P.Vindob. G 26768a: Non-Antimachean Thebaid (with Possible Associated Fragments from Other Collections)

In this chapter I take a fresh look at the hexameter adespoton P.Vindobonensis G. 26768a, arguing that the text does not cover the events preceding the race between Atalanta and Hippomenes, and that is not by Hesiod, as proposed by its editor. The name of Parthenopaeus, Atalanta’s son, who participated in the War of the Seven against Thebes, should be supplied in l. 12. Lines 20 ff. deal with Atalanta’s dream of her son’s death. The chapter also discusses the relation of this poem with two other anonymous hexameter fragments from Oxyrhynchus, P.Oxy. 2519 and P.Oxy. 859, which seem to deal with Parthenopaeus’ departure from Arcadia to Thebes.

“Our bitterest enemies...” An Examination of Thebes’ Role in Athenian Tragedy

<p>This thesis concerns itself with the depiction of mythical Thebes in extant Greek tragedy, and how this relates to the tragedians’ view of Athens itself. Throughout the Classical Period, Thebes was one of Athens’ biggest enemy poleis, and this complex relationship is often mirrored in the dramas that feature Thebes and Thebans in principal roles. For the purposes of this thesis, I am limiting my scope to dramas that deal with the “Seven Against Thebes” mythic cycle and, to pare the topic down even further, I am only examining those tragedies that feature either Eteocles, Polynices, or both. Chapter one deals with Aeschylus’ Seven Against Thebes, where I argue that Thebes is not only presented as a positive force, but actually comes to be identified as a stand-in for Athens. The Thebes of Aeschylus’ play shares many common factors with Athens of the early fifth-century B.C. Chapter two is about Euripides’ Phoenician Women. The main argument here is that Euripides uses his Theban characters as mouthpieces for his own ideas on political rhetoric, particularly political issues that are of importance to contemporary Athens. Additionally, Phoenician Women’s fragmented, episodic plot and its large cast of characters contribute to an image of Thebes as a disorganised, chaotic polis, and one that is the antithesis of Athens. At the same time, its emphasis on the feminine complicates this picture somewhat; although this contributes to the “anti-Athens” image, whether or not this is a positive thing is unclear. My third and final chapter concerns Sophocles’ Oedipus at Colonus and the lack of consistency in its depiction of Theban characters. Polynices and Creon are characterised negatively, but Oedipus and especially Antigone and Ismene appear in a much more positive light. Furthermore, Theseus appears in the OC as a representative of Athens so, fundamentally, the OC is about the relationship between the two poleis, and an exhortation for Thebes to strive to be more like Athens. My conclusion is that tragedy’s treatment of Thebes is malleable and that there is not necessarily one standard way of depicting mythical Theban characters. At the same time, I also conclude that, no matter how Thebes is represented, there is always an underlying tension regarding how Thebes relates to Athens; the two cities are in a constant state of comparison and contrast.</p>

“Our bitterest enemies...” An Examination of Thebes’ Role in Athenian Tragedy

<p>This thesis concerns itself with the depiction of mythical Thebes in extant Greek tragedy, and how this relates to the tragedians’ view of Athens itself. Throughout the Classical Period, Thebes was one of Athens’ biggest enemy poleis, and this complex relationship is often mirrored in the dramas that feature Thebes and Thebans in principal roles. For the purposes of this thesis, I am limiting my scope to dramas that deal with the “Seven Against Thebes” mythic cycle and, to pare the topic down even further, I am only examining those tragedies that feature either Eteocles, Polynices, or both. Chapter one deals with Aeschylus’ Seven Against Thebes, where I argue that Thebes is not only presented as a positive force, but actually comes to be identified as a stand-in for Athens. The Thebes of Aeschylus’ play shares many common factors with Athens of the early fifth-century B.C. Chapter two is about Euripides’ Phoenician Women. The main argument here is that Euripides uses his Theban characters as mouthpieces for his own ideas on political rhetoric, particularly political issues that are of importance to contemporary Athens. Additionally, Phoenician Women’s fragmented, episodic plot and its large cast of characters contribute to an image of Thebes as a disorganised, chaotic polis, and one that is the antithesis of Athens. At the same time, its emphasis on the feminine complicates this picture somewhat; although this contributes to the “anti-Athens” image, whether or not this is a positive thing is unclear. My third and final chapter concerns Sophocles’ Oedipus at Colonus and the lack of consistency in its depiction of Theban characters. Polynices and Creon are characterised negatively, but Oedipus and especially Antigone and Ismene appear in a much more positive light. Furthermore, Theseus appears in the OC as a representative of Athens so, fundamentally, the OC is about the relationship between the two poleis, and an exhortation for Thebes to strive to be more like Athens. My conclusion is that tragedy’s treatment of Thebes is malleable and that there is not necessarily one standard way of depicting mythical Theban characters. At the same time, I also conclude that, no matter how Thebes is represented, there is always an underlying tension regarding how Thebes relates to Athens; the two cities are in a constant state of comparison and contrast.</p>

