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15 results for "euripides"

1. Sophocles, Ajax, 14-15, 346 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •nan Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

2. Sophocles, Antigone, 718-721, 723, 722 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •nan Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 298

3. Sophocles, Philoctetes, 1411, 1445, 1412 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •nan Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

4. Aristophanes, The Women Celebrating The Thesmophoria, 265 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

265. εἴσω τις ὡς τάχιστά μ' ἐσκυκλησάτω.

5. Euripides, Helen, 1642 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

1642. ἐπίσχες ὀργὰς αἷσιν οὐκ ὀρθῶς φέρῃ,

6. Euripides, Iphigenia Among The Taurians, 1435 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

7. Euripides, Suppliant Women, 1183 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

8. Plato, Cratylus, None (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

425d. ΣΩ. γελοῖα μὲν οἶμαι φανεῖσθαι, ὦ Ἑρμόγενες, γράμμασι καὶ συλλαβαῖς τὰ πράγματα μεμιμημένα κατάδηλα γιγνόμενα· ὅμως δὲ ἀνάγκη. οὐ γὰρ ἔχομεν τούτου βέλτιον εἰς ὅτι ἐπανενέγκωμεν περὶ ἀληθείας τῶν πρώτων ὀνομάτων, εἰ μὴ ἄρα βού λει, ὥσπερ οἱ τραγῳδοποιοὶ ἐπειδάν τι ἀπορῶσιν ἐπὶ τὰς μηχανὰς καταφεύγουσι θεοὺς αἴροντες, καὶ ἡμεῖς οὕτως εἰπόντες ἀπαλλαγῶμεν, ὅτι τὰ πρῶτα ὀνόματα οἱ θεοὶ ἔθεσαν καὶ διὰ ταῦτα ὀρθῶς ἔχει. ἆρα

425d. Socrates. It will, I imagine, seem ridiculous that things are made manifest through imitation in letters and syllables; nevertheless it cannot be otherwise. For there is no better theory upon which we can base the truth of the earliest names, unless you think we had better follow the example of the tragic poets, who, when they are in a dilemma, have recourse to the introduction of gods on machines. So we may get out of trouble by saying that the gods gave the earliest names, and therefore they are right.

9. Aristotle, Poetics, 15, 18 (4th cent. BCE - 4th cent. BCE) Tagged with subjects: •nan Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 298

