Εμφανίζονται 100 (επί συνόλου 183) τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΣΤΕΡΕΑ ΕΛΛΑΔΑ Περιφέρεια ΕΛΛΑΔΑ" .
ΑΒΟΡΟΣ (Χωριό) ΛΙΔΟΡΙΚΙ
1797 - 1880
(Αβορίτι Δωρίδας 1797 Αθήνα
1880)
Αγωνιστής του 1821, στρατιωτικός και δραστήριο πολιτικό πρόσωπο μετά
από τη δημιουργία του ελεύθερου ελληνικού κράτους, αυτοδίδακτος συγγραφέας Απομνημονευμάτων.
Το πραγματικό του όνομα ήταν Ιωάννης Τριανταφυλλοδημήτρης. Το 1820 μυήθηκε στη
Φιλική Εταιρεία και από τότε αφοσιώθηκε στον Αγώνα. Πήρε μέρος σε πολλές μάχες.
Κατά τους εμφύλιους τάχθηκε στο πλευρό των κυβερνητικών και μετά εισέβαλε στην
Πελοπόννησο και έμεινε εκεί
για να οργανώσει την άμυνα εναντίον του Ιμπραήμ. Υπερασπίστηκε ηρωικά την Ακρόπολη,
όπου τραυματίστηκε τρεις φορές. Η επαναστατική του δράση κλείνει με τη συμμετοχή
του στις επιχειρήσεις του Πειραιά
το 1827. Με τον ερχομό του Καποδίστρια διορίστηκε «Γενικός αρχηγός Σπάρτης».
Δυσανασχετώντας για την απραξία της θέσης άρχισε να γράφει τα «Απομνημονεύματα»
(1829). Χαιρέτησε με θερμά λόγια την άφιξη του Όθωνα, γρήγορα όμως απογοητεύτηκε
και στράφηκε στην καλλιέργεια της γης. Ως δημοτικός σύμβουλος έπεισε το δημοτικό
συμβούλιο της Αθήνας το 1837
να υποβάλει στον Όθωνα αναφορά για την παραχώρηση Συντάγματος. Η πράξη του αυτή
οδήγησε στην παύση του, διάλυση του δημοτικού συμβουλίου και στον κατ’ οίκον
περιορισμό του ίδιου. Απ’ το παλάτι θεωρήθηκε ως ο κύριος οργανωτής της
συνωμοτικής κίνησης που οδήγησε στην Eπανάσταση της 3ης Σεπτεμβρίου 1843. Το Μάρτιο
του 1853 δικάστηκε από στρατοδικείο για έσχατη προδοσία και καταδικάστηκε σε θάνατο.
Αποφυλακίστηκε αργότερα με τη μεσολάβηση του Δημητρίου Καλλέργη. Μετά την έξωση
του Όθωνα του ξαναδόθηκε ο τίτλος του αντιστρατήγου (1864).
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα, με φωτογραφία, της Βουλής των Ελλήνων
ΑΘΑΝΑΣΙΟΣ ΔΙΑΚΟΣ (Χωριό) ΠΑΡΝΑΣΣΙΔΑ
1786 - 1821
(Μουσουνίτσα Παρνασσίδας 1786 Λαμία
1821)
Αγωνιστής του 1821. H ηρωική του αντίσταση στην Αλαμάνα
και ο μαρτυρικός του θάνατος στη Λαμία
έγιναν θρύλος στη συνείδηση του λαού μας. Γιος του Νίκου Μασαβέτα, σε νεαρή ηλικία
μόνασε ως δόκιμος και μετά διάκος στη Μονή
του Αγίου Ιωάννη του Προδρόμου της Αρτοτίνας. Μερικά χρόνια πριν την Επανάσταση
υπηρέτησε στο σώμα των «Τσοχανταρέων» (σωματοφυλάκων) του Αλή Πασά. Μετά το 1820
εκλέχθηκε αρχηγός στο αρματολίκι της Ρούμελης, στη θέση του καταδιωκόμενου Ανδρούτσου,
με τον οποίο είχε στενό σύνδεσμο. Την εποχή αυτή μυείται στη Φιλική Εταιρεία.
Το 1821 ύψωσε τη σημαία της Επανάστασης στη Λιβαδειά
(30 Μαρτίου 1 Απριλίου) και εκκένωσε μαζί με τους Δουβουνιώτη και Πανουργιά
την Ανατολική Στερεά από τους Τούρκους. Στη γέφυρα της Αλαμάνας
στις 22 Απριλίου 1821 προσπάθησε να ανακόψει την πορεία του Ομέρ Βρυώνη και του
Κιοσέ Μεχμέτ προς την Πελοπόννησο.
Το βάρος της σύγκρουσης έπεσε στον Αθανάσιο Διάκο που έλεγχε το δρόμο από τη Δαμάστα.
Μετά από πολύωρη μάχη, τραυματισμένος στο δεξί χέρι αιχμαλωτίστηκε από τους Τούρκους,
μεταφέρθηκε στη Λαμία όπου
θανατώθηκε με ανασκολοπισμό. Η θυσία του ενίσχυσε το φρόνημα των αγωνιζομένων
και η δράση του ενέπνευσε πολλούς.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΑΜΦΙΣΣΑ (Πόλη) ΠΑΡΝΑΣΣΙΔΑ
1801 - 1863
Γιος του οπλαρχηγού Πανουργιά Πανουργιά. Πήρε μέρος στη μάχη των Βασιλικών,
της Αράχοβας μαζί με τα παλικάρια
του Γ. Καραϊσκάκη και σε πολλές άλλες, δίπλα στο Γ. Δυοβουνιώτη, το Δ. Υψηλάντη
κ.α. Ιδιαίτερη γενναιότητα έδειξε στην τελευταία μάχη του Αγώνα στην Πέτρα
της Βοιωτίας (1829). Ο Ι. Πανουργιάς είχε και πολιτική δράση: Πληρεξούσιος της
´Αμφισσας στην Εθνοσυνέλευση
του 1843 και ως το θάνατό του βουλευτής Παρνασσίδας.
Το 1854 ως στρατιωτικός ηγέτης σώματος εθελοντών με το βαθμό του υποστρατήγου,
τάχθηκε με το μέρος των υπόδουλων της Θεσσαλίας
και πολέμησε αποτελεσματικά στην περιοχή του Αλμυρού.
Ήταν ευρύτατα γνωστός με το προσωνύμιο Νάκος.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΑΡΓΥΡΟ (Χωριό) ΚΑΡΥΣΤΙΑ
Οπλαρχηγός της Επαναστάσεως από τους πιο ανδρείους του απελευθερωτικού
αγώνα (1785-1853) .Γεννήθηκε στο χωριό Αργυρό (Βίρα), της επαρχίας Καρυστίας.
