MythologyMythologyDocumentariesFestivalspersonswarsBeutiful HellasArtFun
Εμφάνιση αναρτήσεων με ετικέτα Greek Myths. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Greek Myths. Εμφάνιση όλων των αναρτήσεων

29.1.17

The Legend of Aegeus

Theseus slays the Minotaur. Detail from Attic red-figure pelike. ca. 470 BC. From Cerveteri, Italy. Museo Gregoriano Etrusco

According to Greek Mythology, Cape Sounion is the spot where Aegeus, king of Athens, leapt to his death off the cliff, thus giving his name to the Aegean Sea.The story goes that Aegeus, anxiously looking out from Sounion, despaired when he saw a black sail on his son Theseus's ship, returning from Crete. This led him to believe that his son had been killed in his contest with the dreaded Minotaur, a monster that was half man and half bull. The Minotaur was confined by its owner, King Minos of Crete, in a specially designed labyrinth. Every year, according to the myth, the Athenians were forced to send seven men and seven women to Minos as tribute. These youths were placed in the labyrinth to be devoured by the Minotaur. Theseus had volunteered to go with the third tribute and attempt to slay the beast. He had agreed with his father that if he survived the contest, he would hoist a white sail on his return. In fact, Theseus had successfully overcome and slain the Minotaur, but tragically had simply forgotten about the white sail.
The earliest literary reference to Sounion is in Homer's poem the Odyssey, probably composed in the 8th century BC. This recounts the mythical tribulations suffered by Greek hero Odysseus in a gruelling 10-year sea-voyage to return to his native island, Ithaca, in the Ionian Sea, from the sack of Troy. This ordeal was supposedly inflicted upon him by Poseidon, to whom the temple at Sounion was dedicated. The story recounts that as the various Greek commanders sailed back from Troy, the helmsman of the ship of King Menelaus of Sparta died at his post while rounding "holy Sounion, cape of Athens". Menelaus landed at Sounion to give his companion full funeral honours (i.e., cremation on a funeral pyre on the beach). The Greek ships were then caught by a storm off Cape Malea and scattered in all directions.