10. Cicero, In Verrem, 2.4.60 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

11. Plutarch, How The Young Man Should Study Poetry, 2 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

2. First of all, then, the young man should be introduced into poetry with nothing in his mind so well imprinted, or so ready at hand, as the saying, Many the lies the poets tell, Proverbial; cf. Aristotle, Metaphysics , i. 2. some intentionally and some unintentionally; intentionally, because for the purpose of giving pleasure and gratification to the ear (and this is what most people look for in poetry) they feel that the truth is too stern in comparison with fiction. For the truth, because it is what actually happens, does not deviate from its course, even though the end be unpleasant; whereas fiction, being a verbal fabrication, very readily follows a roundabout route, and turns aside from the painful to what is more pleasant. For not metre nor figure of speech nor loftiness of diction nor aptness of metaphor nor unity of composition has so much allurement and charm, as a clever interweaving of fabulous narrative. But, just as in pictures, colour is more stimulating than line-drawing because it is life-like, and creates an illusion, so in poetry falsehood combined with plausibility is more striking, and gives more satisfaction, than the work which is elaborate in metre and diction, but devoid of myth and fiction. This explains why Socrates, being induced by some dreams to take up poetry, since he was not himself a plausible or naturally clever workman in falsehood, inasmuch as he had been the champion of truth all his life, put into verse the fables of Aesop, Cf. Plato, Phaedo , 60 A. assuming that there can be no poetic composition which has no addition of falsehood. It is true that we know of sacrifices without dancing or flute, but we do not know of any poetic composition without fable or without falsehood. The verses of Empedocles and of Parmenides, the Antidotes against Poisons of Nicander, and the maxims of Theognis, are merely compositions which have borrowed from poetic art its metre and lofty style as a vehicle in order to avoid plodding along in prose. Whenever, therefore, in the poems of a man of note and repute some strange and disconcerting statement either about gods or lesser deities or about virtue is made by the author, he who accepts the statement as true is carried off his feet, and has his opinions perverted; whereas he who always remembers and keeps clearly in mind the sorcery of the poetic art in dealing with falsehood, who is able on every such occasion to say to it, Device more subtly cunning than the lynx,a why knit your brows when jesting, why pretend to instruct when practising deception? Nauck, Trag.Graec. Frag., Adesp. , No. 349. will not suffer any dire effects or even acquire any base beliefs, but he will check himself when he feels afraid of Poseidon Homer, Iliad , xx. 60. and is in terror lest the god rend the earth asunder and lay bare the nether world; he will check himself when he is feeling wroth at Apollo in behalf of the foremost of the Achaeans, Whose praises he himself did sing, himself Was present at the feast, these words he spoke Himself, and yet himself brought death to him; Spoken by Thetis of the death of her son Achilles, as we are told by Plato, Republic , ii. p. 383 B, who quotes the passage more fully. Cf. Nauck, Trag. Graec. Frag. , Aeschylus , No. 350. he will cease to shed tears over the dead Achilles and over Agamemnon Homer, Od. xi. 470 and 360. in the nether world, as they stretch out their impotent and feeble arms in their desire to be alive; and if, perchance, he is beginning to be disturbed by their suffering and overcome by the enchantment, he will not hesitate to say to himself, Hasten eager to the light, and all you saw here Lay to heart that you may tell your wife hereafter. Homer, Od. xi. 223. Certainly Homer has put this gracefully in reference to the visit to the shades, indicating that it is fit stuff for a woman’s ear because of the element of fable in it. Such things as