- PLAN FOR TODAY:
- 1. the base story of Philoctetes, traditionally
- 2. some background information about various sources that
report about Philoctetes and who plays about him
- 3. Dio Chrysostomus' 52nd discourse, which discusses each
the three plays called Philoctetes , one by
Aeschylus, one by Euripides, and the one we still have,
Sophocles
- 4. Discuss some themes in Sophocles' Philoctetes
- What do we 'know' about Philoctetes?
- Homer refers to Philoctetes three times, most
informatively at Iliad 2.716‑726 (lines 829ff in
Lombardo)
- A few more details are available from the Epic Cycle: Cypria,
Little Iliad, and Iliupersis include some
references to Philoctetes.
- Heracles gave Philoctetes the bow and arrows which
he had gotten from Apollo.
- Philoctetes was one of Helen's suitors and when the Greeks
got to the island of Chryse, he went to an altar there to
sacrifice.
- He was bit by a snake. It stank so badly and he screamed
so much that the Greeks left him there.
- Odysseus went on a night raid and captured the Trojan
prophet Helenus.
- Helenus said that Troy would only be taken if Philoctetes'
bow was used and Achilles' son Neoptolemus were to
help.
- Diomedes went to get Philoctetes, and Odysseus went to get
Neoptolemus.
- Philoctetes was healed.
- He shot Paris.
- He and Neoptolemus aided in taking Troy.
- Aristotle Poetics
1459a37ff.reports that several tragedies could be written
from the Little Iliad, including a Philoctetes,
while only one each could be written from the Iliad and
the Odyssey.
- Stobaeus reports that Euphorion (presumably Aeschylus' son,
who was also a tragedian) wrote a play Philoctetes: we
have a single
short fragment of that play via Stobaeus.
- Philocles (5th c. BCE, nephew of Aeschylus: wrote maybe 100
tragedies) and Achaeus (of Eretria, not an Athenian, born 484
BCE) are reported by Dio Chrysostomus (orations 52 and 59
reportedly) and the Suda to have also written tragedies
titled Philoctetes.
- Strattis the comedian wrote a play titled Philoctetes
in the 5th c. of which we have one fragment, something about a
treasure on a dungheap.
- Lucius Accius, 1st c. BCE, a roman Tragedian writing in Latin,
translating/riffing on mostly Aeschylus, included references to
Philoctetes in his Myrmidons, Achilles, and
Epinausimache.
- Philoctetes: Mythology:
- Hyginus Fabulae
"Stories" 14.4, 36, 81, 97, 102, 112, 114, 257
- Hyginus, 64BCE-17CE was a freedman of Emperor Augustus
- He wrote many works: all we have left are his Fabulae
and a work on 'Poetic Astronomy'
- The Fabulae are very useful, but they are really
mere dilettantish efforts with no great intelligence: they
are by and large, with some exceptions, a compendium of
what everyone familiar with mythology would know at the
time, truly common knowledge.
- From Wikipedia article 'Gaius Julius Hyginus': HOW AND
WHY WE STILL HAVE THIS WORK OF HYGINUS: a not unusual
story about why we have some work or other from antiquity:
- "In fact the text of the Fabulae was all but lost: a
single surviving manuscript from the abbey of
Freising,[4] in a Beneventan script datable c. 900,
formed the material for the first printed edition,
negligently and uncritically[5] transcribed by Jacob
Micyllus, 1535, who may have supplied it with the title
we know it by. In the course of printing, following the
usual practice, by which the manuscripts printed in the
15th and 16th centuries have rarely survived their
treatment at the printshop, the manuscript was pulled
apart: only two small fragments of it have turned up,
significantly as stiffening in book bindings.[6] Another
fragmentary text, dating from the 5th century is in the
Vatican Library.[7]
Among Hyginus' sources are the
scholia on Apollonius of Rhodes' Argonautica, which were
dated to about the time of Tiberius by Apollonius'
editor R. Merkel, in the preface to his edition of
Apollonius (Leipzig, 1854).[8]"
- Unfortunately, it's not easy to find a translation
of the Scholia in Apollonium Rhodium on the Argonautica.
Gotta know Greek for that.
- Philostratus the Younger (3rd c. CE) has a very short work
on Philoctetes that is about on the same level as Hyginus.