Source/Photography/Bibliography

Adkins, A.W.H. (1960), Merit and Responsibility. A Study in Greek Values.
Oxford, Clarendon Press.
Adkins, A.W.H.(1972), Moral Values and Political Behaviour in Ancient
Greece. From Homer to the End of Fifth Century. Chatto & Windus,
London.
Αélion, R. (1986), Quelques grands mythes héroiques dans l‟ œuvre d‟
Euripide. Paris.
Alfieri, N. (1966), ―Da Spina: un nuovo vaso con il mito di Egeo e Medea‖ in
Mélanges d'archéologie et d'histoire offerts à André Piganiol / édités
par Raymond Chevallier, Paris: S.E.V.P.E.N.
Allan, W. (2008), Euripides Helen, Cambridge Univ. Press
Allen, J.T.-Italie, G.(1970), A Concordance to Euripides, Groningen &
Collard, C.
 (1971), Supplement to the Allen-Italie Concordance to Euripides,
Groningen
Aλνπάξ, Φ. Υ.(1998), Ζ έλλνηα ηνπ πινύηνπ ζηηο ηξαγσδίεο ηνπ Δπξηπίδε.
Γηδαθη. δηαηξηβή, Ησάλληλα.
Appleton, R.B. (1920), ―The Deus ex Machina in Euripides‖. The Classical
Review 34, 10-14.
Αrafat, K.W.(K.W.A.),The Oxford Classical Dictionary 20033
, edit. by
S.Hornblower and A.Spawforth, Oxf.Univ.Press, ι.Theseus.
Arnott, W.G. (1996), Alexis, The Fragments, A Commentary. Cambridge
Univ. Press.
Bain, D. (1982), ―Euripides' Treatment of Myth‖. The Classical Review 32, 2 ,
136-137.
Barlow, S.A. (1995), ―Euripides Medea: Α Subversive Play‖ in Stage
Directions. Essays in Ancient Drama in Honor of E.W. Handley. Edited
by Alan Griffiths, Institute of Class. Studies, Univ. of London School of
Advanced Studies.
Barrett, W.S. (1964), Hippolytos edit. with introduction and commentary,
Clarendon Press, Oxford.
Barrett, J. (2002), Staged Narrative. Poetics and the Messenger in Greek
Tragedy. University of California Press, Berkeley, Los Angeles,
London.
Belfiore, E. (2000), Murder among Friends.Violation of Philia in Greek
Ttragedy, Oxford-New York.
Boegehold, A.L. (1999), When a Gesture was Expected. A Selection of
Examples from Archaic and Classical Greek Literature. Princeton
University Press, Princeton, New Jersey.
Boer, W. Den (1969), ―Theseus: The Growth of a Myth in History‖, Greece &
Rome 16,1, 1-13.
84
Bryant, J.M. (1996), Moral Codes and Social Structure in Ancient Greece. A
Sociology of Greek Ethics from Homer to the Epicureans and Stoics.
State Univ. of New York Press.
Bremer, J.M. (1986), ―Why Messenger-Speeches?‖, ζην Miscellanea Tragica
in Honorem J. C. Kamerbeek. Collegerunt J. M. Bremer, S. L. Radt,
C. J. Ruijgh, 29-48, Amsterdam.
Brooks, R.A. (1984), Ennius and Roman Tragedy. New Introduction By K.J.
Reckford, Ayer Company, Publishers INC, Salem, New Hampshire.
Buchwald, W. (1939), Studien zur Chronologie der attischen Tragödie 455
bis 431. Weida i. Thür. [θξηηηθή Pickard-Cambridge, A. W. (1939), The
Classical Review 53, 216].
Burian, P. (2007), ―Πψο έλαο κχζνο γίλεηαη κχζνο ηξαγσδίαο: ε δηακφξθσζε
ηεο ηξαγηθήο πινθήο‘‘ ζηνλ Οδεγό γηα ηελ Αξραία Διιεληθή Σξαγσδία
απ‟ην Παλεπίζηήκην ηνπ Καίκπξηηδ, επηκ. Easterling, P.E., κηθξ.-
επηκέιεηα Λ.Ρφδε- Κ.Βαιάθαο, Παλ/θέο εθδφζεηο Κξήηεο, Ζξάθιεην.
Burian, P. (2007), Euripides Helen. With Introduction, Translation and
Commentary. Aris & Philips Classical Texts.
Burnett, A. P. (1962), ―Human Resistance and Divine Persuasion in
Euripides' "Ion", Classical Philology 57, 2, 89-103.
Burnett, P.A. (1971), Catastrophe Survived. Euripides Plays of Mixed
Reversal. Oxford.
Cairns, D. (2010), Ζζηθέο Αμίεο, ζην ΋ςεηο θαη Θέκαηα ηεο Αξραίαο Διιεληθήο
Σξαγσδίαο, 31 εηζαγσγηθά δνθίκηα, κε 14 εηθόλεο εληόο θεηκέλνπ,
Justina Gregory, 422-444. Mηθξ Μ. Καίζαξ, ΋. Μπεδαληάθνπ, Γ.
Φηιίππνπ. Δπηκ. Γ. Ηαθψβ.