this are what the poets fabricate intentionally, but more numerous are the things which they do not fabricate, but think and believe in their own hearts, and then impart to us in their false colouring. Take for example what Homer has said relating to Zeus: In the scales he placed two fates of Death so grievous, One of Achilles and the other of horse-taming Hector; Grasping the middle he poised it, and Hector’s fated day descended. Down to Hades he went, and Phoebus Apollo forsook him. Homer, Il. xxii. 210. Now Aeschylus has fitted a whole tragedy to this story, giving it the title of The Weighing of Souls, and has placed beside the scales of Zeus on the one side Thetis, and on the other Dawn, entreating for their sons who are fighting. But it is patent to everybody that this is a mythical fabrication which has been created to please or astound the hearer. But in the lines Zeus, appointed to decide the outcome of men’s fighting Ibid. iv. 84. and A fault doth God create in men Whene’er he wills to crush a house in woe, From the Niobe , of Aeschylus; Nauck, Trag.Graec. Frag., Aeschylus , No. 156. we have at last statements in accord with their opinion and belief, as they thus publish to us and try to make us share their delusion and ignorance regarding the gods. Then again the monstrous tales of visits to the shades, and the descriptions, which in awful language create spectres and pictures of blazing rivers and hideous places and grim punishments, do not blind very many people to the fact that fable and falsehood in plenty have been mingled with them like poison in nourishing food. And not Homer nor Pindar nor Sophocles really believed that these things are so when they wrote: From there the slow-moving rivers of dusky night Belch forth a darkness immeasurable, Pindar, Frag. 130 Christ. and On past Ocean’s streams they went and the headland of Leucas, Homer, Od. xxiv. 11. and The narrow throat of Hades and the refluent depths. Cf. Nauck, Trag.Graec. Frag., Sophocles , No. 748. However, take the case of those who, bewailing and fearing death as something piteous, or want of burial as something terrible, have given utterance to sentiments like these: Go not hence and leave me behind unwept, unburied, Homer, Od. xi. 72. and Forth from his body went his soul on wing to Hades, Mourning its fate and leaving its vigour and manhood, Homer, Il. xvi. 856 and xxii. 362. and Destroy me not untimely; for ’tis sweet To see the light. Compel me not to gaze Upon the regions underneath the earth. Euripides, Iphigenia at Aulis , 1218. These are the voices of persons affected by emotion and prepossessed by opinions and delusions. For this reason such sentiments take a more powerful hold on us and disturb us the more, inasmuch as we become infected by their emotions and by the weakness from whence they proceed. Against these influences, then, once more let us equip the young from the very outset to keep ever sounding in their ears the maxim, that the art of poetry is not greatly concerned with the truth, and that the truth about these matters, even for those who have made it their sole business to search out and understand the verities, is exceedingly hard to track down and hard to get hold of, as they themselves admit; and let these words of Empedocles be constantly in mind: Thus no eye of man hath seen nor ear hath heard this, Nor can it be comprehended by the mind, The passage is quoted more fully by Sextus Empiricus, Adv. math. vii. 122-4; cf. Diels, Poetarum Philosophorum Fragmenta , Empedocles , No. 2 and the words of Xenophanes: Never yet was born a man nor ever shall be Knowing the truth about the gods and what I say of all things, Quoted with two additional lines by Sextus Empiricus, Adv. math. vii. 49; cf. Diels, Poet. Philos. Frag. , Xenophanes, No. 34. and by all means the words of Socrates, in Plato, Plato, Phaedo , 69 D. when he solemnly disavows all acquaintance with these subjects. For young people then will give less heed to the poets, as having some knowledge of these matters, when they see that such questions stagger the philosophers.

