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

that she is like Odysseus with her self-command and intelligence

Sowerby - Polyphemus?

that his love for animals redeems him slightly

Sowerby - Argus (one of the suitors)

his death marked the end of the period of neglect

Sowberry - 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

what does Jones say about 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

what does Schien say about 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

that 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

what does Pattie say about 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

what does Roisman say about 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

what does Garvie say about 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

what does Dover say about Old Comedy

that oppressed classes like slaves and women often played prominent roles

What does Jones say about 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

that much of the comic effect must be visual

MacDowell - Aristophanes

that 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