Cameron, A. (1995), Callimachus and His Critics. Princeton, New Jersey.
Campbell, J. (2001), Ο Ήξσαο κε ηα ρίιηα πξόζσπα, κηθξ Θ. ΢ηαθαξίθαο.
Ηάκβιηρνο, Αζήλα.
Chandler, L. (1926), ―The North-West Frontier of Attica‖.The Journal of
Hellenic Studies 46, 1, 1-21.
Clark, C. (2003), ―Minos Touch and Theseus' Glare: Gestures in Bacchylides
17‖, Harvard Studies in Classical Philology 101, 129-153.
Collard, C. (1978), ―Irony and Euripides: Ironic Drama: A Study of Euripides'
Method and Meaning by Philip Vellacott.‖ The Classical Review 28,
1, 6-7.
Collard,C. – Cropp, M. (2008), Euripides Fragments, (Aegeus - Meleager),
Cambridge, Massachusetts, London.
Cropp, M. (1988), Euripides Electra, Aris & Philips.
Conacher, D. J. (1959), ―The Paradox of Euripides' Ion‖. Transactions and
Proceedings of the American Philological Association 90, 20-39.
Cook, A. (1971), Enactment Greek Tragedy, The Swallow Press.
85
Coolidge, A.C.Jr. (1980), Beyond the Fatal Flaw: A study of the Neglected
Forms of Greek Drama, The Maecenas Press, Univ. of Iowa.
Cropp, M. (2005), ―Lost Tragedies: A Survey‖ in J. Gregory A Companion to
Greek Tragedy, 271-292.
Dale, A.M. (1954), Euripides‟Alkestis, edited with Introduction and
commentary. Oxford Univ. Press.
Davie, J. N. (1982), ―Theseus the King in Fifth-Century Athens‖. Greece &
Rome, 29, 1, 25-34.
Davies, M. (1986), “Symbolism and imagery in the poetry of Ibycus‖. Hermes
114, 4, 399-405.
Denniston, J. D. (1954²), The greek Particles. Oxford.
Decharme, P. (1906), Euripides and the Spirit of his Dramas, trans. by
J.Loeb, A.B., MacMillan, London.
Elderkin, G. W. (1941), ―The Hero on a Sandal‖. Hesperia 10, 4, 381-387.
Dodds, E.R. (1977), Δπξηπίδε Βάθρεο, Β΄ έθδ., έκκεηξε κηθξ. Π. Πξεβειάθε,
εηζαγ. Dodds, E.R., κηθξ. Λ. Κάζδαγιε, Δηαηξεία ΢πνπδψλ
Νενειιεληθνχ Πνιίηηζκνχ θαη Γεληθήο Παηδείαο, Αζήλα.
Dover, K.J. (1974), Greek Popular Morality in the Time of Plato and Aristotle.
Hackett Publishing Company, INC, Indianapolis/Cambridg.
Dunbar, N. (1998) Aristophanes Birds, Clarendon Press, Oxford.
Dunn, F. M. (1996), Tragedy‟s End. Closure and Innovation in Euripidean
Drama. New York, Oxford.
Flacelière, R. (19803
), Ο Γεκόζηνο θαη Ηδησηηθόο Βίνο ησλ Αξραίσλ Διιήλσλ,
κηθξ Γεξ. Βαλδψξνπ, Παπαδήκα, Αζήλα.
Frazer, Sir J.G. (1921), Appolodorus, v.II, Loeb Classical Library, reprint.
1990.
Γηαηξνκαλσιάθεο, Γ. (1990), Δπξηπίδε Μήδεηα. Αξραίν θείκελν, κεηάθξαζε.
Δηζαγσγή: D.L.Page, Καξδακίηζα, Αζήλα.
Garner, R. (1990), From Homer to Tragedy.The Art of Allusion in Greek
Portry. Routledge, London-New York.
Garton, C. (1965), ―Matrices of the Plot‖, Story Patterns in Greek Tragedy by
Richmond Lattimore. The Classical Review 15, 2, 195-197.
Giesekam, G.J. (1977), ―Some Textual Problems in Bacchylides XVII‖, The
Classical Quarterly 27, 2, 249-255.
Gomme, A.W. (1956), Historical Commentary on Thucydides. Vol.III, Oxford,
Clarendon Press.
Goossens, R. (1962), Euripide et Athenènes. Brussels.
Goward, B. (2002), Aθήγεζε θαη Σξαγσδία. Αθεγεκαηηθέο ηερληθέο ζηνλ
Αηζρύιν, ηνλ ΢νθνθιή θαη ηνλ Δπξηπίδε, κηθξ Ν.Π.Μπεδαληάθνο,
Καξδακίηζα, Αζήλα.
Graves, R. (1979), Oη Διιεληθνί Μύζνη, η.1, 2, κηθξ. Λ.Εελάθνο, Πιεηάο-
Ρνχγθαο, Αζήλα.
86
Gregory, J.(2010), ―Ζ ηξαγσδία ηνπ Δπξηπίδε‖ ζην ΋ςεηο θαη Θέκαηα ηεο
Αξραίαο Διιεληθήο Σξαγσδίαο, 31 εηζαγσγηθά δνθίκηα, κε 14 εηθόλεο
εληόο θεηκέλνπ, Justina Gregory, 346-373. Mηθξ. Μ. Καίζαξ,
΋.Μπεδαληάθνπ, Γ.Φηιίππνπ. Δπηκ. Γ. Ηαθψβ.
Griffith, M. (2010), ―Μνξθέο Δμνπζίαο” ζην ΋ςεηο θαη Θέκαηα ηεο Αξραίαο
Διιεληθήο Σξαγσδίαο, 31 εηζαγσγηθά δνθίκηα. Με 14 εηθόλεο εληόο
θεηκέλνπ, Justina Gregory 462-488. Mηθξ. Μ. Καίζαξ,