12. Philostratus The Athenian, Life of Apollonius, 2.22 (2nd cent. CE - missingth cent. CE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

2.22. ὃν δὲ διέτριβεν ἐν τῷ ἱερῷ χρόνον, πολὺς δὲ οὗτος ἐγένετο, ἔστ' ἂν ἀγγελθῇ τῷ βασιλεῖ ξένους ἥκειν, “ὦ Δάμι” ἔφη ὁ ̓Απολλώνιος, “ἔστι τι γραφική;” “εἴ γε” εἶπε “καὶ ἀλήθεια.” “πράττει δὲ τί ἡ τέχνη αὕτη;” “τὰ χρώματα” ἔφη “ξυγκεράννυσιν, ὁπόσα ἐστί, τὰ κυανᾶ τοῖς βατραχείοις καὶ τὰ λευκὰ τοῖς μέλασι καὶ τὰ πυρσὰ τοῖς ὠχροῖς.” “ταυτὶ δὲ” ἦ δ' ὃς “ὑπὲρ τίνος μίγνυσιν; οὐ γὰρ ὑπὲρ μόνου τοῦ ἄνθους, ὥσπερ αἱ κήριναι.” “ὑπὲρ μιμήσεως” ἔφη “καὶ τοῦ κύνα τε ἐξεικάσαι καὶ ἵππον καὶ ἄνθρωπον καὶ ναῦν καὶ ὁπόσα ὁρᾷ ὁ ἥλιος: ἤδη δὲ καὶ τὸν ἥλιον αὐτὸν ἐξεικάζει τοτὲ μὲν ἐπὶ τεττάρων ἵππων, οἷος ἐνταῦθα λέγεται φαίνεσθαι, τοτὲ δ' αὖ καὶ διαπυρσεύοντα τοῦ οὐρανοῦ, ἐπειδὰν αἰθέρα ὑπογράφῃ καὶ θεῶν οἶκον.” “μίμησις οὖν ἡ γραφική, ὦ Δάμι;” “τί δὲ ἄλλο;” εἶπεν “εἰ γὰρ μὴ τοῦτο πράττοι, γελοία δόξει χρώματα ποιοῦσα εὐήθως.” “τὰ δ' ἐν τῷ οὐρανῷ” ἔφη “βλεπόμενα, ἐπειδὰν αἱ νεφέλαι διασπασθῶσιν ἀπ' ἀλλήλων, τοὺς κενταύρους καὶ τραγελάφους καὶ, νὴ Δί', οἱ λύκοι τε καὶ οἱ ἵπποι, τί φήσεις; ἆρ' οὐ μιμητικῆς εἶναι ἔργα;” “ἔοικεν,” ἔφη. “ζωγράφος οὖν ὁ θεός, ὦ Δάμι, καὶ καταλιπὼν τὸ πτηνὸν ἅρμα, ἐφ' οὗ πορεύεται διακοσμῶν τὰ θεῖά τε καὶ ἀνθρώπεια, κάθηται τότε ἀθύρων τε καὶ γράφων ταῦτα, ὥσπερ οἱ παῖδες ἐν τῇ ψάμμῳ;” ἠρυθρίασεν ὁ Δάμις ἐς οὕτως ἄτοπον ἐκπεσεῖν δόξαντος τοῦ λόγου. οὐχ ὑπεριδὼν οὖν αὐτὸν ὁ ̓Απολλώνιος, οὐδὲ γὰρ πικρὸς πρὸς τὰς ἐλέγξεις ἦν, “ἀλλὰ μὴ τοῦτο” ἔφη “βούλει λέγειν, ὦ Δάμι, τὸ ταῦτα μὲν ἄσημά τε καὶ ὡς ἔτυχε διὰ τοῦ οὐρανοῦ φέρεσθαι τόγε ἐπὶ τῷ θεῷ, ἡμᾶς δὲ φύσει τὸ μιμητικὸν ἔχοντας ἀναρρυθμίζειν τε αὐτὰ καὶ ποιεῖν;” “μᾶλλον” ἔφη “τοῦτο ἡγώμεθα, ὦ ̓Απολλώνιε, πιθανώτερον γὰρ καὶ πολλῷ βέλτιον.” “διττὴ ἄρα ἡ μιμητική, ὦ Δάμι, καὶ τὴν μὲν ἡγώμεθα οἵαν τῇ χειρὶ ἀπομιμεῖσθαι καὶ τῷ νῷ, γραφικὴν δὲ εἶναι ταύτην, τὴν δ' αὖ μόνῳ τῷ νῷ εἰκάζειν.” “οὐ διττήν,” ἔφη ὁ Δάμις “ἀλλὰ τὴν μὲν τελεωτέραν ἡγεῖσθαι προσήκει γραφικήν γε οὖσαν, ἣ δύναται καὶ τῷ νῷ καὶ τῇ χειρὶ ἐξεικάσαι, τὴν δὲ ἑτέραν ἐκείνης μόριον, ἐπειδὴ ξυνίησι μὲν καὶ μιμεῖται τῷ νῷ καὶ μὴ γραφικός τις ὤν, τῇ χειρὶ δὲ οὐκ ἂν ἐς τὸ γράφειν αὐτὰ χρήσαιτο.” “ἆρα,” ἔφη “ὦ Δάμι, πεπηρωμένος τὴν χεῖρα ὑπὸ πληγῆς τινος ἢ νόσου;” “μὰ Δί'” εἶπεν “ἀλλ' ὑπὸ τοῦ μήτε γραφίδος τινὸς ἧφθαι, μήτε ὀργάνου τινὸς ἢ χρώματος, ἀλλ' ἀμαθῶς ἔχειν τοῦ γράφειν.” “οὐκοῦν,” ἔφη “ὦ Δάμι, ἄμφω ὁμολογοῦμεν μιμητικὴν μὲν ἐκ φύσεως τοῖς ἀνθρώποις ἥκειν, τὴν γραφικὴν δὲ ἐκ τέχνης. τουτὶ δ' ἂν καὶ περὶ τὴν πλαστικὴν φαίνοιτο. τὴν δὲ δὴ ζωγραφίαν αὐτὴν οὔ μοι δοκεῖς μόνον τὴν διὰ τῶν χρωμάτων ἡγεῖσθαι, καὶ γὰρ ἓν χρῶμα ἐς αὐτὴν ἤρκεσε τοῖς γε ἀρχαιοτέροις τῶν γραφέων καὶ προϊοῦσα τεττάρων εἶτα πλειόνων ἥψατο, ἀλλὰ καὶ γραμμὴν καὶ τὸ ἄνευ χρώματος, ὃ δὴ σκιᾶς τε ξύγκειται καὶ φωτός, ζωγραφίαν προσήκει καλεῖν: καὶ γὰρ ἐν αὐτοῖς ὁμοιότης τε ὁρᾶται εἶδός τε καὶ νοῦς καὶ αἰδὼς καὶ θρασύτης, καίτοι χηρεύει χρωμάτων ταῦτα, καὶ οὔτε αἷμα ἐνσημαίνει οὔτε κόμης τινὸς ἢ ὑπήνης ἄνθος, ἀλλὰ μονοτρόπως ξυντιθέμενα τῷ τε ξανθῷ ἀνθρώπῳ ἔοικε καὶ τῷ λευκῷ, κἂν τούτων τινὰ τῶν ̓Ινδῶν λευκῇ τῇ γραμμῇ γράψωμεν, μέλας δήπου δόξει, τὸ γὰρ ὑπόσιμον τῆς ῥινὸς καὶ οἱ ὀρθοὶ βόστρυχοι καὶ ἡ περιττὴ γένυς καὶ ἡ περὶ τοῖς ὀφθαλμοῖς οἷον ἔκπληξις μελαίνει τὰ ὁρώμενα καὶ ̓Ινδὸν ὑπογράφει τοῖς γε μὴ ἀνοήτως ὁρῶσιν. ὅθεν εἴποιμ' ἂν καὶ τοὺς ὁρῶντας τὰ τῆς γραφικῆς ἔργα μιμητικῆς δεῖσθαι: οὐ γὰρ ἂν ἐπαινέσειέ τις τὸν γεγραμμένον ἵππον ἢ ταῦρον μὴ τὸ ζῷον ἐνθυμηθείς, ᾧ εἴκασται, οὐδ' ἂν τὸν Αἴαντά τις τὸν Τιμομάχου ἀγασθείη, ὃς δὴ ἀναγέγραπται αὐτῷ μεμηνώς, εἰ μὴ ἀναλάβοι τι ἐς τὸν νοῦν Αἴαντος εἴδωλον καὶ ὡς εἰκὸς αὐτὸν ἀπεκτονότα τὰ ἐν τῇ Τροίᾳ βουκόλια καθῆσθαι ἀπειρηκότα, βουλὴν ποιούμενον καὶ ἑαυτὸν κτεῖναι. ταυτὶ δέ, ὦ Δάμι, τὰ τοῦ Πώρου δαίδαλα μήτε χαλκευτικῆς μόνον ἀποφαινώμεθα, γεγραμμένοις γὰρ εἴκασται, μήτε γραφικῆς, ἐπειδὴ ἐχαλκεύθη, ἀλλ' ἡγώμεθα σοφίσασθαι αὐτὰ γραφικόν τε καὶ χαλκευτικὸν ἕνα ἄνδρα, οἷον δή τι παρ' ̔Ομήρῳ τὸ τοῦ ̔Ηφαίστου περὶ τὴν τοῦ ̓Αχιλλέως ἀσπίδα ἀναφαίνεται. μεστὰ γὰρ καὶ ταῦτα ὀλλύντων τε καὶ ὀλλυμένων, καὶ τὴν γῆν ᾑματῶσθαι φήσεις χαλκῆν οὖσαν.”

