“Night has come with strange new fantasies
I will tell them to the sky, if that provides any relief.
I imagined in sleep that I was freed from this land
and was sleeping in my girlhood’s home in Argos….”
This year, Mary Ebbott’s translation and integration of Euripides’ Iphigenia at Aulis and Iphigenia among the Taurians opened a new performing arts center at The College of the Holy Cross. On Friday, November 18th, we are bringing this exciting script to Reading Greek Tragedy Online with help from Out of Chaos Theatre, The Center for Hellenic Studies, and the Kosmos Society.
Iphigenia at Aulis, 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.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Director of Outreach: Amy Pistone (Gonzaga University) 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)
“You do huge things for minor reasons—
Listen to me! Why are you hurting me? What’s the reason
What city did I betray? Which child of yours did I kill?
What home did I burn down? I was forced to bed
With my master. You’ll kill me and not him
When he is the cause of these things? You’ll ignore
The cause and just keep pounding on the symptom?”
“Child, I who bore you go to Hades now
So you may not die. If you outrun this fate,
Remember your mother, all I suffered and how I died.
Go to your father and through kisses
Tell him what I died while shedding tears
And throwing your arms around him.
Children are the soul of all humankind—
Whoever has no children mocks them and
While they may feel less pain, feel sadder happiness too”
Today Reading Greek Tragedy Online returns to Sophocles’ Philoktetes at 3 PM EDT Online, and LIVE at Harvard University’s Hilles Cinema, sponsored by the Division of Arts and Sciences and Department of the Classics at Harvard University and the School of Arts and Sciences and Department of Classical Studies at Brandeis University. Tune in Live, return for a recording, or, if you can make it, stop by in person and say, “ἆ ἆ ἆ ἆ.”
Sophocles, Philoktetes 971-2
“You aren’t bad but by learning from wicked men you became used to pursuing wicked things”
RGTO is produced by a partnership of Out of Chaos Theatre, the Center for Hellenic Studies, and the Kosmos Society. This project started at the onset of COVID19 lockdowns in the US and UK and brings together actors and researches to stage scenes from the ancient stage and talk about how they impact us to this day. We have over 50 episodes posted already and will add a few more by the end of the year. In the first year of the Pandemic, we went through every extant Greek tragedy. As we have moved on, we have tried to broaden our scope, expanding the questions we ask of the past and reaching out to bring more people and perspectives into discussion.
Sophocles, Philoktetes 54-55
“You need to bewitch
Philoktetes’ mind with your words.”
τὴν Φιλοκτήτου σε δεῖ
ψυχὴν ὅπως λόγοισιν ἐκκλέψεις λέγων
This performance marks the first time many of us have met in person and the first time some of us have been together since before the start of the pandemic. As we have written about elsewhere, the process of putting on these readings has helped us to rethink Greek Tragedy. For me, it has forced a re-centering of performance and audience experience in creating a play’s meaning. Viewing and reflecting on tragic action together expands our emotional and cognitive grasp, helping us to see each other and ourselves through the characters on stage. In particular, the practice of listening to other peoples’ interpretations and using them as a sounding board for our own gives the moment of performance and its aftermath power that is often impoverished on a simple page.
Cast and Crew
Eunice Roberts
Damian Jermaine Thompson
René Thornton Jr.
Sara Valentine
Directed by Paul O’Mahony, translated by Ian Johnston.
With host Joel Christensen, and special guests, Naomi Weiss and David Elmer
Amazing People
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis 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) Director of Outreach: Amy Pistone (Gonzaga University) Poster Designer: Allie Marbry (Center for Hellenic Studies) Poster Illustration Artist: John Koelle
Sophocles, Philoctetes 86-95 (Neoptolemus to Odysseus)
“For my part, son of Laertes, I hate to carry out those plans which pain me to hear. I was not born to do anything from evil contrivance, nor was the one (as they say) who begot me. But I am always up to the task of taking a man by violence and not trickery. With his one foot, Philoctetes will not overwhelm us, who are so many, in a violent contest. Yet, since I was sent as your helpmate, I would rather not be called a traitor; but my lord, I would rather err while acting nobly than prevail while acting basely.”
