Organized by themes such as "Images and Imagination" and "Pride, Fate, Glory," each chapter includes a number of short sections on a particular topic as well as several specific "features"--concepts, individuals, or sites such as Mt. Olympus or the Parthenon--related to one of these topics. Included in the book are the adventures and conflicts of heroes from Herakles to Odysseus; the stories of such gods as Apollo and Aphrodite; the Dionysian revels; the noble ideals of the Olympic games; the Eleusinian mysteries, so secret that today we can only speculate about what they involved; and an overview of the Greeks' notable achievements in art and temple architecture.
Mythology by Edith Hamilton Call Number: A collection of Greek and Roman myths from various classical sources arranged in section on the gods and early heroes, love and adventure stories, heroes before and during the Trojan War, and lesser myths. Includes a brief section on Norse mythology.
Greek Mythology: Books
Google Books. Browse the Shelves These call numbers should help you find what you're looking for on the shelves. His book offers a fresh approach to Euripides, and to the tragic genre as a whole. This is the first major critical study of three late plays of Euripides: Helen, Andromeda and Numerous books have been written about Greek tragedy, but almost all of them are concerned with the 32 plays that still survive.
This book, by contrast, concentrates on the plays that no longer exist. Hundreds of tragedies were performed in Athens and further afield during the classical period, and even though nearly all are lost, a certain amount Numerous books have been written about Greek tragedy, but almost all of them are concerned with the Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern Its plot, which centres on Orestes' The surviving works of Aeschylus, Sophocles and Euripides have been familiar to readers and theatregoers for centuries; but these works are far outnumbered by their lost plays.
Between them these authors wrote around two hundred tragedies, the fragmentary remains of which are utterly fascinating.
In this, the second volume of a major new survey The surviving works of Aeschylus, Sophocles and Euripides have been familiar to readers and An introduction to linear acoustics and vibration, which attempts to bridge the gap between theoreticians and practitioners. An introduction to linear acoustics and vibration, which attempts to bridge the gap between Every New York Mets fan has a bucket list of activities to take part in at some point in their lives.
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Hall 23—5, etc. On the likely purpose and nature of the Poetics, see Lucas ix—xiv; Halliwell 7— But a 4th-cent. This may be true; but I believe that his remarks on plot can in fact be read as an illuminating description of tragic plots in general and, more importantly, one which embraces Helen and Iphigenia. This is the most important question, but it eludes a simple answer.
Halliwell It is perhaps unsurprising that myths should become progressively more elaborate with subsequent tellings. Primitive myths might acquire additional elements which were later to become widely accepted: certain versions of myths might even gain priority over other, earlier ones.
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This type of exercise has been taken to an extreme by, for example, M. Cox of the British Folk-Lore Society, who painstakingly analysed versions of the Cinderella story. Which elements are intrinsic or necessary, and which are peripheral?
Another related question is this: when are two narratives telling the same story? Tragedies, whatever else they do, certainly tell stories, but they also have other functions. This is reminiscent of the Formalist distinction between sjuzhet and fabula. A little should be added about the elements that make up a myth.
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These consist of, roughly, characters and events. Just as there may be as many narratives as readers, so there may be as many ways of segmenting myths or plots into events and sequences. See Kirk for a summary of approaches to myth. Easterling 99; Goldhill In Figures 2. Yet this gives rise to more problems. How much overlap is there? More detail can be found in LIMC s. Myth, Fiction, Innovation 67 Figure 2. Andromeda fr. By phantom double Hesiod fr.
So the idea of extracting only those elements which are common to all tellings is less feasible in practice than in theory. But this in itself reveals something very important about myths. Detailed examination of any myth uncovers many inconsisten- cies of detail, major and minor. The four similar names Iphigenia, Iphimede[a], Iphinoe and Iphianassa are sometimes used inter- changeably to refer to the same person, but in some versions it is clear that Iphianassa, Iphigenia and Iphimede are quite distinct.
In Apollodorus, for example 1. It seems likely that the similar-sounding names caused confusion, with the result that up to four characters became three, two or one. Myth, Fiction, Innovation 71 myths, but a vast, diverse, unsystematic tradition. It is possible that the Homeric poems come fairly close to being an authoritative source of myth;38 and it may also be true that epic and tragic myths, since they reached a wider audience through performance, were de facto more authoritative than others. Athenaeus 8. This presents another problem, and another contradiction with evidence which suggests that people did widely know tragic myths e.
Bowie One might also compare the statement of S Pind. A similar point is made by Plutarch Quomodo Adul. See Morgan on all these aspects. Myth, Fiction, Innovation 73 Myth is the traditional, inherited material. The same terminology is used also of epic Poet. Which characters from the myth, for instance, will appear as characters in the tragedy? Should he insert plot elements such as ignorance, peripeteiai, pity and fear and in what order? What happens on-stage—the entry and exit of characters; their dialogue, physical actions, movements and gestures; recognitions; supplications; lamentations; rituals—is often peripheral to the main events of the myth.
Sometimes the precise order and mixture of events included in a plot would seem more familiar than in others,54 but usually the composition of the plot and the selection of events and characters 51 Cf. In other words, some plots had been used before. This seems the most natural reading of that passage; Lucas  ad loc. Aristotle goes on Poet. Myth, Fiction, Innovation 75 from the myth relied on the creativity of the individual play- wright.
It takes the form of a synkrisis of the tragedies of Aeschylus, Sophocles and Euripides on the same subject, Philoctetes. That is, if more Greek poetry had survived, we might be able to identify more inherited material. Dialogue between Perseus and Andromeda; he pities her p , —8 Perseus falls in love with Andromeda? It is clear from the above that the myth is found largely in the pro- logue, choral odes and epiphany-speeches, but that the plot accounts for the larger share of events. In this respect, the escape-tragedies correspond to the normal pattern of other tragedies.
Whether or not Euripides actually invented these counterfactual stories, he makes them seem identical to other myths in normal tragic usage. But did he invent them?
Euripides, Erotic Love, and Marriage: A Close Analysis of Helen and Andromeda
If it could be shown that Euripides had invented these revised myths as well as his plots , then these tragedies must be seen as deviant from the norm. It is more likely, as I shall argue in the following section, that Euripides did not invent the phantom- double of Helen or the substitution at Aulis, but inherited them from a complicated and contradictory tradition.
It is the myths themselves which are unusual—i. Only the tiniest fraction of Greek literature survives—perhaps one or two per cent. A recent book on allusion and intertextuality in Greek poetry 59 Most early poetry is represented only by titles or fragments. We may assume that during the 5th cent. Tragedy, moreover, was a popular genre with a wide geographical and chronological reception.
By contrast, other poetic genres lyric, dithyramb, etc. Myth, Fiction, Innovation 81 discusses in its introduction some of the unanswered, and perhaps unanswerable, questions which assail the critic. Surviving ancient criticism relating to the period does not discuss this subject but that does not prove or disprove anything. Also, although all that survives of the mythical-literary tradi- tion is a collection of literary texts, these texts were not the only vehicle for ancient myth and storytelling.
Oral, active, non- recorded means of dissemination will have been equally impor- tant; nor should we forget about the iconographic tradition. One is forced to make much—perhaps too much—of little.