Showing posts with label Center for Hellenic Studies. Show all posts
Showing posts with label Center for Hellenic Studies. Show all posts

Sunday, May 31, 2015

TFBT: Folk-tale Elements in the Cypria


I highly recommend Malcolm Davies article at the Center for Hellenic Studies website.  He analyzes the extant fragments of the Cypria and Proclus’ summary of the epic using standard European folk-tale motifs.    For those unfamiliar with the Cypria, Davies explains that it explains that Zeus and Themis conspired to ignite the wars at Thebes and Troy with their,  inevitable tally of deaths, as part of a cosmic plan to lighten the burden of the earth, which was being trodden under foot by more and more human beings”    

Davies discusses several folk-tale motifs in the myths of the Cypria; one in particular he calls the offended deity syndrome, it can be a crime of commission or omission.  This brings us to the next phase in Zeus’ plan the wedding of the hero Peleus and his reluctant bride, the Nereid Thetis.  The goddess of strife, Eris is not invited.  As Davies points out Eris much like the forgotten fairy at the baptism party in Sleeping Beauty.  It is Eris who tosses the golden apple into the midst of the gods engraved with the fateful words “For the fairest”.    Davies points out that

since Greek sacrifice to gods was originally conceived as a feast to which the gods were invited, there is no significant distinction between the two aspects of failure to sacrifice and failure to invite to a festival.  He adds that “A striking feature of… the offended deity’s anger is regularly vented not directly upon the perpetrator of the crime, but on a member of his or her family, more often than not an offspring, and within that category most often a daughter.” 

 He then proceeds to suggest that Eris’ intent was not just to spoil the reception, but that she was actually arranging “ punishment of the offspring of the offender who failed to invite (her) in the first place, that is, of Achilles. “

The next major event in Themis and Zeus’ plan to “lighten the burden of the earth” is the “Judgement of Paris.”  Athena, Aphrodite and Hera each vie for the apple and ask Zeus to decide.  Zeus being no fool defers to a Trojan prince named Paris (Alexander) and sends his wife and daughters off to him with Hermes.

“…the dilemma which the “hero” faces when, by gratifying one of the trio, he inevitably ensures the life-long enmity of the remaining two. This is, indeed, precisely Paris’ dilemma. The notion that the powerful protection of the favoured party can somehow overcome or outweigh the ill consequences of the fateful choice.... Paris, choosing Aphrodite, is gifted in love but is forever without talent in the civic and military spheres of his life”. A great contrast, one might add, to his brother Hector.” 

 

(Davies explains it was the) …wrong choice represented by Paris’ preferring of Aphrodite,” Unarguably, Aphrodite was the wrong choice because she could not stop the death of Paris, all his male relatives, enslavement of the women of Troy and the destruction of the city.  Davies and Robert Graves (The Greek Myths, page 19) argue that the winner of such a contest should be the youngest, the “ultimogeniture”.  But Hera was from the generation before Athena and (Dione’s daughter) Aphrodite so by Davies definition the wrong choice.  Athena was Zeus’ first child. (Hesiod, Theogony 885) This makes Aphrodite as the youngest and still according to Davies the “wrong choice”. 

If Paris had free will, which goddess would have been the right choice, I wonder?

 

 Malcolm Davies, "Folk-tale Elements in the Cypria," Classics@ Volume 6: Efimia D. Karakantza, ed. The Center for Hellenic Studies of Harvard University, edition of December 21, 2010.

 

 

 

 

 

Tuesday, August 19, 2014

TFBT: THIS WEEK @ HOUR 25


Dear all,
We have exciting news to share from HeroesX, CHS, and Hour 25!

HeroesX
A new session of The Ancient Greek Hero in 24 Hours will start on September 2, 2014. Registration is free and open to all via edX. This new session will be divided up into five manageable units, or "modules." The first is titled "Epic and Lyric." Join us for just one module or all five! We hope to see many of you on the "Discussion Board." Stay tuned for more details!

CHS
The Center for Hellenic Studies is delighted to announce these upcoming events with "Visiting Scholars." Please join us for these discussions!



