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Tiresias: The Ancient Mediterranean Religions Source Database

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Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.

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All subjects (including unvalidated):
subject book bibliographic info
scene, absence of hygieia, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 224
scene, agrippa i, jewish king, and banquet Edwards (2023), In the Court of the Gentiles: Narrative, Exemplarity, and Scriptural Adaptation in the Court-Tales of Flavius Josephus, 149, 150, 151, 152, 153, 154
scene, agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 281, 282, 283, 284, 285, 286, 287, 347, 348, 349, 350, 354
scene, altar with cakes and other preliminary offerings, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 238, 249, 251
scene, and question of sexes sleeping separately, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 630
scene, and setting, reliance on passages from earlier drama Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 66
scene, asklepios accompanied by daughters, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 223, 224, 239
scene, asklepios accompanied by serpents, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 135, 215, 239
scene, asklepios described as sitting, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 225
scene, asklepios employing medicine, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 230
scene, asklepios healing by touch, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 221
scene, battle Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 371, 378
scene, bedtrick as, bedroom, recognition Pinheiro et al. (2012a), Narrating Desire: Eros, Sex, and Gender in the Ancient Novel, 171
scene, building of bouleuterion Kalinowski (2021), Memory, Family, and Community in Roman Ephesos, 301, 312, 316
scene, building, statues, in bouleuterion Kalinowski (2021), Memory, Family, and Community in Roman Ephesos, 312, 316
scene, celebration after cure, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 260
scene, cure achieved overnight, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 216
scene, date of play, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 137
scene, divine Papadodima (2022), Ancient Greek Literature and the Foreign: Athenian Dialogues II, 149
scene, divisions, ajax, sophocles, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279, 280
scene, divisions, deianira, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279
scene, divisions, electra, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 279
scene, divisions, electra, sophocles, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279
scene, divisions, episodes, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279
scene, divisions, general parodos, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278
scene, divisions, orestes, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 279
scene, divisions, prologue, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279
scene, divisions, pylades, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 279
scene, divisions, tecmessa, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278, 279, 280
scene, divisions, women of trachis, the, sophocles, and Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 278
scene, esther, jewish queen, and banquet Edwards (2023), In the Court of the Gentiles: Narrative, Exemplarity, and Scriptural Adaptation in the Court-Tales of Flavius Josephus, 149, 150, 151, 152, 153, 154
scene, eucharist Berglund Crostini and Kelhoffer (2022), Why We Sing: Music, Word, and Liturgy in Early Christianity, 215
scene, evidence for bedding materials brought from home, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 258, 284
scene, evidence of incubations prominence, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 182
scene, funerary laws, prothesis de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 247
scene, goods, stock Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 212
scene, helen, and menelaus Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 313, 314, 315, 317
scene, honeycomb Piotrkowski (2019), Priests in Exile: The History of the Temple of Onias and Its Community in the Hellenistic Period, 297, 299, 300, 301, 304, 308, 315, 317, 319
scene, iliad, armour-switching Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 259
scene, in aristophanes, sympotic song Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 64, 65, 66, 67, 68, 69, 70, 75, 79, 104
scene, in tacitus, seneca, death Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 145, 146, 147
scene, lamps extinguished by temple servant, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 238, 259, 308, 309
scene, mark, gospel of crucifixion Peppard (2011), The Son of God in the Roman World: Divine Sonship in its Social and Political Context, 14, 129, 130
scene, mithraic, banquet Beck (2006), The Religion of the Mithras Cult in the Roman Empire: Mysteries of the Unconquered Sun, 22, 23
scene, mosaic in house of leontis, nilotic Levine (2005), The Ancient Synagogue, The First Thousand Years, 217
scene, nativity Berglund Crostini and Kelhoffer (2022), Why We Sing: Music, Word, and Liturgy in Early Christianity, 339
scene, of bedroom, rape, as Pinheiro et al. (2012a), Narrating Desire: Eros, Sex, and Gender in the Ancient Novel, 55, 56, 57, 229
scene, on reliefs of commagene, dexiosis, shaking hands Marek (2019), In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World, 304
scene, overlooked joke regarding aristophaness plutus incubation ablutions, ? Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 185, 241
scene, overlooked parody in priests aristophaness plutus incubation thieving, ? Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 249, 250
scene, pompeii, iseum in naval Griffiths (1975), The Isis-Book (Metamorphoses, Book XI), 259, 263
scene, preliminary use of water, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 185, 240, 241, 242
scene, presence of companions for those incubating, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 225, 226, 238, 631, 632
scene, problem of setting at athens or peiraeus, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 135, 136, 182, 185, 630
scene, recognition Cueva et al. (2018b), Re-Wiring the Ancient Novel. Volume 2: Roman Novels and Other Important Texts, 271
Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 291, 752, 758
scene, rhythm, in an agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284
scene, sacred animals, greek, serpents in aristophaness plutus Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 135, 136, 215, 239
scene, sanctuary of artemis orthia, sparta, comb with judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 268
scene, scaena Jenkyns (2013), God, Space, and City in the Roman Imagination, 7, 8, 10, 90
scene, sepphoris synagogue, aqedah Levine (2005), The Ancient Synagogue, The First Thousand Years, 362
scene, simeon, homeric battle Potter Suh and Holladay (2021), Hellenistic Jewish Literature and the New Testament: Collected Essays, 134, 152
scene, staging, odysseus scar Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 269, 411
scene, summary of scene, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 238, 239
scene, terminology for incubation, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 9, 11
scene, testudo Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 333, 334
scene, trial Mheallaigh (2014), Reading Fiction with Lucian: Fakes, Freaks and Hyperreality, 56, 57
Pinheiro et al. (2012a), Narrating Desire: Eros, Sex, and Gender in the Ancient Novel, 17, 20, 162, 167, 177
scene, trojan women, euripides, undressing Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 98, 99
