Menelaus in the Archaic Period

2020 ◽  
Author(s):  
Anna R. Stelow
Keyword(s):  
Detailed Analysis ◽  
Multidisciplinary Approach ◽  
Archaic Period ◽  
Epic Poetry ◽  
Vase Painting ◽  
Greek Poetry ◽  
Integral Role ◽  
Book Studies ◽  
Intertextual Allusion ◽  
Material Evidence

The figure of Menelaus has remained notably overlooked in scholarship on the major heroes and heroines of Homeric epic. This book studies the Homeric character through a multidisciplinary approach to his depiction in archaic Greek poetry, art, and cult, providing a detailed analysis of ancient literary, visual, and material evidence. It first examines the portrayal of Menelaus in the Homeric poems as a unique ‘personality’ with an integral role to play in each narrative, as depicted through typical patterns of speech and action and through intertextual allusion. The book then explores his representation both in other poetry of the archaic period and also archaic art and local Sparta cult. Ultimately, Menelaus emerges as a unique and likeable character whose relationship with Helen was a popular theme in both epic poetry and vase painting, but one whose portrayal evinced a significant narrative range, with an array of continuities and differences in how he was represented by the Greeks, not only within the archaic period but also in comparison to classical Athens.

THE RETURN OF THE PIPERS: IN SEARCH OF NARRATIVE MODELS FOR THE AITION OF THE QVINQVATRVS MINVSCVLAE

2021 ◽  
pp. 1-14
Author(s):  
Kamila Wysłucha
Keyword(s):  
Archaic Period ◽  
Vase Painting ◽  
Augustan Poetry ◽  
Archaic Greece ◽  
Narrative Model

Abstract The article argues that the famous story about the strike, exile and return of the Roman aulos players, which is recorded in the sixth book of Ovid's Fasti and referred to by other Latin and Greek sources, is based on a narrative model that already existed in Greece in the Archaic period. The study draws parallels between the tale of the pipers and the myth of the return of Hephaestus to Olympus, suggesting that, apart from similar plots, the two stories share many motifs, such as references to themes derived from comedy and satyr drama. Searching for a possible channel of transmission of the story from Archaic Greece to Augustan Rome, the study explores the presence of satyric motifs in Etruscan vase-painting and Roman processional rites. It is furthermore emphasized that many of these motifs, which also appeared in lost satyr-plays, are echoed in Augustan poetry.

The Cult of Menelaus and Helen at Therapne

2020 ◽  
pp. 258-284
Author(s):  
Anna R. Stelow
Keyword(s):  
Twentieth Century ◽  
Archaic Period ◽  
Seventh Century ◽  
Epic Poetry ◽  
Hero Cult ◽  
Early Archaic ◽  
British School

This chapter studies the cult of Menelaus and Helen at Therapne. A ‘happy congruence’ of evidence, from the seventh century BC onward, indicates that Menelaus and Helen were honoured at a place known in antiquity as Therapne. Indeed, authors from the early archaic period through the end of the era attest to the presence of a shrine to Menelaus and/or Menelaus and Helen on the hills across the Eurotas River from modern Sparta. The site, comprising an archaic shrine built next to and atop an extensive Mycenaean site, was well-studied by the British School early and late in the twentieth century. Moreover, inscriptional evidence corresponds with the ancient testimonia to indicate that Menelaus and Helen were worshiped at the place already known in antiquity as the Menelaion. Dedications to Helen and Menelaus dated to the seventh and sixth centuries BC are among the earliest reported inscriptional evidence for the worship of any Homeric hero in Greece. The archaic cult at the Menelaion is frequently discussed both for the study of hero cult in itself and for the question as to how early Greek cult did intersect with the proliferation of epic poetry.

ΛAΩ: Two Testimonia in Later Greek Poetry

1970 ◽  
Vol 20 (2) ◽  
pp. 306-308 ◽  
Author(s):  
Ronald C. McCail
Keyword(s):  
Epic Poetry ◽  
Greek Poetry ◽  
Bird Of Prey ◽  
Modern Treatment

The verb λάω is attested in two passages of early epic poetry, (a) Homeric Hymn to Hermes 360, where the infant Hermes is hiding in a dark cave, and (b) τ 229 ff., of a hound seizing a fawn on the brooch of Odysseus. Of the several meanings suggested by the ancient lexicographers for λάω, seeing, gazing, or crying, screeching would suit (a). These senses recur in their explanations of (b), with gripping or devouring as additional possibilities. The most extensive modern treatment of λάω is by Leumann, who explains it as a present falsely formed from the perfect λ⋯ληkα (X 141, of a hawk), and originally intended to describe the cry of a bird of prey. The unfamiliarity of the form led to its being associated later on with the sharp-sightedness of such birds, as well as with the bark of a hound fastening on its quarry.

