Sickness and Knowledge

Sophocles, Trachiniae 1120-1121

“Say what you need to and leave! I am sick
And I can’t understand any of your ancient subtleties”

εἰπὼν ὃ χρῄζεις λῆξον· ὡς ἐγὼ νοσῶν
οὐδὲν ξυνίημ᾿ ὧν σὺ ποικίλλεις πάλαι.

 

Euripides, Orestes, 229-230

“Look, when someone is sick, their bed is dear.
It may be an annoying thing, but it’s still what they need.”

ἰδού. φίλον τοι τῷ νοσοῦντι δέμνια,
ἀνιαρὸν ὄντα κτῆμ᾿, ἀναγκαῖον δ᾿ ὅμως.

314-315

“Even if someone isn’t sick, but thinks they are,
They are struck by exhaustion and helplessness.”

κἂν μὴ νοσῇ γάρ, ἀλλὰ δοξάζῃ νοσεῖν,
κάματος βροτοῖσιν ἀπορία τε γίγνεται.

395-396

[Menelaos] “What thing do you suffer? What disease destroys you?
[Orestes]: “Understanding—that I know the terrible things I have done.”

ΜΕΝΕΛΑΟΣ τί χρῆμα πάσχεις; τίς σ᾿ ἀπόλλυσιν νόσος;
ΟΡΕΣΤΗΣ ἡ σύνεσις, ὅτι σύνοιδα δείν᾿ εἰργασμένος.

Hans Sebald Beham, The Death of Herakles

Untroubled as Day Passes to Night?

Euripides, Herakles Mainomenos 502-507

“I guess it is necessary that we die.
Old men—the matters of life are brief,
So complete this course as sweetly as you can,
Going untroubled as the days pass to night.

Time has no idea how to keep hope alive;
No, it hurries on for itself and flits away.

Just look at me: I was once something special to look at,
Famous for my deeds, but luck stole me away
In a single day, just like a feather on the wind.”

θανεῖν γάρ, ὡς ἔοικ’, ἀναγκαίως ἔχει.
ἀλλ’, ὦ γέροντες, σμικρὰ μὲν τὰ τοῦ βίου,
τοῦτον δ’ ὅπως ἥδιστα διαπεράσατε
ἐξ ἡμέρας ἐς νύκτα μὴ λυπούμενοι.
ὡς ἐλπίδας μὲν ὁ χρόνος οὐκ ἐπίσταται
σώιζειν, τὸ δ’ αὑτοῦ σπουδάσας διέπτατο.
ὁρᾶτ’ ἔμ’ ὅσπερ ἦ περίβλεπτος βροτοῖς
ὀνομαστὰ πράσσων, καί μ’ ἀφείλεθ’ ἡ τύχη
ὥσπερ πτερὸν πρὸς αἰθέρ’ ἡμέραι μιᾶι.

Hercules and the Hesperides, by G. A. Pellegrini

Write This Down: You are the City. You Are the people

Aeschylus, Suppliants 179-180

“I suggest you safeguard my words by writing them on tablet in your minds”
αἰνῶ φυλάξαι τἄμ᾿ ἔπη δελτουμένας

Aeschylus, Suppliants, 200-204

“Don’t be too aggressive or broken in speech:
These people are especially ready to be angry.
Remember to be accommodating: you are a foreign refugee in need.
To speak boldly is not a fitting move for the weak.”

καὶ μὴ πρόλεσχος μηδ᾿ ἐφολκὸς ἐν λόγῳ
γένῃ· τὸ τῇδε κάρτ᾿ ἐπίφθονον γένος.
μέμνησο δ᾿ εἴκειν· χρεῖος εἶ, ξένη, φυγάς·
θρασυστομεῖν γὰρ οὐ πρέπει τοὺς ἥσσονας.

Aeschylus, Suppliants, 370-375

“You are the city, really. You are the people.
An unjudged chief of state rules
The altar, the city’s hearth,
With only your votes and nods,
With only your scepter on the throne
You judge every need. Be on guard against contamination!”

σύ τοι πόλις, σὺ δὲ τὸ δάμιον·
πρύτανις ἄκριτος ὢν
κρατύνεις βωμόν, ἑστίαν χθονός,
μονοψήφοισι νεύμασιν σέθεν,
μονοσκήπτροισι δ᾿ ἐν θρόνοις χρέος
πᾶν ἐπικραίνεις· ἄγος φυλάσσου.

File:Nicolas Bertin - The Danaides in Hell.jpg

The Danaides in hell, by Nicolas Bertin

Aeschylus, Suppliants 991-997

“Write this down with the many other notes
In your mind of the wisdoms from your father:
An unfamiliar mob is evaluated by time,
But everyone has an evil tongue prepared to lash out
over immigrants and speaking foully is somehow easy.
I advise you not to bring me shame
Now that you are in the age which turns mortal gazes.”

