Question: What does RGTO read when it’s not reading Greek Tragedy?
Answer: PLAUTUS
ARGUMENTUM
Jupiter turns himself into an Amphityron
While the real one wars against the Tele-boys
and takes his wife Alcmene for his own use.
So Mercury puts on the face of the absent Sosia,
his slave and Alcmena falls for these tricks!
When the real Amphitryon and Sosa return,
they are both mocked in wonderful ways.
This makes a fight for the real husband and wife,
until Zeus makes his sound with thunder and lighning
and copes to the adultery himself.”
In faciem uersus Amphitruonis Iuppiter,
dum bellum gereret cum Telobois hostibus,
Alcmenam uxorem cepit usurariam.
Mercurius formam Sosiae serui gerit
apsentis; his Alcmena decipitur dolis.
postquam rediere ueri Amphitruo et Sosia,
uterque deluduntur [dolis] in mirum modum.
hinc iurgium, tumultus uxori et uiro,
donec cum tonitru uoce missa ex aethere
adulterum se Iuppiter confessus est.
Today, Reading Greek Tragedy Online arrives in new territory: ROMAN COMEDY.
To be fair, the story of the Amphitruo is not entirely new. It tells of the night Herakles–well, in this case, Hercules, eheu–was born. It is perfect for the stage: filled with doubles, jokes, misrecognition, and gods sharing the stage with comic slaves. It is everything Roman audiences would have loved.
But how will it translate to the smallest of screens? Tune in to find out.
Cast and Crew
Jasmine Bracey
Paul O’Mahony
Rene Thornton Jr.
Translator and Special Guest: Toph Marshall
Amazing People
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Director of Outreach: Amy Pistone (Gonzaga University) Poster Illustration Artist: John Koelle
“Whenever someone is haughty because he understands and can explain the books of Chrysippus, say to him: “If Chrysippus hadn’t written so obscurely, you’d have nothing to be haughty about.”
But what do I desire? To understand nature and follow it. Therefore, I seek one who explains it. And because I have heard that Chrysippus does this, I go to him. But I do not understand what he has written. Therefore, I seek out someone who explains him. And within these steps there is nothing worthy of pride. Whenever I find the right interpreter, it is still up to me to practice his precepts. This alone is worthy of pride.
But if I am amazed at this act of explanation, have I done anything but transform into a grammarian instead of a philosopher? (Except, I interpret Chryippos instead of Homer.) Hence, whenever anyone says to me “Read me Chrysippus,” I turn red when I am incapable of demonstrating actions equal to and harmonious with his words
if you can’t make it in person, catch the live stream at 6 PM EDT
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.”
“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.”
Each week during the pandemic, we selected 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 was therapeutic for us; and it helped us think about how tragedy may have had similar functions in the ancient world as well.
This year and last we have been experimenting with new formats, appearing twice in person for hybrid events. This performance of Sophocles’ Electra, using Ann Carson’s translation, is sponsored by UIC, Loyola College, and the Center for Hellenic Studies.
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…”
At this in-person and online event, we return to one 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.
“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.”
“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.”
“Serious people are truly dedicated and on guard to make themselves better by preparing both to keep corrupting things away from them and trying to ensure that good things are near at hand. But they are also unaffected: they have peeled away adornments from their voice and their face.
They also have no concern for business since they abstain from doing anything which transgresses their duty. They do drink, but they do not get drunk. Indeed, they will also not go mad—even though the sometimes the same fantasies will still occur to them because of depression or delirium, but because of the logic of what they have selected but against nature.
And a wise person will never grieve because they understand that grief is an illogical closure of the soul, as Apollodorus says in his Ethics. These people are also godlike because they have some divine aspect in them; the scoundrel is godless.”
“Sôsikrates, in his Successions, says that when Pythagoras was asked by Leon, the tyrant of the Phliasians, who he was, he said, “a philosopher,” and that he said life was like the Great Games. Some people go there to compete, others go to make money, and the best people go to watch. For in life, some people have a slavish nature and they hunt for glory or profit, while philosophers search for the truth.”
Plato compares life to a game too, just a different one….
Plutarch, De Tranquilitate Animi 467b
“Plato likened life to a dice-game in which we need both to throw what is advantageous and to use the dice well after we’ve thrown them. And when we are subject to chance, if we take good advice, this is our task: though we cannot control the toss, we can accept the outcome luck gives us properly and allot to each event a place in which what is good for us helps the most and what was unplanned aggrieves the least.”