΋.Μπεδαληάθνπ, Γ.Φηιιίπνπ. Δπηκ. Γ.Ηαθψβ.
Grimal, P. (1991), Λεμηθό ηεο Διιεληθήο θαη Ρσκατθήο Μπζνινγίαο, επηκ.
ειιελ. έθδ. Β. Άηζαινο, Univ. Stud. Press, Θεζ/λίθε.
Grube, G.M.A. (1941), The Dramas of Euripides. London.
Goušchin, V. (1999), ―Athenian Synoikism of the Fifth Century B. C., or Two
Stories of Theseus‖, Greece & Rome 46, 2 , 168-187.
Ζalleran, M. (1985), Stagecraft in Euripides. London, Sydney.
Hamilton, R. (1978), ―Prologue Prophecy and Plot in Four Plays of
Euripides‖. The American Journal of Philology 99, 3, 277-302.
Hard, R., Rose, H.J. (2004), The Routledge handbook of Greek mythology:
based on H.J. Rose's Handbook of Greek mythology. London, New
York.
Hansen, M.H. (1991), The Athenian Democracy in the Age of Demosthenes.
Structure, Principles, and Ideology, Transl. by J.A. Crook. Blackwell
Publishers, Oxford, UK and Cambridge, Mass., USA.
Herter, H. ―Theseus‖, Real Encyclopädie der classischen
Altertumswissenschaft. Neue Bearbeitung, 1894-1980. Suppl. XIII,
1080-1085.
Hornblower, S. (1996), A Commentary on Thucydides, v. II, Oxford,
Clarendon Press.
Huys, M. (1995), The Tale of the Hero who was exposed at Birth in
Euripidean Tragedy: A Study of Motifs. Leuven.
Ηαθψβ, Γ. Η. (1998), Ζ Πνηεηηθή ηεο Αξραίαο Διιεληθήο Σξαγσδίαο. ΜΗΔΣ,
Αζήλα.
Johansen,H.F.-Whittle,E.W.(1980), Aeshylus,The Suppliants, v. II,
Gyldendalske Boghandel-Nordisk, Forlag.
Jong De I.J.F. (1991), Narrative in Drama. The Art of the Euripidean
Messenger Speech. Leiden.
Jouan, F.- Van Looy, H. (2002) Euripide Tragédies, t. VIII,1erp. Les Belles
Lettres, Paris.
Kaimio, Μ. (1970), The Chorus of Greek Drama within the Light of the Person
Used. Societas Scientiarum Fennica, Helsiki-Helsingfors. [θξηηηθή
Whittle, E. W. (1972), The Classical Review 22, 3, 361-363.
87
Καθξηδήο, Η.Θ. (1986), Διιεληθή Μπζνινγία, Γελ. επνπηεία, η.3 Οη Ήξσεο,
Δθδνηηθή Αζελψλ, ι. Αηγέαο [Γ.Αλαζηαζίνπ], Θεζέαο [΋. Καθξηδή],
Μήδεηα [Δ. Ρνχζζνο]
Καθξηδήο, Φ. (1987), Αξηζηνθάλνπο ΋ξληζεο. Δξκελεπηηθή έθδνζε. Γηάλληλα.
Kamerbeek, J.C. (19632
), The Plays of Sophocles. Commentaries, Part I The
Ajax. Leiden, Brill.
Kannicht, R. (1969), Euripides Helena, Η. Heidelberg.
Kannicht, R. (2004), Tragicorum Graecorum Fragmenta.Vol.V 1-2: Euripides.
Göttingen.
KG : Kühner, R. Ausführliche Grammatik der griechischen Sprache. Zwiter
Teil 3. Aufl. von B. Gerth.Hannover- Leipzig 1904.
Κaramanou, I. (2006), Euripides Danae and Dictys, Introduction, Text and
Commentary. K. G. Saur München - Leipzig.
Kassel, R.-Austin, C. (1989), Poetae Comici Graeci (PCG), v.vii, Βεξνιίλν,
Νέα Τφξθε.
Καηζνχξεο, Α. (1976), Ζ Παξεμήγεζε ζηελ Σξαγσδία θαη ζηελ Κσκσδία.
Ησάλληλα.
Kerényi, K. (1966), H Μπζνινγία ησλ Διιήλσλ, Μηθξ Γ. ΢ηαζφπνπινπ.
Αζήλα.
Kitto, H.D.F. (19812
), Αξραία Διιεληθή Σξαγσδία, κηθξ Λ. Εελάθνο.
Παπαδήκα, Αζήλα.
Knox, B.M.W.,(1977), ―The ‗Medea‘ of Euripides‖. YCS 25.
Kνιφκπνβα, Κ.Μ.- Οδεξέηζθατα, Δ.Λ. (1989), Ζ Καζεκεξηλή Εσή ζηελ
Αξραία Διιάδα, Μηθξ Γ.Εσίδε. Παπαδήκα, Αζήλα.
Kovacs, D. (2008), ―Notes and Discussions. And: baby makes three: Aegeus
Wife as Mother-to-be of Theseus in Euripides‘ Medea”. The Classical
Philology 3, 298-304, University of Chicago.
Kubo, M. (1967), ―The Norm of Myth: Euripides' Electra‖. Harvard Studies in
Classical Philology, 71, 15-31.
Kuntz, M. (1993), Narrative Setting and Dramatic Poetry, Leiden, New York,
Köln, MacMillan, London.
Lacey, W.K. (1968), The Family in Classical Greece. Cornell Univ. Press,
Ithaca, New York.
Lesky, A. (1972, γ΄αλαη. 2003) Ζ Σξαγηθή Πνίεζε ησλ Αξραίσλ Διιήλσλ, η.
Β΄, Ο Δπξηπίδεο θαη ην ηέινο ηνπ είδνπο, κηθξ. Ν.Υνπξκνπδηάδεο.