scene, use of stibades, aristophaness plutus incubation Renberg (2017), Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World, 238, 239, 259
scene, wise-adviser de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 363, 364
scenes Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286, 287
scenes, aeschylus, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283
scenes, aeschylus, and messenger Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 282
scenes, agamemnon, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286, 287
scenes, ajax, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284, 285, 286, 287
scenes, ajax, sophocles, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284, 285, 286, 287
scenes, and ajax, storm Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 101
scenes, and birth stories, aphrodite Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 254, 255, 257, 272
scenes, and family ties, recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 27, 57, 58, 59, 94, 95, 96, 231, 232
scenes, and metatheatre, recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 28, 29, 30, 31, 62, 63, 64, 65, 66, 67, 68, 69
scenes, and pace, battle Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 296, 297, 298
scenes, and reunion, recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 57, 58, 59, 94, 95, 96, 97
scenes, and revelation, recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 27, 34, 35, 47, 48, 55, 61, 233
scenes, and stories, aphrodite, birth Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 254, 255, 257, 272
scenes, and stories, apollo and birth artemis, births of Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 180, 358
scenes, and, adultery, trial Pinheiro et al. (2012a), Narrating Desire: Eros, Sex, and Gender in the Ancient Novel, 177, 178, 179, 180
scenes, anger, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286
scenes, announcement of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 752
scenes, antigone, sophocles, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286
scenes, aphrodite, in judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 62, 261, 268
scenes, aristotle, on tragic recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 27, 61
scenes, aristotle’s definition of recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 27, 61
scenes, athena using zeus’ thunderbolt, storm Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 4
scenes, athena, in judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 62, 261, 268
scenes, battle Chrysanthou (2022), Reconfiguring the Imperial Past: Narrative Patterns and Historical Interpretation in Herodian’s History of the Empire. 43, 47, 56, 64, 107, 114, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 193, 194, 195, 229, 237, 238, 247, 260, 261, 271, 272, 273, 285, 286, 287, 291, 292
scenes, bromias recognition Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 269, 282, 291
scenes, chorus, the, in agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284
scenes, clytemnestra, sophocles, and messenger Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283
scenes, creon, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285
scenes, deathbed Cohen (2010), The Significance of Yavneh and other Essays in Jewish Hellenism, 76, 77
scenes, deianira, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286
scenes, dialogue, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283, 284, 285, 286, 287
scenes, ending, storm Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 335, 337, 338, 339, 340
scenes, euripides, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283
scenes, featuring, animals, combat Neis (2012), When a Human Gives Birth to a Raven: Rabbis and the Reproduction of Species. 230
scenes, general announcement, of Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 752
scenes, haemon, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285
scenes, hera, in judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 62, 261, 268
scenes, heracles, and messenger Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 281, 282, 283
scenes, hyllus, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286
scenes, in art of christianity, birth Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 206
scenes, in battle homer, in roman epic Braund and Most (2004), Ancient Anger: Perspectives from Homer to Galen, 251, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 278, 279, 283, 284, 285
scenes, in euripides, recognition Lightfoot (2021), Wonder and the Marvellous from Homer to the Hellenistic World, 110, 111, 127, 136
scenes, in homer, battle Braund and Most (2004), Ancient Anger: Perspectives from Homer to Galen, 56, 200
scenes, in the annals, tacitus, death Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 145, 146, 147, 148, 149, 150, 151
scenes, infancy gospel of thomas, education Pinheiro et al. (2012b), The Ancient Novel and Early Christian and Jewish Narrative: Fictional Intersections, 121
scenes, intertextuality, and tacitean death Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 148, 149, 150
scenes, israelites, complaint Gera (2014), Judith, 245, 246, 247, 248, 249, 261, 277
scenes, judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 62, 261, 268
scenes, menelaus, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284, 285, 286
scenes, narrative, banqueting Toloni (2022), The Story of Tobit: A Comparative Literary Analysis, 9
scenes, nile Neis (2012), When a Human Gives Birth to a Raven: Rabbis and the Reproduction of Species. 102, 229, 230
scenes, nilotic Bricault et al. (2007), Orphism and Christianity in Late Antiquity, 321, 322
scenes, odysseus, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286, 287
scenes, odyssey, storm Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 4
scenes, oedipus the king, sophocles, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286
scenes, oedipus, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286
scenes, of cult Mackey (2022), Belief and Cult: Rethinking Roman Religion, 271
scenes, of decisions Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 67, 68, 69, 70, 71, 72, 73, 74, 75
scenes, of messengers Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 280, 281, 282, 283
scenes, of movement Poulsen (2021), Usages of the Past in Roman Historiography, 29, 154, 161, 272, 278, 279, 280, 287, 292, 305
scenes, of recognition de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149
scenes, on mosaics of edessa, family Marek (2019), In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World, 353, 354
scenes, orestes, and messenger Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 282, 283
scenes, paris, from iliad, judgment of paris Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 62, 261, 268
scenes, paternity, in recognition Bexley (2022), Seneca's Characters: Fictional Identities and Implied Human Selves, 232
scenes, protagoras, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283
scenes, reconciliation, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286, 287
scenes, sculpture, mythological Eliav (2023), A Jew in the Roman Bathhouse: Cultural Interaction in the Ancient Mediterranean, 164, 167, 172, 184
scenes, search Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 43, 44, 45
scenes, sepphoris synagogue, biblical figures and Levine (2005), The Ancient Synagogue, The First Thousand Years, 389
scenes, staging, bathing Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 122, 302
scenes, staging, fight Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 104, 167
scenes, teucer, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 284, 285, 286
scenes, thucydides, politician, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 283
scenes, tiresias, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286
scenes, women of trachis, the, sophocles, and agōn Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 286

