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Tiresias was a prophet of Apollo. According to the mythographic compendium Bibliotheke, different stories were told of the cause of his blindness, the most direct being that he was simply blinded by the gods for revealing their secrets. An alternate story told by the poet Pherecydes was followed in Callimachus' poem "The Bathing of Pallas"; in it, Tiresias was blinded by Athena after he stumbled onto her bathing naked. His mother, Chariclo, a nymph of Athena, begged Athena to undo her curse, but the goddess could not; instead, she cleaned his ears, as Tiresias came upon a pair of copulating snakes, he hit the pair a smart blow with his stick. Hera was not pleased, and she punished Tiresias by transforming him into a woman. As a woman, Tiresias became a priestess of Hera, married and had children, including Manto, who also possessed the gift of prophecy. According to some versions of the tale, Lady Tiresias was a prostitute of great renown. After seven years as a woman, Tiresias again found mating snakes; depending on the myth, either she made sure to leave the snakes alone this time, or, according to Hyginus, trampled on them. As a result, Tiresias was released from his sentence and permitted to regain his masculinity. This ancient story is recorded in lost lines of Hesiod.
In a separate episode, Tiresias was drawn into an argument between Hera and her husband Zeus, on the theme of who has more pleasure in sex: the man, as Hera claimed; or, as Zeus claimed, the woman, as Tiresias had experienced both. Tiresias replied "Of ten parts a man enjoys one only." Hera instantly struck him blind for his impiety. Zeus could do nothing to stop her, but he did give Tiresias the gift of foresight and a lifespan of seven lives.
Stripped of its narrative, anecdotal and causal connections, the mythic figure of Tiresias combines several archaic elements: the blind seer; the impious interruption of a natural rite (whether of a bathing goddess or coupling serpents); serpents and staff (Caduceus); a holy man's double gender (shaman); and competition between deities.
Tiresias's background, fully male and then fully female, was important, both for his prophecy and his experiences. Also, prophecy was a gift given only to the priests and priestesses. Therefore, Tiresias offered Zeus and Hera evidence and gained the gift of male and female priestly prophecy. How he obtained his information varied: sometimes, like the oracles, he would receive visions; other times he would listen for the songs of birds, or ask for a description of visions and pictures appearing within the smoke of burnt offerings, and so interpret them.
Tiresias makes a dramatic appearance in the Odyssey, book XI, in which Odysseus calls up the spirits of the dead (the nekyia). "So sentient is Tiresias, even in death," observes Marina Warner "that he comes up to Odysseus and recognizes him and calls him by name before he has drunk the black blood of the sacrifice; even Odysseus' own mother cannot accomplish this, but must drink deep before her ghost can see her son for himself."
As a seer, "Tiresias" was "a common title for soothsayers throughout Greek legendary history" (Graves 1960, 105.5). In Greek literature, Tiresias's pronouncements are always gnomic but never wrong. Often when his name is attached to a mythic prophecy, it is introduced simply to supply a personality to the generic example of a seer, not by any inherent connection of Tiresias with the myth: thus it is Tiresias who tells Amphytrion of Zeus and Alcmena and warns the mother of Narcissus that the boy will thrive as long as he never knows himself. This is his emblematic role in tragedy (see below). Like most oracles, he is generally extremely reluctant to offer the whole of what he sees in his visions.
In Hellenistic and Roman times Tiresias' sex-change was embroidered upon and expanded into seven episodes, with appropriate amours in each, probably written by the Alexandrian Ptolemaeus Chennus, but attributed by Eustathius to Sostratus. Tiresias is presented as a complexly liminal figure, with a foot in each of many oppositions, mediating between the gods and mankind, male and female, blind and seeing, present and future, and this world and the Underworld.
In Sophocles' Oedipus the King, Oedipus, the king of Thebes, calls upon Tiresias to aid in the investigation of the killing of the previous king Laius. At first, Tiresias refuses to give a direct answer and instead hints that the killer is someone Oedipus really does not wish to find. However, after being provoked to anger by Oedipus' accusation first that he has no foresight and then that Tiresias had had a hand in the murder, he reveals that in fact it was Oedipus himself who had (unwittingly) committed the crime. Outraged, Oedipus throws him out of the palace, but then afterwards realizes the truth.
Oedipus had handed over the rule of Thebes to his sons Eteocles and Polynices but Eteocles refused to share the throne with his brother. Aeschylus' Seven Against Thebes recounts the story of the war which followed. In it, Eteocles and Polynices kill each other, and Megareus kills himself because of Tiresias' prophecy that a voluntary death from a Theban would save the city.