We first visited Philoktetes on the island of Lemnos in 2020 with special guest Norman Sandridge. At the beginning of the pandemic it was impossible not to see Philoktetes’ isolation and dehumanization as a way to think about the impact of COVID19 on our lives.
Sophocles, Philoktetes 446-452
“He would survive, since nothing rotten ever dies,
but the gods take good care of these things
and they love turning the wicked back from hell
even as they are always damning the just and good.
How can we make sense of this, can we praise it
when look close at their work and realize the gods are evil?”
“We use ‘self-sufficient’ not to mean a person alone—someone living in isolation—but to include one’s parents, children, spouse, friends, and even fellow citizens, since a human being is a social creature by nature. Now, some limit needs to be observed in these ties—for it will go on endlessly if you extend it to someone’s ancestors and descendants. But that’s a problem for another time.
We posit that self-sufficiency is something which in itself makes life attractive and lacks nothing and for this reason we think it is happiness, since we imagine that happiness is the most preferable of all things when it is not counted with others. It is clear that it is desirable even with the least of the goods—the addition of goods increases the total, since the greater good is always desirable.”
No man is an Iland, intire of itselfe; every man
is a peece of the Continent, a part of the maine;
if a Clod bee washed away by the Sea, Europe
is the lesse, as well as if a Promontorie were, as
well as if a Manor of thy friends or of thine
owne were; any mans death diminishes me,
because I am involved in Mankinde;
And therefore never send to know for whom
the bell tolls; It tolls for thee.
“Erato, come and stand by me and tell me how Jason
took to fleece back to Iolkos with the help
of Medea’s love. You share in Aphrodite’s realm
and you bewitch the unmarried girls with worries
and this is the very reason you won your name.”
In the first year of Reading Greek Tragedy Online, we wandered on our path a little bit to comedy, fragments, and even to epic. This year we are moving out of the archaic and classical worlds to the Hellenistic period, turning to our only full telling of the tale of Jason and the Argonauts, the Argonautica of Apollonius Rhodes.
There were certainly versions of the tale before Ap. Rhodes made his break with Callimachus for epic’s rushing river. Indeed, it is pretty clear that the story of the Voyage of the Argo was an ancient one that was told in many forms, likely influencing and being influenced by Homer’s Odyssey and many other lost traditions. But the way we name the tale is important: it is not just the story of Jason and his crew. It is also the story of Medea, a quest, and a love affair arranged by scheming gods.
In a way, there are elements of Argonautica in the Iliad, the Odyssey, and in Vergil’s later Aeneid. And its story blends into theirs as well. As Catullus frames it in Carmen 64, it was the voyage of the Argo that brought Peleus to Thetis, one domino that needed to fall to lead to their marriage banquet, the arrival of Eris, the golden apple, and so much more.
But Ovid probably encapsulates one view of the voyage best, in Amores 2.11:
“As waves watched, shocked, the pine cut down from Pelion’s peak
Was the first to teach us the evil ways of the sea—
That one that raced madly through crushing cliffs
And made to steal the gold-marked fleece.
I wish the Argo had been overcome, drawing a deep funereal drink
Then no oar would have troubled the broad water’s peace.”
Prima malas docuit mirantibus aequoris undis
Peliaco pinus vertice caesa vias,
Quae concurrentis inter temeraria cautes
Conspicuam fulvo vellere vexit ovem.
o utinam, nequis remo freta longa moveret,
Argo funestas pressa bibisset aquas!
Apollonius Rhodes, Argonautica 3.1405-7
He went back into the city, mixing into the Kolkhians,
turning over how he might oppose them more swiftly.
