A Mythical Monday: The Minotaur’s Origin

Last year, Erik made a post about Moonface’s Album of Songs about the Minotaur. It has made me think a lot about the story from the Minotaur’s perspective.  In general, the narratives that include him are about Theseus. Here are some passages about Pasiphae and the Minotaur.

Hesiod, Fr. 145.13–17

“When he looked in her eyes he longed for her
[and she gave herself over to the bull]
After she was impregnated, she gave birth to a powerful son to Minos,
A wonder to see: for he had the appearance of man
Down to his feet, but a bull’s head grew on top.”

τῆς δ’ ἄρ’ [ἐν ὀ]φθαλμοῖσιν̣ ἰ̣δὼν ἠράσ̣[σατο
†ταύρωι̣.[…]ρ̣ι̣μενησ̣κ̣α̣μ̣ε̣ρ̣μ̣ιδαο̣τα̣[†
ἣ δ’ ὑποκ̣[υσα]μένη Μίνωι τέκε κα[ρτερὸν υἱόν,
θαῦμα ἰ[δεῖν·] σ̣α μὲν γὰρ ἐπ̣έ̣κ̣λ̣ι̣ν̣[εν δέμας ἀνδρὶ
ἐς πόδα̣[ς], α̣ὐ̣τ̣ὰρ ὕ̣π̣ε̣ρθε κάρ̣η τ̣α̣[ύροιο πεφύκει

Suda, Epsilon 1421

“In every myth there is also Daidalos’ corruption”: People say that because Pasiphae lusted after a bull, she begged Daidalos to make her a wooden cow and, once he had set it up, to put her in it. When the bull mounted her as a cow he made her pregnant. The Minotaur was born from this. For certain reasons Minos was angry at the Athenians and he took from them seven maidens and the same number of youths. They were thrown to the beast. Since origin and responsibility for these evils were attributed to Daidalos and he was hated for them, this was translated into the proverb.”

᾿Εν παντὶ μύθῳ καὶ τὸ Δαιδάλου μύσος· Πασιφάην φασὶν ἐρασθεῖσαν ταύρου Δαίδαλον ἱκετεῦσαι ποιῆσαι ξυλίνην βοῦν καὶ κατασκευάσαντα αὐτὴν ἐνθεῖναι· ἣν ἐπιβαίνων ὡς βοῦν ὁ ταῦρος ἐγκύμονα ἐποίησεν. ἐξ ἧς ἐγεννήθη ὁ Μινώταυρος. Μίνως δὲ διά τινας αἰτίας ὀργιζόμενος τοῖς ᾿Αθηναίοις ἑπτὰ παρθένους καὶ ἴσους νέους ἐξ αὐτῶν ἐδασμολογεῖτο· οἳ παρεβάλλοντο τῷ θηρίῳ. εἰς Δαίδαλον οὖν ἀρχηγὸν τούτων τῶν κακῶν καὶ αἴτιον γενόμενον καὶ μυσαχθέντα ἐξηνέχθη εἰς παροιμίαν.

Heraclitus the Paradoxographer, 7 Concerning Pasiphae

“People claim that [Pasiphae] lusted after the Bull, not, as many believe, for an animal in a herd—for it would be ridiculous for a queen to desire such uncommon intercourse—instead she lusted for a certain local man whose name was Tauro [the bull]. She used as an accomplice for her desire Daidalos and she was impregnated. Then she gave birth to a son whom many used to call “Minos” but they would compare him to Tauro because of his similarity to him. So, he was nicknamed Mino-tauros from the combination.”

Περὶ Πασιφάης.
Ταύτην φασὶν ἐρασθῆναι Ταύρου, οὐχ, ὡς πολλοὶ
νομίζουσι, τοῦ κατὰ τὴν ἀγέλην ζῴου (γελοῖον γὰρ
ἀκοινωνήτου συνουσίας ὠρέχθαι τὴν βασίλισσαν), ἑνὸς
δέ τινος τῶν ἐντοπίων, ᾧ Ταῦρος ἦν ὄνομα. συνεργῷ
δὲ χρησαμένη πρὸς τὴν ἐπιθυμίαν Δαιδάλῳ καὶ γεγο-
νυῖα ἔγγυος, ἐγέννησε καθ’ ὁμοιότητα τοῦ Ταύρου
<υἱόν>, ὃν οἱ πολλοὶ Μίνω μὲν ἐκάλουν, Ταύρῳ δὲ
εἴκαζον· κατὰ δὲ σύνθεσιν Μινώταυρος ἐκλήθη.

