By analyzing the parallels between Sappho's Brothers Song and archaic Greek songs of welcome, especially Archilochus fr. 24 West, this essay offers a new interpretation of the Brothers Song. It clarifies that ἔλθην in the first preserved stanza represents an original aorist indicative. The chatterer repeats over and over a welcome song that begins, “Charaxus arrived with a full ship.” The rest of the song continues to engage with the welcome song tradition, anticipating the welcome song that will celebrate Charaxus' (...) return to Mytilene, when and if that occurs. By pointing beyond itself to other, real or notional, songs about Charaxus, the Brothers Song also demonstrates Sappho's nonlinear method of storytelling that relies on her audiences' imaginations. (shrink)

Alone among surviving Athenian homicide orations, Antiphon's On the Murder of Herodes resembles a modern murder mystery. Antiphon's client, a Mytilenean named Euxitheus, tells a story of a stormy night, an isolated harbour, a drunken murder victim, a missing corpse, misleading bloodstains, forged documents and hints of political intrigue. And, like in any good whodunnit, Euxitheus insists that no one knows who the killer is. Although all the clues seem to point to him, he maintains that Herodes' relatives have manipulated (...) the evidence to make him seem guilty. We do not know whether Euxitheus succeeded in convincing his jurors, but the author of the Life of Antiphon attributed to Plutarch, who says that Antiphon was ‘adept in situations with no way out’, considers On the Murder of Herodes one of Antiphon's finest compositions. (shrink)