Καταγόταν από φτωχή οικογένεια, ο πατέρας του Ισίδωρος Χαραχλιάνης ήταν βοσκός
και ο ίδιος δεν έτυχε καμιάς μορφώσεως.
Από την διαμονή της οικογενειάς του στο χωριό Κριεζή της Εύβοιας,
πήρε αργότερα το όνομα Κριεζώτης, με το οποίο έγινε γνωστός, ενώ ο ίδιος υπέγραφε
πάντα ως Γκριτζιώτης.
Πριν από την επανάσταση έφυγε για την Μικρά Ασία εγκαταστάθηκε στην
Κιουτάχεια και εργάστηκε ως επιστάτης και κεχαγιάς στο τεράστιο ποιμνιοστάσιο
του πάμπλουτου Τούρκου Καραοσμάνογλου. Κατά τη διάρκεια φιλονικίας του με τούρκο
ταχυδρόμο, τον σκότωσε, οπότε τον συνέλαβαν και τον φυλάκισαν.
Με την είδηση της έκρηξης της Επανάστασης, απέδρασαν με τον συγκρατούμενό
του και αργότερα οπλαρχηγό Βάσο Μαυροβουνιώτη. Στις Κυδωνιές μυήθηκε στον αγώνα
από τον μοναχό Κλεόβουλο, ενώ μετά από πολλές περιπέτειες έφθασε στην Εύβοια,
όπου και κατατάχθηκε στο επαναστατικό σώμα του οπλαρχηγού της Εύβοιας Αγγελή Γοβγίνα
ή Γοβγιό, υπό τον Αθανάσιο Γιότση, και έλαβε μέρος στη μάχη των Βρυσακίων (Ιούλιος
1821).
Κατά την διάρκεια της μάχης έδειξε τόση ανδρεία ώστε ο Αλέξανδρος
Κριεζής τον έκανε οπλαρχηγό με 300 στρατιώτες, σύντομα έγινε πεντακοσίαρχος και
αγωνίστηκε με τους άνδρες του σε όλες τις μάχες της Εύβοιας. Μαζί με τον οπλαρχγό
της Κύμης και στενό φίλο του Βάσο Μαυροβουνίωτη και με την βοήθεια του οπλαρχηγού
Ηλία Μαυρομιχάλη, έδωσαν στις 11 Ιανουαρίου 1822 μεγάλη νικηφόρα μάχη στον μύλo
των Στύρων, όπου αντιμετώπισαν τον Ομέρ Μπέη της Καρύστου και τον Γιουσούφ Αγά,
που τους έτρεψαν σε φυγή. Όταν ο Αγγελής Γοβγίνας αποφάσισε να στραφεί προς τη
Χαλκίδα, με την ομόφωνη γνώμη των Καρυστινών, όρισε αρχηγό της Καρυστίας τον Κριεζώτη,
ο οποίος αμέσως σχημάτισε σώμα με 1500 πολεμιστές και με τη βοήθεια το μοναχού
αδελφού του Γρηγορίου, στις 22 Φεβρουαρίου έδωσε νέα μάχη στα Στύρα κατά του Ομέρ
και τον ανάγκασε να υποχωρήσει. Μετά τον θάνατο των δύο οπλαρχηγών Αγγελή Γοβγίνα
και Ηλία Μαυρομιχάλη στη μάχη αυτή, ο Κριεζώτης απέμεινε μόνος αρχηγός σε όλη
την Εύβοια και πρωταγωνίστησε σε όλες τις μάχες, μετά τη διακοπή της φιλίας του
με τον Βάσο Μαυροβουνιώτη.
Όταν τον Μάιο του 1823 η Κάρυστος αντιμετώπιζε τεράστιο κίνδυνο, ο
Κριεζώτης με λίγους πολεμιστές έδωσε σφοδρή μάχη έξω από την Κάρυστο ,στις 5 Μαΐου,
κοντά στο χωριό Βατύσι ,και ανάγκασε τον Ομέρ πασά να παραμείνει έγκλειστος στο
φρούριο της πόλης, που την πολιορκούσε ο Κριεζώτης επί αρκετό διάστημα. Η τεράστια
όμως τουρκική δύναμη τον ανάγκασε να λύσει την πολιορκία της Καρύστου και να αποτραβηχτεί
με 60 μόνο πολεμιστές στην παραλία της μονής Χιλιαδούς, από όπου πέρασε στη Σκόπελο
και στη συνέχεια στη Σκύρο και στα Ψαρά, προκειμένου να ζητήσει στρατιωτική ενίσχυση,
εφόσον σε αυτά τα νησιά είχαν καταφύγει πολλοί πολεμιστές. Οι προσπάθειές του
όμως δεν καρποφόρησαν, αναγκάστηκε να επιστρέψει στη Σκύρο, όπου συγκρότησε μικρό
πολεμικό σώμα και συνέχισε την δράση του υπό τον Οδυσσέα Ανδρούτσο, που η κυβέρνηση
τον είχε διορίσει αρχηγό της Εύβοιας.
Στις 19 Σεπτεμβρίου 1823 ο Κριεζώτης προήχθη στο βαθμό του Χιλίαρχου.
Η σοβαρότερη επιτυχία του σε αυτό το διάστημα, ήταν η σύλληψη του Αχμέτ Κεχαγιά
κοντά στο Μαρμάρι, η πανώλη όμως που θέριζε την περιοχή προσέβαλε και τον Κριεζώτη,
που αναγκάστηκε να αποσυρθεί στη Κέα. Τον Απρίλιο του 1824 ανασύνταξε το στρατιωτικό
του σώμα στη Σκύρο και στις 24 μήνα ήταν στο Ναύπλιο, όπου αναμίχθηκε στον εμφύλιο
πόλεμο μεταξύ κυβερνητικών και αντικυβερνητικών. Τον Απρίλιο του 1825 πρωτοστάτησε
υπό τον Γκούρα στη μάχη της ´Αμπλιανης και σε πολλές πολεμικές επιχειρήσεις,
επικρίθηκε όμως γιατί δεν δέχθηκε να πάρει μέρος το φθινόπωρο του ίδιου χρόνου
στην υπεράσπιση του Μεσολογγίου. Την άνοιξη του 1826 συμμετείχε, μαζί με τον Χατζημιχάλη
Νταλιάνη και τον Βάσο Μαυροβουνιώτη, στην εκστρατεία στη Βηρυτό με σκοπό να παρακινήσουν
τους χριστιανούς της Συρίας να επαναστατήσουν κατά της Τουρκίας. Η παράτολμη αυτή
ενέργεια κατέληξε σε αποτυχία. Επέστρεψε στην Ελλάδα και έλαβε μέρος στις κυριότερες
μάχες, αρχικά βοηθώντας τον Φαβιέρο στη νέα του εκστρατεία στην Εύβοια. Όταν η
κυβέρνηση αποφάσισε να δημιουργήσει ισχυρό στρατόπεδο στην Ανατολική Στερεά και
ανέθεσαν την αρχιστρατηγία στον Γ. Καραϊσκάκη ,παρά την πικρία του για την υποβάθμιση
του, τάχθηκε αμέσως υπό την αρχηγία του και έπεισε και τον στρατό του να τον ακολουθήσει.