Bacchylides, Dith. 26 (P.Oxy. 2364 fr. 1)

“[in] Pasiphae
The Kyprian goddess [sewed]
Longing [….]
To the son Eupalamos
The wisest of the craftsmen
She told Daidalos [about]
Her sickness. Credible oaths
She ordered him to make [so that]
So that she might have sex with the bull
But keep it secret from her husband
Minos, the oppressive-archer,
The general of the Knossians.
But when he learned of the tale,
He was overtaken by worry and
[about his] wife….

[ ]θεα̣ καὶ γ[.].[ ]
φρα.[ ]
Πασι[φ]ά̣[α]
εν Κύπ[ρις]
πόθον [ ]
Εὐπαλά[μοι’] υἱε[ῖ]
τεκτόν[ω]ν σοφω̣[τάτῳ]
φράσε Δαιδάλῳ ά.[ ]
νόσον· ὅρκια πισ[τ]
[ τ]ε τεύχειν κέλευ[σε]
μ̣είξειε ταυρείῳ σ[ ]
κρύπτουσα σύννο̣[μον]
Μίνωα [τ]οξοδάμαν[τα]
Κνωσσίων στρατα[γέταν·]
ὁ δ’ ἐπεὶ μάθε μῦθο[ν]
σχέτο φροντίδι· δε[ ]
[ ]ἀλόχου[ ]

Image result for greek minotaur vase baby
This is the most superior image of the Minotaur by far. Pasiphae’s expression is perfect.

 

Andromache’s Sons With Neoptolemos

Scholia ad Eur. Andromache, 24

“In these halls, I [Andromache] produced this male child / after sleeping with Achilles’ son, my master]:

One source says that she bore only one son to Neoptolemos while others say that there were three: Pyrrhos, Molossos, Aiakos and a daughter named Troas. Lysimachus, in the second volume of his On Homecomings, writes that Proxenos and Nikomedes the Akanthian report in Macedonian Matters that Andromache gave birth to those who were just mentioned, and from Leonassa, Kleodaios’ daughter, [he fathered?] Argos, Pergamos, Pandaros, Dorieus, Genyos, Danae and Eurylockus. They also say that Pyrrhos received the kingdom from his father and that the country was named Mossia to give honor to Molossos.”

κἀγὼ δόμοις [τοῖσδ᾽ ἄρσεν᾽ ἐντίκτω κόρον / πλαθεῖσ᾽ ᾽Αχιλλέως παιδί, δεσπότῃ γ᾽ ἐμῷ] ἰδίως ἕνα φησὶ παῖδα γενέσθαι τῷ Νεοπτολέμῷ, ἄλλων τρεῖς λεγόντων Πύρρον, Μολοσσόν, Αἰακίδην καὶ Τρωάδα. Λυσίμαχος δὲ ἐν τῷ δευτέρῳ τῶν Νόστων φησὶ Πρόξενον καὶ τὸν ᾽Ακάνθιον Νικομήδην ἐν τοῖς Μακεδονικοῖς ἱστορεῖν ἐκ μὲν ᾽Ανδρομάχης γενέσθαι τοὺς προειρημένους, ἐκ δὲ Λεωνάσσης τῆς Κλεοδαίου ῎Αργον, Πέργαμον, Πάνδαρον, Δωριέα, Γένυον, †δανάην, Εὐρύλοχον. φασὶ δὲ Πύρρῳ μὲν ἐγχειρίσαι τὴν βασιλείαν τὸν πατέρα, Μολοσσῷ δὲ τὴν ἐκ τῆς προσηγορίας τιμὴν προστάξαντα τὴν χώραν Μολοσσίαν ὀνομάζειν.