ΜΗΔΣ Αζήλα.
(LIMC) Lexicon Iconographicum Mythologiae Classicae 1981-98, Vol. I,1-2,
VII 1-2.Zürich, München, ι. Aegeus [U. Kron], Theseus [C. Weber
Lehmann].
Littleton, Scott C. (2008) ―Theseus as an Indo-European sword hero with an
excursus on some parallels between the Athenian Monster- Slayer
and Beowulf‖. The Heroic Age. Los Angeles. 
88
Loraux, N. (1981), The children of Athena. Athenian Ideas about Citizenship
and the Division between the Sexes, Transl. by C. Levine. Duke Univ.
Press.
Lloyd, M. (1992), Σhe Agon in Euripides. Clarendon Press, Oxford.
Lloyd, M. (1994), Euripides Andromache. With Introduction, Translation and
Commentary. Aris & Philips Ltd-Warminster-England.
LSJ (1996), A Greek-Engish Lexicon, Compilled by H. G. Liddel and R.Scott.
Revised and Augmented throughout by Sir H.S. Jones. With the
assistance of R. McKenzie and with the cooperation of many scholars.
With a revised supplement.
Lyons, D. (1954), Gender and Immortality, Heroins in Ancient Greek Myth
and Cult. Princeton, New Jersey.
Λππνπξιήο, Γ. (1983), Αξραία Διιεληθή Μεηξηθή. Αζήλα.
McDermott, E. (1974), ―Double Meaning and Mythic Novelty in Euripides'
Plays‖. Transactions of the American Philological Association 121,
(1991), 123- 132.
McDermott, E. (1989), Δuripides‟ Medea. The Incarnation of the Disorder.
The Pensylvania State University Press, Univ. Park and London.
McDonald, M. (1991), Οη όξνη ηεο επηπρίαο ζηνλ Δπξηπίδε. Μηθξ Δ. Μπειηέο.
Οδπζζέαο, Αζήλα.
McHardy, F., Robson, J., Harey, D, (2005), Lost Dramas of Classical Athens.
Greek Tragic Fragments. Univ. of Exeter Press.
Μaehler, H. (2004), Bacchylides A Selection. Cambridge Univ. Press.
Mastronarde, D.J. (1994), Euripides Phoenissae.Edited with Itroduction and
Commentary. Cambridge Univ.Press.
Mastronarde, D.J. (2003), Δπξηπίδνπ Μήδεηα. Δηζαγσγή, θηινινγηθή
επηκέιεηα, ζρφιηα, Μηθξ Γ. Γησηνπνχινπ, επηκ. κηθξ Μ.
Υξηζηφπνπινο. Παηάθε, Αζήλα.
Mastronarde, D.J. (2010), Σhe Art of Euripides. Dramatic Technique and
Social Context.
Mastronarde, D.J. (2010), ―Οη Θενί ζηελ Αξραία Διιεληθή Σξαγσδία‖ ζην
΋ςεηο θαη Θέκαηα ηεο Αξραίαο Διιεληθήο Σξαγσδίαο, 31 εηζαγσγηθά
δνθίκηα, κε 14 εηθόλεο εληόο θεηκέλνπ, Justina Gregory, 445-462.
Mηθξ. Μ. Καίζαξ, ΋.Μπεδαληάθνπ, Γ.Φηιίππνπ. Δπηκ. Γ. Ηαθψβ.
Meridor, R.A. (1984), ―Plot and Myth in Euripides‘ Heracles and Troades‖.
Phoenix, ClAC.
Mierow, H. E. (1931), ―Euripides' Artistic Development. ―The American
Journal of Philology 52, 4, 339-350.
Mikalson, N. (20092
), Ancient Greek Religion.Willey, Blackwell.
Mills, S. P. (1980), ―The Sorrows of Medea‖. Classical Philology, 75, 4, 289-
296.
89
Mills, S. (1997), Theseus, Tragedy and the Athenian Empire. Clarendon
Press, Oxford.
Michelini, A. N. (1987), Euripides and the Tragic Tradition.
Moore, C. H. (1916), ―Tyxi Prologizousa, and the Identification of the Speaker
of the Prologue.‖ Classical Philology 11,1, 1-10.
Morwood, J. (2007), Euripides‟ Suppliant Women. With Introduction,
Translation and Commentary.
Μπαθνληθφια-Γεσξγνπνχινπ, Υ. (1994), ΢ηηγκέο ηεο Διιεληθήο Σξαγσδίαο.
Καξδακίηζα, Αζήλα.
Mπεδαληάθνο, Ν. (2004), Σν αθεγεκαηηθφ κνληέιν ηνπ Greimas θαη νη
ηξαγσδίεο ηνπ Δπξηπίδε. Καξδακίηζα, Αζήλα.
Nauck, A. (1892) iterum recensuit Euripidis Perditarum Tragoediarum
Fragmenta. vol.III, ed. min., Lipsiae.
Nauck, A. (1889), Tragicorum Graecorum Fragmenta, suppl. B. Snell.
Hildesheim, Zürich, New York.
Neils, J. (1981),‖The Loves of Theseus: An Early Cup by Oltos‖. American
Journal of Archaeology, 85, 2, 177-179.
Ober, J. (1985), Fortress Attica. Defense of the Athenian Land Frontier, 404-
