ancient Greek drama Archives - Tales of Times Forgotten

New Fragments of Euripides Discovered!

As I previously discussed in this post I wrote back in 2021, the vast majority of ancient Greek drama has not survived to the present day. Of the hundreds of Greek tragic playwrights who flourished in antiquity, only three have any plays that have survived to the present day complete under their own names: Aischylos, Sophokles, and Euripides. At least ninety-five plays attributed to Euripides circulated in antiquity. Of these, only nineteen have survived to the present day complete and only eighteen of them are actually his work. (One of the surviving plays attributed to him, Rhesos, is generally agreed by modern scholars to be the work of a different playwright wrongly attributed to Euripides.)

Many of Euripides’s lost plays, however, are not totally lost; fragments of them survive. Some of these fragments are preserved through quotation by later ancient writers in surviving works, while others survive on papyri that have been discovered in Egypt over the past roughly century and a half. Some of these fragments are as long as whole scenes, while others are as short as a single word. A new expansion to Euripides’s surviving corpus, however, has just arrived. On August 1st, 2024, two classics professors at the University of Colorado Boulder announced that they have identified substantial previously unknown sections from two of his lost tragedies on a papyrus recently discovered in Egypt. This is a positively electrifying discovery for the field of classics.

Did Julius Caesar Really Say “The Die Is Cast”?

One of the most famous anecdotes in all of ancient history holds that, when the Roman general and politician Julius Caesar crossed the Rubicon stream, which marked the boundary of Italy, in January 49 BCE during his march on Rome, he declared “Iacta alea est!” (which means “The die is cast!” in Latin). A version of this story does occur in the ancient historical sources, but those sources indicate that, instead of the Latin phrase I have quoted here, Caesar actually used a Greek phrase with a subtly different meaning, which holds different implications for his understanding of the significance of his famous Rubicon crossing.

In Defense of Hegelochos

The Athenian tragic playwright Euripides (lived c. 480 – c. 406 BCE) is known for adapting traditional myths in highly innovative and sometimes controversial ways. In spring 408 BCE, his perhaps most iconoclastic tragedy Orestes premiered at the City Dionysia in the Theater of Dionysos Eleuthereus on the south slope of the Athenian akropolis. The play addresses the same myth as Aischylos’s earlier tragedy Eumenides, but radically alters the plot. In Aischylos’s play, the character Orestes stands trial before a jury of Athenians and is acquitted of the crime of murdering his own mother. In Euripides’s adaptation, by contrast, Orestes (along with his accomplices Pylades and Elektra) are convicted and sentenced to death in Argos and attempt to escape through murder and hostage-taking.

The play’s radically revisionist treatment of a classic myth, however, is not the only reason why its first performance is famous. Several ancient scholarly commentaries, known as scholia, attest that, in the first performance of the play, Orestes was portrayed by an actor named Hegelochos, who messed up one of his lines and won eternal ridicule. In this post, however, I will argue that Hegelochos may not be entirely (or perhaps at all) to blame for the infamous slip-up, which may owe just as much or more to the audience’s mishearing.

In Ancient Greece, Children Wearing Drag Was a Religious Obligation!

As I discuss in great detail in this recent post I wrote about the ongoing right-wing attack on LGBTQ+ people in the United States, in the past month, right-wingers have been having a full-on moral panic about the existence of child-friendly drag performances. These rightists perceive drag itself as inherently sexual and therefore inherently inappropriate for children. Many of them are claiming that allowing a child to view any form of drag is somehow “child abuse” or “grooming.” In the heat of this moral panic, neo-fascists have disrupted and even planned violent attacks on drag performances that are billed as child-friendly and Republican lawmakers in multiple red states have proposed bills that would make it a crime to allow any person under the age of eighteen to view any kind of performance involving drag.

As I have already explained at greater length in my previous post, drag is just a variety of costume; it’s a person dressing up as a different gender. There is nothing inherently sexual about it. Although many drag performances for adult audiences do make use of sexual humor and innuendo and are therefore inappropriate for young children, such innuendo is not integral to drag itself and some drag performances can be genuinely child-friendly. Moreover, laws banning drag performances in the presence of children, if they are vaguely worded enough, could be used to criminally prosecute trans and gender-nonconforming people for wearing clothes associated with a gender other than the one they were assigned at birth in any public place where children could conceivably be present.

In this post, I thought I would mention, from an ancient historical angle, that the ancient Greeks would be absolutely baffled by twenty-first-century U.S. right-wingers’ paroxysms over child-friendly drag. All the female roles in Greek drama were originally portrayed by men in drag at religious festivals where at least older children were present, it was a religious custom for men to dress in drag for certain religious festivals and occasions where children could be present, and the ancient Athenians even had a festival at which two adolescent boys were religiously mandated to dress in drag themselves.

What Powers Do Demigods Really Have in Greek Mythology?

The most prominent portrayal of demigods in recent years occurs in the American author Rick Riordan’s mythology-based middle-grade children’s books, which include the series Percy Jackson & the Olympians (published 2005 – 2009), The Heroes of Olympus (published 2010 – 2014), Magnus Chase and the Gods of Asgard (published 2015 – 2017), and The Trials of Apollo (published 2016 – 2020). Since Riordan’s books have an enormous fanbase and Percy Jackson & the Olympians is currently being developed into a new series for Disney+, I thought I would write this post in which I will explore how the portrayal of demigods and their powers in ancient Greek mythology and literature differs from the portrayal in Riordan’s novels.