Andromache and Neoptolemus, by Pierre-Narcisse Guerin

The Cyclops Had Three Eyes and They Were His Brothers

John Malalas, Chronographia, V

“The wise Euripides put in his poetic drama about the Cyclops that he had three eyes, indicating by this that he had three brothers and that they cared for one another and kept a watchful eye on one another’s places in the island, fought together, and avenged one another.

And he also adds that he made the Cyclops drunk and unable to flee, because Odysseus made that very Cyclops “drunk” with a ton of money and gifts so he would not “eat those with him up”, which is not actually to consume them with slaughter.

He also says that Odysseus blinded his one eye with torch fire, really meaning that he stole away the only daughter of Polyphemos’ brother, a maiden named Elpê, with “fire”, which means he seized her on fire with burning lust. This is what it means that he burned Polyphemos in one of his eyes, he really deprived him of his daughter. The very wise Pheidias of Corinth provided this interpretation saying that Euripides explained this poetically because he did not agree with what the wisest Homer said about the wandering of Odysseus.”

ὁ γὰρ σοφὸς Εὐριπίδης <ποιητικῶς> δρᾶμα ἐξέθετο περὶ τοῦ Κύκλωπος, ὅτι τρεῖς ἔσχεν ὀφθαλμούς, σημαίνων τοὺς τρεῖς ἀδελφοὺς (50 F 2) ὡς συμπαθοῦντας ἀλλήλοις καὶ διαβλεπομένους τοὺς ἀλλήλων τόπους τῆς νήσου καὶ συμμαχοῦντας καὶ ἐκδικοῦντας ἀλλήλους. (2) καὶ ὅτι οἴνωι μεθύσας τὸν Κύκλωπα ἐκφυγεῖν ἠδυνήθη, διότι χρήμασι πολλοῖς καὶ δώροις ἐμέθυσε τὸν αὐτὸν Κύκλωπα ὁ ᾽Οδυσσεὺς πρὸς τὸ μὴ κατεσθίειν τοὺς μετ᾽ αὐτοῦ, <τουτέστι μὴ καταναλίσκειν σφαγαῖς>. (3) καὶ ὅτι λαβὼν ᾽Οδυσσεὺς λαμπάδα πυρὸς ἐτύφλωσε τὸν ὀφθαλμὸν αὐτοῦ τὸν ἕνα, διὁτι τὴν θυγατέρα τὴν μονογενῆ τοῦ ἀδελφοῦ αὐτοῦ Πολυφήμου ῎Ελπην, παρθένον οὖσαν, λαμπάδι, πυρὸς ἐρωτικοῦ καυθεῖσαν ἥρπασε, τουτέστιν ἕνα τῶν ὀφθαλμῶν τοῦ Κύκλωπος ἐφλόγισε τὸν Πολύφημον τὴν αὐτοῦ θυγατέρα ἀφελόμενος. (4) ἥντινα ἑρμηνείαν ὁ σοφώτατος Φειδίας(?) ὁ Κορίνθιος ἐξέθετο, εἰρηκὼς ὅτι ὁ σοφὸς Εὐριπίδης ποιητικῶς πάντα μετέφρασε, μὴ συμφωνήσας τῶι σοφωτάτωι ῾Ομήρωι ἐκθεμένωι τὴν ᾽Οδυσσέως πλάνην.

Ok, this story might be totally nuts, but there was a scholiastic debate about how many eyes Polyphemos had.

The Unlikely Way: Our Kind of Story

Euripides, Bacchae 1388-1392

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.

πολλαὶ μορφαὶ τῶν δαιμονίων,
πολλὰ δ᾿ ἀέλπτως κραίνουσι θεοί·
καὶ τὰ δοκηθέντ᾿ οὐκ ἐτελέσθη,
τῶν δ᾿ ἀδοκήτων πόρον ηὗρε θεός.
τοιόνδ᾿ ἀπέβη τόδε πρᾶγμα.