καὶ ταῦτα μὲν γράψασθε πρὸς γεγραμμένοις
πολλοῖσιν ἄλλοις σωφρονίσμασιν πατρός,
ἀγνῶθ᾿ ὅμιλον ἐξελέγχεσθαι χρόνῳ·
πᾶς δ᾿ ἐν μετοίκῳ γλῶσσαν εὔτυκον φέρει
κακήν, τό τ᾿ εἰπεῖν εὐπετὲς μύσαγμά πως.
ὑμᾶς δ᾿ ἐπαινῶ μὴ καταισχύνειν ἐμέ,
ὥραν ἐχούσας τήνδ᾿ ἐπίστρεπτον βροτοῖς

Strong Winds and Serving Justice

Euripides, Andromache 479-485

“When strong winds carry sailors forward
Divergent opinions steering the ship
Or a mob thick with wise men is feebler
Than a single mind with self-control.
In city and under a single
Authority should be one person’s
Whenever we want to find success.”

πνοαὶ δ᾽ ὅταν φέρωσι ναυτίλους θοαί,
κατὰ πηδαλίων δίδυμαι πραπίδων γνῶμαι,
σοφῶν τε πλῆθος ἀθρόον ἀσθενέστερον
φαυλοτέρας φρενὸς αὐτοκρατοῦς.
ἑνὸς ἄρ᾽ ἄνυσις ἀνά τε μέλαθρα
κατά τε πόλιας, ὁπόταν εὑ-
ρεῖν θέλωσι καιρόν.

Euripides, Hecuba 834-845

“My speech is lacking one thing still.
I wish I had the voice in my limbs
And hands and hair and the march of my feet
Or the skills of Daidalos or some god
So I could completely grasp you by your knees
Wailing, laying about you with every kind of argument.
Master, great hope of life for the Greeks,
Heed me—lend an avenging hand to an old woman
Even if she is nothing at all.

For it is right that a good man serve justice
And always do evil everywhere to evil men.”

ἑνός μοι μῦθος ἐνδεὴς ἔτι·
εἴ μοι γένοιτο φθόγγος ἐν βραχίοσιν
καὶ χερσὶ καὶ κόμαισι καὶ ποδῶν βάσει
ἢ Δαιδάλου τέχναισιν ἢ θεῶν τινος,
ὡς πάνθ᾿ ἁμαρτῇ σῶν ἔχοιτο γουνάτων
κλαίοντ᾿, ἐπισκήπτοντα παντοίους λόγους.
ὦ δέσποτ᾿, ὦ μέγιστον Ἕλλησιν φάος,
πιθοῦ, παράσχες χεῖρα τῇ πρεσβύτιδι
τιμωρόν, εἰ καὶ μηδέν ἐστιν ἀλλ᾿ ὅμως.
ἐσθλοῦ γὰρ ἀνδρὸς τῇ δίκῃ θ᾿ ὑπηρετεῖν
καὶ τοὺς κακοὺς δρᾶν πανταχοῦ κακῶς ἀεί.

Euripides, Hecuba 885-887

Agamemnon: Frightening! But I surely can’t trust a woman’s strength.
Hecuba: Why? Didn’t women kill the sons of Aegyptus
And wipe Lemnos clean of all men?

δεινόν· τὸ μέντοι θῆλυ μέμφομαι σθένος.
ΕΚΑΒΗ
τί δ᾿; οὐ γυναῖκες εἷλον Αἰγύπτου τέκνα
καὶ Λῆμνον ἄρδην ἀρσένων ἐξῴκισαν;

Viviano Codazzi and Filippo Lauri – Arches in ruins and Hecuba’s vengeance over Polymestor

Flaying the Flayed Dog

Aristophanes, Lysistrata, 156-8

Kalonikê: But what if our husbands leave us?
Lysistrata: To use Pherecrates’ term: flay the flayed dog.
Kalonikê: These words of nonsense are just counterfeit [sex].

ΚΛ. Τί δ’, ἢν ἀφιῶσ’ ἅνδρες ἡμᾶς, ὦ μέλε;
ΛΥ. Τὸ τοῦ Φερεκράτους, κύνα δέρειν δεδαρμένην.
ΚΛ. Φλυαρία ταῦτ’ ἐστὶ τὰ μεμιμημένα.

Scholia:

“The word of Pherecrates: if our husbands despise us, then it is necessary to use dildos and to flog the flogged shaft. Pherecrates said this in a drama where the proverb is applied to those who are suffering something else in addition to what they have suffered.

