Posts Tagged by Theseus
|June 21, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias reader||
2018.06.21 | By Gregory Nagy
§0. When Phaedra sees Hippolytus for the very first time, she is already falling in love with him. That is what Pausanias seems to be saying as he retells the myth. The ancient Greek word that he uses in this context is erasthēnai, which is conventionally translated as ‘fall in love with’. I think, however, that this translation can be misleading—unless the relevant contexts are explained from an anthropological perspective. I attempt such an explanation here. Relevant is an observation once advanced by the anthropologist Julian Pitt-Rivers (1970:870 n. 5) in an article he wrote for a Festschrift honoring Claude Lévi-Strauss: some “brave” person, he said, should write a study on the anthropology of love or, let me say it this way, of falling in love. I attempt here some preliminaries to such a study as I now proceed to ask this question: what’s love got to do with it?
|June 14, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader||
2018.06.14 | By Gregory Nagy
§0. My experiments with translating Pausanias, as reflected in several essays I have posted in Classical Inquiries, have by now reached a point where I have finished retranslating most of Pausanias Scroll 1. In the present posting, I explain what I mean by “retranslation,” showing a sample. In this sample, I retranslate the original Greek wording used by Pausanias as he briefly retells a myth about the sad death of an Amazon named Hippolyte.
|May 22, 2018||By Natasha Bershadsky listed under Guest Post||
2018.05.22 | By Natasha Bershadsky
§0. In 506 BCE Athens defeated Chalcis in battle and annexed the lands of the Chalcidian hippobotai. The ritual confrontations between the hippobotai and the Eretrian hippeis, and any attendant chariot-riding, must have come to an end. Intriguingly, however, it is possible to show that the young Eretrian democracy attempted to harness the power and prestige of the obliterated aristocratic tradition, rerouting the chariots onto a different track.
|April 26, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader||
2018.04.26 | By Gregory Nagy
This posting for 2018.04.26, on Pausanias 1.27.4–1.29.1, is a continuation of the posting for 2018.04.05, on Pausanias 1.24.8–1.27.3, but the format will now change. Besides the more focused comments that have characterized the postings on Pausanias so far, I will start to add some abridged comments that are more tentative, in need of more precision. A case in point, as we will see, is an abridged comment on what Pausanias at 1.28.7 says—and does not say—about the Cave of the Furies, situated at “ground zero” underneath the Areopagus in Athens. A photograph of that cave is shown here at the start of the post. Standing somewhat tentatively in front of that cave is the writer of all the comments that follow.
|February 1, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.02.01 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.01.25. I focus here on another Athenian myth, as mentioned by Pausanias at 1.20.3, about the abandonment of Ariadne by her lover Theseus and about her seduction or—in terms of the mention made by Pausanias—her abduction by the god Dionysus. Pausanias at 1.20.3 mentions the myth as he sees it represented on a wall painting located inside the sacred precinct of the god Dionysus. According to the myth, Ariadne had slept with Theseus and is still asleep as Theseus quietly leaves her and sails off to Athens. Now Dionysus approaches from afar, preparing to seduce or abduct Ariadne. In the close-up from a modern painting of this myth, we see Ariadne asleep in the foreground, while Theseus is already sailing off in the background.
|January 18, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader||
2018.01.18 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.01.11. I focus here on the details given by Pausanias at 1.17.3 describing a monumental wall painting in the sanctuary of Theseus. Depicted on this wall painting is the hero Theseus, who has just emerged from a deep-dive to the bottom of the sea. He is triumphantly holding in one hand the Ring of Minos and, in the other, the Garland of the sea-goddess Amphitrite, bride of Poseidon. The ring had been thrown into the sea by Minos, who challenged Theseus to recover it, while the garland was given to Theseus by Amphitrite, who had saved the hero from drowning and had thus made it possible for him to recover the ring. For the cover illustration, I have chosen a comparable mythological scene that was carved into a gem. It is a modern work of art. At the center is the hero Theseus, who is being carried along the sea-waves on the back of a dolphin and who is holding triumphantly a ring in one hand and a garland in the other—a garland of stars, it seems. This miniaturized scene as carved into a gem is comparable to the monumentalized scene that Pausanias saw painted on a wall in the sanctuary of Theseus.