Riordan’s novels portray demigods as having supernatural powers that correspond to specific aspects of the domains their divine parents preside over. The reality, though, is that, in actual ancient Greek and Roman sources, demigods do not typically possess any special powers or abilities that correspond in any way to the specific domain of their divine parent. Instead, what they typically inherit from their divine parent are more general exceptional qualities that correspond to the demigod in question’s gender more than their divine parentage.

Demigod men are typically said to display exceptional qualities that the Greeks and Romans considered inherently masculine, such as extraordinary physical strength and skill at fighting. Meanwhile, demigod women are typically said to display exceptional qualities that the Greeks and Romans considered inherently feminine. Notably, although both demigod men and women in general are said to possess extraordinary physical beauty, the sources tend to emphasize this aspect more for women than for men. Both demigod men and women are said in some cases to possess extraordinary cunning. By far the most important thing that makes demigods in the Greek tradition special, though, is that their divine parents look out for them and are willing to give them things they ask for.

How Have Works of Greek Drama Survived?

It is widely known that the vast majority of all works of ancient drama have been lost forever. We have record of literally hundreds of playwrights who wrote plays in the Greek language in ancient times, but only five of these playwrights have any plays that have survived to the present day complete or nearly complete under their own names. Three of these playwrights were tragedians: Aischylos, Sophokles, and Euripides. The other two playwrights—Aristophanes, and Menandros—were both comedians. All five were Athenian citizen men who lived in the fifth and fourth centuries BCE.

Many people who do not have any degrees in classics have heard these authors’ names and maybe even read some of their plays in translation, but very few people who do not have degrees in classics know how and why any of these authors’ works have survived to the present day when so many other works of ancient Greek drama have been lost.

Did the Ancient Greeks Really Think Archers Were Cowards?

There is a popular misconception that the ancient Greeks believed that archers were all cowards because they attacked from a distance rather than from up close. What is often ignored is that some of the most revered heroes in Greek mythology, including Herakles, Philoktetes, Odysseus, and Teukros, were archers and so were the deities Artemis and Apollon. The Greeks also used archers extensively in warfare.

While there are a couple passages from surviving works of ancient Greek literature in which certain characters do condemn archers as cowards, these passages are usually taken out of context. One of these passages comes from a character who has just been shot in the foot by an archer. The other passage comes from a villain in a tragedy who is immediately refuted by one of the good characters. When read in context, it becomes clear that these passages do not demonstrate a general disdain for archers in ancient Greek culture.

No, Aristotle Is Not Telling You to Unleash Your Inner Rage

Most people today believe that the word catharsis refers to the necessary release of negative emotions and destructive impulses for the sake of “purging” oneself of those emotions and impulses. Many people see this “purging” of negative emotions—usually specifically anger—as healthy or even necessary. This idea of catharsis as emotional purging is usually traced back to the ancient Greek philosopher Aristotle (lived 384 – 322 BC).

Psychological experiments, however, have shown that unleashing your anger does not cause that anger to go away. In fact, actually has a tendency to make people even more angry than they were originally. Furthermore, while Aristotle did use the Greek word κάθαρσις (kátharsis) in his Poetics, he certainly didn’t use that word to mean what many people today think he meant by it.

Yes, Kratos Is a Real Deity in Greek Mythology

I have never played any of the games in the video game series God of War. I don’t really have any interest in video games and, even if I did have an interest in them, I would never have time to play them. Nonetheless, as a Hellenist, I like to pay attention to how Greek mythology is portrayed in modern popular culture and I find it interesting that Kratos, the main character in the God of War series, is actually very loosely based on a real figure in Greek mythology.

In Greek mythology, Kratos is the divine personification of strength, the son of the Titan Pallas and the Okeanid nymphe Styx. Ironically, in ancient Greek sources, Kratos is portrayed as a dumb, overly violent thug who is unquestioningly loyal to Zeus and whose job is to enforce Zeus’s authority over all the other deities; whereas I’ve read that, in the video game series God of War, Kratos is apparently portrayed as a renegade demigod who kills all the major deities in the Greek pantheon, including Zeus.

If You Like Ancient Greek Texts, Thank the Byzantines for Preserving Them

There is a widespread belief among members of the general public that ancient Greek texts were mostly only preserved by the Arabs through Arabic translations. The Byzantine Empire is rarely mentioned in the context of the preservation of classical texts. When the Byzantines are mentioned in this context, it is usually by writers who see them as ignorant fundamentalist Christian obscurantists.

Contrary to what popular culture would lead you to believe, however, the Byzantine Empire did retain Greco-Roman knowledge. In fact, the vast majority of ancient Greek texts that have survived to the present day are primarily known from Greek manuscripts that were either copied in the Byzantine Empire or copied from texts that were copied in the Byzantine Empire.

The idea that the majority of ancient Greek texts have only been preserved because they were translated by Arabic scholars is largely a misconception. There are a few lesser-known classical Greek texts that have been preserved only through Arabic translations, but the vast majority of the really famous texts that people still study today have actually been preserved in the original Greek.

The widespread ignorance of the Byzantines’ role in the preservation of classical Greek and Roman texts is just one small part of a centuries-old, systematic effort by westerners to marginalize the Byzantine Empire and minimize its importance in European history.