(τὸ τοῦ Φερεκράτους: ᾿Εὰν ἡμᾶς παρίδωσιν οἱ ἄνδρες, τότε πάλιν ἐξέσται ὀλίσβοις χρήσασθαι, καὶ ἀποδέρειν τὰ ἀποδεδαρμένα σκύτη. Φερεκράτης ἐν δράματι εἶπε τοῦτο, ἔνθεν τάσσεται ἡ παροιμία ἐπὶ τῶν ἄλλο πασχόντων αὖθις ἐφ’ οἷς πεπόνθασιν.)

“to flay the dog”: this is an image for intemperate genitals. It is not found in the Saved [play] of the comic Pherecrates.

κύνα δέρειν: Σχῆμά ἐστιν ἀκόλαστον εἰς τὸ αἰδοῖον. ἐν δὲ τοῖς σωζομένοις (Φερεκράτους) τοῦ κωμικοῦ τοῦτο οὐχ εὑρίσκεται.

ta memimêmena: “Since they use a dildo instead of a penis. For she says that the words of others are nonsense”

τὰ μεμιμημένα: ᾿Επεὶ τῷ ὀλίσβῳ χρῶνται ἀντὶ τοῦ αἰδοίου. φλυαρία φησὶ τὰ ἀπὸ τῶν ἄλλων.

From the Suda

Olisbos: Genitals made from leather which the Milesian women used to use as tribades(!) and shameful people do. Widowed women also use them. Aristophanes writes “I did not see an eight-fingered dildo*/ which might be our leathered aid.”** This second part is drawn from the proverb “fig-wood aid” applied to weak people.

῎Ολισβος: αἰδοῖον δερμάτινον, ᾧ ἐχρῶντο αἱ Μιλήσιαι γυναῖκες, ὡς τριβάδες καὶ αἰσχρουργοί· ἐχρῶντο δὲ αὐτοῖς καὶ αἱ χῆραι γυναῖκες. ᾿Αριστοφάνης· οὐκ εἶδον οὐδ’ ὄλισβον ὀκταδάκτυλον, ὃς ἂν ἡμῖν σκυτίνη ‘πικουρία. παρὰ τὴν παροιμίαν, συκίνη ἐπικουρία. ἐπὶ τῶν ἀσθενῶν.

Image result for Ancient Greek Dildo vase
vers 490 av.JC, ancienne collection Dutuit, Petit-Palais, Musée des Beaux-Arts de la Ville de Paris.

Another proverb from the Suda, s.v. misêtê:

“And Kratinus said somewhere: “hated women use dildoes.”

καὶ ὁ Κρατῖνός που τοῦτο ἔφη: μισῆται δὲ γυναῖκες ὀλίσβωσι χρήσονται

(!) tribades: see the Suda again s.v. Hetairistai:

“Courtesanizers: The women who are called ‘rubbers’” [or ‘grinders’? i.e. Lesbians] Ἑταιρίστριαι: αἱ καλούμεναι τριβάδες. See also Hesychius s.v. dietaristriai: “Women who rub themselves against girls in intercourse the way men do. For example, tribades.”

διεταρίστριαι· γυναῖκες αἱ τετραμμέναι πρὸς τὰς ἑταίρας ἐπὶ συνουσίᾳ, ὡς οἱ ἄνδρες. οἷον τριβάδες (Plat. conv. 191 e).

*this is not an eight-shafted instrument but may instead point to the instrument’s length (c. six inches) . See the note on the Suda-online.

**Lysistrata 109-110.

The Lexicographer Photius repeats only the following definition:

Olisboi: Leather dicks

῎Ολισβοι: δερμάτινα αἰδοῖα.

The Scholia to Aristophanes’ Lysistrata 109-110 basically presents the same information:

Olisbon: A leather penis. And that is for the Milesian women. He is joking that they use dildos. The next part, “leathery aid” plays upon the proverb “fig-tree aid”, used for the weak. He has changed it to “leathery” because dildos are made of leather. They are leather-made penises which widowed women use.”

ὄλισβον: Αἰδοῖον δερμάτινον. καὶ τοῦτο εἰς τὰς Μιλησίας. παίζει δὲ ὡς τοῖς ὀλίσβοις χρωμέναις. σκυτίνη ἐπικουρία: Παρὰ τὴν παροιμίαν, συκίνη ἐπικουρία, ἐπὶ τῶν ἀσθενῶν. ὁ δὲ εἰς τὴν σκυτίνην μετέβαλε. σκύτινοι γὰρ οἱ ὄλισβοι. εἰσὶ δὲ δερμάτινα αἰδοῖα, οἷς χρῶνται αἱ χῆραι γυναῖκες.

And, the chaste H. Liddell could do no better than give this a Latin name:

ὄλισβος , ὁ, A.penis coriaceus, Cratin.316, Ar.Lys.109, Fr.320.13.