Hour 25 
Currently, two community-organized study groups are inviting new participants to learn "just enough" Greek. 



The Oinops Study Group has posted yet another interesting blog: Hesiodic Advise on OinopsYou can view all the previous blogs by the Oinops Study Group here.

Saturday, March 8, 2014

TFBT: And Nothing Will Ever Be the Same


Hour 25 is a Community Development project sponsored by Harvard’s Center for Hellenic Studies.  Each Friday one of our members proposes a topic to share with the rest of the 1000 registered users.  It is a chance to get to know one another better and do a little bonding.  Hmm, bonding?  If, I may quote Detienne and Vernant, bonds are the privileged weapons of “metis”.  (That’s a little classicist humor there.  I will try to stop myself in the future!)  Anyway, the topic for this week is “milestones”.

I started to respond with a list of incredible moments in my life as sharp in my memory as a break-taking landscape in the just- risen, naked sun.  Too many came, too many moments when afterwards I can truly say like Riff Raff , “And nothing will ever be the same.”  So I skipped to the last of my milestone moments; this moment that I live right now.    

I followed Dr. Gregory Nagy for years.  First, through his articles at JSTOR and his very accessible books.  My favorite is The Best of the Achaeans.    With a shiver of anticipation I discovered his filmed lectures on-line one day.  Dr. Nagy began recording and posting his lectures and reading assignments on-line long before it was the thing to do.  I followed him and Kevin McGrath through two years of pre-recorded offerings at Harvard pretending I was in the enthusiastic audience, amongst people who shared my interest in classical studies.  Clearly my dream was to actually attend Harvard, but…

Then along came The Ancient Greek Hero in 24 Hours.  Called HeroesX for short.  It was, is and will be a massive on-line open classroom (MOOC).  The first round included 30,000 participants.  Weekly we read 4-6 hours, watched sometimes a dozen video clips, wrote essays, took tests and participated in an on-line forum.  It was literally my dream come true.  I told everyone about it.  In particular my friend Alan. 

Alan, now retired, and I attend the same church and once worked in the same office.  During Monday morning coffee breaks we would discuss the sermon and scripture readings from the day before.  One of the techniques taught in HeroesX is called “close reading”.  This form of analysis greatly improved my understanding of scripture and our conversations.  So, Alan would always ask what was happening at “Harvard”.  Alan heard about HeroesX a lot, because after the first version ended, I immediately signed up for the second version of the class.   

But all good things must come to an end.  In the fall HeroesX ended again, Alan retired, my family went to Maui for the Christmas and promptly in January I attended a professional conference I utilized for retirement planning.  As I finalized my new year’s resolutions, a letter came from the Center for Hellenic Studies.  (If you want to hear God laugh, tell Him your plans.)  It announced Hour 25; an opportunity for graduates of HeroesX to continued their studies together.

During the sharing of the peace a few Sundays ago, Alan and I finally got caught up.    I mentioned Hour 25.  “Bill” he says to me, “This is beyond a dream come true for you, isn’t it?”  Awed at the notion I numbly nodded in reply.   In regard to my retirement plans, he asked if Hour 25 would lead to a second career.  I said no, and then hesitated.  “Bill, a new door has opened in your life.  Opened just a few inches and you don’t know what fully lies on the other side.”

All I could think as I returned to my pew was; “And nothing will ever be the same.”

Thursday, November 7, 2013

TFBT: Schurr’s Subtext in the Introduction to the Iliad

I recently stumbled upon “Recreating the Creation: Reading between the Lines in the Proem of the Iliad by Emily Schurr at the Center for Hellenic Studies website.  

 First let me say, “What great writing!  I love her style and her clarity.  Amazement and delight crowned  both the quality of her writing and the content. That said, “Wow!  She gave me a headache!”  But it was a good headache, sort of like a brain-freeze on a hot day.  The solution in both cases was the same, take a smaller bite and give it a chance to digest before greedily going for the next delicious tidbit.  Her observation on the unnamed goddess in the first line of Homer’s epic, The Iliad amazed me.