Pelvic Pain and Floor Dysfunction

2018 ◽  
Author(s):  
Danielle Sarno ◽  
Farah Hameed
Keyword(s):  
Physical Therapy ◽  
Pelvic Floor ◽  
Pelvic Pain ◽  
Multidisciplinary Approach ◽  
Rehabilitation Program ◽  
Painful Bladder ◽  
Integral Role ◽  
Comprehensive Rehabilitation ◽  
Irritable Bowel ◽  
Tract Infections

Chronic pelvic pain is defined as persistent pain perceived in structures related to the anatomic pelvis (lower abdomen below the umbilicus) of either women or men for greater than 6 months. The etiology may be related to gynecologic, urologic, gastrointestinal, musculoskeletal, and neurologic causes. Pelvic pain and floor dysfunction often are associated with a musculoskeletal disorder related to the pelvic girdle, spine, or hip. Myofascial pelvic pain may be related to other diagnoses, such as depression, irritable bowel syndrome, endometriosis, constipation, painful bladder syndrome, and chronic urinary tract infections. A thorough history and clinical examination, including an internal pelvic floor musculoskeletal examination, can help identify the underlying etiology. A multidisciplinary approach to management is essential. Pelvic floor physical therapy plays an integral role. Other treatments, such as medications, complementary therapies, and injections, may be used in conjunction with physical therapy to facilitate a comprehensive rehabilitation program and manage symptoms.

Hesiod and the Visual Arts

2018 ◽  
Author(s):  
H. A. Shapiro
Keyword(s):  
Visual Arts ◽  
Archaic Period ◽  
Test Case ◽  
Complex Relationship ◽  
Vase Painting ◽  
Visual Artists ◽  
Text And Image ◽  
Major Work ◽  
The Individual ◽  
Relationship Of

This chapter explores the influence of Hesiod’s Theogony on Greek visual artists of the archaic period (ca. 700–480 bce). Since dozens of divinities and heroes mentioned in the poem appear in sculpture and (more often) vase painting and cannot be systematically treated, one major work with strong Hesiodic associations is examined as a test case. The Attic black-figure dinos signed by the painter Sophilos and dated ca. 580 bce includes more than thirty gods and goddesses participating in the wedding of Peleus and Thetis, future parents of Achilles. All of these can be found in the Theogony, and the poem can be a helpful guide to understanding how the individual figures are placed in the procession. The unique depiction of Okeanos on the dinos illustrates especially well the complex relationship of text and image.

IV Luxury Items

2010 ◽  
Vol 40 ◽  
pp. 75-94
Author(s):  
Brian A. Sparkes
Keyword(s):  
Intrinsic Value ◽  
Ancient Greece ◽  
Total Output ◽  
Vase Painting ◽  
The Social ◽  
Gold Silver ◽  
Political Background ◽  
Greek Art ◽  
Material Evidence ◽  
Greek World

The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as the exclusive elements of Greek art, with a concomitant emphasis on the aspects of restraint, simplicity, and so forth that were highlighted by the Neoclassical attitudes to Greek art that emerged in the eighteenth century. This approach has led scholars to demean the more lavish products that, by the very nature of their intrinsic value, have failed to survive in any numbers – gold, silver, ivory, and the like. Recent excavations, particularly those in cemeteries situated in the outlying areas of the Greek world and in the regions bordering on ancient Greece, have brought to light some of those expensive objects that are now missing from the Greek heartlands. Meanwhile, investigations into the more flamboyant aspects of Greek art have shown that buildings and architectural and freestanding sculpture were lavishly coloured. A nineteenth-century drawing by Donaldson shows coloured glass beads set into a column capital of the Erechtheion (Figure 21).

scholarly journals The Family of Zeus in Early Greek Poetry and Myths

2020 ◽  
Vol 22 ◽  
pp. 121-144
Author(s):  
Ratko Duev
Keyword(s):  
Epic Poetry ◽  
Asia Minor ◽  
Western Coast ◽  
Direct Influence ◽  
Greek Poetry ◽  
European Tradition ◽  
The Family ◽  
Epic Poems

The Family of Zeus in Early Greek Poetry and Myths In early epic poetry it is evident that certain differences exist in both traditions, mainly due to the fact that Homer’s epic poems were written on the western coast of Asia Minor and the surrounding islands, while Hesiod’s poems were composed on mainland Greece. From the analysis, it becomes clear that the development of the cult of an Indo-European Sky Father differs significantly from the assumed Proto-Indo-European tradition. His family is completely different from that in the Indo-European tradition. His wife is the goddess Hera, whom Homer calls ‘old’, as opposed to the Hesiodic tradition, in which Hestia and Demeter are older than her. Homer makes no mention whatsoever of Hestia. The ‘daughters of Zeus’ are the goddesses Athena and Aphrodite, and the ‘son of Zeus’ is Apollo. The family of Zeus according to Homer also differs from the archaeological findings of the tradition on land. Hera of Samos bears no resemblance to Hera of Argos. The oldest large temples are connected to her, as well as to the memory of Oceanus and Thetis as parents to the gods, which is a direct influence of the Mesopotamian myths of Apsu and Tiamat. Homer’s Zeus from Mount Ida, Hera of Samos, Apollo of Cilla, and Tenedus and Artemis of Ephesus are closer to the Anatolian tradition.

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