Έκτοτε έλαβε μέρος σε όλες τις μάχες, στα Λιόσια (Ιούνιος 1826), στο Χαϊδάρι (6-8
Αυγούστου), προκειμένου να λύσουν την πολιορκία της Ακρόπολης της Αθήνας, στο
Θριάσιο πεδίο (Σεπτέμβριος 1826), πάντοτε με το δικό του στρατιωτικό σώμα.
Μετά τον θάνατο του Γκούρα φρουράρχου της Ακρόπολης (5 Οκτωβρίου 1826),
ο Καραϊσκάκης ανέθεσε στον Κριεζώτη την αρχηγία των πολιορκουμένων. Οργάνωσε αμέσως
σώμα από 300 άνδρες και μαζί με τους οπλαρχηγούς Μαρμούρη, Ντεληγιώργη, Τουρκαλέκο
και Τσούρα, τη νύχτα της 11ης προς τη 12η Οκτωβρίου 1826, διέσπασαν το τουρκικό
στρατόπεδο των πολιορκητών και μπήκαν στην Ακρόπολη. Η αποτυχημένη όμως προσπάθεια
του Φαβιέρου να λύσει την πολιορκία και ο θάνατος του Καραϊσκάκη είχαν ως αποτέλεσμα
την αναγκαστική παράδοση του φρουρίου της Ακρόπολης.
Μέχρι την άφιξη στην Ελλάδα του Καποδίστρια, συνεχίζει τη δράση του
σε μικρομάχες στη Σκύρο, στο Τρίκερι, στην ´Ανδρο κ.α. Όταν ο Δημήτριος
Υψηλάντης ανέλαβε την οργάνωση του στρατού σε χιλιαρχίες, ο Κριεζώτης διορίστηκε
από τον Κυβερνήτη χιλίαρχος και πήρε μέρος σε όλες τις πολεμικές επιχειρήσεις
στην Ανατολική Ελλάδα, υπό τον Υψηλάντη και τον Γάλλο στρατηγό Μαίζωνα στην Πελοπόννησο.
Στη μάχη της Πέτρας (12.9.1829), που έδωσε τέλος στην Ελληνική Επανάσταση, πρωταγωνίστησε
και ο Κριεζώτης. Μετά την οργάνωση του στρατού σε τάγματα, ο Κυβερνήτης του ανέθεσε
την αρχηγία τριών ταγμάτων στη Λοκρίδα. Μετά τη δολοφονία του Καποδίστρια αναμίχθηκε
στις διαμάχες των κυβερνητικών και των "συνταγματικών" και τάχθηκε με
τον μέρος των δεύτερων. Κατά το επαναστατικό κίνημα του 1843 από τον Μακρυγιάννη
και τον Αντώνιο Γεωργαντά, υποστήριξε τους επαναστάτες και κατέλαβε το φρούριο
της Χαλκίδας (τοποθεσία Βασιλικά). Ο λαός της Εύβοιας, κατά τις πρώτες βουλευτικές
εκλογές, τον ψήφισε βουλευτή Εύβοιας στις 17 Ιουλίου 1844, και συνέχισε την αντιβασιλική
πολεμική του από το βήμα της Βουλής. Οι εχθροί του κατόρθωσαν να επιτύχουν την
σύλληψή του και τη φυλάκισή του στη Χαλκίδα το 1847, από όπου απελευθερώθηκε στις
31 Ιουλίου του ιδίου χρόνου με τη βοήθεια του πιστού στρατιώτη Μελέτη Δέδε Κουντουριώτη.
Μαζί με μερικούς οπαδούς του κήρυξε αντιδυναστική επανάσταση και οχυρώθηκε στο
φρούριο της Χαλκίδας, στη τοποθεσία Βασιλικά. Η κυβέρνηση έστειλε εναντίον του
ισχυρές δυνάμεις, με έκτακτα ναυλωμένο αυστριακό πλοίο υπό την αρχηγία του αυλάρχη
και υπασπιστή του Όθωνος Γαρδικώτη Γρίβα, ο οποίος άδικα προσπάθησε να τον πείσει
να εγκαταλείψει το φρούριο. Ακολούθησαν σκληρές συγκρούσεις και ο Κριεζώτης τραυματίστηκε
σοβαρά στην κοιλιά και στο αριστερό χέρι. Για να αποφύγει τη γάγγραινα, έκοψε
με μαχαίρι τον βραχίονά του. Μετά την αποτυχία του κινήματος συμβούλευσε τους
άνδρες του να παραδοθούν, ενώ ο ίδιος κατόρθωσε να διαφύγει και με ιστιοφόρο από
την Κύμη κατέφυγε στα Ψαρά και στη Χίο και από εκεί στη Κωνσταντινούπολη και την
Προύσα, όπου έγινε δεκτός από τους ομογενείς με ιδιαίτερες τιμές. Οι προσπάθειες
των φίλων του να επιτύχουν από την Ελληνική κυβέρνηση αμνηστία δεν καρποφόρησαν.
Εγκαταστάθηκε τελικά στη Σμύρνη και οι Τουρκικές αρχές του επέτρεψαν να καλέσει
στη Σμύρνη και την οικογένειά του.
Στις 12 Φεβρουαρίου 1853 ο Κριεζώτης πέθανε ξαφνικά και κηδεύθηκε
με μεγαλοπρέπεια στον ναό της Αγίας Φωτεινής. Το 1863 ο δήμος Χαλκιδέων πέτυχε
να επιτραπεί η ανακομιδή των οστών του ανδρείου αγωνιστή. Στις 13 Οκτωβρίου 1863
έγινε επίσημη τελετή της ανακομιδής των οστών στη Χαλκίδα και λόγους εξεφώνησαν
οι Ν. Αποστολίδης, Π. Κουπιτώρης και κατά το μνημόσυνο ο Στ. Δούκας. Κατά τη διάρκεια
της τελετής διατυπώθηκε και η άποψη ο Κριεζώτης δεν πέθανε από φυσικό θάνατο,
"αλλ’ υπό χειρός τεχνικωτάτου δολοφόνου". Η οστεοθήκη εναποτέθηκε
στο παρεκκλήσιο του Αγίου Ιωάννου του Προδρόμου στην κοινότητα Μύτικα. Το Δημοτικό
Συμβούλιο του Δήμου Χαλκιδέων, με ψήφισμα της 5ης Απριλίου 1863, αποφάσισε την
ανέγερση μνημείου, αντάξιου της γενναιότητας του Ν. Κριεζώτη.