Tiresias also appears in Sophocles' Antigone. Creon, now king of Thebes, refuses to allow Polynices to be buried. His niece, Antigone, defies the order and is caught; Creon decrees that she is to be buried alive. The gods express their disapproval of Creon's decision through Tiresias, who tells Creon 'the city is sick through your fault.' However, Antigone has already hanged herself rather than be buried alive. When Creon arrives at the tomb where she is to be interred, his son, Haemon who was betrothed to Antigone, attacks Creon and then kills himself. When Creon's wife, Eurydice, is informed of her son and Antigone's deaths, she too takes her own life.
Tiresias and his prophecy are also involved in the story of the Epigoni.
In The Divine Comedy (), Dante sees Tiresias in the fourth pit of the eighth circle of Hell (the circle is for perpetrators of fraud and the fourth pit being the location for soothsayers or diviners.) He was condemned to walk for eternity with his head twisted toward his back; while in life he strove to look forward to the future, in Hell he must only look backward. Tiresias' daughter Manto is also assigned her punishment here.
More recently, "Tiresias" was the title of a poem by Alfred, Lord Tennyson.
T. S. Eliot used Tiresias as an integral voice in his modernist poem, "The Waste Land".
The French composer Francis Poulenc also wrote an opera called Les Mamelles de Tirésias ("The Breasts of Tiresias") based on Guillaume Apollinaire's surrealist text of 1917.
Frank Herbert also uses the mythic characteristics of Tiresias in his second Dune novel, Dune Messiah, where the protagonist Paul Atreides loses his sight but has prophetic powers to counter this stemming from insights into both the male and female part of the psyche.
Amy Seham, drama professor at Gustavus Adolphus College, wrote a musical entitled "Tiresias" in 1999, with music by Chanda Walker and Kira Theimer.
Tiresias as a motif of doubleness (male/female) also occurs in the writing of Rohinton Mistry. There it serves as a comparison to the protagonist of the short story "Lend me your Light", who is torn between his childhood home in Bombay and his new existence in Toronto: "I, Tiresias,/ Blind and throbbing between two lives..." (Tales from Firozsha Baag: 180).
In Lawrence Durrell's novel Balthazar, the second part of his Alexandria Quartet, Melissa, Scobie and Balthazar are each seen as having moments of prophetic sight. Scobie also cross-dresses, thus implying the androgyny of Tiresias. The novel also features the sing-song rhyme: :Old Tiresias :No-one half so breezy as, :Half so free and easy as :Old Tiresias
Tiresias also shows up in Jeffrey Eugenides' Middlesex. Cal, the protagonist, compares himself to the seer, and has even played him in a production of Antigone.
The blind beggar of Gustave Flaubert's Madame Bovary echoes Tiresias. Emma looking in her mirror, contemplating her death and hearing the song of the blind beggar, reflects her vacillatiing struggle between the masculine and feminine identity.
Dennis DeYoung uses Tiresias in the song "Castle Walls" on the 1977 Styx album "The Grand Illusion."
Carol Ann Duffy wrote a poem entitled 'from Mrs Tiresias' in her collection The World's Wife. This poem is told from the point of view of Tiresias' marriage partner, and interprets the myth in a modern context.
During the opening scenes of O Brother Where Art Thou, a derivative of Odyssey, Tiresias is introduced as an old black man on a railroad handcar. Although, when asked his name, he states "I have no name."
In 2001 Le Tendre and Rossi published a two-volume comic book Tiresias, focusing on his gender-change.
In Su Walton's 1969 Here Before Kilroy, Tiresias is the name of a homeless man who crops up throughout the story to make observations about the actions of the characters.
The 2003 film Tiresia is inspired by this myth.
Peter Gabriel, in the lyrics (by Tony Banks and Mike Rutherford) of the Genesis song "The Cinema Show" from their 1973 album Selling England by the Pound, refers to "father Tiresias" and his dual sexuality.
:Take a little trip back with father Tiresias, :Listen to the old one speak of all he has lived through. :"I have crossed between the poles, for me there's no mystery. :Once a man, like the sea, I raged. :Once a woman, like the earth, I gave. :But there is in fact more earth than sea."
