For fans of reconstructions of ancient music, here’s a post by a friend about a recent reconstruction of an ancient Greek tragic chorus – complete with a link to a podcast of the piece’s first performance!
Greek Tragedies were as much musical as theatrical performances. Much of the text uttered by the Chorus, and some by individual characters as well, was sung. The ancient tragedians were as much composers as writers, creating both the texts and the musical settings. Indeed, in Aristophanes’ Frogs, when the ghosts of Aeschylus and Euripides fight […]
Another fantastic short video from Barefaced Greek, this one from Euripides’ Trojan Women, set in the aftermath of the Greek army’s sack of Troy: Poseidon and Athena agree to destroy the Greek fleet on its way home:
It’s become a tradition for Cambridge classical linguists to get together in Easter term and attempt to read inscriptions in languages most of us know nothing about, so this term Philip Boyes has been leading sessions on the ancient Semitic language Ugaritic. Related to modern languages like Hebrew and Arabic, and other ancient Near Eastern languages like Phoenician, Ugaritic was spoken in an area of what’s now northern Syria. The written evidence comes from several archives of clay tablets in the city of Ugarit – these cover a wide range of genres, from administrative texts to letters to poetry. Continue reading “Ugaritic Clay Play Day”
Last term I wrote about the ‘clay play day‘ we held in my department: as the last in a series of seminars about the undeciphered Cretan script Linear A, we all got a chance to try out making and inscribing our own Linear A clay tablets. Since there was quite a bit of clay left over afterwards, I decided to have my own clay play day at home to make some tablets with inscriptions in Linear B – the script I mostly work on, which is related to Linear A but used to write Greek. This was partly an excuse just to mess around with clay a bit more, but I also figured some replica tablets would come in handy for teaching purposes, outreach events, etc – it’s hard to show what sort of size the tablets actually are via photographs on a PowerPoint. So here are some pictures of 1) a tablet in progress, using a photocopy of the published photograph and drawing to get the size right; 2) holding the finished tablet, for scale purposes; and 3) all three tablets I ended up making.
Last term I wrote a review of the fantastic Cambridge Greek play, a tragedy/comedy double bill of Antigone and Lysistrata: now the production team have made some video highlights of both plays available online. Have a look at the video below!
This term in the Faculty we’ve been having a series of seminars looking at Linear A, an undeciphered script from prehistoric Crete (and the script out of which Linear B, which I mostly work on, was developed). We started off with a general introduction to what Linear A is – Sarah Finlayson gave us an overview of the different sites across Crete where Linear A inscriptions have been found, their chronology (roughly between the 19th to 15th centuries B.C.E.), and the general context in which they were written (some are from ‘palaces’, others from smaller administrative centres, and some come from religious sanctuaries). I then did a survey of the kinds of documents Linear A was used to write: these ranged from administrative texts on clay tablets or on small lumps of clay (used for, e.g., labelling objects, or sealing storage jars or store-rooms) to non-administrative inscriptions on clay or stone vases, metal objects, and even a couple of graffiti scratched onto walls (there are some pictures of different kinds of inscriptions here). Continue reading “Practical epigraphy, or, Linear A Clay Play Day”