The representation of Helen and her decision to leave for Troy has always attracted keen scholarly interest. Maguire in Helen of Troy: from Homer to Hollywood (2009) explores in detail scholarly arguments that blame but also defend Helen. These arguments, much like many others, focus on Helen’s choice. The simple characterisation of Helen in Troy (2004) is contrary to the more complex creations within novelisations such as Margaret George’s Helen of Troy. Helen ‘cannot think, thanks to Aphrodite’ and is aware of the moral implications of her actions. ‘Was it my nature to attract death?’ Helen asks herself. Authors such as George bring into question the concept of free will. In its absence can Helen be blamed for her actions? The Helen of Homer is repentant and accepts responsibility for her actions wishing that death had taken her, referring to herself as ‘shameless’. The Helen represented in Greek Tragedy blames the gods, blames Paris but is also blameless. These three different characterisations of Helen are tied together by the theme of choice. This paper will investigate the characterisation of Helen’s free will in Greek Tragedy and argue that due to its absence she had no choice.
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My original presentation at the Universities of Wales Institute of Classics and Ancient History (UWICAH) Second Postgraduates’ meeting on the 15th of November 2014 was focused on the attempt to explain how aidōs, shame, may have been considered a goddess rather than a cultural concept. However, this paper will argue how such a concept, developed in c. eighth century BC both for the regulation of Athenian and Spartan society and of private and public dispositions and institutions, may have been interconnected with its divine and holy aspect i.e. aidōs as a goddess, that seems to appear in iconographical, textual and epigraphic sources such as Hesiod, fourth century BC inscriptions and Pausanias. Analysing these primary sources I have been able to trace some fundamental elements; aidōs lived among the immortals (Hes. WD. 200); in Athens there was a priestess of aidōs (IG II2 5147); an amphora from c. 515 BC bearing the letters “AΙΔΩΣ” has been found; both at the time of Demosthenes (25.25.35) and Pausanias (1.17.1) an altar was erected in its honour and finally in Laconia there may have been a statue of shame (Paus. 3.20.10-11).
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Numerous stories about the mythological ‘Culture heroes’ which corresponded to the accounts of the great deeds performed by real historical personalities, constitute one of the major themes of the ‘Bibliotheka Historica’ by Diodorus Siculus. Another remarkable feature of this text is the habitual use of poetry for reference. This paper deals with poetic fragments cited by Diodorus for providing illustrative and informative evidence about pre-eminent figures of the Greek mythology.
The concentration of poetic citations around the main topics of narration is one of Diodorus’ methods of history writing, another aspect of which is the preference of Homeric epics for quotation as a source of the Greek myths. In a number of instances, the citations of Homer come along with the descriptions of excellent qualities of great mythological figures and the significant events of their lives.
In the historical part of the Bibliotheka, Diodorus alludes to such function of poetry as commemorating the lives of great personalities. It represents the pragmatic aspect of Diodorus’ history, which is claimed by the author to instruct mankind in wisdom. He mentions public praises as a reward for conferring noble actions and pays much attention to the material testimony of encomiastic inscriptions.
Neoptolemus rather seldom figures in Ancient Greek literature. The Posthomerica of Quintus of Smyrna is one of the scarce examples in which the son of Achilles is staged as a hero on the battlefield. This paper investigates the representation of Neoptolemus as the successor of his father in the Trojan War. The vigorous youth who takes Achilles’ place as the principal Achaean champion is repeatedly recognised as latter’s heir. Various narrative techniques reinforce this profound assimilation, which proves crucial to determine Neoptolemus’ identity as a warrior. The image that is thus created of the young hero clearly enters into dialogue with the Homeric epics, in which the post-Achilles episode of the Trojan War is only indirectly treated. To complete what his father has left unfinished, Neoptolemus finds inspiration in his rich inheritance.