322 B.C. Leiden- Brill.
Ober, J. (1989), Mass and Elite in Democratic Athens. Rretoric, Ideology and
the Power of the People. Princeton Univ. Press.
Parca, M. (1992), ―Of Nature and Eros: Deianeira in Sophocles‘ Trachiniae‖.
Illinois Classical Studies XVII, 2, 175-192.
Parker, L.P.E. (2007), Euripides Alcestis. With Introduction and Commentary.
Oxford.
Pechstein, N. (1998), Euripides Satyrographos. Ein Kommentar zu den
Euripideischen Satyrspielfragmenten.
Pfeiffer, R. (1949), Callimachus. Vol. 1. Fragmenta, Clarendon Press, Oxford.
Post, C.R. (1922), ―The Dramatic Art of Sophocles as Revealed by the
Fragments of the Lost Plays‖. Harvard Studies in Classical Philology
33, 1-63.
Radt, S. (1985), Tragicorum Graecorum Fragmenta.Vol III, Aeschylus.
Göttingen.
Radt, S. (19992
), Tragicorum Graecorum Fragmenta. Vol. IV, Sophocles.
Göttingen.
Rexroth, K.(1966-68), Classics Revised. New York.
Rivier, A. (1958), ―L‘ Élément Démonique Chez Euripide‖, Entretiens sur l‟
antiquité Classique, T. VI, Euripide, Sept Exposés et Discussions par
J.C. Kamerbeek. A. Rivier, H. Diller, A. Lesky, R.P. WinningonIngram,
G. Zuntz, V. Martin,Genéve.
Roberts, D.H. (2010), ―Πξφινγνη θαη Δπίινγνη‖ ζην ΋ςεηο θαη Θέκαηα ηεο
Αξραίαο Διιεληθήο Σξαγσδίαο, 31 εηζαγσγηθά δνθίκηα, κε 14 εηθόλεο 
90
εληόο θεηκέλνπ, Justina Gregory, 178-205. Mηθξ Μ. Καίζαξ, ΋.
Μπεδαληάθνπ, Γ.Φηιίππνπ. Δπηκ. Γ. Ηαθψβ.
Rogers, B.B. (1930), Acharnians of Aristophanes. The Greek Text Revised
with a Translation into corresponding metres, introduction and
Commentary. G. Bell and Sons LTD. London.
Roscher, W.H. (1884-1886), Ausführliches Lexicon der griechischen und
romischen Mythologie. Teubner, Leipzig, ι. Aegeus [Wörner], Aethra
[Roscher], Marathon [Schirmer], Sinis [Wörner], Theseus [Steuding]
Rose, H.J. (1991), A Handbook of Greek Mythology.
Rosenmeyer, P.A. (2004), ―Girls at play in Early Greek Poetry‖. The
American Journal of Philology 125, 2,163-178.
Scodel, R. (1984), ―The Irony of Fate in Bacchylides 17‖, Hermes 112, 2,
137-143.
Skutsch, Ο. (1967), ‗‗Notes on Ennian Tragedy‘‘. Harvard Studies in Classical
Philology 71, 125-142.
Segal, C. P. (1992), ―Tragic beginning : Narration, Voice and Authority in the
Prologues of Greek drama‖.YCS 29, 85-112.
Segal, C. (1993), Euripides and the Poetics of Sorrow. Art, Gender and
Commemoration in Alcestis, Hippolytus and Hecuba.
Segal, C. (1995), ―The Comic Catastrophe‖ in Stage Directions. Essays in
Ancient Drama in Honor of E.W. Handley. Edited by Alan Griffiths,
Institute of Class. Studies , Univ. of London School of Advanced
Studies.
Shapiro, H.A. (1988), ―The Marathonian Bull on the Athenian Akropolis‖.
American Journal of Archaeology 92, 3, 373-382.
Shapiro, H.A. (1994), Myth into Art. Poet and Painter in Classical Greece.
London. New York.
Shaw, M. (1975), ―The Female Intruder: Women in Fifth-Century Drama‖.
Classical Philology 70, 4, 255-266.
Shefton, Β. Β. (1956), ―Μedea at Marathon‖. American Journal of
Archaeology 60, 159-163.
Shefton, B. (1962), ―Herakles and Theseus on a Red-Figured Louterion‖.
Hesperia, 31, 4, 330-368+414-415.
Small, J.P. (2010), ―Απεηθνλίζεηο ηεο αξραίαο ηξαγσδίαο‖ ζην ΋ςεηο θαη
Θέκαηα ηεο Αξραίαο Διιεληθήο Σξαγσδίαο, 31 εηζαγσγηθά δνθίκηα, κε
14 εηθόλεο εληόο θεηκέλνπ, Justina Gregory, 143-164. Mηθξ. Μ.
Καίζαξ, ΋. Μπεδαληάθνπ, Γ.Φηιίππνπ. Δπηκ. Γ. Ηαθψβ.
Snell, B. (1969), Μεηξηθή ηεο Αξραίαο Διιεληθήο Πνηήζεσο. Μηθξ. Α. Νηθήηα,
Αζήλα.
Snell, B. (19862
), edit. Tragicorum Graecorum Fragmenta (TrGF), vol. Η θαη
V2 Appendix, Kannicht 2004, Göttingen.
91