J. Henderson, The Maculate Muse, 222

skinned dog

A Comic’s Lament: Tragedy is So Easy

From Athenaeus, Deipnosophists 6.222c-e

“Since, friend Timocrates, you are always asking about the things said among the learned dinnermates, because you think that I am making up crazy things, let me remind you of what Antiphanes says in his play Poetry, in this way:

Tragedy is the luckiest art form
of all. First, the stories
Are already known by the audience
Before anyone even speaks—the poet only needs
To remind: “Oedipus I say…”
And they know the rest: father Laios,
mother Iocasta, some daughters, some sons,
what he will suffer, and what he has. And, again,
If someone says “Alkmaeon”, he’s just as good
as mentioned all his kids and that
he went crazy and killed his mother, and that
Adrastus will get angry and return.
Then when they can’t say anything else
And they have fallen down in exhaustion
they raise up their crane like little finger
and they have a happy audience!
But it isn’t like that for us, we a have to make up
everything, new names and….
then the events that happened
previously, currently, and at the end,
As well as an introduction!
If some Chremes or Pheidon
Misses even one of these things
They boo and hiss him off the stage.
But you can get away with this with Peleus and Teucer.”

᾿Επειδὴ ἀπαιτεῖς συνεχῶς ἀπαντῶν, ἑταῖρε Τιμόκρατες, τὰ παρὰ τοῖς δειπνοσοφισταῖς λεγόμενα, καινά τινα νομίζων ἡμᾶς εὑρίσκειν, ὑπομνήσομέν σε τὰ παρὰ ᾿Αντιφάνει λεγόμενα ἐν Ποιήσει (II 90 K) τόνδε τὸν τρόπον·

μακάριόν ἐστιν ἡ τραγῳδία
ποίημα κατὰ πάντ’, εἴ γε πρῶτον οἱ λόγοι
ὑπὸ τῶν θεατῶν εἰσιν ἐγνωρισμένοι,
πρὶν καί τιν’ εἰπεῖν· ὥσθ’ ὑπομνῆσαι μόνον
δεῖ τὸν ποιητήν. Οἰδίπουν γὰρ φῶ ……
τὰ δ’ ἄλλα πάντ’ ἴσασιν· ὁ πατὴρ Λάιος,
μήτηρ ᾿Ιοκάστη, θυγατέρες, παῖδες τίνες,
τί πείσεθ’ οὗτος, τί πεποίηκεν. ἂν πάλιν
εἴπῃ τις ᾿Αλκμέωνα, καὶ τὰ παιδία
πάντ’ εὐθὺς εἴρηχ’, ὅτι μανεὶς ἀπέκτονε
τὴν μητέρ’, ἀγανακτῶν δ’ ῎Αδραστος εὐθέως
ἥξει πάλιν τ’ ἄπεισι …………..
ἔπειθ’ ὅταν μηθὲν δύνωντ’ εἰπεῖν ἔτι,
κομιδῇ δ’ ἀπειρήκωσιν ἐν τοῖς δράμασιν,
αἴρουσιν ὥσπερ δάκτυλον τὴν μηχανήν,
καὶ τοῖς θεωμένοισιν ἀποχρώντως ἔχει.
ἡμῖν δὲ ταῦτ’ οὐκ ἔστιν, ἀλλὰ πάντα δεῖ
εὑρεῖν, ὀνόματα καινά, …………
………… κἄπειτα τὰ διῳκημένα
πρότερον, τὰ νῦν παρόντα, τὴν καταστροφήν,
τὴν εἰσβολήν. ἂν ἕν τι τούτων παραλίπῃ
Χρέμης τις ἢ Φείδων τις, ἐκσυρίττεται·
Πηλεῖ δὲ ταῦτ’ ἔξεστι καὶ Τεύκρῳ ποιεῖν.

What Use is a Good Reputation?

Sophocles, Oedipus at Colonus 141

“He is terrible to look at and terrible to hear”

δεινὸς μὲν ὁρᾶν, δεινὸς δὲ κλύειν

258-259

“What use is a good reputation? What good is
Fame flowing off to no end?”

τί δῆτα δόξης, ἢ τί κληδόνος καλῆς
μάτην ῥεούσης ὠφέλημα γίγνεται

852-855

“I know it and you will recognize it in time
That are are neither actly rightly now
Nor did you before, because in your love of your strength
You gave first place to your anger, the very thing that always ruins you.”

χρόνῳ γάρ, οἶδ᾿ ἐγώ, γνώσῃ τάδε,
ὁθούνεκ᾿ αὐτὸς αὐτὸν οὔτε νῦν καλὰ
δρᾷς οὔτε πρόσθεν εἰργάσω, βίᾳ φίλων
ὀργῇ χάριν δούς, ἥ σ᾿ ἀεὶ λυμαίνεται.

954-55

“Old age has nothing of rage except for dying
And no pain touches the dead.”