(Βίρα Καρυστίας 1785 - Σμύρνη
1853)
Οπλαρχηγός του 1821. Πήρε το βάπτισμα του πυρός στα Βρυσάκια, όπου
διακρίθηκε για τον ηρωισμό του και λίγο αργότερα ως οπλαρχηγός ανέλαβε, μετά από
απαίτηση των κατοίκων της Καρυστίας, την εκκαθάριση της περιοχής από τους Τούρκους.
Συνεργάστηκε με το Βάσο Μαυροβουνιώτη και μαζί με τον Μανιάτη Ηλία Μαυρομιχάλη
έδωσε ηρωική μάχη στα Στύρα.
Αναγνωρισμένος ως αρχηγός από τους αγωνιστές της Εύβοιας
πήρε, μετά τη νίκη του στο Κουντουρλομετόχι της Χαλκίδας, και επίσημα τον τίτλο
του αρχηγού της Καρυστίας. Κατά τον εμφύλιο ο Κριεζώτης τάχθηκε με το μέρος των
κυβερνητικών και πήρε μέρος στις επιχειρήσεις εναντίον των αντιπάλων του. Το 1825
πολέμησε στις σημαντικότερες μάχες της Ανατολικής Στερεάς
υπό την ηγεσία του Καραϊσκάκη. Στα τέλη του 1825 μαζί με άλλους οπλαρχηγούς οργάνωσαν
εκστρατεία στο Λίβανο για να βοηθήσουν τον Εμίρη Μπεσίρ. Μετά το θάνατο του Γκούρα,
ύστερα από πρόταση του Καραϊσκάκη, ο Κριεζώτης ανέλαβε μαζί με 300 άνδρες να εισχωρήσει
στην Ακρόπολη χωρίς να γίνει
αντιληπτός. Ο Κριεζώτης πήρε μέρος στις διαμάχες που ξέσπασαν μετά τη δολοφονία
του Κυβερνήτη και ακολούθησε τον Ιωάννη Κωλέττη και τους Ρουμελιώτες οπλαργηχούς.
Πήρε ενεργό μέρος στην Επανάσταση της 3ης Σεπτεμβρίου του 1843. Το 1844 εκλέχτηκε
βουλευτής και συνέχισε την αντιδυναστική πολιτική του.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΔΥΟ ΒΟΥΝΑ (Χωριό) ΓΟΡΓΟΠΟΤΑΜΟΣ
1798 - 1880
Γιος του Ιωάννη Δυοβουνιώτη και από τους σημαντικότερους της Επανάστασης του 1821.
1757 - 1831
(Δύο Βουνά Οίτης 1757 Σάλωνα
1831)
Το πραγματικό του όνομα ήταν Ξήκης Ιωάννης και το επώνυμο Δυοβουνιώτης
προέρχεται από τον τόπο καταγωγής του. Προεπαναστατικά ήταν αρματολός στη Λοκρίδα
και το 1820 μυήθηκε στη Φιλική Εταιρεία. Με την έκρηξη της Επανάστασης απελευθέρωσε
την Μπουδονίτσα (13 Απριλίου 1821) και συνεργάστηκε με το Διάκο σε κοινές στρατιωτικές
επιχειρήσεις. Στο Δυοβουνιώτη οφείλεται το σχέδιο άμυνας στη μάχη των Βασιλικών
(26 Αυγούστου 1821) που οδήγησε σε λαμπρή νίκη των Ελλήνων.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΛΙΜΝΗ (Κωμόπολη) ΕΥΒΟΙΑ
1780 - 1822
Οπλαρχηγός της Ελληνικής Επανάστασης στην Εύβοια. Γεννήθηκε στην Λίμνη το 1780. Καταγόταν από ναυτική οικογένεια. Ο ελεύθερος και ατίθασος χαρακτήρας του τον έφεραν αντιμέτωπο με την τοπική δημογεροντία και τον ανάγκασαν να φύγει από το νησί. Το 1817 γίνεται αρματωλός του Τελπελνή, δίπλα στον Οδυσσέα Ανδρούτσο, στρατιωτικό αρχηγό της Ανατολικής Ρούμελης.
Το 1818 μυείται στα μυστικά του ιερού αγώνα για την απελευθέρωση της Ελλάδας και ορκίζεται φιλικός από τον Οικονόμου. Στη συνέχεια, έρχεται στη Λίμνη και μοιράζεται το μυστικό με δικούς του ανθρώπους, δίνοντας τους κατευθύνσεις για τον αγώνα στην Εύβοια. Με την έκρηξη της Επανάστασης πολεμάει δίπλα στον Οδυσσέα Ανδρούτσο στο Χάνι της Γραβιάς, στην ιστορική μάχη του Μάη του 1821. Μετά την ηρωική έξοδο κινείται προς την Εύβοια ξεσηκώνοντας τους χωρικούς. Έλαβε μέρος σε όλες τις σημαντικές μάχες στην Εύβοια και σκοτώθηκε το Μάρτιο του 1822 μετά από σκληρή μάχη κοντά στα Δύο Βουνά, σε ενέδρα που του έστησαν οι Τούρκοι. Ο θάνατος του υπήρξε βαρύτατο πλήγμα για την Εύβοια και την έκβαση της επανάστασης σ' αυτήν. Τον ηρωισμό του και τον πόνο για την απώλεια ύμνησε η λαϊκή μούσα με χαρακτηριστικό δημοτικό τραγούδι.