[but also at the end of AlcestisMedeaAndromache, Helen]

Lucian in The Symposium 48

“That, my dear Philo, was the end of that party. But it is better to intone that tragic phrase: ‘Many are the forms of divine powers / Many are the acts the gods unexpectedly make. / The very things which seemed likely did not happen’

For all these things too turned out to be unexpected. I have still learned this much now: it is not safe for a man who is unaccomplished to share a meal with clever men like this.”

Τοῦτό σοι τέλος, ὦ καλὲ Φίλων, ἐγένετο τοῦσυμποσίου, ἢ ἄμεινον τὸ τραγικὸν ἐκεῖνο ἐπειπεῖν,

πολλαὶ μορφαὶ τῶν δαιμονίων,
πολλὰ δ᾿ ἀέλπτως κραίνουσι θεοί,
καὶ τὰ δοκηθέντ᾿ οὐκ ἐτελέσθη·

ἀπροσδόκητα γὰρ ὡς ἀληθῶς ἀπέβη καὶ ταῦτα. ἐκεῖνό γε μὴν1 μεμάθηκα ἤδη, ὡς οὐκ ἀσφαλὲς ἄπρακτον ὄντα συνεστιᾶσθαι τοιούτοις σοφοῖς.

Lucian, Gout, a Tragedy 325-334

“Many are the forms of the unlucky
but let the care and habit of pains
bring some comfort to men with gout.
This is how, my fellow sufferers,
you will forget our toils,
if the very things which seemed likely did not happen
but for the unlikely, some god found a way.
Let every person who suffers endure
being taunted and being mocked.
For this affair is that kind of thing.”

πολλαὶ μορφαὶ τῶν ἀτυχούντων,
μελέται δὲ πόνων καὶ τὸ σύνηθες
τοὺς ποδαγρῶντας παραμυθείσθω.
ὅθεν εὐθύμως, ὦ σύγκληροι,
λήσεσθε πόνων,
εἰ τὰ δοκηθέντ᾿ οὐκ ἐτελέσθη,
τοῖς δ᾿ ἀδοκήτοις πόρον εὗρε θεός.
πᾶς δ᾿ ἀνεχέσθω τῶν πασχόντων
ἐμπαιζόμενος καὶ σκωπτόμενος·
τοῖον γὰρ ἔφυ τόδε πρᾶγμα.

Image result for medieval manuscript gout
James Gillray, The Gout, 1799.

An Unlikely Hybrid: Medusa, Miley Cyrus, and the Politics of the Female Tongue

Homer, Iliad 11.36-37

“And set on the shield as a crown was a grim-faced Gorgon, glaring fiercely”

τῇ δ’ ἐπὶ μὲν Γοργὼ βλοσυρῶπις ἐστεφάνωτο / δεινὸν δερκομένη…

Gorgon 1
Images from Wikimedia Commons and the MET website, article by Madeleine Glennon 2017

The Gorgon’s face is one of the most recognizable symbols from antiquity, adorning everything from vases and cups to temple pediments and metopes to confront the viewer with her petrifying stare and snaky ropes of hair. While the apotropaic function of the Gorgon is usually attributed to the directness of her gaze (one that is highly unusual in Greek art), depictions of Gorgons–including their most famous representative, Medusa–in archaic art frequently include an additional provocation in the form of a tongue.

Long and lolling, often poised between vicious-looking canine teeth, this aspect of the Gorgons’ iconography has conventionally been interpreted as a way to enhance her grotesqueness. Over time, however, depictions of the Gorgon shifted dramatically to portray these figures with typically feminine, even beautiful, features while retaining her uncompromisingly confrontational gaze. You can see a great timeline visualizing this evolution on the MET website.

Gorgon 2

The ubiquity of the Gorgon’s tongue in archaic art has always intrigued me. That this feature of her iconography is unique to this period, and a feature unique to the Gorgon in particular, makes it all the more intriguing, as it suggests a fleeting but pervasive mode of representing female transgressiveness. The Gorgon’s tongue made me wonder about the significance of this gesture: why would a stuck-out tongue be characteristic of a female monster? After all, in contemporary iconography (I’m thinking here especially of emojis) a stuck-out tongue is correlated most often with silliness and disinhibition, a response to the goofy or outrageous.