θυμοῦ γὰρ οὐδὲν γῆράς ἐστιν ἄλλο πλὴν
θανεῖν· θανόντων δ᾿ οὐδὲν ἄλγος ἅπτεται.

 1335-1339

“We are beggars and strangers, but you are a stranger.
You and I both live thanks to the good will of others
Since we have met the same fate.
A tyrant is in our home—it is terrible—
And he laughs as he mocks us in common.”

πτωχοὶ μὲν ἡμεῖς καὶ ξένοι, ξένος δὲ σύ·
ἄλλους δὲ θωπεύοντες οἰκοῦμεν σύ τε
κἀγώ, τὸν αὐτὸν δαίμον᾿ ἐξειληχότες.
ὁ δ᾿ ἐν δόμοις τύραννος, ὢ τάλας ἐγώ,
κοινῇ καθ᾿ ἡμῶν ἐγγελῶν ἁβρύνεται·

By Fulchran-Jean Harriet, “Oedipus at Colonus” 1798. Now in the Cleveland Museum of Art

counterpoint

The Ship of State, Operated by Fools

Schol. ad. Od. 8.17 (On why Odysseus is only responsible for the companions in his particular ship)

“According to the proverb “Common ship, common safety”

κατὰ τὴν παροιμίαν “κοινὴ ναῦς κοινὴ σωτηρία,”

Sophocles, Antigone 175–190 (Creon speaking)

“It is impossible to really learn a man’s
mind, thought and opinion before he’s been initiated
into the offices and laws of the state.
Indeed—whoever attempts to direct the country
but does not make use of the best advice
as he keeps his tongue frozen out of fear
Seems to me to be the worst kind of person now and long ago.

Anyone who thinks his friend is more important than the country,
I say that they live nowhere.
May Zeus who always sees everything witness this:
I could never be silent when I saw ruin
Overtaking my citizens instead of safety.

And I could never make my country’s enemy a friend
For myself, because I know this crucial thing:
The state is the ship which saves us
And we may make friends only if it remains afloat.”

ἀμήχανον δὲ παντὸς ἀνδρὸς ἐκμαθεῖν
ψυχήν τε καὶ φρόνημα καὶ γνώμην, πρὶν ἂν
ἀρχαῖς τε καὶ νόμοισιν ἐντριβὴς φανῇ.
ἐμοὶ γὰρ ὅστις πᾶσαν εὐθύνων πόλιν
μὴ τῶν ἀρίστων ἅπτεται βουλευμάτων,
ἀλλ᾿ ἐκ φόβου του γλῶσσαν ἐγκλῄσας ἔχει,
κάκιστος εἶναι νῦν τε καὶ πάλαι δοκεῖ·

καὶ μείζον᾿ ὅστις ἀντὶ τῆς αὑτοῦ πάτρας
φίλον νομίζει, τοῦτον οὐδαμοῦ λέγω.
ἐγὼ γάρ, ἴστω Ζεὺς ὁ πάνθ᾿ ὁρῶν ἀεί,
οὔτ᾿ ἂν σιωπήσαιμι τὴν ἄτην ὁρῶν
στείχουσαν ἀστοῖς ἀντὶ τῆς σωτηρίας,
οὔτ᾿ ἂν φίλον ποτ᾿ ἄνδρα δυσμενῆ χθονὸς
θείμην ἐμαυτῷ, τοῦτο γιγνώσκων ὅτι
ἥδ᾿ ἐστὶν ἡ σῴζουσα καὶ ταύτης ἔπι
πλέοντες ὀρθῆς τοὺς φίλους ποιούμεθα.

Antigone au chevet de Polynice

Heraclitus the Commentator, in defending the application of allegorical readings to Homer, argues that allegory is of considerable antiquity—used clearly by Archilochus when he compares the troubles of a war (fr. 54) and by Alcaeus when he compares the troubles of a tyranny to a storm at sea. He writes that Alcaeus “compares the troubles of a tyranny to the turmoil of a stormy sea.” (τὰς γὰρ τυραννικὰς ταραχὰς ἐξ ἴσου χειμερίῳ προσεικάζει καταστήματι θαλάττης, Homeric Problems 5.8)

Alcaeus fr. 326

“I cannot make sense of the clash of the winds
One wave whirls from this side,
Another wave comes from the other, and we in the middle
Are borne in our dark ship
Toiling ever on in this great storm.
The swell has taken he mast
And the sail is completely transparent—
There are great tears through it
And the anchors have broken free…”

ἀσυννέτημμι τὼν ἀνέμων στάσιν,
τὸ μὲν γὰρ ἔνθεν κῦμα κυλίνδεται,
τὸ δ’ ἔνθεν, ἄμμες δ’ ὂν τὸ μέσσον
νᾶϊ φορήμμεθα σὺν μελαίναι
χείμωνι μόχθεντες μεγάλωι μάλα·
πὲρ μὲν γὰρ ἄντλος ἰστοπέδαν ἔχει,
λαῖφος δὲ πὰν ζάδηλον ἤδη,
καὶ λάκιδες μέγαλαι κὰτ αὖτο,
χόλαισι δ’ ἄγκυρραι