- Dio Chrysostomus (1st c. CE), 52nd
discourse, (his 59th discourse has a dramatic treatment
of Philoctetes and Odysseus which the Loeb seems to say is
derived from Euripides' Philoctetes).
- Translation taken from the link above: quoted here so we
can go thru it quickly with boldfacing:
- The Fifty-second Discourse:
On Aeschylus and Sophocles and Euripides
or The Bow of Philoctetes
Having risen about the first hour of the day, both on
account of the feeble state of my health and also on account
of the air, which was rather chilly because of the early
hour and very much like autumn, though it was mid-summer,
I made my toilet and performed my devotions. I next
got into my carriage and made the round of the race-course
several times, my team moving along as gently and
comfortably as possible. After that I took a stroll and
then rested a bit. Next, after a rub-down and bath and a
light breakfast,a I fell to reading certain tragedies.
2 These tragedies were the work of topmost artists, I may
say, Aeschylus and Sophocles and Euripides, all dealing
with the same theme, which was the theft — or should I say
the seizure? — of the bow of Philoctetes. However
that may be, Philoctetes was portrayed as being deprived of
his weapons by Odysseus and as being carried off to Troy
along with them, for the most part willingly, though in some
measure also yielding to the persuasion of necessity, since
he had been deprived of the weapons which furnished him with
not only a living on his island, but courage in his sore
affliction, and at the same time fame.
p341 3 So I was feasting my eyes on the
spectacle portrayed by these dramas and figuring to myself
that, even if I had been in Athens in those days, I
could not have witnessed such a contest as this of those
distinguished poets.1 On the contrary, while there
were some who did witness contests between the youthful
Sophocles and the aged Aeschylus and some who saw the older
Sophocles compete with Euripides, his junior, yet the career
of Euripides fell quite outside the period of Aeschylus;2
and besides, probably the tragic poets seldom or never
competed against one another with plays on the same theme.
And so I was evidently having a rare treat and a novel
solace for my illness. 4 Accordingly, I played choregus3
for myself in very brilliant style and tried to pay close
attention, as if I were a judge passing judgement on the
premier tragic choruses.4
Yet I could not on oath have produced a single reason why
any one of those great poets could have been defeated. For
both the nobility of character and the antique flavour of
Aeschylus, as well as the ruggedness of his thought and
diction, seemed suited to tragedy and to the old-time
manners of the heroes,5 nor was there aught of
premeditation or prating or humility in their bearing. 5 For
example, even his Odysseus he brought upon the scene as a
shrewd and crafty person,6 as men were in those days, yet
far removed from the rascality of to‑day, in
consequence p343 of which he might seem truly ancient
as compared with those who to‑day lay claim to simplicity
and nobility of character. And again, Aeschylus had no
need to add Athena for the purpose of transforming
Odysseus so as not to be recognized by Philoctetes for the
man he was, as Homer has handled the problem,7 and also
Euripides in imitation of Homer. So possibly one of
those who do not like Aeschylus might complain that he was
not at all concerned to make his Odysseus convincing in the
scene where he is not recognized by Philoctetes. 6 But in my
opinion the poet would have a defence against such a
criticism; for while the lapse of time was perhaps not
sufficient to explain his not recalling the lineaments of
Odysseus since only ten years had passed, yet the affliction
and distress of Philoctetes and the lonely life he had led
in the interval made this lapse of memory not impossible.
For many in the past, either from illness or from
misfortune, have had that experience.
Furthermore, the chorus of Aeschylus had no need for
special pleading, as did that of Euripides. 7 For both
poets made their choruses to consist of Lemnians; yet,
while Euripides has represented them as immediately
apologizing for their former neglect, admitting that
during so many years they had neither come near Philoctetes
nor rendered him any aid, Aeschylus simply brought his
chorus on the scene, a course which is altogether more in
keeping with a tragedy and more natural, whereas the other
course is more courteous and more strictly correct. Of
course, if poets, were able to avoid all violations of logic
in their tragedies, perhaps there might be reason for
p345 refusing to gloss over even this instance; but as the
truth is, the poets often cause their heralds to complete in
a single day a journey which calls for several days.8 8
Again, it was quite impossible to conceive that not a single
Lemnian had come near Philoctetes or given him any attention
at all, for in my opinion he could not even have survived
those ten years without receiving some aid; no, it is
reasonable to suppose that he did get some aid, though but
rarely and of no great importance, and, furthermore, that no
one chose to take him into his house and give him medical
attention because of the disgusting nature of his ailment.9
At any rate Euripides himself does bring upon the scene one
Lemnian, Actor, who approaches Philoctetes as being already
known to him and as having often met him.