In 2007 Salley Vickers imagined a series of conversations between Tiresias and Sigmund Freud as part of the Canongate "Myths" series of novels. The myth in question was that of Oedipus. Book title : Where three roads meet.
by Alan Moore includes an autobiography of Virginia Woolf's . This reveals that Tiresias had two daughters. While Manto inherited their father's prophetic abilities, the other daughter, Orlando (or Bio, as she was then named), found she changed gender as she grew, again inherited from her father. Tiresias is mentioned as having been ashamed at Orlando's gender-changing ability, sold him to pirate slavers and died escorting Manto to become the Oracle at Delphi.
The Radio Tales drama "Homer's Odyssey: Voyage to the Underworld" is a dramatic retelling of the portion of Homer's epic poem that features the voyage to Hades to consult with the prophet Teiresias. The drama first aired via XM Satellite Radio on April 19, 2003.
Jack Peñate, in his 2009 single " Be the One" sings "I walked away because of you, just like Tiresias I knew, that me and you were fated too"
Category:Fictional blind characters Category:Classical oracles Category:Prophets Category:Theban mythology Category:Transgender Category:Mythological Greek seers
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Now a Larissa resident, Papakonstantinou has established himself as one of the most original and prolific people in the Greek music scene. He writes music in the Greek folk idiom, stemming from his own recollections of traditional songs his parents sang while working in the field. He usually writes his own lyrics or uses poems. He has collaborated with numerous notable artists from the Greek music scene, such as Giannis Aggelakas, Melina Kana, Sokratis Malamas, Lizeta Kalimeri, Nikos Papazoglou.
Sleeplessness, ungroped animal!
Without a spit of affection in those who thirst for chimeras, you tilt your mug that’s always empty.
Category:1959 births Category:Living people Category:People from Larissa Prefecture Category:Greek male singers Category:Greek songwriters Category:Greek entehno singers Category:Greek laïko singers Category:Modern Greek-language singers
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He continued to play music in public shops, he tried and put his songs on programs. Not until the time that Nikos Papazoglou made him enter the studio and began his first album Aspromavres Istories in 1989. Sokratis Malamas wrote songs for theatrical releases and made his performance in the odeon. His direction of his works was better known and loved his charts.
He performed with famous musicians including Manolis rasoulis, composers including Nikos Xydakis, Melina Kana and more composers including Giannis Tsatsopoulos, Giorgos Athanassopoulos, Alkis Alkaiou, Fotini Lambridis, Thodoros Gonis, Michalis Gkanas, Odysseas Ioannou and Thanasis Papakonstantinou. He also had enough participants of works of famous people including Dionyssis Tsaknis, Maria Thoidou, B.D. Foxmoor and Sadahzinia (of Active Member), Eleftheria Arvanitaki, Thanos Mikroutsikos, Michalis Siganidis, Takis Vouis, Maria Papanikolaou and others.
Malamas also wrote songs and featured them in movies including To Kynigi To Lagou (Το Κυνήγι του Λαγού) and interpreted a song called To Chrono na Lavoso (Το χρόνο να λαβώσω) in a short-length film Ypsoma 33 (Ύψωμα 33) ,
Category:1957 births Category:Living people Category:People from Chalkidiki Category:Greek composers Category:Greek male singers Category:Greek entehno singers Category:Modern Greek-language singers
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Sophocles ( in English; , Sophoklēs, probably pronounced ; 497/6 BC – winter 406/5 BC) was the second of the three ancient Greek tragedians whose work has survived. His first plays were written later than those of Aeschylus and earlier than those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 123 plays during the course of his life, but only seven have survived in a complete form: Ajax, Antigone, Trachinian Women, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus. For almost 50 years, Sophocles was the most-fêted playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. Sophocles competed in around 30 competitions; he won perhaps 24 and was never judged lower than second place; in comparison, Aeschylus won 14 competitions and was defeated by Sophocles at times, while Euripides won only 4 competitions. Sophocles' fame and many works earned him a crater on the surface of Mercury named after him .
The most famous of Sophocles' tragedies are those concerning Oedipus and Antigone: these are often known as the Theban plays, although each play was actually a part of different tetralogy, the other members of which are now lost. Sophocles influenced the development of the drama, most importantly by adding a third actor and thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus.
Sophocles, the son of Sophilos, was a wealthy member of the rural deme (small community) of Colonus Hippius in Attica, which would later become a setting for one of his plays, and he was probably born there. His birth took place a few years before the Battle of Marathon in 490 BC: the exact year is unclear, although 497/6 is perhaps most likely. Sophocles' first artistic triumph was in 468 BC, when he took first prize in the Dionysia theatre competition over the reigning master of Athenian drama, Aeschylus. According to Plutarch the victory came under unusual circumstances. Instead of following the custom of choosing judges by lot, the archon asked Cimon and the other strategoi present to decide the victor of the contest. Plutarch further contends that Aeschylus soon left for Sicily following this loss to Sophocles. Although Plutarch says that this was Sophocles' first production, it is now thought that this is an embellishment of the truth and that his first production was most likely in 470 BC.
