III.3. The Tears of Women Women do not have it in their nature to compete with the virtue and the greatness of men. On this point, Greek epic does not contradict a universally recognized tradition. Contrary to men, who, through their courage and great deeds, pass from an “ordinary” to a heroic state, women belong, once and for all, to a species that definitively carries within it… Read more
III.4. The Language of Tears His cheeks were soon wet with tears, as his feelings suddenly broke loose; he would have wept himself away in the distance, that no trace of his existence might remain. Amid his deep-drawn sighs he seemed to recover; the soft, serene air penetrated him. The world was again present to his senses, and thoughts of other times began to speak… Read more
III.5. The Weeping Body of Achilles Achilles embodies all of the main heroic qualities that are accorded singly to other heroes. [1] He is beauty, strength, and excellence all at the same time. If, in a certain way, the Iliad exalts human energy during times of misfortune, [2] it is not surprising that Achilles embodies, by himself,… Read more
Conclusion As we arrive at the end of this examination, it appears that heroism is, in essence, an ambiguous concept. At first glance, it seems that masculinity is at the core of heroism, and, further, that the limits of heroism coincide with those of masculinity. Without a doubt, a feminine element is not absent, but it acts as a foil. “Weakling cowards, Achaean women rather than Achaeans,”… Read more
Bibliography Adkins, A. W. H. 1960. Merit and Responsibility. A Study in Greek Values. Oxford. ———. 1963. “‘Friendship’ and ‘Self-Sufficiency’ in Homer and Aristotle.” Classical Quarterly n.s. 13:30–45. ———. 1969. “Threatening, Abusing, and Feeling Angry in the Homeric Poems.” Journal of Hellenic Studies 89:7–21. Alexiou, M. 1974. The Ritual Lament in Greek Tradition. Cambridge. Read more
List of Figures All figures drawn by Glynnis Fawkes unless otherwise noted. Figure 1. Detail from ‘Sea Peoples’ reliefs, Medinet Habu, reign of Ramses III (ca. 1184–1152). Drawn from Nelson et al. 1930, pl. 36–37. Figure 2. ‘Harp treaty’, unprovenanced Mesopotamian cylinder seal, ca. fourteenth century. London, BM 89359. Drawn from MgB 2/2 fig. 108. Figure 3. ‘Asiatic’ troupe with lyrist, tomb-painting, Beni-Hassan, Twelfth… Read more
Preface Κυπρογενῆ Κυθέρειαν ἀείσομαι ἥ τε βροτοῖσι μείλιχα δῶρα δίδωσιν, ἐφ’ ἱμερτῷ δὲ προσώπῳ αἰεὶ μειδιάει καὶ ἐφ’ ἱμερτὸν θέει ἄνθος —with eternal gratitude for Glynnis, Sylvan, and Helen Kinyras has deep roots on Cyprus. He came to the island, I argue, in the Late Bronze Age, when he had already begun to outgrow his musical roots as a Divine Lyre. Already… Read more
Conventions and Abbreviations To keep the main text as accessible as possible, I have presented all Greek in transliteration (retaining accentuation as several key points depend on this); more specialized philological issues are dealt with in the footnotes, where I have not always translated Greek and Latin. Following Assyriological convention, Akkadian words are given in italics, Sumerian in expanded spacing, logograms in capital letters, and determinatives… Read more
Introduction 1. Kinyras and Kinnaru Kinyras of Cyprus Already for Homer, Kinyras loomed on the eastern horizon, a Great King who treated on equal terms with Agamemnon, sending him a marvelous daedalic breastplate as a friendship-gift: Next in turn he donned the corselet round his chestWhich once Kinyras gave him as a friendship-gift.For he had heard a great report on Cyprus—the Achaeans… Read more
Part I: The Cult of Kinnaru 2. Instrument Gods and Musician Kings in Early Mesopotamia: Divinized Instruments Already in the late Uruk period (ca. 3300–2900), reverence for cult-objects is implied by the ritual deposition of ‘retired’ tools from an old temple when a new one was built over it (for example, the Eanna complex at Uruk); the burial of objects including musical instruments and weapons… Read more