2.22. While he was waiting in the Temple, — and it took a long time for the king to be informed that strangers had arrived, — Apollonius said: O Damis, is there such a thing as painting? Why yes, he answered, if there be any such thing as truth. And what does this art do? It mixes together, replied Damis, all the colors there are, blue with green, and white with black, and red with yellow. And for what reason, said the other, does it mix these? For it isn't merely to get a color, like dyed wax. It is, said Damis, for the sake of imitation, and to get a likeness of a dog, or a horse, or a man, or a ship, or of anything else under the sun; and what is more, you see the sun himself represented, sometimes borne upon a four horse car, as he is said to be seen here, and sometimes again traversing the heaven with his torch, in case you are depicting the ether and the home of the gods. Then, O Damis, painting is imitation? And what else could it be? said he: for if it did not effect that, it would voted to be an idle playing with colors. And, said the other, the things which are seen in heaven, whenever the clouds are torn away from one another, I mean the centaurs and stag-antelopes, yes, and the wolves too, and the horses, what have you got to say about them? Are we not to regard them as works of imitation? It would seem so, he replied. Then, Damis, God is a painter, and has left his winged chariot, upon which he travels, as he disposes of affairs human and divine, and he sits down on these occasions to amuse himself by drawing these pictures, as children make figures in the sand. Damis blushed, for he felt that his argument was reduced to such an absurdity. But Apollonius, on his side, had no wish to humiliate him, for he was not unfeeling in his refutations of people, and said: But I am sure, Damis, you did not mean that; rather that these figures flit through the heaven not only without meaning, but, so far as providence is concerned, by mere chance; while we who by nature are prone to imitation rearrange and create them in these regular figures. We may, he said, rather consider this to be the case, O Apollonius, for it is more probable, and a much sounder idea. Then, O Damis, the mimetic art is twofold, and we may regard the one kind as an employment of the hands and mind in producing imitations, and declare that this is painting, whereas the other kind consists in making likenesses with the mind alone. Not twofold, replied Damis, for we ought to regard the former as the more perfect and more complete kind, being anyhow painting and a faculty of making likenesses with the help both of mind and hand; but we must regard the other kind as a department that, since its possessor perceives and imitates with the mind, without having the delineative faculty, and would never use his hand in depicting its objects. Then, said Apollonius, you mean, Damis, that the hand may be disabled by a blow or by disease? No, he answered, but it is disabled, because it has never handled pencil nor any instrument or color, and has never learned to draw. Then, said the other, we are both of us, Damis, agreed that man owes his mimetic faculty to nature, but his power of painting to art. And the same would appear to be true of plastic art. But, methinks, you would not confine painting itself to the mere use of colors, for a single color was often found sufficient for this purpose by our older painters; and as the art advanced, it employed four, and later, yet more; but we must also concede the name of a painting to an outline drawn without any color at all, and composed merely of shadow and light. For in such designs we see a resemblance, we see form and expression, and modesty and bravery, although they are altogether devoid of color; and neither blood is represented, nor the color of a man's hair or beard; nevertheless these compositions in monochrome are likenesses of people either tawny or white, and if we drew one of these Indians with a pencil without color, yet he would be known for a negro, for his flat nose, and his stiff curling locks and prominent jaw, and a certain gleam about his eyes, would give a black look to the picture and depict an Indian to the eyes of all those who have intelligence. And for this reason I should say that those who look at works of painting and drawing require a mimetic faculty; for no one could appreciate or admire a picture of a horse or of a bull, unless he had formed an idea of the picture represented. Nor again could one admire a picture of Ajax, by the painter Timomachus, which represents him in a state of madness, unless one had conceived in one's mind first an idea or notion of Ajax, and had entertained the probability that after killing the flocks in Troy he would sit down exhausted and even meditate suicide. But these elaborate works of Porus we cannot, Damis, regard as works of brass founding alone, for they are cast in brass; so let us regard them as the chefs d'oeuvre of a man who is both painter and brass-founder at once, and as similar to the work of Hephaestus upon the shield of Achilles, as revealed in Homer. For they are crowded together in that work too men slaying and slain, and you would say that the earth was stained with gore, though it is made of brass.

13. Pollux, Onomasticon, 4.128 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 705

15. Antiphanes, Poems/Poetry, 189.13-189.16 Tagged with subjects: •euripides, and the gods Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 706

Tiresias: The Ancient Mediterranean Religions Source Database