Alcaeus, fr. 6a [P. Oxy. 1789 1 i 15–19, ii 1–17, 3 i, 12 + 2166(e)4]

“Now this higher wave comes harder than the one before
And will bring us much toil to face
When it overcomes the ship

Let us strengthen the ship’s sides
As fast as we can and hurry into a safe harbor.
Let no weak hesitation take anyone.
For a great contest is clearly before us.
Recall your previous toil.
Today, let every man be dedicated.
And may we never cause shame
To our noble parents who lie beneath the earth”

τόδ’ αὖ]τε κῦμα τὼ π[ρ]οτέρ̣[ω †νέμω
στείχει,] παρέξει δ’ ἄ[μμι πόνον π]όλυν
ἄντλην ἐπ]εί κε νᾶ[ος ἔμβαι
[ ].όμεθ’ ἐ[
[ ]..[..]·[
[ ]

φαρξώμεθ’ ὠς ὤκιστα̣[τοίχοις,
ἐς δ’ ἔχυρον λίμενα δρό[μωμεν,
καὶ μή τιν’ ὄκνος μόλθ[ακος
λάχηι· πρόδηλον γάρ· μεγ[ἀέθλιον·
μνάσθητε τὼ πάροιθα μ[όχθω·
νῦν τις ἄνηρ δόκιμος γε̣[νέσθω.
καὶ μὴ καταισχύνωμεν [ἀνανδρίᾳ
ἔσλοις τόκηας γᾶς ὔπα κε̣[ιμένοις

The text in Heraclitus’ Homeric Problems reads somewhat differently for the first line:

Τὸ δ’ ηὖτε κῦμα τῶν προτέρων ὄνω

Theognis 855-856

“This state has often run to ground like a failing ship
Thanks to the wickedness of its leaders.”

πολλάκις ἡ πόλις ἥδε δι᾿ ἡγεμόνων κακότητα
ὥσπερ κεκλιμένη ναῦς παρὰ γῆν ἔδραμεν.

Plato, Republic 6 488a7-89a2

[This was inspired by a”Ship of Fools” post at LitKicks]

Consider this how this could turn out on many ships or even just one: there is a captain of some size and strength beyond the rest of the men in the ship, but he is deaf and similarly limited at seeing, and he knows as much about sailing as these qualities might imply. So, the sailors are struggling with one another about steering the ship, because each one believes that he should be in charge, even though he has learned nothing of the craft nor can indicate who his teacher was nor when he had the time to learn. Some of them are even saying that it is not teachable, and that they are ready to cut down the man who says it can be taught.

They are always hanging all over the captain asking him and making a big deal of the fact that he should entrust the rudder to them. There are times when some of them do not persuade him, and some of them kill others or kick them off the ship, and once they have overcome the noble captain through a mandrake, or drugs, or something else and run the ship, using up its contents drinking, and partying, and sailing just as such sort of men might. In addition to this, they praise as a fit sailor, and call a captain and knowledgeable at shipcraft the man who is cunning at convincing or forcing the captain that they should be in charge. And they rebuke as useless anyone who is not like this.

Such men are unaware what a true helmsman is like, that he must be concerned about the time of year, the seasons, the sky, the stars, the wind and everything that is appropriate to the art, if he is going to be a leader of a ship in reality, how he might steer the ship even if some desire it or not, when they believe that it is not possible to obtain art or practice about how to do this, something like an art of ship-steering. When these types of conflicts are occurring on a ship, don’t you think the one who is a true helmsman would be called a star-gazer, a blabber, or useless to them by the sailors in the ships organized in this way?