Smith, C. (1881), ―Kylix with Exploits of Theseus‖. The Journal of Hellenic
Studies 2, 57-64.
Smyth, H.W. (1920), Greek Grammar for Colleges. American Book
Company, New York, Cincinnati, Boston, Atlanta, Chicago.
Sommerstein, A.H. (19803
), The Comedies of Aristophanes.v. I, Acharnians.
Aris & Philips Ltd-Warminster-England.
Sommerstein, A.H. (2001), The Comedies of Aristophanes. Wealth. Edited
with translation and commentary. Aris & Philips Ltd-WarminsterEngland.
Sourvinou-Inwood, C. (1971), ―Theseus Lifting the Rock and a Cup near the
Pithos Painter‖. The Journal of Hellenic Studies 91, 94-109. Καη
Simon, S. (1981), ―Theseus as Son and Stepson. A Tentative
Illustration of the Greek Mythological Mentality by Christiane
Sourvinou-Inwood‖. The Classical Review 31, 1, 64-66.
Spence, I. G. (1990), ―Perikles and the Defence of Attika during the
Peloponnesian War‖. The Journal of Hellenic Studies 110, 91-109.
Spira, Α. Untersuchungen zum Deus ex machina bei Sophokles und
Euripides, [θξηηηθή Baldry, H.C. (1962), ―Deus Ex Machina‖. The
Classical Review 12, 2, 129-131].
Stanford, W.B. (1985), Sophocles Ajax. Edited with Introduction, Revised
Text, Commentary, Appendixes and Bibliography. Salem, New
Hampshire.
Starkie,W.J.M. (1968), The Acharnians of Aristophanes, With Introduction,
English prose Translation, Critical Notes and Commentary. Adolf M.
Hakkert, Amsterdam.
Stephanopoulos, Th. K. ‖Umgestaltung des Mythos durch Euripides”, [θξηηηθή
Craik, E. M. (1984). The Journal of Hellenic Studies 104, 202].
Stephanus, Thesaurus Graecae Linguae, v.IV, VI, 1954.
Sutton, D. F.(1978), ―Euripides' "Theseus"‖. Hermes, 106,1, 49-53. Verlag.
Taplin, O. (2007) Pots and Plays.Interactions between Tragedy and Greek
Vase-painting of the Fourth Century B.C. Los Angeles.
Tillyard, E. M. W. (1913), ―Theseus, Sinis, and the Isthmian Games‖. The
Journal of Hellenic Studies 33, 296-312.
Thompson, D' Arcy Wentworth (1947), A Glossary of Greek Fishes, London.
Σrendall, A.D.& Webster, T.B.L. (1971), Illustation of Greek Drama. London.
Usher, S. (1993), Greek Orators, V Demosthenes on the Crown (De Corona).
Translated with Introduction and Commentary. Aris & Phillips LTD
Warminser, England.
Walker, H.J.(1995), Theseus and Athens. Oxford Univ. Press.
Webster, T.B.L. (1966), ―The Myth of Ariadne from Homer to Catullus‖.
Greece & Rome, 13, 22-31, Cambridge University Press.
92
Webster, T.B.L.(1967), Monuments Illustrating Tragedy and Satyr Play,
second edition with appendix, vol. I, University of London.
Webster, T.B.L. (1967), The Tragedies of Euripides. London.[θξηηηθή Burnett,
P. A. (1968), Classical Philology 63, 4, 310-313].
Wernicke, K. (1983), ―Aegeus‖, RE I1, 952-956.
West, M.L. (1987), Introduction to Greek Metre. Oxford, Clarendon Press.
Wilamowitz-Moellendorff, U. (1875), Analecta Euripidea. Inest Supplicum
Fabula ad Codicem Archetypum Recognita. Hildesheim.
Whitman, C. (1996), Ο Δπξηπίδεο θαη ν θύθινο ηνπ κύζνπ, κηθξ. Δ.
Θσκαδάθε, επηκ.Μ.Γηφζε. Αζήλα.
Wood F. A. (1928), ―Greek Fish Names: Part II‖. The American Journal of
Philology 49, 1, 36-56.
Woodard, R. (2007), The Cambridge Companion to Greek Mythology.
Cambridge, Univ. Press.
Wycherley, R.E. (1963), ―Plato‘s Phaidros‖. Phoenix 17.
Υνπξκνπδηάδεο, Ν. (1984), ΋ξνη θαη Μεηαζρεκαηηζκνί ζηελ Αξραία Διιεληθή
Σξαγσδία. Αζήλα.
Young, S.P. (1953), The Women of Greek Drama. New York.
Zacharia, K. (1986), Converging Truths, Euripides Ion and the Athenian
Quest for Self-Definition, Brill, Leiden - Boston.
Zuntz, G. (1965), An Inquary into the Transmission of the plays of Euripides.
Cambridge. 