9 Furthermore, I do not feel that one could justly find
fault with Aeschylus for this either — that his hero
narrates to the chorus, as if they were in ignorance, the
details concerning his desertion by the Achaeans and his
experiences in general. The reason is that the victims of
misfortune are wont to recall their trials repeatedly, and
by their constant rehearsing of details they bore those who
know every detail already and have no need to be told. Then
again, the deception which Odysseus practised upon
Philoctetes and the arguments by which he won him over are
not merely more becoming and suited to a hero — though not
the words of a Eurybates or a Pataecion10 — but in my
opinion they are even more plausible. 10 For what need was
there for subtle craft and scheming in dealing with a sick
man and, what is more, an p347 archer, whose means of
defence had lost its power the moment you merely got close
to him? Besides, the device of having Odysseus report
that the Achaeans had met with disaster, that Agamemnon
had died, that Odysseus had been charged with an act that
was utterly disgraceful,11 and that in general the
expedition had gone to rack and ruin, was not merely
serviceable toward cheering Philoctetes and making the
discourse of Odysseus more acceptable; no, in a way it was
not without plausibility even, because of the length
of the campaign and because of what had happened not so long
before in consequence of the wrath of Achilles, at the time
when Hector barely missed burning the naval station.12
11 Again, the sagacity of Euripides and his careful
attention to every detail, as a result of which not only
does he not tolerate anything which lacks plausibility or is
marred by carelessness, but also he handles the action, not
in artless style, but with entire mastery in the telling —
all this forms, as it were, an antithesis to the nature of
Aeschylus, being to a high degree characteristic of the
citizen and the orator and capable of proving most useful to
those who read him. At the very outset of Euripides'
play, for instance, Odysseus is introduced as speaker of
the prologue and as not only inwardly debating questions
of civic nature in general, but first and foremost
expressing embarrassment on his own account, lest, while
generally reputed to be wise and distinguished for
sagacity, he may really be the opposite. 12 For, though he
might live free from care and trouble, he is ever
being p349 involved in troubles and perils of his
own volition. But the cause of this, he claims, is the
ambition which actuates gifted men of noble birth. For, in
aiming at a fine reputation and general acclaim, they
voluntarily undertake very great and difficult labours.
For nothing quite so proud as man exists.13
Odysseus then reveals clearly and precisely the plot
of the drama and why he has come to Lemnos. 13 And he says
he has been disguised by Athena, so that when he meets
Philoctetes he may not be recognized by him, Euripides
having imitated Homer in this detail.14 For Homer has
represented Odysseus, in his sundry encounters with
Eumaeus and Penelopê and the others, as having been
disguised by Athena. Odysseus goes on to say that an
embassy from the Trojans will soon visit Philoctetes for
the purpose of entreating him to place at their disposal
both himself and their weapons, offering the throne of
Troy as his reward; thus he complicates the plot and
invents occasions for debate, in the course of which
he shows himself most resourceful and most proficient in
combating the opposing arguments, no matter with whom he is
compared.15 14 Again, Euripides causes Odysseus to
arrive not unattended but in company with Diomedes,
another Homeric touch.16 Thus all in all, as I was
saying, throughout the whole play he displays the
greatest dexterity and plausibility in the action; an
irresistible, yes, amazing, power of language; a
p351 dialogue that is clear and natural and urbane; and
lyrics that not only are delightful but also contain a
strong incentive toward virtue.
15 As for Sophocles, he seems to stand midway between
the two others, since he has neither the ruggedness and
simplicity of Aeschylus nor the precision and shrewdness
and urbanity of Euripides, yet he produces a poetry
that is august and majestic, highly tragic and euphonious in
its phrasing, so that there is the fullest pleasure coupled
with sublimity and stateliness. In his management of the
action he is most excellent and convincing; for instance, he
causes Odysseus to arrive in company with Neoptolemus —
since it was ordained that Troy should be taken by
Neoptolemus and Philoctetes together, Philoctetes wielding
the bow of Heracles — and he makes Odysseus conceal
himself but send Neoptolemus to Philoctetes, suggesting to
him what he must do. Furthermore, he has composed his
chorus not of the natives of Lemnos, as Aeschylus and
Euripides do, but of those who sailed in the ship along
with Odysseus and Neoptolemus.