νόησον γὰρ τοιουτονὶ γενόμενον εἴτε πολλῶν νεῶν πέρι εἴτε μιᾶς· ναύκληρον μεγέθει μὲν καὶ ῥώμῃ ὑπὲρ τοὺς ἐν τῇ νηὶ πάντας, ὑπόκωφον δὲ καὶ ὁρῶντα ὡσαύτως βραχύ τι καὶ γιγνώσκοντα περὶ ναυτικῶν ἕτερα τοιαῦτα, τοὺς δὲ ναύτας στασιάζοντας πρὸς ἀλλήλους περὶ τῆς κυβερνήσεως, ἕκαστον οἰόμενον δεῖν κυβερνᾶν, μήτε μαθόντα πώποτε τὴν τέχνην μέτε ἔχοντα ἀποδεῖξαι διδάσκαλον ἑαυτοῦ μηδὲ χρόνον ἐν ᾧ ἐμάνθανεν, πρὸς δὲ τούτοις φάσκοντας μηδὲ διδακτὸν εἶναι, ἀλλὰ καὶ τὸν λέγοντα ὡς διδακτὸν ἑτοίμους κατατέμνειν, αὐτοὺς δὲ αὐτῷ ἀεὶ τῷ ναυκλήρῳ περικεχύσθαι δεομένους καὶ πάντα ποιοῦντας ὅπως ἂν σφίσι τὸ πηδάλιον ἐπιτρέψῃ, ἐνίοτε δ’ ἂν μὴ πείθωσιν ἀλλὰ ἄλλοι μᾶλλον, τοὺς μὲν ἄλλους ἢ ἀποκτεινύντας ἢ ἐκβάλλοντας ἐκ τῆς νεώς, τὸν δὲ γενναῖον ναύκληρον μανδραγόρᾳ ἢ μέθῃ ἤ τινι ἄλλῳ συμποδίσαντας τῆς νεὼς ἄρχειν χρωμένους τοῖς ἐνοῦσι, καὶ πίνοντάς τε καὶ εὐωχουμένους πλεῖν ὡς τὸ εἰκὸς τοὺς τοιούτους, πρὸς δὲ τούτοις ἐπαινοῦντας ναυτικὸν μὲν καλοῦντας καὶ κυβερνητικὸν καὶ ἐπιστάμενον τὰ κατὰ ναῦν, ὃς ἂν συλλαμβάνειν δεινὸς ᾖ ὅπως ἄρξουσιν ἢ πείθοντες ἢ βιαζόμενοι τὸν ναύκληρον, τὸν δὲ μὴ τοιοῦτον ψέγοντας ὡς ἄχρηστον, τοῦ δὲ ἀληθινοῦ κυβερνήτου πέρι μηδ’ ἐπαΐοντες, ὅτι ἀνάγκη αὐτῷ τὴν ἐπιμέλειαν ποιεῖσθαι ἐνιαυτοῦ καὶ ὡρῶν καὶ οὐρανοῦ καὶ ἄστρων καὶ πνευμάτων καὶ πάντων τῶν τῇ τέχνῃ προσηκόντων, εἰ μέλλει τῷ ὄντι νεὼς ἀρχικὸς ἔσεσθαι, ὅπως δὲ κυβερνήσει ἐάντε τινες βούλωνται ἐάντε μή, μήτε τέχνην τούτου μήτε μελέτην οἰόμενοι δυνατὸν εἶναι λαβεῖν ἅμα καὶ τὴν κυβερνητικήν. τοιούτων δὴ περὶ τὰς ναῦς γιγνομένων τὸν ὡς ἀληθῶς κυβερνητικὸν οὐχ ἡγῇ ἂν τῷ ὄντι μετεωροσκόπον τε καὶ ἀδολέσχην καὶ ἄχρηστόν σφισι καλεῖσθαι ὑπὸ τῶν ἐν ταῖς οὕτω κατεσκευασμέναις ναυσὶ πλωτήρων;

Image result for ship of fools
Hieronymus Bosch, “Ship of Fools”

“If He Survives, He Will Rule the Land”

Aeschylus, Persians 210-214

“For me, this was frightening to see,
And for you to hear. Know well that my child
Would be wondrous to behold if he did well but,
He’s not beholden to the state:
he will rule the land if he merely survives.”

ταῦτ᾿ ἐμοί τε δείματ᾿ εἰσιδεῖν
ὑμῖν τ᾿ ἀκούειν. εὖ γὰρ ἴστε, παῖς ἐμὸς
πράξας μὲν εὖ θαυμαστὸς ἂν γένοιτ᾿ ἀνήρ·
κακῶς δὲ πράξας—οὐχ ὑπεύθυνος πόλει,
σωθεὶς δ᾿ ὁμοίως τῆσδε κοιρανεῖ χθονός.

Euripides, Andromache 391-393

“Won’t you kill him,
The cause of these things? No, you ignore the cause
And just charge against the symptom that came later…”

…οὐ κεῖνον κτενεῖς,
τὸν αἴτιον τῶνδ᾽, ἀλλὰ τὴν ἀρχὴν ἀφεὶς
πρὸς τὴν τελευτὴν ὑστέραν οὖσαν φέρῃ;

Euripides, Andromache 479-485

“When strong winds carry sailors forward
Divergent opinions steering the ship
Or a mob thick with wise men is feebler
Than a single mind with self-control.
In city and under a single
Authority should be one person’s
Whenever we want to find success.”

πνοαὶ δ᾽ ὅταν φέρωσι ναυτίλους θοαί,
κατὰ πηδαλίων δίδυμαι πραπίδων γνῶμαι,
σοφῶν τε πλῆθος ἀθρόον ἀσθενέστερον
φαυλοτέρας φρενὸς αὐτοκρατοῦς.
ἑνὸς ἄρ᾽ ἄνυσις ἀνά τε μέλαθρα
κατά τε πόλιας, ὁπόταν εὑ-
ρεῖν θέλωσι καιρόν.