List of validated texts:
11 validated results for "scenes"
1. Hebrew Bible, Genesis, 49.5-49.7 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: • Honeycomb Scene • deathbed scenes

 Found in books: Cohen (2010), The Significance of Yavneh and other Essays in Jewish Hellenism, 76; Piotrkowski (2019), Priests in Exile: The History of the Temple of Onias and Its Community in the Hellenistic Period, 301

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49.5 שִׁמְעוֹן וְלֵוִי אַחִים כְּלֵי חָמָס מְכֵרֹתֵיהֶם׃ 49.6 בְּסֹדָם אַל־תָּבֹא נַפְשִׁי בִּקְהָלָם אַל־תֵּחַד כְּבֹדִי כִּי בְאַפָּם הָרְגוּ אִישׁ וּבִרְצֹנָם עִקְּרוּ־שׁוֹר׃ 49.7 אָרוּר אַפָּם כִּי עָז וְעֶבְרָתָם כִּי קָשָׁתָה אֲחַלְּקֵם בְּיַעֲקֹב וַאֲפִיצֵם בְּיִשְׂרָאֵל׃'' None		sup>
49.5 Simeon and Levi are brethren; Weapons of violence their kinship. 49.6 Let my soul not come into their council; Unto their assembly let my glory not be not united; For in their anger they slew men, And in their self-will they houghed oxen. 49.7 Cursed be their anger, for it was fierce, And their wrath, for it was cruel; I will divide them in Jacob, And scatter them in Israel'' None
2. Homer, Iliad, 8.518, 21.114 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • Recognition, Scenes of • Simeon, Homeric battle scene • reliance on passages from earlier drama, scene and setting

 Found in books: Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 66; Potter Suh and Holladay (2021), Hellenistic Jewish Literature and the New Testament: Collected Essays, 152; de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 136, 148

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21.114 ὣς φάτο, τοῦ δʼ αὐτοῦ λύτο γούνατα καὶ φίλον ἦτορ·' ' None		sup>
21.114 There shall come a dawn or eve or mid-day, when my life too shall some man take in battle, whether he smite me with cast of the spear, or with an arrow from the string. So spake he, and the other's knees were loosened where he was and his heart was melted. " " None
3. None, None, nan (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • Recognition, Scenes of • Simeon, Homeric battle scene • birth scenes and stories, Apollo and Artemis, births of

 Found in books: Potter Suh and Holladay (2021), Hellenistic Jewish Literature and the New Testament: Collected Essays, 152; Simon, Zeyl, and Shapiro, (2021), The Gods of the Greeks, 180; de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 139, 142
4. Aeschylus, Libation-Bearers, 232 (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Euripides, recognition scenes in • recognition scene

 Found in books: Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 758; Lightfoot (2021), Wonder and the Marvellous from Homer to the Hellenistic World, 110

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232 σπάθης τε πληγὰς ἠδὲ θήρειον γραφήν.'' None		sup>
232 Put the lock of hair, your own brother’s, in the spot it was cut from and observe how it matches the hair on my head. And see this piece of weaving, your handiwork, the strokes of the batten and the beasts in the design. Control yourself! Do not go mad with joy! For I know that our nearest kin are bitter foes to us both. Electra '' None
5. Herodotus, Histories, 3.119, 5.92 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Wise-adviser scene • agōn scene • epyllion, reworking of Achilles-Penthesileia scene in Dionysiaca

 Found in books: Goldhill (2020), Preposterous Poetics: The Politics and Aesthetics of Form in Late Antiquity, 144; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 349; de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 363