16 Again, as Sophocles portrays them, the characters in the
drama are wonderfully dignified and noble, his Odysseus
being much more gentle and frank than Euripides has depicted
him, and his Neoptolemus surpassing all in artlessness and
good breeding — at first he aims to get the better of
Philoctetes, not by craft and deception, but by strength and
without disguise; then, after he has been prevailed upon by
Odysseus and has tricked Philoctetes and gained possession
of the bow, when Philoctetes becomes aware of what had
happened, is indignant at the deception which has been
practised upon him, and p353 demands the return of his
weapons, Neoptolemus does not try to retain possession of
them but is prepared to return them — though Odysseus
appears on the scene and tries to prevent this — and he
finally does return them; yet after he has handed them over
he tries by argument to persuade Philoctetes to accompany
him voluntarily to Troy. 17 But when Philoctetes will by no
means yield or be persuaded, but entreats Neoptolemus to
take him back to Greece, as he had promised to do,
Neoptolemus once more gives his promise, and he is prepared
to keep his word, until Heracles comes upon the scene and
persuades Philoctetes to sail to Troy of his own free
will.17
The lyrics of Sophocles do not contain the didactic
element to any great extent, nor any incentive to virtue
such as we find in the lyrics of Euripides, but a
marvellous sweetness and magnificence, such that
Aristophanes could say of him not without reason words like
these:
But he in turn the lips of Sophocles,
With honey smeared, did lick as if as a jar.18
- END OF DIO CHRYSOSTOMUS' 52nd discourse.
- SO what of Sophocles' Philoctetes?
- First, reflect on who played what characters: the same
actor has to have played Odysseus, the Trader, and
Heracles
- are they really separate characters?
- or are they all Odysseus in disguise: could the actor
have "let the mask slip"? as Meineck suggests, based on
audience reactions to his productions!!
- interestingly, the trader relates the story of the
Greeks who set out to bring back Philoctetes, and it is
one of the traditional versions that Sophocles is
innovating upon, the one where Odysseus and Diomedes go
out!
- Philoctetes rages against the Achaean leaders and
withholds his help, help that is crucial for the war: does
this remind us of anyone? 1197
- Philoctetes is stubborn and inflexible: does this remind
us of anyone?
- 1316 Neoptolemus to Philoctetes: "Mortals must accept
whatever the gods give: But when they steep themselves in
self-infliced misery, / as you do, no one will ever feel
remorse or pity./ Your wildness has made you
immovable;/You won't take advice..." 1385-3 also shows him
stubborn as a mule, clinging to his rage and refusing to
bend
- Read 310-316: is his plight so different from that of the
army at Troy?
- then read 1422-1428, about Neoptolemus and Philoctetes
- All this language about the "nature" of Neoptolemus: what
is it?
- lines 50, 79, 88-99, 120 (shame as good part of one's
nature), and the peripateia at 895-910 (especially 902-3)
- 1310 "You have shown your true nature, my boy...You are
the son of Achilles"
- see Iliad 9.317-18 (in Lombardo's translation)
- Odysseus' lack of a nature: 1049 "I am who I am required
to be"
- or is it virtuous flexibility, or practicality, or just
what people have to do to get by in this world?
- The language of obedience: obey orders!
- THe language of persuasion:
- lines 97-98, 102-3, 612, 623
- Coupled with the conflict of wisdom/intellect with
justice:
- The language of compassion/mercy/kindness
- 169, 177, 508, 669-675, 686
- duty/virtue of helping strangers: 525
- Is there something like utilitarianism in the play?
- WHat of gods?
- Athena is there.
- BUT ALSO Hermes, the trickster god, the deceiver: lines
134
- line 452! Philoctetes says "How can I praise the gods
when their ways are so evil?" !!!
- and ZEUS, the one behind it all, who has declared what
must happen:
- as an aside, there is also a fascinating reference to the
possibility that non-Greek speakers frequented Lemnos: 234-5
- and the reference to Thersites, my hero! 438-445 (he is not
cast in a good light, but that's no surprise)
- And the play closes at 1440 with a horrific hint at what the
Greeks will do, Neoptolemus in particular: they will outrage
the gods when they take Troy: they will not refrain from the
temples and the altars as Heracles' warns them to. The whole
audience knows that.