In 420 he welcomed and set up an altar for the image of Asclepius at his house, when the deity was introduced to Athens. For this he was given the posthumous epithet Dexion (receiver) by the Athenians. He was also elected, in 413 BC, to be one of the commissioners crafting a response to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War.
Sophocles died at the age of ninety or ninety-one in the winter of 406/5 BC, having seen within his lifetime both the Greek triumph in the Persian Wars and the terrible bloodletting of the Peloponnesian War. A few months later, the comic poet wrote this eulogy in his play titled The Muses: "Blessed is Sophocles, who had a long life, was a man both happy and talented, and the writer of many good tragedies; and he ended his life well without suffering any misfortune." This is somewhat ironic, for according to some accounts his own sons tried to have him declared incompetent near the end of his life; he is said to have refuted their charge in court by reading from his as yet unproduced Oedipus at Colonus. One of his sons, Iophon, and a grandson, also called Sophocles, both followed in his footsteps to become playwrights.
Athenaeus reports two stories of this kind, one, if authentic, from a contemporary: a symposium in which Sophocles cleverly steals a kiss from the boy sitting next to him, and another in which Sophocles entices a young boy to have sex outside the walls of Athens, and the boy takes Sophocles' cloak. According to Plutarch, when he caught Sophocles admiring a young boy's looks, Pericles rebuked him for neglecting his duty as a strategos. Sophocles' sexual appetite reportedly lasted well into old age. In The Republic (1.329b-329c) Plato tells us that when he finally succumbed to impotence, Sophocles was glad to be free of his "raging and savage beast of a master." It is debatable how far such anecdotes were invented as references to this well-known passage.
In yet another such account, a satirical one by Machon involving a hetaira known for her ironical sense of humor, we are told that, "Demophon, Sophocles' minion, when still a youth had Nico, already old and surnamed the she-goat; they say she had very fine buttocks. One day he begged of her to lend them to him. 'Very well,' she said with a smile,—'Take from me, dear, what you give to Sophocles.'"
actor Euiaon in Sophocles' Andromeda, c. 430 BC.]] Among Sophocles' earliest innovations was the addition of a third actor, which further reduced the role of the chorus and created greater opportunity for character development and conflict between characters.
Only two of the seven surviving plays can be dated securely: Philoctetes (409 BC) and Oedipus at Colonus (401 BC, staged after Sophocles' death by his grandson). Of the others, Electra shows stylistic similarities to these two plays, which suggests that it was probably written in the latter part of his career. Ajax, Antigone and The Trachiniae are generally thought to be among his early works, again based on stylistic elements, with Oedipus the King coming in Sophocles' middle period. Most of Sophocles' plays show an undercurrent of early fatalism and the beginnings of Socratic logic as a mainstay for the long tradition of Greek tragedy.
In Oedipus the King, Oedipus is the protagonist. Oedipus' infanticide is planned by his parents, Laius and Jocasta, to avert him fulfilling a prophecy ; in truth, the servant entrusted with the infanticide passes the infant on through a series of intermediaries to a childless couple, who adopt him not knowing his history. Oedipus eventually learns of the Delphic Oracle's prophecy of him, that he would kill his father and marry his mother ; Oedipus attempts to flee his fate without harming his parents (at this point, he does not know that he is adopted). Oedipus meets a man at a crossroads accompanied by servants; Oedipus and the man fought, and Oedipus killed the man. (This man was his father, Laius, not that anyone apart from the gods knew this at the time). He becomes the ruler of Thebes after solving the riddle of the sphinx and in the process, marries the widowed Queen, his mother Jocasta. Thus the stage is set for horror. When the truth comes out, folling from another true but confusing prophecy from Delphi, Jocasta commits suicide, Oedipus blinds himself and leaves Thebes, and the children are left to sort out the consequences themselves (which provides the grounds for the later parts of the cycle of plays).
In Oedipus at Colonus, the banished Oedipus and his daughters Antigone and Ismene arrive at the town of Colonus where they encounter Theseus, King of Athens. Oedipus dies and strife begins between his sons Polyneices and Eteocles.