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3.119 οἳ δὲ τῷ βασιλέι δεικνύουσι ἑωυτοὺς καὶ τὴν αἰτίην εἶπον διʼ ἣν πεπονθότες εἴησαν. Δαρεῖος δὲ ἀρρωδήσας μὴ κοινῷ λόγῳ οἱ ἓξ πεποιηκότες ἔωσι ταῦτα, μεταπεμπόμενος ἕνα ἕκαστον ἀπεπειρᾶτο γνώμης, εἰ συνέπαινοι εἰσὶ τῷ πεποιημένῳ. ἐπείτε δὲ ἐξέμαθε ὡς οὐ σὺν κείνοισι εἴη ταῦτα πεποιηκώς, ἔλαβε αὐτόν τε τὸν Ἰνταφρένεα καὶ τοὺς παῖδας αὐτοῦ καὶ τοὺς οἰκηίους πάντας, ἐλπίδας πολλὰς ἔχων μετὰ τῶν συγγενέων μιν ἐπιβουλεύειν οἱ ἐπανάστασιν, συλλαβὼν δὲ σφέας ἔδησε τὴν ἐπὶ θανάτῳ. ἡ δὲ γυνὴ τοῦ Ἰνταφρένεος φοιτῶσα ἐπὶ τὰς θύρας τοῦ βασιλέος κλαίεσκε ἂν καὶ ὀδυρέσκετο· ποιεῦσα δὲ αἰεὶ τὠυτὸ τοῦτο τὸν Δαρεῖον ἔπεισε οἰκτεῖραί μιν. πέμψας δὲ ἄγγελον ἔλεγε τάδε· “ὦ γύναι, βασιλεύς τοι Δαρεῖος διδοῖ ἕνα τῶν δεδεμένων οἰκηίων ῥύσασθαι τὸν βούλεαι ἐκ πάντων.” ἣ δὲ βουλευσαμένη ὑπεκρίνετο τάδε· “εἰ μὲν δή μοι διδοῖ βασιλεὺς ἑνὸς τὴν ψυχήν, αἱρέομαι ἐκ πάντων τὸν ἀδελφεόν.” πυθόμενος δὲ Δαρεῖος ταῦτα καὶ θωμάσας τὸν λόγον, πέμψας ἠγόρευε “ὦ γύναι, εἰρωτᾷ σε βασιλεύς, τίνα ἔχουσα γνώμην, τὸν ἄνδρα τε καὶ τὰ τέκνα ἐγκαταλιποῦσα, τὸν ἀδελφεὸν εἵλευ περιεῖναί τοι, ὃς καὶ ἀλλοτριώτερός τοι τῶν παίδων καὶ ἧσσον κεχαρισμένος τοῦ ἀνδρός ἐστι.” ἣ δʼ ἀμείβετο τοῖσιδε. “ὦ βασιλεῦ, ἀνὴρ μέν μοι ἂν ἄλλος γένοιτο, εἰ δαίμων ἐθέλοι, καὶ τέκνα ἄλλα, εἰ ταῦτα ἀποβάλοιμι· πατρὸς δὲ καὶ μητρὸς οὐκέτι μευ ζωόντων ἀδελφεὸς ἂν ἄλλος οὐδενὶ τρόπῳ γένοιτο. ταύτῃ τῇ γνώμῃ χρεωμένη ἔλεξα ταῦτα.” εὖ τε δὴ ἔδοξε τῷ Δαρείῳ εἰπεῖν ἡ γυνή, καί οἱ ἀπῆκε τοῦτόν τε τὸν παραιτέετο καὶ τῶν παίδων τὸν πρεσβύτατον, ἡσθεὶς αὐτῇ, τοὺς δὲ ἄλλους ἀπέκτεινε πάντας. τῶν μὲν δὴ ἑπτὰ εἷς αὐτίκα τρόπῳ τῷ εἰρημένῳ ἀπολώλεε.
5.92 Ἠετίωνι δὲ μετὰ ταῦτα ὁ παῖς ηὐξάνετο, καί οἱ διαφυγόντι τοῦτον τὸν κίνδυνον ἀπὸ τῆς κυψέλης ἐπωνυμίην Κύψελος οὔνομα ἐτέθη. ἀνδρωθέντι δὲ καὶ μαντευομένῳ Κυψέλῳ ἐγένετο ἀμφιδέξιον χρηστήριον ἐν Δελφοῖσι, τῷ πίσυνος γενόμενος ἐπεχείρησέ τε καὶ ἔσχε Κόρινθον. ὁ δὲ χρησμὸς ὅδε ἦν. ὄλβιος οὗτος ἀνὴρ ὃς ἐμὸν δόμον ἐσκαταβαίνει, Κύψελος Ἠετίδης, βασιλεὺς κλειτοῖο Κορίνθου αὐτὸς καὶ παῖδες, παίδων γε μὲν οὐκέτι παῖδες. τὸ μὲν δὴ χρηστήριον τοῦτο ἦν, τυραννεύσας δὲ ὁ Κύψελος τοιοῦτος δή τις ἀνὴρ ἐγένετο· πολλοὺς μὲν Κορινθίων ἐδίωξε, πολλοὺς δὲ χρημάτων ἀπεστέρησε, πολλῷ δέ τι πλείστους τῆς ψυχῆς.
5.92 Κορινθίοισι γὰρ ἦν πόλιος κατάστασις τοιήδε· ἦν ὀλιγαρχίη, καὶ οὗτοι Βακχιάδαι καλεόμενοι ἔνεμον τὴν πόλιν, ἐδίδοσαν δὲ καὶ ἤγοντο ἐξ ἀλλήλων. Ἀμφίονι δὲ ἐόντι τούτων τῶν ἀνδρῶν γίνεται θυγάτηρ χωλή· οὔνομα δέ οἱ ἦν Λάβδα. ταύτην Βακχιαδέων γὰρ οὐδεὶς ἤθελε γῆμαι, ἴσχει Ἠετίων ὁ Ἐχεκράτεος, δήμου μὲν ἐὼν ἐκ Πέτρης, ἀτὰρ τὰ ἀνέκαθεν Λαπίθης τε καὶ Καινείδης. ἐκ δέ οἱ ταύτης τῆς γυναικὸς οὐδʼ ἐξ ἄλλης παῖδες ἐγίνοντο. ἐστάλη ὦν ἐς Δελφοὺς περὶ γόνου. ἐσιόντα δὲ αὐτὸν ἰθέως ἡ Πυθίη προσαγορεύει τοῖσιδε τοῖσι ἔπεσι. Ἠετίων, οὔτις σε τίει πολύτιτον ἐόντα. Λάβδα κύει, τέξει δʼ ὀλοοίτροχον· ἐν δὲ πεσεῖται ἀνδράσι μουνάρχοισι, δικαιώσει δὲ Κόρινθον. ταῦτα χρησθέντα τῷ Ἠετίωνι ἐξαγγέλλεταί κως τοῖσι Βακχιάδῃσι, τοῖσι τὸ μὲν πρότερον γενόμενον χρηστήριον ἐς Κόρινθον ἦν ἄσημον, φέρον τε ἐς τὠυτὸ καὶ τὸ τοῦ Ἠετίωνος καὶ λέγον ὧδε. αἰετὸς ἐν πέτρῃσι κύει, τέξει δὲ λέοντα καρτερὸν ὠμηστήν· πολλῶν δʼ ὑπὸ γούνατα λύσει. ταῦτά νυν εὖ φράζεσθε, Κορίνθιοι, οἳ περὶ καλήν Πειρήνην οἰκεῖτε καὶ ὀφρυόεντα Κόρινθον.
