A discussion of the Greek concept of 'charis', which was 'a source of pleasure'. This article aims to examine developments in the application and usage of charis in Hesiod, Theognis, Bakchylides and Pindar.
Pindar's lyric poetry is one of the most interesting sources for the Heracles myths. He frequently describes the deeds of Heracles in detail, and brief references to the hero occur in poems where Heracles is barely relevant. Pindar's Heracles tends to be more the aristocratic champion, yet his brute strength and daring are also portrayed. The author shows to what extent Pindar's poetry focuses on the ethically accepatable features of the hero's character and career.
The author discusses the interpretations of the 'agon' scene in Sophocles' 'Electra'. The thematic structure and dramatic function of the 'agon' are examined, resulting in audience sympathy for Electra, yet her position is futile and the dramatic significance of the debate underlines her hopeless position.
Diodorus' narrative of the Battle of Gaza (312 B.C.) is straightforward, reasonably comprehensive and free from rhetorical embellishment. It is derived from the lost history of Hieronymus of Cardia which explains its coherence as a tactical narrative.
The Cyclopes of Greek myth were divided into three categories and the author examines the links between these three categoris as well as the theories regarding the origin and meaning of the Cyclops myth.
Vergil's Mezentius, though admittedly not a major character in the Aeneid, is a most fascinating personality. Scholars are agreed that his delineation of Mezentius' character is a striking proof of the poet's creative imagination and poetical genius. The author presents him as a pivotal personality in the Aeneid.
The author offers an interpretation of the use 'aversa' in the Aeneid which explains the meaning of the passage where Dido is looking at Aeneas (465-471). The ambiguity that she is actually not looking at him has an impact and Vergil's intention which was obscured is explained. The passage's power is that Dido refused to interact with Aeneas in any way.