(Λίμνη Ευβοίας 1780 Βρυσάκια Ευβοίας 1822)
Οπλαρχηγός του 1821, φίλος του Οδυσσέα. Ανδρούτσου με τον οποίο συνδέθηκε
στενά όταν ήταν στην υπηρεσία του Αλή Πασά. Με την έκρηξη της Eπανάστασης ακολούθησε
τον Ανδρούτσο και πολέμησε μαζί του στο Χάνι
της Γραβιάς (8 Mαΐου 1821). Έδρασε στην Εύβοια
ως αρχηγός των επαναστατικών σωμάτων της περιοχής και αντιμετώπισε στα Βρυσάκια
τον Ομέρ Βρυώνη (15 Ιουνίου 1821) αναγκάζοντάς τον να αποσυρθεί. Σκοτώθηκε σε
ενέδρα των Τούρκων στις 28 Μαρτίου του 1822 στην ίδια περιοχή με τον αδερφό του
Αναγνώστη.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΠΑΝΟΥΡΓΙΑΣ (Χωριό) ΠΑΡΝΑΣΣΙΔΑ
1759 - 1834
(Δρέμισα Φωκίδας 1759 ή 1767 - ´Aμφισσα
1834)
Καταγόταν από σημαντική οικογένεια κλεφταρματολών. Στα δεκαέξι του
χρόνια έγινε κλέφτης και αργότερα αρματολός. Μυήθηκε νωρίς στη Φιλική Εταιρεία
και έδρασε κάτω από τις εντολές της μαζί με τον Οδ. Ανδρούτσο, τον Αθ. Διάκο,
το Γ. Δυοβουνιώτη κ.ά. Πολέμησε στην ´Aμφισσα, στη Γραβιά,
στα Βασιλικά. Στην περίοδο των εμφυλίων, ο Π. Πανουργιάς τάχθηκε με το μέρος των
στρατιωτικών, γιατί πίστευε ότι αυτοί ήσαν ικανοί να κρατούν τα ηνία, όσο διαρκούσε
ο Αγώνας. Ο Π. Πανουργιάς ήταν γενναίος, ακούραστος και αγνός πατριώτης. 'Eπαιξε
ρόλο συμφιλιωτικό σε περιπτώσεις έξαρσης των παθών. Μετά το τέλος της Επανάστασης,
ο Πανουργιάς αποσύρθηκε στην ´Aμφισσα,
όπου και πέθανε.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΠΑΡΝΑΣΣΙΔΑ (Επαρχία) ΦΩΚΙΔΑ
1791 - 1826
(Παρνασσίδα 1791 Αθήνα 1826)
Αγωνιστής που διακρίθηκε για τη στρατηγική ικανότητα και την ανδρεία
του. Με την έκρηξη της Επανάστασης στρατολόγησε 700 περίπου άνδρες από την περιοχή
της Παρνασσίδας και στις 27 Μαρτίου κατέλαβαν τα Σάλωνα
(´Aμφισσα) μαζί με τον Πανουργιά και Γαλαξιδιώτες οπλαρχηγούς. Στις
8 Μάιου πολέμησε με τον Οδ. Ανδρούτσο στο Χάνι
της Γραβιάς· πήρε μέρος το Νοέμβριο του 1821 στις εργασίες της συνέλευσης
των Σαλώνων, καρπός της οποίας
ήταν η «Νομική Διάταξης της Ανατολικής Χέρσου Ελλάδος» Την περίοδο του εμφυλίου
πολέμου τάχθηκε με το μέρος του Κωλέττη και του Κουντουριώτη και στράφηκε εναντίον
των παλαιών συναγωνιστών του. Με εντολή της κυβέρνησης Κουντουριώτη ως αρχηγός
«των στρατοπέδων της Ανατολικής Ελλάδος» συνέλαβε τον Οδυσσέα Ανδρούτσο και πρωτοστάτησε
στα γεγονότα που οδήγησαν στην εκτέλεσή του. Υπεύθυνος για την άμυνα ολόκληρης
της Αττικής σκοτώθηκε το 1826
κατά την πολιορκία της Ακρόπολης
από τον Κιουταχή.
ΣΤΥΡΑ (Χωριό) ΕΥΒΟΙΑ
Tο πρωτοπαλίκαρο του Κριεζώτη. Καταγόταν από τα Στύρα. Διακρίθηκε σε όλη τη διάρκεια της Επανάστασης. Ήταν γενναίος, ευθύς και μετριόφρων. Ένα γεγονός χαρακτηριστικό της αξίας του: οι Τούρκοι, μετά την περίφημη μάχη της Πέτρας, ζήτησαν τον Τόλια ως όμηρο από το στρατάρχη Υψηλάντη, ο οποίος κρατούσε μαζί με τον αρχηγό τους, Αχμέτ μπέη, ως εγγύηση για τη συνομολόγηση της σχετικής συνθήκης. Μετά την Επανάσταση εγκαταστάθηκε στη Λειβαδιά, όπου πέθανε με το βαθμό του συνταγματάρχη της φάλαγγας.
ΦΥΛΛΑ (Κωμόπολη) ΧΑΛΚΙΔΑ
Πατέρας του ένδοξου ναυάρχου Ανδρέα Μιαούλη. Καταγόταν από τα φύλλα της Χαλκίδας, όπου διασώζεται μέχρι σήμερα το σπίτι του, μαρτυρώντας τις σχέσεις του μεγάλου θαλασσομάχου με το νησί, η οικογένεια του Δημητρίου Βώκου, πριν την επανάσταση του '21, είχε καταφύγει στην Ύδρα, όπου διέπρεψε ως ναυτική οικογένεια.
Κατά την τοπική παράδοση στο σπίτι, που ο Δημήτριος Βώκος έκτισε πίσω
από το ναό της Αγίας Ελεούσης στα Φύλλα, γεννήθηκε από την 3η σύζυγό του, καταγόμενη
από την Ύδρα, το έτος
1769 ο γιος του Ανδρέας Βώκος, ο επονομασθείς αργότερα Μιαούλης. Το όνομα τούτο
έλαβε είτε εκ πλοίου ονομαζόμενου Μιαούλ, είτε εκ του γνωστού κελεύσματος "μία
ούλοι". Για τα πρώτα έτη της ζωής του ελάχιστα γνωρίζουμε. Οπωσδήποτε όμως
ασχολιόταν με το επάγγελμα του πατέρα του, ο οποίος κατά την παράδοση τον έπαιρνε
μαζί του στην Μπούλμπα (παραλία μεταξύ του Λευκαντίου
και του Μπουρτζίου στις εκβολές του ποταμού Λήλαντα). Εκεί προσόρμιζαν τη βάρκα
τους και ετοίμαζαν τα απαραίτητα για το ψάρεμα. Ως γιός του Ψαρά δε ήταν γνωστός
και έτσι τον γνώριζαν οι συνομήλικοι του.
Οι πιο στενοί του φίλοι ήταν ο Κωνσταντίνος Οικονόμου ή (Νιανιάκος),
ο Μαντάς συγγενής του από τα Φύλλα, ο Χρήστος Ξυγκόγιαννης και ο Μαστροσταμάτης
από το Βασιλικό
και ο Κωσταράγκος από το Αφράτι.
Όλοι αυτοί έζησαν μέχρι τα βαθιά γεράματα τους και θυμόντουσαν τον Ανδρέα και
πολλά για εκείνον παρέδωσαν προφορικώς στους μεταγενέστερους. Διηγείται ο Μαστροσταμάτης
ότι κάποτε τον έδειρε ο Ανδρέας, διότι κτύπησα τον φίλο μας Ξυγκόγιαννη, επειδή
ο τελευταίος θέλησε στο πανηγύρι της Παναγίας του Βασιλικού να χορέψει πρώτος.
Ο δε Νιανιάκος διηγείται ότι παραλίγο να τον δείρει και αυτόν επειδή αγαπούσε
την ανεψιά του Ανδρέα αλλά δεν ήθελε να την παντρευτεί.