5.92 Περίανδρος δὲ συνιεὶς τὸ ποιηθὲν καὶ νόῳ ἴσχων ὥς οἱ ὑπετίθετο Θρασύβουλος τοὺς ὑπειρόχους τῶν ἀστῶν φονεύειν, ἐνθαῦτα δὴ πᾶσαν κακότητα ἐξέφαινε ἐς τοὺς πολιήτας. ὅσα γὰρ Κύψελος ἀπέλιπε κτείνων τε καὶ διώκων, Περίανδρος σφέα ἀπετέλεσε, μιῇ δὲ ἡμέρῃ ἀπέδυσε πάσας τὰς Κορινθίων γυναῖκας διὰ τὴν ἑωυτοῦ γυναῖκα Μέλισσαν. πέμψαντι γάρ οἱ ἐς Θεσπρωτοὺς ἐπʼ Ἀχέροντα ποταμὸν ἀγγέλους ἐπὶ τὸ νεκυομαντήιον παρακαταθήκης πέρι ξεινικῆς οὔτε σημανέειν ἔφη ἡ Μέλισσα ἐπιφανεῖσα οὔτε κατερέειν ἐν τῷ κέεται χώρῳ ἡ παρακαταθήκη· ῥιγοῦν τε γὰρ καὶ εἶναι γυμνή· τῶν γάρ οἱ συγκατέθαψε ἱματίων ὄφελος εἶναι οὐδὲν οὐ κατακαυθέντων· μαρτύριον δέ οἱ εἶναι ὡς ἀληθέα ταῦτα λέγει, ὅτι ἐπὶ ψυχρὸν τὸν ἰπνὸν Περίανδρος τοὺς ἄρτους ἐπέβαλε. ταῦτα δὲ ὡς ὀπίσω ἀπηγγέλθη τῷ Περιάνδρῳ, πιστὸν γάρ οἱ ἦν τὸ συμβόλαιον ὃς νεκρῷ ἐούσῃ Μελίσσῃ ἐμίγη, ἰθέως δὴ μετὰ τὴν ἀγγελίην κήρυγμα ἐποιήσατο ἐς τὸ Ἥραιον ἐξιέναι πάσας τὰς Κορινθίων γυναῖκας. αἳ μὲν δὴ ὡς ἐς ὁρτὴν ἤισαν κόσμῳ τῷ καλλίστῳ χρεώμεναι, ὃ δʼ ὑποστήσας τοὺς δορυφόρους ἀπέδυσε σφέας πάσας ὁμοίως, τάς τε ἐλευθέρας καὶ τὰς ἀμφιπόλους, συμφορήσας δὲ ἐς ὄρυγμα Μελίσσῃ ἐπευχόμενος κατέκαιε. ταῦτα δέ οἱ ποιήσαντι καὶ τὸ δεύτερον πέμψαντι ἔφρασε τὸ εἴδωλον τὸ Μελίσσης ἐς τὸν κατέθηκε χῶρον τοῦ ξείνου τὴν παρακαταθήκην. τοιοῦτο μὲν ὑμῖν ἐστὶ ἡ τυραννίς, ὦ Λακεδαιμόνιοι, καὶ τοιούτων ἔργων. ἡμέας δὲ τοὺς Κορινθίους τότε αὐτίκα θῶμα μέγα εἶχε ὅτε ὑμέας εἴδομεν μεταπεμπομένους Ἱππίην, νῦν τε δὴ καὶ μεζόνως θωμάζομεν λέγοντας ταῦτα, ἐπιμαρτυρόμεθά τε ἐπικαλεόμενοι ὑμῖν θεοὺς τοὺς Ἑλληνίους μὴ κατιστάναι τυραννίδας ἐς τὰς πόλις. οὔκων παύσεσθε ἀλλὰ πειρήσεσθε παρὰ τὸ δίκαιον κατάγοντες Ἱππίην· ἴστε ὑμῖν Κορινθίους γε οὐ συναινέοντας.”5.92 ἄρξαντος δὲ τούτου ἐπὶ τριήκοντα ἔτεα καὶ διαπλέξαντος τὸν βίον εὖ, διάδοχός οἱ τῆς τυραννίδος ὁ παῖς Περίανδρος γίνεται. ὁ τοίνυν Περίανδρος κατʼ ἀρχὰς μὲν ἦν ἠπιώτερος τοῦ πατρός, ἐπείτε δὲ ὡμίλησε διʼ ἀγγέλων Θρασυβούλῳ τῷ Μιλήτου τυράννῳ, πολλῷ ἔτι ἐγένετο Κυψέλου μιαιφονώτερος. πέμψας γὰρ παρὰ Θρασύβουλον κήρυκα ἐπυνθάνετο ὅντινα ἂν τρόπον ἀσφαλέστατον καταστησάμενος τῶν πρηγμάτων κάλλιστα τὴν πόλιν ἐπιτροπεύοι. Θρασύβουλος δὲ τὸν ἐλθόντα παρὰ τοῦ Περιάνδρου ἐξῆγε ἔξω τοῦ ἄστεος, ἐσβὰς δὲ ἐς ἄρουραν ἐσπαρμένην ἅμα τε διεξήιε τὸ λήιον ἐπειρωτῶν τε καὶ ἀναποδίζων τὸν κήρυκα κατὰ τὴν ἀπὸ Κορίνθου ἄπιξιν, καὶ ἐκόλουε αἰεὶ ὅκως τινὰ ἴδοι τῶν ἀσταχύων ὑπερέχοντα, κολούων δὲ ἔρριπτε, ἐς ὃ τοῦ ληίου τὸ κάλλιστόν τε καὶ βαθύτατον διέφθειρε τρόπῳ τοιούτω· διεξελθὼν δὲ τὸ χωρίον καὶ ὑποθέμενος ἔπος οὐδὲν ἀποπέμπει τὸν κήρυκα. νοστήσαντος δὲ τοῦ κήρυκος ἐς τὴν Κόρινθον ἦν πρόθυμος πυνθάνεσθαι τὴν ὑποθήκην ὁ Περίανδρος· ὁ δὲ οὐδέν οἱ ἔφη Θρασύβουλον ὑποθέσθαι, θωμάζειν τε αὐτοῦ παρʼ οἷόν μιν ἄνδρα ἀποπέμψειε, ὡς παραπλῆγά τε καὶ τῶν ἑωυτοῦ σινάμωρον, ἀπηγεόμενος τά περ πρὸς Θρασυβούλου ὀπώπεε.
