Aeschylus' Use of Psychological Terminology: Traditional and by Shirley D. Sullivan

By Shirley D. Sullivan

Sullivan specializes in 8 key mental phrases - phr n, thumos, kardia, kear, tor, nous, prapides, and psych - that seem often in old Greek texts yet that have a variety of attainable meanings. amassing circumstances from The Persians, Seven opposed to Thebes, Suppliants, Agamemnon, Choephoroi, and Eumenides (instances from Prometheus sure, whose authorship is in query, are taken care of in notes and an appendix), Sullivan first examines every one psychic time period individually. She then discusses cases of the phrases in every one play, studying the which means of the psychic time period within the context of the play within which it seems that and delivering information on Aeschylus' utilization. This ebook sheds mild at the wealthy and occasionally complicated approach during which Aeschylus makes use of mental terminology and is a superb reference for classicists, psychologists, philosophers, and students of comparative literature.

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We hear of people "breathing forth thumos"34 in death. 35 Aeschylus here introduces such an image with phren, describing that of Agamemnon as "blowing" in a different way, one that will set his course for disaster. In these lines (218-21) Aeschylus starkly contrasts the phren of Agamemnon with that praised in the Hymn to Zeus (174-83) earlier in the same cho- 2i Phren in the Tragedies: One ral passage. In the Hymn a person who, in holiness, reveres Zeus receives "understanding" (phrenes) and comes "to be wise" ( ) in grasping the meaning of suffering.


Phemius at Od. 347 describes himself as "self-taught" and says that a "god planted all sorts of songs" in his phrenes. 57 It is filled with sorrow; it lacks all hope. Kardia. " In earlier poets we find no explicit mention of kardia and nouns for fear, but some passages suggest that it was involved in this emotion. At //. " As he insults Agamemnon, Achilles says that he has "the kradie of a deer" (//. 225). Pindar, in fr. " Aeschylus, in his image, places fear as "flying" and "standing before" kardia, enveloping it and making its presence deeply felt.

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