the 1920s and in common perceptions still current…” and the sentence is followed by the statement, “As will be seen, however, the term “Roman salute” is a misnomer.” That she saw the text of his work and omitted these phrases suggests a conscious downplaying of the gesture and an attempt to obfuscate the ties to Nazism by associating it with Rome, an imperial power used historically and today by colonizing countries and enterprises to legitimize the atrocities capitalist white supremacy needs to enact to succeed. The links between the discipline of Classics and white supremacy are many and constitute a much larger discussion. Still, as a good rule of thumb, wherever you see references to ancient Greece and Rome in so-called Western culture, it is always good to ask yourself why they are being used, whom the references benefit, and whom they exclude.

 

Dr. Ian Lockey  is a teacher at Friends Select School in Philadelphia

It Is Their Fault They Suffer

the antiquity of malice

Libanius, Oration 23.1-2

“We are all hearing the reports that everywhere is filled with corpses—the fields, the roads, the hills, crests, caves, peaks, groves, and trenches—and that some of the corpses are feasts for birds and beasts while the rivers carry others to the sea.

I am sometimes surprised by this news but at other times I blame those who suffer it and I say that they have suffered what is right, that they have earned this for going into exile. You might even say that they invited upon themselves the swords of their murderers.

They would not have suffered these things if they stayed at home. They have met these events because they are wandering and are offering themselves as a feast to these men who have been criminals for a long time. Think of it like this: they have made others into bandits by making the inducement greater! Who could pity people who ruin themselves willingly?”

Τὰ μὲν ἀγγελλόμενα πάντες ἀκούομεν, ἅπαντα εἶναι μεστὰ νεκρῶν, τάς τε ἀρούρας τάς τε ὁδοὺς τά τε ὄρη τούς τε λόφους τά τε σπήλαια καὶ τὰς κορυφὰς τῶν ὀρῶν καὶ τὰ ἄλση καὶ τὰς φάραγγας, τῶν τε νεκρῶν τοὺς μὲν ἑστιᾶν ὄρνιθας καὶ θηρία, τοὺς δὲ ὑπὸ τοῦ ποταμοῦ πρὸς θάλατταν φέρεσθαι.

πρὸς τοίνυν τὰς ἀγγελίας ποτὲ μὲν πλήττομαι, ποτὲ δὲ τοῖς παθοῦσιν ἐγκαλῶ καί φημι δίκαια πεπονθέναι τοὺς τῆς φυγῆς ταῦτα ἀπολαύσαντας. οὓς φαίη τις ἂν αὐτοὺς ἐπισπάσασθαι τὰ τῶν κακούργων ξίφη. ἃ γὰρ οὐκ ἂν ἐπεπόνθεσαν οἴκοι μένοντες, τούτοις περιέπεσον πλανώμενοι θοίνην μὲν αὑτοὺς προθέντες τοῖς πάλαι λῃστεύουσι, ποιήσαντες | δὲ λῃστὰς ἑτέρους τῷ ποιῆσαι πολὺ τὸ πεισόμενον. ἑκόντας οὖν ἀπολωλότας τίς ἂν ἐλεήσειε;

Adam and Eve Expelled from Paradise, from the Ahmed I Falnama; attributed to Nakkaş Hasan Pasha; Turkey, Ottoman Period, 1614-16; Opaque watercolor and gold on paper; 49 x 36.4 cm; Topkapı Palace Museum, Istanbul, H. 1703, f. 7v