The day ended and Jason’s labor was finished.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Production Assistant: Francesca Bellei (Harvard University) Director of Outreach: Amy Pistone (Gonzaga University) Dramaturgical Support: Emma Pauly and Emma Joy Hill Associate Directors: Beth Burns, Liz Fisher, Tabatha Gayle, Laura Keefe, and Toph Marshall Poster Designer: Allie Marbry (Center for Hellenic Studies) Poster Illustration Artist: John Koelle
“Now I would like to recite the family and names of the heroes
their journeys through the treacherous sea and all the things
they did while they wandered. I hope the Muses will be supporters of my song.”
Wednesday, May 26 | Pedro Calderón de la Barca’s El Monstruo de los Jardines (The Monster in the Garden) with Francisco Barrenechea (University of Maryland, College Park); translation by C. Svich
I am called Helen. And I should tell you the evils
I have suffered. Three goddesses went to the folds
O Mt. Ida to Alexander about their beauty,
Hera, the Kyprian, and the Zeus-born maiden,
Because they wanted him to complete a judgement of their ‘form’.
My beauty–if misfortune is beautiful–
Is what the Kyprian offered, for Alexander to marry,
In order to win. After Idaian Paris left the cow-stall
He went to Sparta seeking my bed.
Over a year ago, the Center for Hellenic Studies sponsored the creation of Reading Greek Tragedy Online with Out of Chaos Theatre, led by Paul O’Mahony. Our first performance was Euripides’ Helen and from there we went on to present readings from every extant Greek tragedy. In that first gathering, 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.
This year we return to the scene of the crime: Egypt, with Helen, and a whole host of questions of who we are after so much time on the sidelines.
“Your wife has gone invisible, lifted up
To the folds of the sky. She is hidden by heaven,
After leaving the sacred cave where we watched her
once she said this: ‘Wretched Phrygians
And all the Greeks who were dying for me
On the Scamandrian banks thanks to Hera’s devices,
All because you thought that Paris had Helen when he didn’t.
But I, since I was here for as long as was necessary,
have finished my purpose, and I am going to the father
In the sky. The wretched daughter of Tyndareus
Has evil fame wrongly, when it is not her fault.’
Oh, hello, daughter of Leda. You were really here.
I was announcing that you went to the glens of the stars
Even though I knew that you didn’t really have
A body with wings. I won’t allow you to mock us
In this again—the way you were creating plenty of toils
To your husband and his allies.”
Special Guests: Lyndsay Coo, Ria Modak, and Pria Jackson
Euripides, Helen 483–491
‘What am I saying? What can I say? I am learning
terrible troubles on top of my old ones.
If I brought my wife, captured from Troy,
When I came here and she is safe in a cave,
Then someone else has the same name as my wife
And lives in this house here.
But this old lady said that she is the child of Zeus.
Is there some dude named Zeus who lives
On the banks of the Nile? There’s only one in heaven.
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Production Assistant: Francesca Bellei (Harvard University) Director of Outreach: Amy Pistone (Gonzaga University) Dramaturgical Support: Emma Pauly and Emma Joy Hill Associate Directors: Beth Burns, Liz Fisher, Tabatha Gayle, Laura Keefe, and Toph Marshall Poster Designer: Allie Marbry (Center for Hellenic Studies) Poster Illustration Artist: John Koelle
Euripides, Helen
M: After killing you over the back of this grave I will kill myself.
But first we will fight a great fight over your bed.
Let any man who wants to come near.
I will not bring shame to my Trojan fame,
Nor will I have left Greece to get great blame,
I, the man who deprived Thetis of Achilles,
Who saw Telamonian Ajax slaughter himself
And saw Neleus’ son made childless! Should I not
Think it right that I should die for my own wife?
“…Look to Tantalus and Pelops—
My hands beg for their examples.”
Tantalum et Pelopem aspice;
ad haec manus exempla poscuntur meae.
Seneca, Thyestes 18-20
“Now a mob is is coming on from our family
Which will outpace us all and make me innocent,
Daring the undared.”
….iam nostra subit
e stirpe turba quae suum vincat genus
ac me innocentem faciat et inausa audeat.
Last year as the COVID19 pandemic closed theaters and sent all classrooms into digital space, Out of Chaos Theatre in collaboration with the Center for Hellenic Studies presented over 40 episodes of Reading Greek Tragedy Online: performances from every extant Greek tragedies, a few comedies, a satyr play, fragments and even some epic too.