Στο βιβλίο του Εμμανουήλ Σαγκριώτη "Ευβοϊκά" διαβάζουμε:
"Ο πρεσβύτερος κατά έν ή δύο έτη του Ανδρέου φίλος και εταίρος εξ' Αφρατίου
Κωσταράγκος, ο διαπρέψας έπειτα ως αγωνιστής κατά την επανάστασιν και εν Βρυσακίοις
υπό τον γυναικάδελφον αυτού Αγγελήν και εν τη Ακροπόλει και αλλαχού υπό τον Κριεζώτην,
εν ηλικία 114 ετών αποθανών (τω 1882-1883) διηγείτο ασφαλέστατα, ως άλλοι τε πολλοί
ήκουσαν και ο ζων έτι υιός αυτού κ. Νικόλαος Κωσταράγκος, πάντα τα κατά τον Μιαούλην
και μάλιστα την εις την παραλίαν της Μπούλμπας συνάντησιν, ότε ητοιμάζετο προς
τον φόνον του Γκεζαϊρ μπέη, δεικνύων ακριβώς και που ο φόνος εγένετο, και που
το πτώμα εξενεχθέν κατεχώσθη, και που ανευρέθη.
Ο εκ Φύλλων σύγχρονος και συγγενής έπειτα γενόμενος του Ανδρέου, ο
ωκύπους Κων/νος Οικονόμου ή Νιανιάκος, όστις και μέχρι εσχάτους γήρατος διετήρησε
την ωκυποδίαν, αποθανών το 1869 εκατοντούτης, διηγείτο πολλάκις πάντα τα άλλα,
και ότι εφοβείτο τον Ανδρέαν, διότι ερών της ανεψιάς αυτού πολλάκις εκινδύνευσε
να δαρή.
Ο εκ Φύλλων επίσης συγγενής του Ανδρέου, Ιωάννης Μαντάς, ο καλούμενος
Μωϋσής διά την σοβαρότητα αυτού και την σύνεσιν, πολλής τιμής απολαβών παρά τε
τοις ημετέροις και παρά τοις Οθωμανοίς, μάλιστα δε της ιδιαζούσης των τελευταίων
εμπιστοσύνης, μετά την απελευθέρωσιν της Εύβοιας τα αυτά προς τους ειρημένους
ωμολόγει, ακούσας παρά του πατρός και παρά του θείου αυτού Δημ. Μαντά περί του
Μιαούλη, ων πολλοί των νυν όντων εγένοντο αυτήκοοι".
Η τελευταία του όμως πράξη στα Φύλλα, η οποία τον ανάγκασε να εγκαταλείψει
για πάντα τη γενέτειρά του και να μην τον ξεχάσουν ποτέ οι συμπατριώτες του, ήταν
η ακόλουθη: Ο αναφερθείς στο ίδιο βιβλίο Χασναντάραγας Γκεζαϊρ Μπέης (ο Μπέης
και αγάς της περιοχής του Ληλαντίου) διέμενε πολλές φορές στον παρά τον Λήλαντα
ποταμό οικογενειακό κτήμα. Εκεί κάποτε κάλεσε δήθεν για εργασία μερικές γυναίκες
από τα Φύλλα και μεταξύ αυτών την νιόπαντρη αδερφή του Δημήτριου Βώκου και θεία
του Ανδρέα, την Τσαλπαρίνα. Μία μέρα όμως, ενώ οι γυναίκες εργαζόντουσαν εκκάλεσε
την Τσαλπαρίνα στο περίπτερο του Σεραϊου, στο οποίο εκείνη μπήκε χωρίς υποψία
και εκείνος ως Αγάς της περιοχής που ήταν πάνω από νόμους, την ανάγκασε να δεχθεί
την ικανοποίηση του αχαλίνωτου πάθους του.
Βαρέως φέρουσα τη μεγάλη αυτή προσβολή, μεταβαίνει αμέσως στα Φύλλα,στo
σπίτι του αδελφού της Δημητρίου, και κλαίουσα του διηγείται, παρόντος και του
Ανδρέα, την απαίσια αυτή πράξη. Ο αδελφός της εξοργίζεται και είναι έτοιμος για
εκδίκηση, αλλά τον καθησυχάζει ο γιος του Ανδρέας, ενώ σκέπτεται ο ίδιος να τιμωρήσει
τον τούρκο Μπέη.
Έτσι μία φθινοπωρινή μέρα του 1786, αφού ψάρεψε και αγκυροβόλησε τη
βάρκα του στη Μπούλμπα, ξεχώρισε τα καλύτερα ψάρια και τα πέρασε σε βούρλο. Τότε
παρουσιάσθηκε αιφνιδίως από το πατρικό του κτήμα ο φίλος του Κωσταράγκος και του
ζήτησε να του δώσει ένα μέρος από τα εκλεκτά ψάρια, εκείνος αρνηθείς του είπε
ότι τα προορίζει για δώρο. Σε ποιόν των ρώτησε. Αργότερα θα μάθεις του είπε ο
Ανδρέας. Μετά το διάλογο αυτό ξεκίνησε από την Μπούλμπα για το Τούρκικο κτήμα.
Ο Γκεζαϊρ Μπέης καθόταν στο περίπτερο και όταν τον είδε να φέρνει τα ψάρια, χαρούμενος
τον κάλεσε να πλησιάσει προς αυτόν.
Ο Ανδρέας εισέρχεται στο περίπτερο και προσφέρει τα εκλεκτά ψάρια
στον Μπέη. Και ενώ εκείνος κοιτάζει με προσοχή το ωραίο δώρο, ο γιος του ψαρά,
βγάζει το μαχαίρι τον κτυπά στο στήθος και τον φονεύει. Ακολούθως ρίχνει το πτώμα
στην πλησίον ευρισκόμενη αμπολή Αρατσιώτισα (διατηρεί το ίδιο όνομα μέχρι σήμερα
και είναι ο κεντρικός υδραύλακας που διοχετεύει το νερό από τον ποταμό Λήλα στα
αμπέλια του Μύτικα και του Αγίου Νικολάου). Το πτώμα παρεσύρθη από την Αρατσιώτισα
και λίγο πιο κάτω από ένα ρήγμα που υπήρχε στο τοίχωμά της το έριξε στον ποταμό
Λήλαντα, όπου εκαλύφθη με άμμο και εξηφανίσθη για λίγες ημέρες.