Gorgon 3

Nonetheless, it’s not difficult to think of counterexamples. We, especially as children, might stick out our tongues in response to something offensive or unwelcome. And, of course, the gesture in the right context may appear sexually charged. A good illustration of the latter comes in the form of Miley Cyrus, a figure who, like the Gorgon, also exhibits a dramatic shift in her public image.

Google “Miley Cyrus’ VMA performance” and the prevailing image that will turn up is one that sees Cyrus bent over against co-performer Robin Thicke, clad in flesh-toned latex bustier and shorts, her tongue stuck out sharply, complementing the two spiky buns above her brow. The performance drew shock and condemnation, not least because of the transformation it evinced in the former Disney Channel darling.

Miley Cyrus VMA

Like Cyrus, the evolving image of Medusa calcified in ancient art is also a testament to transformation. As Ovid relates (Met. 4.793-803), Medusa was formerly a beautiful young woman who was raped by Poseidon in a temple of Athena and punished by the goddess with her snaky hair. While earlier accounts like that of Hesiod (Theog. 270-6) suggest that Medusa was born to her distinctive form, the Ovidian narrative connects Medusa’s sexuality and desirability–and Athena’s savage punishment of this–with the transformation in her appearance.

Likewise, Cyrus’ performance cast her in a sexually-charged role that drove home her evolution from Disney Channel PG fame. While Cyrus later said in an interview that her hairstyle was consciously infantilizing, it was hard for me not to see those spiky buns in conjunction with Medusa’s similarly unconventional and distinctive hairdo.

Why, then, would a stuck-out tongue define such a transformation? On the one hand, it is provocative, a function that seems at odds with the archaic Gorgon’s apotropaic power. But coupled with her fierce, frontal gaze, the Gorgon’s visage forces viewers into a confrontation. As some would characterize Cyrus’ performance, the Gorgon’s ferocious visage is similarly nothing if not transgressive.

And it is the tongue, I think, for both Cyrus and the Gorgon, that embodies this quality. A stuck-out tongue reaches out into the space between viewer and viewed. The tongue, after all, is the only part of the body that can easily be extended out of its natural confines. Thus, unlike the eyes, it is vividly visceral. In this sense, the petrifying effects associated with the Gorgon’s gaze gain clearer significance. While her face is safely rendered in paint or stone, her eyes and tongue can still serve to confront the viewer with a reminder of their fleshy corporeality. The tongue, in particular, serves as a gesture of defiance against the medium in which the Gorgon’s gaze has been fixed.

Cyrus’ performance, too, can be interpreted as an act of defiance against the public image she had accrued earlier in her career. More specifically, her exaggerated facial and bodily expressions make the viewer aware that they are viewing her like an object. This is a dynamic that meets active resistance in the display she created at the VMAs, one that works to displace the previous image of Cyrus that each viewer brings to their perspective on her performance.

 

Amy Lather is an Assistant Professor of Classics at Wake Forest University. Her research focuses on archaic and classical Greek aesthetics, hence her fascination with the Gorgon’s tongue. She can be reached at latherak@wfu.edu.

 

 

A Hero Shot A Man, Just to…Kill Me: Achilles and Odysseus, Again

Sophocles, fr. 965

“I am called Odysseus for evil deeds correctly:
For many who have been my enemy hate me.”

ὀρθῶς δ’ ᾿Οδυσσεύς εἰμ’ ἐπώνυμος κακῶν•
πολλοὶ γὰρ ὠδύσαντο δυσμενεῖς ἐμοί

Yesterday, I was editing a manuscript and thinking about Odysseus’ so-called “lying tales” in books 13-20 of the Odyssey. In one of them, he talks casually about murdering the son of Idomeneus. A song burst fully formed into my head. I made a poll. Over 3500 people voted.