834-845

“My speech is lacking one thing still.
I wish I had the voice in my limbs
And hands and hair and the march of my feet
Or the skills of Daidalos or some god
So I could completely grasp you by your knees
Wailing, laying about you with every kind of argument.
Master, great hope of life for the Greeks,
Heed me—lend an avenging hand to an old woman
Even if she is nothing at all.
For it is right that a good man serve justice
And always do evil everywhere to evil men.”

ἑνός μοι μῦθος ἐνδεὴς ἔτι·
εἴ μοι γένοιτο φθόγγος ἐν βραχίοσιν
καὶ χερσὶ καὶ κόμαισι καὶ ποδῶν βάσει
ἢ Δαιδάλου τέχναισιν ἢ θεῶν τινος,
ὡς πάνθ᾿ ἁμαρτῇ σῶν ἔχοιτο γουνάτων
κλαίοντ᾿, ἐπισκήπτοντα παντοίους λόγους.
ὦ δέσποτ᾿, ὦ μέγιστον Ἕλλησιν φάος,
πιθοῦ, παράσχες χεῖρα τῇ πρεσβύτιδι
τιμωρόν, εἰ καὶ μηδέν ἐστιν ἀλλ᾿ ὅμως.
ἐσθλοῦ γὰρ ἀνδρὸς τῇ δίκῃ θ᾿ ὑπηρετεῖν
καὶ τοὺς κακοὺς δρᾶν πανταχοῦ κακῶς ἀεί.

Aeschylus, Persians 266-7

“I was present there—not merely hearing other’s words
Persians, I can tell you what kinds of terrible things occurred.”

καὶ μὴν παρών γε κοὐ λόγους ἄλλων κλυών,
Πέρσαι, φράσαιμ᾿ ἂν οἷ᾿ ἐπορσύνθη κακά.

 

https://commons.wikimedia.org/wiki/File:Greek_Bireme_500BC.jpg

Staging Epic and Tragedy: A Workshop

In March of 2020, as pandemic lockdowns started in the US and the UK, Paul O’Mahony and I met with Keith DeStone and Lanah Koelle of the Center for Hellenic Studies to try to figure out some way to stay sane and to keep ‘working’ at something. A few days later we tried our very first recording of Reading Greek Tragedy Online, sketched out around the basic idea of bringing professional actors and academics into conversation about the performance of ancient tragedy. Early on, we were supported by the production team at the Center for Hellenic Studies and Kosmos Society with the creative direction of Out of Chaos Theatre. We also eventually received a grant from the Society for Classical Studies “Classics Everywhere” Initiative.

What happened next basically stayed true to our original idea, but also showed how limited our understanding of it was. We recorded over 40 videos between March and December, including segments from every full Greek tragedy, selections of fragments, three comedies, parts of the Iliad , a 24 hour performance of the Odyssey across six continents, and a competition for high school and college students with cash prizes (guided with help from Amy Pistone). We learned a lot from each other about Greek theater, interpreting Greek myth, and performing in the confines of the small screen. But I think we also learned a lot about why performing and interpreting these ancient texts together matters, especially during times of uncertainty and crisis.

Beyond all else, I learned how much a larger community can enrich this process. Part of our working practice from the beginning was to bring in as many people as possible and listen to their directions, reactions, and ideas. This week at the annual meeting of the AIA/SCS, Paul and I are holding a workshop to try to see where we can go next. We will be talking about the experience of performing these plays online with actors and other guests, but we will also be seeking advice for what we do next.

The workshop will be split into two halves, one reflective and instructive followed by an opportunity to engage in performance and staging itself. We are also eager to hear feedback about our work and have conversations about what happens next.

Prior registration is not required (although AIA/SCS Registration is!); no experience is required. Come and share a few hours reading and performing Greek tragedy.

 How it started

how it’s going

SCS-15: Staging Epic and Tragedy 9am-12pm CST [official description]

The format of this workshop will be practical, based on performing ancient texts and stories. It will focus in particular on staging ideas for tragedy and epic in theatre today and it will explore the positive impact of performance in academic settings. There will be practical exercises for those who would like to get involved and there will be discussion between the two panellists (the two organizers). This will be an opportunity to explore collaboration between academic and artistic practitioners, and to discover how such work can enrich their respective fields. There will be particular attention paid to the Aeneid, exploring the challenges posed by staging epic, and the opportunities created by ancient stories illuminating ongoing political and social upheaval within Europe (and beyond).

Here’s a podcast covering the creation of this series.

BADA is launching a program in part inspired by this series: Greek Theatre: From the Ancient World to the Modern, Through Theory and Performance