ALL Classical Civ scholars (see description!)

flashcards reworded / taken from : hiiiiii652 (quizlet), emkate_knml (knowunity), PsychoMunchkin ('GetRevising'), emilynorthover (quizlet), Kemi_The_Hamster (quizlet), Freya :) (brainscape), Zac_Fitz12 (quizlet), happy studying!

Finely- heroes in the Odyssey?

there is only one real hero, which is Odysseus

Clarke-Telemachus

his development from boy to man in books 1-4 is key to the plot, as he plays a major role later on

Clarke - Homeric heroes

they are driven by their need for social validation

Morrison - the Suitors

the Suitors are bad guests and go against xenia, and their deaths represent good triumphing over evil

Morrison - Penelope

that her suffering is equal to Odysseus’

Jenkyns - Nausicaa

that she resembles a goddess

Griffin - the Phaeacians

that they’re a bridge between fantasy and reality, allowing Odysseus to transition back to the real world

Griffin - Penelope

she is like Odysseus with her self-command and intelligence

Sowerby - Polyphemus?

that his love for animals redeems him slightly

Sowerby - Argus (Odysseus’ dog)

his death marked the end of the period of neglect

Sowerby - the Suitors

that bc they had weapons, Odysseus is more heroic as he isn’t fighting unarmed men

Clayton - book 9 of the Odyssey

Odysseus compensates for his lack of physical impressiveness in Book 9 with his verbal skill

Jones - Polyphemus

that his defeat is Odysseus' greatest triumph

Jones - Penelope

Penelope's contest suggestion buys her more time for Odysseus to return

Jones- Antinous

his death represents how insensitive his crimes were, as he dies ingloriously

Jones - Odysseus and revenge

No Greek would have argued that Odysseus had no right for revenge

Schien - Polyphemus

Polyphemus' savagery is exaggerated by eating his victims raw

Bowra - heroism in the Odyssey

The Odyssey lacks heroism as Odysseus faces supernatural inferiors, rather than people and challenges greater than him

Barker - Odysseus

he learns not to brag and to keep his identity a secret

Barker - Circe

she’s of more use to Odysseus than Calypso

Murnaghan - disguise in the Odyssey

Odysseus' disguise could only be maintained with Athene's help, so divine intervention necessary

Williams - Aeneas as a person

he’s a complex and realistic character as he isn’t always a good leader or person

Gransden - Aeneas and his roles

his role as a father figure is as important as his role as a man of piety

Quinn - Aeneas and Augustus

that Augustus wanted to read an epic poem with himself as the hero (Aeneas helped make Augustus look like a better leader)

Gransden - fate in the Aeneid

it’s everywhere and controls everything but though events are predetermined, circumstances can change / it’s flexible

Quinn - characters in the Aeneid

they are easy to feel sympathy at one moment, and easy to feel sympathy for others at the next

Sowerby - relationships in the Aeneid

he says that father/son relationships are the closest bond in the poem

Williams - Aeneas

Aeneas is an ordinary mortal man, but he’s also puppet-like, made out to be a symbol

McKey - Aeneas’s shield

that it represents Rome’s greatness

Sowerby - Aeneid and Roman history

that the Aeneid is forever intertwined with Roman history

Gransden - Jupiter

he’s more stoic and dignified compared to Homer’s Zeus

Williams - Aeneas’ heroism

we’d expect it to be like Achilles

Sowerby - furor and Aeneas

that Aeneas quickly succumbs to furor (end of epic)

Williams - Aeneas’s fate

that he’s lost, it’s not his fate to find Rome but his son’s

Sowerby - Aeneas and adventure

that he doesn’t have the same want for adventure that Odysseus has

Sowerby - Aeneas

he is the chosen instrument of divine will

Quinn - furor in the Aeneid

it disgraces Aeneas’s humanity and it controls and motivates him in the last four books

Gransden - Virgil and war

it creates sympathy for both sides

Gransden - Juno

the tension resolves when she accepts the Roman destiny is inevitable

Patty - Aeneas and war

he’s greatly unhappy about war

Quinn - heroism in the Aeneid

it focuses on a new type of stoic heroism

Gransden - Turnus’s death

it can be seen as pious as Aeneas had a duty to Evander

Gransden - heroism in the Aeneid

it transforms the Homeric hero into something new, more Roman

Pattie - fate in the Aeneid

that he is free to leave his mission, he’s not bound by fate

Xinyue - Camilla

her gender will define her and she is a woman before she is a warrior

Reilly - gender roles in the Aeneid

Traditional gender roles are challenged i.e. Dido and Camilla (but they still demonstrate typical roman ideals)