(And, yes, as twitter let me know, it should be “shot” not killed”). To be honest, I thought the answer was clear and tried to direct it a bit:

And I was not the only one to consider Odysseus’ character the crueler one:

I suspect that the issue here for most voters was really: who’s your favorite hero and who seems violent to you. Everyone knows Achilles is a cross between the Hulk and Superman and he just kills everything. Most people forget that Odysseus leaves a trail of slaughter in his wake too.

Earlier polls I have run seem to indicate that while the Iliad and Odyssey are pretty close in popularity people have a more positive view of Odysseus. I have spent several years working on a book on Odysseus (after working on the Iliad for over a decade). I think these evaluations of the characters are from an overall feeling and not an actual engagement with the texts.

I continued this conversation on and off line with Justin Arft:

Erik, who is in Germany, had some comforting words over text:

Erik text

I received another text from an actual resident of Reno, who had some thoughts:

Jed Text

My emotional stability did not increase during the day:

There were some cogent responses:

Achilles is intense, like super intense, like there is extra and then there is Achilles extra. He gets his feelings hurt and then asks for Zeus to make his own people die. Patroklos dies because Achilles is so damn sensitive. Achilles’ rage is the point of the whole poem. But he is not calculating. He feels. He reacts. He regrets.

But behind all the arguments is a basic misunderstanding of what it means to be a hero in ancient Greece. They are not simple figures. They are not heroic in the modern sense. The word heros: can mean a man in the prime of his youth; or, a member of a race of superpeople before our current race of mortals; or, a person who follows a particular narrative/paradigmatic arc. It is value neutral when it comes to “good” and “evil”.

Erwin Cook writes well about this, noting that what marks heroes out in Greek myth and poetry is their ability to suffer or cause suffering to others.

Fortunately for the next 24 hours I found like-minded people to suffer with:

Despite Achilles’ constant lead, there was a chorus of objection:

My friend Sean texted this morning with the most plausible explanation for the outcome:

Sean Text

And I think people just didn’t get the question:

But, come on, Odysseus kills 108 unarmed people, has the slave-women hanged and does many other totally questionable things in his epic. In the Iliad, he lies to Dolon and has Diomedes kill him after he has informed on the Trojans. He’s a dark mage, a necromancer! And even the Odyssey is deeply ambivalent about his crimes: Teiresias implies that the suitors are only in Ithaca because of Odysseus’ mistakes!  The epic ends with the people of Ithaca splitting a vote whether to try to kill him or not.

Outside of the epics: he frames Palamedes and has him stoned to death; he tricks Achilles into coming to war; he strands Philoktetes for being wounded and then gets him to come back to Troy; he tries to stab Diomedes in the back; he is known for arranging for the killing of Astyanax. He probably killed Hecuba too.

He is also known in later traditions for wanting to kill Telemachus. Otherwise, he’s busy in myth having children all over the Mediterranean. When he gets home, he cries about his dog but not his wife.

Don’t get me wrong, I think Odysseus is important, but Emily Wilson is totally right in saying he is a “complicated man”. He is a survivor- and he teaches us about the compromises one must make and risks one needs take to survive. He is not a hero, he is not divine. He is like us.  And this is not always good. He minimizes slavery and manipulates his slaves, he is definitely more into truthiness than truth. And he is his own worst enemy: he needs to figure this out before he can even start to go home.

Achilles’ rage is big and easy to conceptualize, easier to blame; Odysseus’ calculation is harder to understand and frame. We want to be like Achilles, I think, because we can blame our faults on emotions. That’s nature, right? We can’t control nature! It is harder to admit where we are like Odysseus because then we need to take responsibility for our faults. People who love Odysseus too often explain away his faults. (Which is why so much of Homeric scholarship refuses to acknowledge that Odysseus is crossing a line in killing the slave women, the suitors, blinding Polyphemos and more).

Not everything was about bashing Odysseus:

And some people worked hard to bring greater context to the song and the identification:

This probably undermines the entire enterprise:

Some people couldn’t play the game right!

There may have been some salutary effects:

Thank you to Carly Maris (@carmarky) for making this so I didn’t have to

thanks to everyone who played along and took what was a lark seriously. Apologies to all the wits and wiseacres I didn’t include in this post. The thread on twitter is pretty cool. But, as with everything, Plato did it first and better.