5.92 ἔδει δὲ ἐκ τοῦ Ἠετίωνος γόνου Κορίνθῳ κακὰ ἀναβλαστεῖν. ἡ Λάβδα γὰρ πάντα ταῦτα ἤκουε ἑστεῶσα πρὸς αὐτῇσι τῇσι θύρῃσι· δείσασα δὲ μή σφι μεταδόξῃ καὶ τὸ δεύτερον λαβόντες τὸ παιδίον ἀποκτείνωσι, φέρουσα κατακρύπτει ἐς τὸ ἀφραστότατόν οἱ ἐφαίνετο εἶναι, ἐς κυψέλην, ἐπισταμένη ὡς εἰ ὑποστρέψαντες ἐς ζήτησιν ἀπικνεοίατο πάντα ἐρευνήσειν μέλλοιεν· τὰ δὴ καὶ ἐγίνετο. ἐλθοῦσι δὲ καὶ διζημένοισι αὐτοῖσι ὡς οὐκ ἐφαίνετο, ἐδόκεε ἀπαλλάσσεσθαι καὶ λέγειν πρὸς τοὺς ἀποπέμψαντας ὡς πάντα ποιήσειαν τὰ ἐκεῖνοι ἐνετείλαντο. οἳ μὲν δὴ ἀπελθόντες ἔλεγον ταῦτα.
5.92 οἳ μὲν ταῦτα ἔλεγον, τῶν δὲ συμμάχων τὸ πλῆθος οὐκ ἐνεδέκετο τοὺς λόγους. οἱ μέν νυν ἄλλοι ἡσυχίην ἦγον, Κορίνθιος δὲ Σωκλέης ἔλεξε τάδε.
5.92 τοῦτο μὲν δὴ τοῖσι Βακχιάδῃσι πρότερον γενόμενον ἦν ἀτέκμαρτον· τότε δὲ τὸ Ἠετίωνι γενόμενον ὡς ἐπύθοντο, αὐτίκα καὶ τὸ πρότερον συνῆκαν ἐὸν συνῳδὸν τῷ Ἠετίωνος. συνέντες δὲ καὶ τοῦτο εἶχον ἐν ἡσυχίῃ, ἐθέλοντες τὸν μέλλοντα Ἠετίωνι γίνεσθαι γόνον διαφθεῖραι. ὡς δʼ ἔτεκε ἡ γυνὴ τάχιστα, πέμπουσι σφέων αὐτῶν δέκα ἐς τὸν δῆμον ἐν τῷ κατοίκητο ὁ Ἠετίων ἀποκτενέοντας τὸ παιδίον. ἀπικόμενοι δὲ οὗτοι ἐς τὴν Πέτρην καὶ παρελθόντες ἐς τὴν αὐλὴν τὴν Ἠετίωνος αἴτεον τὸ παιδίον· ἡ δὲ Λάβδα εἰδυῖά τε οὐδὲν τῶν εἵνεκα ἐκεῖνοι ἀπικοίατο, καὶ δοκέουσα σφέας φιλοφροσύνης τοῦ πατρὸς εἵνεκα αἰτέειν, φέρουσα ἐνεχείρισε αὐτῶν ἑνί. τοῖσι δὲ ἄρα ἐβεβούλευτο κατʼ ὁδὸν τὸν πρῶτον αὐτῶν λαβόντα τὸ παιδίον προσουδίσαι. ἐπεὶ ὦν ἔδωκε φέρουσα ἡ Λάβδα, τὸν λαβόντα τῶν ἀνδρῶν θείῃ τύχῃ προσεγέλασε τὸ παιδίον, καὶ τὸν φρασθέντα τοῦτο οἶκτός τις ἴσχει ἀποκτεῖναι, κατοικτείρας δὲ παραδιδοῖ τῷ δευτέρῳ, ὁ δὲ τῷ τρίτῳ. οὕτω δὴ διεξῆλθε διὰ πάντων τῶν δέκα παραδιδόμενον, οὐδενὸς βουλομένου διεργάσασθαι. ἀποδόντες ὦν ὀπίσω τῇ τεκούσῃ τὸ παιδίον καὶ ἐξελθόντες ἔξω, ἑστεῶτες ἐπὶ τῶν θυρέων ἀλλήλων ἅπτοντο καταιτιώμενοι, καὶ μάλιστα τοῦ πρώτου λαβόντος, ὅτι οὐκ ἐποίησε κατὰ τὰ δεδογμένα, ἐς ὃ δή σφι χρόνου ἐγγινομένου ἔδοξε αὖτις παρελθόντας πάντας τοῦ φόνου μετίσχειν.
5.92 ‘ἦ δὴ ὅ τε οὐρανὸς ἔνερθε ἔσται τῆς γῆς καὶ ἡ γῆ μετέωρος ὑπὲρ τοῦ οὐρανοῦ, καὶ ἄνθρωποι νομὸν ἐν θαλάσσῃ ἕξουσι καὶ ἰχθύες τὸν πρότερον ἄνθρωποι, ὅτε γε ὑμεῖς ὦ Λακεδαιμόνιοι ἰσοκρατίας καταλύοντες τυραννίδας ἐς τὰς πόλις κατάγειν παρασκευάζεσθε, τοῦ οὔτε ἀδικώτερον ἐστὶ οὐδὲν κατʼ ἀνθρώπους οὔτε μιαιφονώτερον. εἰ γὰρ δὴ τοῦτό γε δοκέει ὑμῖν εἶναι χρηστὸν ὥστε τυραννεύεσθαι τὰς πόλις, αὐτοὶ πρῶτοι τύραννον καταστησάμενοι παρὰ σφίσι αὐτοῖσι οὕτω καὶ τοῖσι ἄλλοισι δίζησθε κατιστάναι· νῦν δὲ αὐτοὶ τυράννων ἄπειροι ἐόντες, καὶ φυλάσσοντες τοῦτο δεινότατα ἐν τῇ Σπάρτῃ μὴ γενέσθαι, παραχρᾶσθε ἐς τοὺς συμμάχους. εἰ δὲ αὐτοῦ ἔμπειροι ἔατε κατά περ ἡμεῖς, εἴχετε ἂν περὶ αὐτοῦ γνώμας ἀμείνονας συμβαλέσθαι ἤ περ νῦν. ' None		sup>
3.119 They showed themselves to the king and told him why they had been treated so. Darius, fearing that the six had done this by common consent, sent for each and asked his opinion, whether they approved what had been done; ,and being assured that they had no part in it, he seized Intaphrenes with his sons and all his household—for he strongly suspected that the man was plotting a rebellion with his kinsmen—and imprisoned them with the intention of putting them to death. ,Then Intaphrenes' wife began coming to the palace