How do we square the idea of Helen as goddess of Sparta with the idea of Helen of Troy as we see her come to life in the Homeric Iliad? I hope to address this problem here by taking a second look at the idea of Helen’s ‘image-double’, the word for which in Greek was eidōlon. [full article here]
The way in which Helen recalls Alexander at Iliad 3.406–412 contributes a great deal to the cognitive and emotional characterization of the speech, and in particular to the expression of Helen’s mixed feelings towards Alexander. The speech reenactment by the Homeric performer shows a careful choice of third-person pronouns, which contribute to the depiction of Helen’s complex emotionality at that moment of the poem.
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For this rendering of Helen, I focused heavily on impressions gleaned from Euripides’s tragic play Helen, rather than better-known representations from Homer. [full article here]
“In the vast treasury of the myths, the (Greek) poet chose in turn the legend more adapted to the ceremony he wanted to celebrate”—so Bruno Gentili in a study of 1966 with the title “Poeta—committente—pubblico.” The example of Helen as cause of the Trojan war through the abduction by Paris gives the best opportunity to illustrate the adaptation of the heroic narrative to the circumstances of enunciation with poems by Alcman, Sappho, Alcaeus and Stesichorus. In these poetic recreations gender plays an essential role. [full article here]
In addition to her superlative beauty, Helen in the Iliad and Odyssey has exceptional talents. Here we will add two skills that she has not received enough credit for: Helen knows both how to spot an ambush in the making and how to tell a great ambush story. [full article here]
Donna Zuckerberg, editor of the online journal Eidolon, introduces the Helen-focused collaboration between two publications that have both existed for a little over a year now. [full article here]