Plato, Hippias Minor 

364c

“Homer made Achilles the best man of those who went to Troy, Nestor the wisest, and Odysseus the most shifty.”

φημὶ γὰρ Ὅμηρον πεποιηκέναι ἄριστον μὲν ἄνδρα Ἀχιλλέα τῶν εἰς Τροίαν ἀφικομένων, σοφώτατον δὲ Νέστορα, πολυτροπώτατον δὲ Ὀδυσσέα.

365b

“Achilles is true and simple; Odysseus is shifty and false.”

ὡς ὁ μὲν Ἀχιλλεὺς εἴη ἀληθής τε καὶ ἁπλοῦς, ὁ δὲ Ὀδυσσεὺς πολύπροπός τε καὶ ψευδής

366a

Soc. “People who are many-wayed are deceptive because of their foolishness and thoughtlessness, or because of wickedness and some thought?

Hippias: Most of all, because of wickedness and intelligence.

Soc. So, it seems, they are really intelligent.

Hip. Yes, by Zeus, wicked smart.

Soc. And men who are smart—are they ignorant of what they do or do they understand it?

Hip. They really understand what they are doing. For this reason, they also do evil.

Soc. So, is it the ignorant or the wise who know these things which they understand?

Hip. The wise know these very things, how to deceive.

—ΣΩ. Πολύτροποι δ’ εἰσὶ καὶ ἀπατεῶνες ὑπὸ ἠλιθιότητος καὶ ἀφροσύνης, ἢ ὑπὸ πανουργίας καὶ φρονήσεώς τινος;

—ΙΠ. ῾Υπὸ πανουργίας πάντων μάλιστα καὶ φρονήσεως.

—ΣΩ. Φρόνιμοι μὲν ἄρα εἰσίν, ὡς ἔοικεν.

—ΙΠ. Ναὶ μὰ Δία, λίαν γε.

—ΣΩ. Φρόνιμοι δὲ ὄντες οὐκ ἐπίστανται ὅτι ποιοῦσιν, ἢ ἐπίστανται; —

—ΙΠ. Καὶ μάλα σφόδρα ἐπίστανται· διὰ ταῦτα καὶ κακουργοῦσιν.

—ΣΩ. ᾿Επιστάμενοι δὲ ταῦτα ἃ ἐπίστανται πότερον ἀμαθεῖς εἰσιν ἢ σοφοί;

—ΙΠ. Σοφοὶ μὲν οὖν αὐτά γε ταῦτα, ἐξαπατᾶν.

Trojan Fan Fic: Astyanax, The Boy Who Lived

In the tradition of Greek Myth, Hektor’s son Astyanax is well-known for being killed during the sack of the city. Other traditions weren’t having this. To wit, Servius:

Servius Danielis on Vergil, Aeneid, 9.264

devicta genitor (sc. Aeneas) quae cepit Arisba]

“Which his father took once Arisba was conquered…”

“(And yet, according to Homer, Arisba sent aid to the Trojans and was overcome by Achilles)…the city is called Arisba after the daughter of Merpos or Macareus who was the first wife of Paris. According to some authors, Abas, who wrote the Troika, related that after the Greeks left Troy, the rule of this city was given to Astyanax. Antenor expelled him once he had allied himself with the states neighboring where Arisba’s location. Aeneas took this badly and took up arms for Astyanax; once the expedition was prosecuted successfully, he returned the kingdom to Astyanax.”

[[atqui secundum Homerum Arisba Troianis misit auxilia et ab Achille subversa est …]] dicta est Arisba ab Meropis vel Macarei filia, quam primum Paris in coniugio habuit. quidam ab Abante, qui Troica scripsit, relatum ferunt, post discessum a Troia Graecorum Astyanacti ibi datum regnum. hunc ab Antenore expulsum sociatis sibi finitimis civitatibus, inter quas et Arisba fuit. Aeneam hoc aegre tulisse et pro Astyanacte arma cepisse, ac prospere gesta re Astyanacti restituisse regnum.

 

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Image taken from this article by Mary Louise Hart