Этеокл как мужской персонаж трагедии Эсхила Семеро против Фив

This article analyzes the text of Aeschylus’s tragedy Seven against Thebes in the context of one of the main characters - Eteocles - as a male character. In the text of Aeschylus, Eteocles looks like a tough ruler who is endowed with certain masculine qualities. Moreover, through his words, the male character is sometimes expressed. This helps him save his hometown, but at the same time leads him to death. According to Eteocles, the men of Thebes in the face of the enemy must protect their Mother Earth with shields in their hands. In addition to identifying a warrior with a shield, Aeschylus, through the words of Eteocles, indicates that the place of the male protector is on the battlements and in the gates with towers. According to Aeschylus, Eteocles is the bravest master (king) of the Cadmeans. The use of the word ἄναξ in relation to Eteocles reflects the archaic nature of the story of Seven against Thebes. Eteocles as a male character is not just the bravest king of the Cadmeans, but he also pretends to be a wise ruler. According to Aeschylus, Eteocles is an almost exclusively positive male character, despite the fact that he indicates that evil has been done to Polyneices.

Thebes, Amphiaraus and Alcmaeon in Pindar’s Pythian 8: instruction to the winner

The article examines the didactical component of Pindar’s Pythian 8, which includes the Theban mythohistorical line — the plot of “Seven against Thebes” and the Epigoni’s march on Thebes. In this ode, Pindar instructs Aeginet Aristomenes, the winner of the Pythian Games, through Amphiaraus’ prophecy. Glorifying Aristomenes, Pindar instructs him not to become proud beyond measure, not to overstep the bounds, because Hes-ychia can destroy anyone who lets “merciless malice” into his heart, as it happened with Adrastus and his son. At the same time, Pindar compares Aristomenes with the hero Alcmaeon, the son of Amphiaraus, emphasizing that the glorious blood of their fathers flows in the veins of both. This interpretation of the fragment from Pind. Pyth. 8.56-60 differs from the traditional one since here Pindar meets not Alcmaeon, but Amphiaraus, receiving a prophecy from the latter. It is Amphiaraus who is called Pindar’s "neighbor" and the “guardian” of the Thebans’ possessions. In our opinion, Amphiaraus appears to Pindar in Delphi or on the way to Delphi. This interpretation is based on a comparison of Pindar’s text with a fragment from Herodotus (Hdt. 8.134.1-2), as well as on paleotopographic, archaeological and epigraphic studies. Considering that there is no information about the cult of Alcmaeon in Thebes and in Aegina at the moment, it seems like-ly that Pindar implies his meeting with Amphiaraus, whose sanc-tuary was located, according to a number of scholars, including the author of the article, near Thebes. However, according to He-rodotus who stated that the Thebans could not inquire the oracle of Amphiaraus in this sanctuary, and also on the basis of the pos-sible location of this sanctuary off the road to Delphi, it is sug-gested that Amphiaraus appeared to Pindar not at Amphiareum.

Nach der Katastrophe: Exit-Strategien in der griechischen Tragödie

After briefly outlining the vocabulary of closure and endings in Greek tragedy, this article analyses three possible features of closure: (1) lament (kommos), (2) deus ex machina combined with an aetiological myth (almost exclusively in Euripides), and (3) a gnomic coda spoken by the chorus. All three types of ending remain external to the plot and do not resolve the dramatic conflict. The paper then looks at two case studies from dramas centered on the same myth, i.e. the campaign of the Seven against Thebes in Aeschylus’ play of the same name and in Euripides’ Phoenissae. The endings of these tragedies have provoked much discussion regarding their textual transmission and reconstruction. I discuss how and when the action seems to be ‘fulfilled’, and contrast the strong closure of Aeschylus’ play with the “hypertextual mythical continuity” (Lamari) of Euripides’ drama.