gates, weeping and lamenting; and by continuing to do this same thing she persuaded Darius to pity her; and he sent a messenger to tell her, “Woman, King Darius will allow one of your imprisoned relatives to survive, whomever you prefer of them all.” ,After considering she answered, “If indeed the king gives me the life of one, I chose from them all my brother.” ,Darius was astonished when he heard her answer, and sent someone who asked her: “Woman, the king asks you with what in mind you abandon your husband and your children and choose to save the life of your brother, who is less close to you than your children and less dear than your husband?” ,“O King,” she answered, “I may have another husband, if a god is willing, and other children, if I lose these; but since my father and mother are no longer living, there is no way that I can have another brother; I said what I did with that in mind.” ,Darius thought that the woman answered well, and for her sake he released the one for whom she had asked, and the eldest of her sons as well; he put to death all the rest. Thus immediately perished one of the seven. " 5.92 These were the words of the Lacedaemonians, but their words were ill-received by the greater part of their allies. The rest then keeping silence, Socles, a Corinthian, said, ,“In truth heaven will be beneath the earth and the earth aloft above the heaven, and men will dwell in the sea and fishes where men dwelt before, now that you, Lacedaemonians, are destroying the rule of equals and making ready to bring back tyranny into the cities, tyranny, a thing more unrighteous and bloodthirsty than anything else on this earth. ,If indeed it seems to you to be a good thing that the cities be ruled by tyrants, set up a tyrant among yourselves first and then seek to set up such for the rest. As it is, however, you, who have never made trial of tyrants and take the greatest precautions that none will arise at Sparta, deal wrongfully with your allies. If you had such experience of that thing as we have, you would be more prudent advisers concerning it than you are now.” ,The Corinthian state was ordered in such manner as I will show.There was an oligarchy, and this group of men, called the Bacchiadae, held sway in the city, marrying and giving in marriage among themselves. Now Amphion, one of these men, had a crippled daughter, whose name was Labda. Since none of the Bacchiadae would marry her, she was wedded to Eetion son of Echecrates, of the township of Petra, a Lapith by lineage and of the posterity of Caeneus. ,When no sons were born to him by this wife or any other, he set out to Delphi to enquire concerning the matter of acquiring offspring. As soon as he entered, the Pythian priestess spoke these verses to him:
6. Sophocles, Ajax, 1316-1317 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Agamemnon, and agōn scenes • Ajax (Sophocles), and agōn scenes • Ajax, and agōn scenes • Odysseus, and agōn scenes • Philoctetes, False Merchant scene • agōn scene • dialogue, and agōn scenes • reconciliation, and agōn scenes • scenes