2021 brings us an ongoing plague and a new season of Reading Greek Tragedy Online. This year we’re sticking with Greek myth, but getting Roman with it to start, turning to the early Empire and Seneca’s Thyestes.
Seneca, Thyestes 29-36
“Let no one have time to hate an ancient crime,
Have a new one always replace it and not
Merely one at a time but while a crime is punished
Let it grow! May the power slip from the arrogant brothers
And return when they’re exiled. May this house slip
On uncertain chance of violence among unsafe kings.
Ah, may the powerful fall low and the low get power.
May chance toss the kingdom on churning waves.”
nec vacet cuiquam vetus
odisse crimen: semper oriatur novum,
nec unum in uno, dumque punitur scelus,
crescat. superbis fratribus regna excidant
repetantque profugos; dubia violentae domus
fortuna reges inter incertos labet;
miser ex potente fiat, ex misero potens,
fluctuque regnum casus assiduo ferat.
Performers
GHOST OF TANTALUS (grandfather of Atreus and Thyestes) – Paul O’Mahony
FURY (a goddess from the Underworld) – Evelyn Miller
ATREUS (king of Argos) – Sara Valentine
ATTENDANT to Atreus – Paul O’Mahony
THYESTES (exiled brother of Atreus) – David Rubin
TANTALUS (son of Thyestes) – Evelyn Miller
MESSENGER –Tim Delap
Special Guest: Helen Slaney
Seneca, Thyestes 192-96
“Come, spirit, do what no future age will approve
But none will fail to mention. I must dare some crime
A fierce, bloody kind, one that my brother would want
To call his own. You do not avenge crimes unless
You commit greater ones.”
Age, anime, fac quod nulla posteritas probet,
sed nulla taceat. aliquod audendum est nefas
atrox, cruentum, tale quod frater meus
suum esse mallet. scelera non ulcisceris,
nisi vincis…
Production Crew
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Production Assistant: Francesca Bellei (Harvard University) Director of Outreach: Amy Pistone (Gonzaga University) Dramaturgical Support: Emma Pauly and Emma Joy Hill Associate Directors: Beth Burns, Liz Fisher, Tabatha Gayle, Laura Keefe, and Toph Marshall Poster Designer: Allie Marbry (Center for Hellenic Studies) Poster Illustration Artist: John Koelle
Seneca, Thyestes 247-8
“A mild tyrant murders: in my kingdom, people pray for death.”
perimat tyrannus lenis; in regno meo
mors impetratur.
Scenes (translation, Paul Murgatroyd)
ACT ONE (1–121) – Ghost of Tantalus, Fury
ACT TWO (176–335) – Atreus, Attendant
ACT THREE (404–545) – Thyestes, Tantalus, Atreus
ACT FOUR (623–788) – Messenger, Chorus Leader
ACT FIVE (885–1112) – Atreus, Thyestes
Seneca, Thyestes 348-353
“A king is someone who can put fear aside
Along with the evils of a harsh heart—
Someone over whom ambition has no power
And the fickle love of the raging mob
Can never move…”
rex est qui posuit metus
et diri mala pectoris;
quem non ambitio impotens
et numquam stabilis favor
vulgi praecipitis movet
“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.”
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…
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)
“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…”
“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.”
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.
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.”
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)
“You do huge things for minor reasons—
Listen to me! Why are you hurting me? What’s the reason
What city did I betray? Which child of yours did I kill?
What home did I burn down? I was forced to bed
With my master. You’ll kill me and not him
When he is the cause of these things? You’ll ignore
The cause and just keep pounding on the symptom?”
“Child, I who bore you go to Hades now
So you may not die. If you outrun this fate,
Remember your mother, all I suffered and how I died.
Go to your father and through kisses
Tell him what I died while shedding tears
And throwing your arms around him.
Children are the soul of all humankind—
Whoever has no children mocks them and
While they may feel less pain, feel sadder happiness too”