12.6.16

Lane Fox the origin of the Greek Myths Part 3

Hunting for the Real Locations Behind Greek Myths


By Cliff Blaylock

Why is it that the myths of Ancient Greece have not only been able to survive, but continue to have a profound and lasting effect on audiences and the world to this day? The Olympic games, still the greatest sporting event on the planet, were supposedly originally held by Hercules in honor of Zeus, while mythological beasts such as cyclops, hippogriffs and krakens still rampage in modern blockbusters as they did in the minds of Greek storytellers. When it comes to Greek myths it seems that we are just as fascinated as ever.

Not all myths are thought to be complete fabrications however, some are considered to have genuine roots relating to historic events that have become warped and adapted over time. Constantly, archaeologists are finding evidence of such places, and just as you can visit the ancient Colosseum of Rome and the ruins of Sparta, so you can set foot on the places where some of the most well known tales of mythology are thought to have been born.

Taking the Path of the Gods

We start our journey on the island of Crete, at the base of her tallest mountain, Mount Ida. This unassuming formation, hidden deep in the island’s mountainous center, is the perfect spot for a bit of sightseeing, hiking or concealing the future king of the gods from his overzealous and paranoid father. Cronus, one of the original titans in Greek mythology, attempted to destroy all his offspring in order to prevent a prophecy that predicted his downfall at the hands of one his children. One after the other, he devoured his children, except when it came to Zeus, whom Rhea, Zeus’ mother, managed to hide in a cave far from the reach of Cronus. The Greeks believed that this cave can be found beneath Mount Ida of Crete, and for many years it was a site of worship and pilgrimage. Now the cave is open to public viewing, and after a 20 minute hillside climb and around 200 steps into the cave itself, you’ll be wandering through the halls where Zeus, arguably the most famous being in all of Greek mythology, is said to have spent the first years of his life.

Monster or Mammal?

Crete is not only Zeus’ childhood home however, it is also known for being the birthplace of a rather more ferocious mythological creature: the monstrous one-eyed cyclops. Examples of skulls have been found all over the island, as well as many other places in Greece, which come from a creature with one big eye socket, huge sets of teeth and sometimes long and powerful looking tusks. At the time, the Greeks would have had no knowledge of a creature that looked anything like the skull they just happened upon, and so the cyclops was born. We know today though, that these skulls actually belonged to Deinotherium giganteum, a prehistoric relative of the elephant, and that the single, massive, eyehole wasn’t actually for an eye at all, but instead for its massive trunk. Fearsome as elephants can sometimes be, I think we can all agree that a cyclops makes for a much more exciting story behind the mysterious fossils.

From Riches To Rags

Although not technically in modern day Greece, the River Pactolus in western Turkey is still an important part of their mythological heritage. It was here along the riverbanks that King Midas, the man with the golden touch, was said to have rid himself of his powers after struggling to eat and drink by casting them into the water. Although a moral story of greed and desire, the myth is likely to have told as an explanation for why the river was so rich in gold dust during this period. Flowing along the riverbed in the sands, the gold was used to build some of the richest civilizations in the country’s history. We now know it was being brought down into the waters from the nearby mountains, however, it was on the banks of this river that the myth turned from story to legend.

Taking Archaeology to New Depths

Besides the modern-day concept of hell from Christianity, there is no more famous afterlife experience in western culture than the legendary underworld of Greek mythology. Only a handful of heroes have ever willingly taken a trip into this dark and disturbing world, but this is exactly what archaeologists think they have been doing for the fast 60 years. In the 1950s, a man walking his dog along a beach in Diros Bay on the Southern Greek coast came across a tiny entrance to a vast cave system that had lain undiscovered for millennia. Inside, evidence of civilization was found dating back 9,000 years and archaeologists believed they found one of the finest examples of a prehistoric burial site in the world. However, it’s the appearance and atmosphere of the cave that really seems to have inspired the myth. Dark red cave walls, riddled with sharp rocks and stalactites complete with a black lake cutting between two sides of the cave. Sound familiar? Add to that the fact that the cave was lost to history thousands of years ago when its entrance collapsed, trapping hundreds of screaming souls inside, and you really do have the perfect location for hell on earth.

Getting Lost In Mythology

After taking our detour to the European mainland, we return to the beautiful island of Crete for another journey into Greek mythology. It may come as a surprise that so much happened on this island far off the Greek coast, but during the era of the Ancient Greeks, it was a major hub of activity and life, second only to the city of Athens. Here, on the island’s southern shores, you’ll find the archaeological site of Kommos, nestled on the island’s picturesque and rustic hillsides. As you venture through the ruins of the ancient city streets, you’ll soon find yourself in a veritable maze of tight paths, corridors and walkways. A labyrinth within the city. Similarly, archaeologists have found another series of tunnels and corridors forming a labyrinth like structure nearby, this time underground in a cave outside the site of Gortyn. It is thought that King Minos, famous for feeding his enemies to the vicious Minotaur, lived and ruled from this area. Archaeologist even believe they have found his throne room in the ruins of Kommos. It is possible then, that the myth of the Minotaur came from these very labyrinths. Or perhaps the tales are true, and the beast still stalks their hallways. We think it’s better to visit the island of Crete, and find out for yourself.

Sail the Greek Mediterranean With Captain Cliff Blaylock and discover Mythological and historical sites all over the Greek Islands.

Η ΙΣΤΟΡΙΑ ΤΩΝ ΙΑΜΑΤΙΚΩΝ ΛΟΥΤΡΩΝ ΚΑΙ Η ΜΕΤΕΞΕΛΙΞΗ ΤΟΥΣ ΣΕ SPA

Τα νερά των φυσικών ή ιαματικών πηγών είναι νερά, που πηγάζουν μέσα από πετρώματα και βράχους που βγαίνουν από τα έγκατα της γης. Είναι εμπλ...