In Antigone the protagonist is Oedipus' daughter. Antigone is faced with the choice of allowing her brother Polyneices' body to remain unburied, outside the city walls, exposed to the ravages of wild animals, or to bury him and face death. The king of the land, Creon, has forbidden the burial of Polyneices for he was a traitor to the city. Antigone decides to bury his body and face the consequences of her actions. Creon sentences her to death. Eventually, Creon is convinced to free Antigone from her punishment, but his decision comes too late and Antigone commits suicide. Her suicide triggers the suicide of two others close to King Creon: his son, Haemon, who was to wed Antigone, and his wife who commits suicide after losing her only surviving son.
Ajax focuses on the proud hero of the Trojan War, Telamonian Ajax, who is driven to treachery and eventually suicide. Ajax becomes gravely upset when Achilles’ armor is presented to Odysseus instead of himself. Despite their enmity toward him, Odysseus persuades the kings Menelaus and Agamemnon to grant Ajax a proper burial.
The Trachiniae (named for the Trachinian women who make up the chorus) dramatizes Deianeira's accidentally killing Heracles after he had completed his famous twelve labors. Tricked into thinking it is a love charm, Deianeira applies poison to an article of Heracles' clothing; this poisoned robe causes Heracles to die an excruciating death. Upon learning the truth, Deianeira commits suicide.
Electra Corresponds roughly to the plot of Aeschylus' Libation Bearers. It details how Electra and Orestes' avenge their father Agamemnon's murder by Clytemnestra and Aegisthus.
Philoctetes retells the story of Philoctetes, an archer who had been abandoned on Lemnos by the rest of the Greek fleet while on the way to Troy. After learning that they cannot win the Trojan War without Philoctetes' bow, the Greeks send Odysseus and Neoptolemus to retrieve him; due to the Greeks' earlier treachery, however, Philoctetes refuses to rejoin the army. It is only Heracles' deus ex machina appearance that persuades Philoctetes to go to Troy.
Here Sophocles says that he has completed a stage of Aeschylus' work, meaning that he went through a phase of imitating Aeschylus' style but is finished with that. Sophocles' opinion of Aeschylus was mixed. He certainly respected him enough to imitate his work early on in his career, but he had reservations about Aeschylus' style, and thus did not keep his imitation up. Sophocles' first stage, in which he imitated Aeschylus, is marked by "Aeschylean pomp in the language". Sophocles' second stage was entirely his own. He introduced new ways of evoking feeling out of an audience, like in his Ajax when he is mocked by Athene, then the stage is emptied so that he may commit suicide alone. Sophocles mentions a third stage, distinct from the other two, in his discussion of his development. The third stage pays more heed to diction. His characters spoke in a way that was more natural to them and more expressive of their individual character feelings.
Category:Ancient Greek dramatists and playwrights Category:Ancient Athenians Category:5th-century BC Greek people Category:5th-century BC writers Category:496 BC births Category:406 BC deaths Category:Tragic poets
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Name | Juliet Stevenson |
---|---|
Birthname | Juliet Anne Virginia Stevens |
Birthdate | October 30, 1956 |
Birthplace | Kelvedon, Essex, England |
Domesticpartner | Hugh Brody (1993-present) |
Children | Rosalind Hannah Brody (b. 1994) Jonathan Gabriel Brody (b. 2000/2001) |
Occupation | Actor |
Yearsactive | 1980–present |
In the 1987 TV film Life Story (American title, The Race for the Double Helix), Stevenson played the part of scientist Rosalind Franklin, for which she won a Cable Ace award. She is known for her leading role in the film Truly, Madly, Deeply (1991), and her roles in The Secret Rapture (1993), Emma (1996), Bend It Like Beckham (2002) and Mona Lisa Smile (2003). She has more recently starred in Pierrepoint (2006), Infamous (2006) as Diana Vreeland and Breaking and Entering (2006) as Rosemary, the therapist.
In 2009, she starred in ITV's A Place of Execution. The role won her the Best Actress Dagger at the 2009 Crime Thriller Awards. She enjoys a thriving career as a book reader, and has recorded all of Jane Austen's novels as unabridged audiobooks, as well as a number of other classics, such as Lady Windermere’s Fan, Hedda Gabler, Stories from Shakespeare, and To the Lighthouse.
Category:Alumni of the Royal Academy of Dramatic Art Category:Audio book narrators Category:Commanders of the Order of the British Empire Category:English atheists Category:English film actors Category:English radio actors Category:English stage actors Category:English television actors Category:English voice actors Category:People from Braintree (district) Category:Royal National Theatre Company members Category:Royal Shakespeare Company members Category:Shakespearean actors Category:1956 births Category:Living people
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