Μετά το φόνο μετέβη στα Φύλλα όσο πιο γρήγορα μπορούσε και τα είπε
όλα στον πατέρα του. Φοβούμενοι δε ότι οι διοικούντες θα πράξουν το παν για να
ανακαλύψουν το δράστη του φόνου και να τον τιμωρήσουν παραδειγματικά αποφάσισαν
να εγκαταλείψουν αμέσως τα Φύλλα. Με βιασύνη ο Δημ.Βώκος αφού συγκέντρωσε όσα
πολύτιμα είδη, προερχόμενα κυρίως από πειρατείες, δεν ημπορούσε να πάρει μαζί
του τα έκλεισε μέσα σε δύο μεγάλα κιβώτια και τα εμπιστεύθηκε στο φίλο του Μαρμαρά.
Μετά όλα τα μέλη της οικογένειας μεταξύ των οποίων και η Τσαλπαρίνα
με το σύζυγο της, κατεβαίνουν στην Μπούλμπα επιβιβάζονται στη βάρκα και διαπεραιώνονται
στον Ωρωπό. Από εκεί φθάνουν
στον Κάλαμο δια ξηράς όπου παρέμειναν μεν οι άλλοι, ο Ανδρέας όμως με τον πατέρα
του μετέβησαν στον Πειραιά
και από εκεί στην Ύδρα, η οποία τους ήτο γνωστή και εκ της συγγενείας αλλά και
εκ των ναυτικών εργασιών.
Επειδή όμως και εκεί δεν ένοιωθαν ασφαλείς εγκαταστάθηκαν στην αρχή
στην μικρή νήσο Δοκό
και αργότερα όταν ήλθαν και οι άλλοι συγγενείς εκ Καλάμου, εγκαταστάθηκαν στην
Ύδρα.
Το κείμενο παρατίθεται τον Μάρτιο 2004 από την ακόλουθη ιστοσελίδα, με φωτογραφία, του Δήμου Ληλαντίων
ΣΚΥΡΟΣ (Νησί) ΣΤΕΡΕΑ ΕΛΛΑΔΑ
1919 - 1977
Μελετητής του προκεραμικού και μεσολιθικού πολιτισμού της Θεσσαλίας.
Alcon, a statuary mentioned by Pliny. (H. N. xxxiv. 14. s. 40.) He was the author of a statue of Hercules at Thebes, made of iron, as symbolical of the god's endurance of labour.
Aristogeiton, a statuary, a native of Thebes. In conjunction with Hypatodorus,
he was the maker of some statues of the heroes of Argive and Theban tradition,
which the Argives had made to commemorate a victory gained by themselves and the
Athenians over the Lacedaemonians at Oenoe in Argolis, and dedicated in the temple
of Apollo at Delphi (Paus. x. 10.3). The names of these two artists occur together
likewise on the pedestal of a statue found at Delphi, which had been erected in
honour of a citizen ot Orchomenus, who had been a victor probably in the Pythian
games. We learn from this inscription that they were both Thebans. Pliny says
(xxxiv. 8. s. 19), that Hypatodorus lived about O1. 102. The above-mentioned inscription
was doubtless earlier than Ol. 104, when Orchomenos was destroyed by the Thebans.
The battle mentioned by Pausanias was probably some skirmish in the
war which followed the treaty between the Athenians and Argives, which was brought
about by Alcibiades, B. C. 420. It appears therefore that Aristogeiton and Hypatodorus
lived in the latter part of the fifth and the early part of the fourth centuries
B. C. Boeckh attempts to shew that Aristogeiton was the son of Hypatodorus, but
his arguments are not very convincing.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Aristomedes, a statuary, a native of Thebes, and a contemporary of Pindar. In conjunction with his fellow-townsman Socrates, he made a statue of Cybele, which was dedicated by Pindar in the temple of that goddess, near Thebes. (Paus. ix. 25.3)
Ascarus (Askaros), a Theban statuary, who made a statue of Zeus, dedicated by the Thessalians at Olympia. (Paus. v. 24. Β§ 1.) Thiersch (Epochen der bild. Kunst, p. 160, &c. Anm.) endeavors to shew that he was a pupil of Ageladas of Sicyon.
Aristonidas, a statuary, one of whose productions is mentioned by Pliny (H. N. xxxiv. 14. s. 40) as extant at Thebes in his time. It was a statue of Athamas, in which bronze and iron had been mixed together, that the rust of the latter, showing through the brightness of the bronze, might have the appearance of a blush, and so might indicate the remorse of Athamas.
Θηβαίος γλύπτης (Παυσ. 9.16.2).
Hypatodorus, (Hupatodoros), a statuary of Thebes (Boekh, Corp. Inscript. No. 25), who flourished, with Polycles I., Cephisodotus I., and Leochares, in the 102d Olympiad, B. C. 372. (Plin. H. N. xxxiv. 8. s. 19.) He made, with Aristogeiton, the statues of the Argive chieftains who fought with Polyneices against Thebes. (Paus. x. 10.2) He also made the great statue of Athena at Aliphera in Arcadia (Paus. viii. 26.4), which is also mentioned by Polybius (iv. 78.5), who calls it the work of Hecatodorus and Sostratus, and describes it as ton megalomepestaton kai technikotaton epgon. onyx has been found at Aliphera engraved with an Athena, which Muller thinks may have been taken after this statue. (Archaol. d. Kunst, § 370, n. 4.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΘΕΣΠΙΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Φημισμένη εταίρα, ερωμένη του Πραξιτέλη. Για να μάθει ποιο έργο του θεωρούσε πιο αξιόλογο έβαλε ένα δούλο της να του πεί ψέμματα ότι το εργαστήρι του έπιασε φωτιά, για να δει ποιο έργο του θα θρηνήσει περισσότερο (Παυσ. 1,20,1-2).