Her whole argument is about a subtle subtext in the opening of the epic Iliad is eloquent, insightful and thought provoking.  The Iliad composed by Homer opens like this;  

The wrath sing, goddess, of Peleus' son, Achilles, that destructive wrath which brought countless woes upon the Achaeans, and sent forth to Hades many valiant souls of heroes, and made them themselves spoil for dogs and every bird; thus the plan of Zeus came to fulfillment, from the time when first they parted in strife Atreus' son, king of men, and brilliant Achilles.”  (translated by A. T. Murray)  

 

The above  is sort of an executive summary presented by Homer.  In the same seven lines he also upon the presumably the Muses for inspiration .  They are the goddesses of the arts and Clio goddess of epic in particular. 


Emily Schurr saysAfter more than two thousand years of scholarship, countless commentaries, publications and lectures, one might very well ask if there is anything more to be mined from these seven over-studied lines. It is my intention to argue that there is…previously undiscovered, and highly meaningful, subtext.”  What she is suggesting is that Homer’s opening remarks are arranged in such a way to remind us of other stories and to imply a few things about his epic song without actually saying it.   

She points out that, in the first line alone, we have a goddess, (who will sing the plot of the Iliad and the story of Achilles) ; the son, (with wrath of cosmic consequences) and a father. Such three closely grouped characters might  hint at a family, because Achilles' mother  Thetis  is a goddess.  And Thetis is famous for singing laments for her son throughout the Iliad.   More on this later.   

The next character to enter these famous seven lines with  the  “goddess and son, united in their song-plot and anger” is  Zeus whose “plan is in the process of being fulfilled, of which theirs is a part”  If we are looking for subtley here we could envision Zeus as an alternative father figure in this “happy family”. 

For line 7, Schurr suggests that in Anciet Greek the phrase “from the time when first”  sounds like “from that time in the beginning  To use an ancient disclaimer: I have not Greek.   I cannot comment.  But if I had noticed earlier on that Homer was specific about the names of the three male characters and notable not of the female character  I might start wondering about the rest of this introduction.  

Schurr then spends the next two pages explaining the Hesiodic Succession Myth.  Hesiod was the poet that told about the first of the great sky gods; Uranus.  Uranus knew that one of his sons would over throw him and take over the rule of the universe.  So, he kept all his children by the earth goddess Gaea in the womb.  There were eighteen children; several of them of monstorous size.  The youngest son Cronus with the help of his mother finally over threw his father.  Same prophecy applied to the security of his throne, so he kept all his six children in his belly by swallowing them at birth.  His youngest Zeus with the help of his own mother and grandmother Earth  over threw Cronus.  Same prophecy applied to Zeus’ uneasy crown.  So, he swallowed his first wife Metis when she became pregnant.  Guess what?  Wrong wife.  The product of that union was the goddess Athena.   

There was a still a potential male heir out there; Achilles.  If Zeus bedded Thetis Achilles would overthrow him, so Thetis was married to the mortal Peleus to avoid the danger.   Schurr says  The parallels to the cosmic succession struggle seem to be simply too strong to miss.” She has uncovered the plot narrative of the subtext. It is, the story of the primordial conflict  of earth goddess  and sky god, with the mother's opposition to her husband's will and  her patronage of the son's quest for sovereignty over the universe.  “In other words, the entire struggle for succession is played out in a mere six lines of poetry,” 

But, being mortal Achilles quest is doomed to fail. Zeus will win out in the contest for universal domination and for the plot of the Iliad. But…”the fact that the potentiality for an alternative interpretation is left open - that the Muse is not specifically signalled, despite the fact that every other invocation in the Iliad addresses them directly (suggests that another goddess) may also be felt….Now, singing goddesses, once we start looking beyond the Muse, are often extremely dangerous”  Schurr goes on list the striking similarities between the Metis of the Hesiod’s  succession myth and Thetis in further proof of what could have been.  

Schurr concludes that Homer formulates the subliminal archetype “roles of creative mother, retributive son and transgressive father”  then opens the Iliad by “invoking the creative powers of the goddess and the menis of the son, endowing them with power in the language of their cosmic parallels; but they turn out to be mere shadows of their alter egos, unable to uphold the challenge to Zeus, unable to turn the narrative to their advantage.”