And here is the passage Plutarch is drawing on from the tenth book of the Republic (Plato, Republic 604c-d)
“The best way to deliberate about what has happened is just as we might in the fall of dice: to order our affairs in reference to how the dice have fallen where reason dictates the best place would be, and not to stumble forward like children shocked at the outcome wasting time with crying. Instead, we should always prepare our mind towards addressing what has happened as quickly as possible and to redress what has fallen and what ails, erasing lament [lit. threnody] with treatment*.”
“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….”
In our third season of the series, we are returning to plays we have performed before from different angles. We started a few weeks ago with a live, in-person performance at Harvard.
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 return 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. Our performance will be bilingual in Modern Greek and English.
Sophocles, Antigone 1056
“The race of tyrants loves shameful profit.”
τὸ δ᾽ ἐκ τυράννων αἰσχροκέρδειαν φιλεῖ.
Translations
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.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Director of Outreach: Amy Pistone (Gonzaga University) Executive Producer: Allie Marbry(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.”
“Stop speaking before you fill me with rage!
And you’re revealed as a fool as well as an old man.
You speak of unendurable things, claiming that the gods
Have some plan for this corpse.
Did they do it to honor him so greatly for his fine work,
Concealing him, the man who came here
To burn their temples and their statutes,
To ruin their land and their laws?
Do you see the gods honoring evil people?”
“Whenever someone is haughty because he understands and can explain the books of Chrysippus, say to him: “If Chrysippus hadn’t written so obscurely, you’d have nothing to be haughty about.”
But what do I desire? To understand nature and follow it. Therefore, I seek one who explains it. And because I have heard that Chrysippus does this, I go to him. But I do not understand what he has written. Therefore, I seek out someone who explains him. And within these steps there is nothing worthy of pride. Whenever I find the right interpreter, it is still up to me to practice his precepts. This alone is worthy of pride.
But if I am amazed at this act of explanation, have I done anything but transform into a grammarian instead of a philosopher? (Except, I interpret Chryippos instead of Homer.) Hence, whenever anyone says to me “Read me Chrysippus,” I turn red when I am incapable of demonstrating actions equal to and harmonious with his words
Plutarch’s Moralia, “Advice about Keeping Well”, 10
“But, just as flowers’ scents are on their own weak but when mixed with oil they gain strength and tone, so too does an initial mass of food provide substance and body, so to speak, to the causes and origins of afflictions from outside the body. Deprived of this, none of these can be severe, but instead they wither away and decrease on their own, when simple blood and clean breath meet their entry. But in a mass and excess of food, it is just like some kind of churning mud which makes everything unclear, and dirty and hard to pass when it is stirred up.
We should not, then, be just like those praised ship captains who allow a massive cargo because of greed and are for this reason always occupied baling and pouring the sea out of their ship—no, we must not stuff our body and then apply medicine to make us purge it all, but instead we should keep our bodies slim so that if ever we are depressed, our body will rise up again because of its lightness, like a cork.”
“Serious people are truly dedicated and on guard to make themselves better by preparing both to keep corrupting things away from them and trying to ensure that good things are near at hand. But they are also unaffected: they have peeled away adornments from their voice and their face.
They also have no concern for business since they abstain from doing anything which transgresses their duty. They do drink, but they do not get drunk. Indeed, they will also not go mad—even though the sometimes the same fantasies will still occur to them because of depression or delirium, but because of the logic of what they have selected but against nature.
And a wise person will never grieve because they understand that grief is an illogical closure of the soul, as Apollodorus says in his Ethics. These people are also godlike because they have some divine aspect in them; the scoundrel is godless.”
“But, am I not a scholar? Why do you pursue scholarship? Servant, do you do this to be content? Do you do it to be safe? Do you do it to grasp nature and live in accordance with it? What stops you when you’re sick from having your principle align with nature? This is the test of the matter, the crucible for any philosopher. This is also a part of life, like a stroll, a voyage, a trip, the fever too! Do you read while walking? No! And you don’t read while having a fever. But if you walk well, you deliver the promise of one who walks.
If you have a fever, then do what one who has a fever should do. What does it mean to be sick well? Don’t blame god, or man. Don’t be undone by the things that happen. Await death bravely and correctly, and do what is given to you.”
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