 Found in books: Budelmann (1999), The Language of Sophocles: Communality, Communication, and Involvement, 54; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 287

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1316 Lord Odysseus, you arrive at the right time, if mediation, not division, is your purpose in coming. Odysseu'1317 Lord Odysseus, you arrive at the right time, if mediation, not division, is your purpose in coming. Odysseu ' None
7. Sophocles, Electra, 528-548 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • agon scenes • agōn scene

 Found in books: Budelmann (1999), The Language of Sophocles: Communality, Communication, and Involvement, 67, 68, 69, 70, 71; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 354

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528 Your father—this and nothing else is your constant pretext—was slain by me. Yes, by me. I know it well. I make no denial. Justice took hold of him, not I alone—Justice, whom you ought to have supported, if you had been in your right mind.'529 Your father—this and nothing else is your constant pretext—was slain by me. Yes, by me. I know it well. I make no denial. Justice took hold of him, not I alone—Justice, whom you ought to have supported, if you had been in your right mind. 530 For this father of yours whom you constantly bewail alone of all the Greeks had the heart to sacrifice your own blood, your sister, to the gods—he, who, when sowing his seed, felt none of the pains I did when I gave birth. Come, tell me now, why, or to please whom, 535 did he sacrifice her? To please the Argives, you will say? No, they had no right to kill my daughter. Or, if indeed it was for the sake of his brother Menelaus that he killed my child, was he not to pay me the penalty for that? Did Menelaus not have two children, 540 who should in fairness have died instead of my daughter, since the father and mother from whom they were sprung had caused that voyage? Did Hades have some greater desire to feast on my offspring than on hers? Or had all love of the children of my womb been 545 abandoned by their accursed father, while love for the children of Menelaus filled him? Were these not the marks of a thoughtless and malicious parent? I think so, even if I differ from your judgment. So, too, would the dead girl speak, if she could find a voice. For myself, then, I view the past without ' None
8. Sophocles, Oedipus The King, 339-341 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Agamemnon, and agōn scenes • Ajax (Sophocles), and agōn scenes • Ajax, and agōn scenes • Antigone (Sophocles), and agōn scenes • Creon, and agōn scenes • Deianira, and agōn scenes • Haemon, and agōn scenes • Hyllus, and agōn scenes • Menelaus, and agōn scenes • Odysseus, and agōn scenes • Oedipus the King (Sophocles), and agōn scenes • Oedipus, and agōn scenes • Philoctetes, False Merchant scene • Teucer, and agōn scenes • Tiresias, and agōn scenes • Women of Trachis, The (Sophocles), and agōn scenes • agōn scene • anger, and agōn scenes • dialogue, and agōn scenes • reconciliation, and agōn scenes • scenes

 Found in books: Budelmann (1999), The Language of Sophocles: Communality, Communication, and Involvement, 55; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 285, 286

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339 Who would not be angry hearing such words,'340 with which you now are slighting the city? Teiresia 341 The future will come of itself, though I shroud it in silence. Oedipu ' None
9. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • door-scenes • search scenes

 Found in books: Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 45; Kanellakis (2020), Aristophanes and the Poetics of Surprise, 186
10. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Dream imagery, day-to-day objects/realistic scenes • Trojan Women (Euripides), undressing scene

 Found in books: Moxon (2017), Peter's Halakhic Nightmare: The 'Animal' Vision of Acts 10:9–16 in Jewish and Graeco-Roman Perspective. 130; Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 98
11. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: • Dream imagery, day-to-day objects/realistic scenes • Pompeii, Iseum in, naval scene

 Found in books: Griffiths (1975), The Isis-Book (Metamorphoses, Book XI), 263; Moxon (2017), Peter's Halakhic Nightmare: The 'Animal' Vision of Acts 10:9–16 in Jewish and Graeco-Roman Perspective. 168



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