As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

The Homeric influence on two prominent avian images in the parodos of the Agamemnon—the vulture simile and the omen of the eagles and the pregnant hare —has long been noted. In 1979 West suggested that the animal imagery also derived in part from Archilochus’ fable of the fox and the eagle , and his discussion was quickly welcomed and supplemented by Janko's reading of the eagle and snake imagery used by Orestes at Cho. 246–7. Capping this triennium mirabile of critical (...) interest in Aeschylus’ birds of prey, Davies argued that the convincing resemblances between the fable and the Aeschylean passages in West's thesis—the anthropomorphism implied in παίδων and δεγπνον and the concern of Zeus for aggrieved animals —derive more generally from the nature of fable rather than from any one particular tale. Thus we have, according to Davies, an example of Aeschylus ‘exploring the resources and familiar modes of expression of a popular and well-known genre’ and transforming it into ‘the purest and sublimest type of poetry’. (shrink)

The Homeric influence on two prominent avian images in the parodos of the Agamemnon—the vulture simile and the omen of the eagles and the pregnant hare —has long been noted. In 1979 West suggested that the animal imagery also derived in part from Archilochus’ fable of the fox and the eagle, and his discussion was quickly welcomed and supplemented by Janko's reading of the eagle and snake imagery used by Orestes at Cho. 246–7. Capping this triennium mirabile of critical interest (...) in Aeschylus’ birds of prey, Davies argued that the convincing resemblances between the fable and the Aeschylean passages in West's thesis—the anthropomorphism implied in παίδων and δεγπνον and the concern of Zeus for aggrieved animals —derive more generally from the nature of fable rather than from any one particular tale. Thus we have, according to Davies, an example of Aeschylus ‘exploring the resources and familiar modes of expression of a popular and well-known genre’ and transforming it into ‘the purest and sublimest type of poetry’. (shrink)

In Eum. 1028–9 the Furies mark their transformation into Eumenides by donning red robes over their black costumes in imitation of the robes worn in the Panathenaea by metics . Greek epic was sensitive to the symbolic value of clothing and Aeschylus had experimented in the Persians with the greater scope that drama offered for clothing-symbolism. Scholars have detected a wealth of associations in the Furies' robing-scene: this culmination of the trilogy echoes the red carpet upon which Agamemnon walks to (...) his death in the first play, which is actually referred to as ‘garments’ , and the net in which Agamemnon is caught , which is brought on stage in the middle play . Another series of stage-actions of equal importance in preparing for the robing of the Furies has not been so well explained. (shrink)

In Eum. 1028–9 the Furies mark their transformation into Eumenides by donning red robes over their black costumes in imitation of the robes worn in the Panathenaea by metics. Greek epic was sensitive to the symbolic value of clothing and Aeschylus had experimented in the Persians with the greater scope that drama offered for clothing-symbolism. Scholars have detected a wealth of associations in the Furies' robing-scene: this culmination of the trilogy echoes the red carpet upon which Agamemnon walks to his (...) death in the first play, which is actually referred to as ‘garments’, and the net in which Agamemnon is caught, which is brought on stage in the middle play. Another series of stage-actions of equal importance in preparing for the robing of the Furies has not been so well explained. (shrink)

The name Iphianassa occurs only once in Latin literature—in the proem to De Rerum Natura. Here Lucretius illustrates the evils of religion with a description of Iphianassa's sacrifice at Aulis :illud in his rebus uereor, ne forte rearisimpia te rationis inire elementa uiamqueindugredi sceleris. quod contra saepius illareligio peperit scelerosa atque impia facta.Aulide quo pacto Triuiai uirginis aramIphianassai turparunt sanguine foedeductores Danaum delecti, prima uirorum.cui simul infula uirgineos circumdata comptusex utraque pari malarum parte profusast,et maestum simul ante aras adstare parentemsensit (...) et hunc propter ferrum celare ministrosaspectuque suo lacrimas effundere ciuis,muta metu terram genibus summissa petebat.nec miserae prodesse in tali tempore quibatquod patrio princeps donarat nomine regem.nam sublata uirum manibus tremibundaque ad arasdeductast, non ut sollemni more sacrorumperfecto posset claro comitari Hymenaeo,sed casta inceste nubendi tempore in ipsohostia concideret mactatu maesta parentis,exitus ut classi felix faustusque daretur.tantum religio potuit suadere malorum.It is clear that Lucretius treats the name Iphianassa as a synonym for Iphigenia. Homer and Sophocles mention a daughter of Agamemnon called Iphianassa, but in neither author is she the daughter who was sacrificed at Aulis. The first known mention of this myth was in the Cypria, where, according to the summary of Proclus, the daughter was called Iphigenia. Hesiod refers to it in the Catalogue of Women, where he calls the daughter Iphimede. From the fifth century b.c.e., the extant sources, beginning with Pindar and Aeschylus, call her Iphigenia. Why did Lucretius choose Iphianassa? (shrink)

In the light of the remarkable changes of political colour which Aeschylus has undergone in the hands of scholars, there is a certain amusing irony about the fact that the satyr-play which followed the Oresteia was the Proteus. Sadly, we know too little of the Proteus to say whether it would have resolved this debate about the Oresteid's political stance, though one may have one's doubts.

The paper examines the surviving references to the setting of the rapes in New Comedy. It argues that the fact that rapes are commonly set in the course of nocturnal festival activities should not be seen merely as a convenient plot device. By using Menander's Epitrepontes as a case study, the paper suggests that there is a close relationship between the character of the festivals where rapes are set and a major theme in the plays themselves: namely, the maturation of (...) the young protagonists and their transition into adulthood. The paper also offers a reassessment of the evidence we have for the Tauropolia—the Attic festival where the rape is set in the Epitrepontes. (shrink)

Atalanta, devotee of Artemis and defiant of men and marriage, was a popular figure in ancient literature and art. Although scholars have thoroughly investigated the literary evidence concerning Atalanta, the material record has received less scrutiny. This article explores the written and visual evidence, primarily vase painting, of three Atalanta myths: the Calydonian boar hunt, her wrestling match with Peleus, and Atalanta's footrace, in the context of rites of passage in ancient Greece. The three myths can be read as male (...) and female rites of passage: the hunt, athletics, and a combination of prenuptial footrace and initiatory hunt. Atalanta plays both male and female initiatory roles in each myth: Atalanta is not only a girl facing marriage, but she is also a female hunter and female ephebe. She is the embodiment of ambiguity and liminality. Atalanta's status as outsider and as paradoxical female is sometimes expressed visually by her appearance as Amazon or maenad or a combination of the two. Her blending of gender roles in myth offers insight into Greek ideas of social roles, gender constructs, and male perceptions of femininity. Erotic aspects of the myths of the Calydonian boar hunt and the footrace, and possibly also her wrestling match with Peleus, emphasize Atalanta as the object of male desire. Atalanta challenges men in a man's world and therefore presents a threat, but she is erotically charged and subject to male influence and dominance. (shrink)