Stuttard- the Bacchae

that it is one of Euripides’ most disturbing plays

Roisman - Agave

that no parent can watch Agave’s realisation and not feel sympathy

Roisman - the Bacchae

that it is the most tragic Greek play

Stuttard - themes in the Bacchae

themes of gender, identity, madness, and vengeance

Morwood - Dionysus in the Bacchae

he is the most terrifying and most gentle to mortals

Morwood - Dionysus’ affect

he disrupts the city’s social structure

Wyles - Pentheus’ cross-dressing

it shows Dionysus’s control over him

Garvie - the Bacchae

that the despair is heightened due to the joy that came before it

Roisman - Pentheus

Pentheus tries to suppress his want to see sex and Dionysus releases this in him

Mills - Pentheus

he thinks Dionysus’ religion is only an excuse for women to have sex and drink wine

Garvie - Oedipus as a play

that it perfectly reflects Aristophanes’ theory of tragedy

Garvie - Oedipus as a person

that by assuming he knows everything is in fact ignorant

Garvie - Tiresias and Oedipus

Tiresias is physically blind, while Oedipus, the physically sighted, knows nothing

Garvie - irony

that Sophoclean irony is most prominent in Oedipus Rex

Garvie - Oedipus’ ending

that in one sense, Oedipus didn’t fall as he wanted to find out the truth and did

Garvie - Oedipus’s fall

it was caused by both fate and Oedipus’s character but more his discovery than his crimes

Higgins - Oedipus and the audience

that as the audience watches everything unfold, we identify with Oedipus, sharing the horror

Higgins - Oedipus’s pride

that his over-eagerness in insisting Creon betrayed him showed his arrogance

Higgins - catharsis

(for Oedipus)

that pity and terror brings catharsis, realising that fate can’t be overpowered by will

Fagles - Oedipus

that Oedipus is his own destroyer

Goldhill - Oedipus

that he’s a paradox, both a saviour and a monster (going against societal norms)

Battendorf - Frogs

Frogs is not literary criticism but political action

Dover - Old Comedy

that oppressed classes like slaves and women often played prominent roles

Jones - comedy

that it is not an effective medium for political intervention

Redfield - Frogs

it shows the conflict between old and new politics

Redfield - Frogs’ ending

Aeschylus’ win is a rejection of the new lifestyle, and a return to the old

Argocs - Aristophanes

that he is the greatest in his genre

Russel- Dionysus in Frogs

that he’s a buffoon and coward

MacDowell - comedy

much of the comic effect must be visual

MacDowell - Aristophanes

he uses gods as comic characters

MacDowell - Xanthius

he has a strong strength of character, more than slaves in earlier Greek theatre

Cartledge - comedy

that it takes normal life and twists it

Kirk - Homer’s gods

that they create a change of atmosphere and mood because the gods are so different to our heroes

Griffins - Homer’s epics

Homer’s epics are filled with impressive gods

Sowerby - Gods’ morality

the gods are characteristically amoral

Haynes - the gods

they’re unpredictable and destructive like the natural world they are connected with

Haynes - worship

people may have partook in worship out of fear or social obligation

Haynes - statues

they were a representation and manifestation of the gods

parker - how people viewed gods

details were left open, so each person could imagine the gods how they wanted

Aston - sacrifice

the whole point was to give something economically or socially important to you

Aston - temples

it’s where people could contact or communicate with the gods

Zaidman and Pantel - Eleusinian mysteries

initiates were united by the shared experience

Seaford - Eleusinian mysteries

the aim was to remove the fear of death

Parikh - anatomical votives

it shows the process of healing as well as communication with a god

Burkert - sacrifice

sacrifice is an emotional experience

garland - gods and sacrifice

the gods took pleasure in the smoke from sacrifices

Garland - nature of the gods

the gods were all too human: greedy, petty, deceitful

Mikalson - gods vs literature

the human-like gods in greek literature were not the same the deities worshipped

Garland - Eleusis

the cult of Eleusis was centrally concerned with the afterlife

Garland - religion and society

there was no barrier between religion and society

Zaidman - festivals

festivals and civic life were inseparable

Garland - the Parthenon

it was a vanity box to show off the statue of Athena

Detienne and Vernant - blood sacrifices

the sacrifice was for a city of people who did not eat much meat

Petropoulou - sacrifice

animal sacrifice was the main offering