Phryne. A celebrated Athenian courtesan, born at Thespis in Boeotia. She flourished in the times of Philip and Alexander the Great, and was the mistress of some of the most distinguished men of the day. She became so wealthy that she is said to have offered to rebuild the walls of Thebes, when destroyed by Alexande:--an offer which was rejected. The famous painting of Apelles, entitled "Aphrodite Anadyomene", or Aphrodite rising from the sea, is said to have had Phryne for its model. Praxiteles, the sculptor, who was another of her lovers, used her as a model for his "Cnidian Aphrodite". At one time she was accused of profaning the Eleusinian Mysteries, and was brought before the court of the Heliasts; but her advocate, Hyperides, threw off her veil, and exposed her breasts to the judges, who at once acquitted her amid the applause of the people, by whom she was carried in triumph to the temple of Aphrodite.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Phryne (Phrune), one of the most celebrated Athenian hetairae, was the daughter of Epicles, and a native of Thespiae in Boeotia. She was of very humble origin, and originally gained her livelihood by gathering capers; but her beauty procured for her afterwards so much wealth that she is said to have offered to rebuild the walls of Thebes, after they had been destroyed by Alexander, if she might be allowed to put up this inscription on the walls : "Alexander destroyed them, but Phryne, the hetaira, rebuilt them". She had among her admirers many of the most celebrated men of the age of Philip and Alexander, and the beauty of her form gave rise to some of the greatest works of art. The orator Hyperides was one of her lovers, and he defended her when she was accused by Euthias on one occasion of some capital charge; but when the eloquence of her advocate failed to move the judges, he bade her uncover her breast, and thus ensured her acquittal. The most celebrated picture of Apelles, his "Venus Anadyomene", is said to have been a representation of Phryne, who, at a public festival at Eleusis, entered the sea with dishevelled hair. The celebrated Cnidian Venus of Praxiteles, who was one of her lovers, was taken from her, and he expressed his love for her in an epigram which he inscribed on the base of a statue of Cupid, which he gave to her, and which she dedicated at Thespiae. Such admiration did she excite, that her neighbours dedicated at Delphi a statue of her, made of gold, and resting on a base of Pentelican marble. According to Apollodorus (ap. Athen. xiii.) there were two hetairae of the name of Phryne, one of whom was surnamed Clausilegos and the other Saperdium; and according to Herodicus (Ibid.) there were also two, one the Thespian, and the other surnamed Sestus. The Thespian Phryne, however, is the only one of whom we have any account. (Athen. xiii.; Aelian, V. H. 32 ; Alciphron, Ep. i. 31; Plin. H. N. xxxiv. 8. s. 19.10; Propert. ii. 5)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited July 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΘΗΒΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
The most important figure is now Aristeides, Thebanus. The facts which Pliny gives point to two masters of this name, of whom the one is the father (formerly read as Aristiaeus), the other the son, of Nicomachus. The statements in Pliny concerning these two Aristeidae are so hopelessly confused that it is impossible to distinguish between them with any certainty. If the grandfather can be identified with the pupil of Polycleitus, we may take about B.C. 330 as a convenient date for him, and about B.C. 280 for that of his grandson. It is possible that the epithet Thebanus is intended to distinguish the older Aristeides; but, even here Pliny is confused, for he sometimes calls one and the same person Thebanus and contemporary with Apelles. The same confusion is probably traceable in his estimate of style: is omnium primus animum pinxit et sensus hominis expressit, quae vocant Graeci ethe, item perturbationis (pathe). Perhaps we should assign to the elder the quality of ethos, to the younger that of pathos and of being durior paulo in coloribus; and according to these qualities we may assign some of the pictures. The Dionysus was probably painted by the older and more famous of the two; its great estimation is shown by the fact that Attalus is said to have paid 100 talents for it, and Mummius afterwards sent it to Rome: also the picture of a sacked town, which Alexander acquired at the looting of Thebes, and of which one episode represented a dying mother, with her infant still suckling her breast. To the younger may be assigned the Battle with Persians, the Leontion Epicuri and the anapauomene (see Arch. Zeit. 1883, p. 41).
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Aristeides of Thebes, was one of the most celebrated Greek painters. His father
was Aristodemus, his teachers were Euxenidas and his brother Nicomachus (Plin.
xxxv. 36.7, 22.) He was a somewhat older contemporary of Apelles (Plin. xxxv.
36.19), and flourished about 360-330 B. C. The point in which he most excelled
is thus described by Pliny: "Is omnium primus animum pinxit et sensus hominum
expressit, quae vocant Graeci hi/qh, item perturbationes", that is, he depicted
the feelings, expressions, and passions which may be observed in common life.
One of his finest pictures was that of a babe approaching the breast of its mother,
who was mortally wounded, and whose fear could be plainly seen lest the child
should suck blood instead of milk. Fuseli has shewn how admirably in this picture
the artist drew the line between pity and disgust. Alexander admired the picture
so much, that he removed it to Pella. Another of his pictures was a suppliant,
whose voice you seemed almost to hear. Several other pictures of his are mentioned
by Pliny, and among them an Iris (ib. 40.41), which, though unfinished, excited
the greatest admiration. As examples of the high price set upon his works, Pliny
(ib. 36.19) tells us, that he painted a picture for Mnason, tyrant of Elatea,
representing a battle with the Persians, and containing a hundred figures, for
each of which Aristeides received ten minae; and that long after his death, Attalus,
king of Pergamns, gave a hundred talents for one of his pictures (Ib. and vii.
39). In another passage (xxxv. 8) Pliny tells us, that when Mummius was selling
the spoils of Greece, Attalus bought a picture of Bacchus by Aristeides for 600,000
sesterces, but that Mummius, having thus discovered the value of the picture,
refused to sell it to Attalus, and took it to Rome, where it was placed in the
temple of Ceres, and was the first foreign painting which was exposed to public
view at Rome. The commentators are in doubt whether these two passages refer to
the same picture (See also Strab. viii.). Aristeides was celebrated for his pictures
of courtezans, and hence he was called pornographos (Athen. xiii.). He was somewhat
harsh in his colouring (Plin. xxxv. 36.19). According to some authorities, the
invention of encaustic painting in wax was ascribed to Aristeides, and its perfection
to Praxiteles; but Pliny observes, that there were extant encaustic pictures of
Polygnotus, Nicanor, and Arcesilaus (xxxv. 39).
Aristeides left two sons, Nicerus and Ariston, to whom he taught his
art.
Another Aristeides is mentioned as his disciple (Plin. xxxv. 36.23).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Euxenidas, a painter, who instructed the celebrated Aristeides, of Thebes. He flourished about the 95th or 100th Olympiad, B. C. 400 or 380. (Plin. H. N. xxxv. 10. s. 36.7)
A Greek painter, probably of Thebes, about B.C. 360. He was celebrated as an artist
who could paint with equal rapidity and excellence, and was regarded as rivalling
the best painters of his day. A famous painting of his was "The Rape of Persephone"
An artist from Thebes, one of the foremost of the school called Attic-Theban. He was the son and pupil of the painter Aristides, and teacher of Aristides the Younger, his son. It is said that he also taught his brother Ariston, as well as Philoxenos of Eretria and a certain Koroibos.
Mention is made that he used the four basic colours (black, white, red and yellow), as did his contemporary, Apelles. Pliny the Elder praises the artist for the rapidity and facility with which he worked, while Plutarch mentions him, together with Apelles and Zeuxis, with regard to their treatment of the female form.
His following works are mentioned (among others): "The Abduction of Persephone by Pluto", "Apollo and Artemis", "Bacchae Approached by Sileni", "Scylla", "The Mother of the Gods Seated on a Lion", "Odysseus Wearing a Hat", and "Nike Flying up in a Quadriga".
Aristodemus (Aristodemos), a painter, the father and instructor of Nicomachus,
flourished probably in the early part of the fourth century B. C. (Plin. xxxv.
10. s. 36)
Leontion, a Greek painter, contemporary with Aristides of Thebes (about B. C. 340), who painted his portrait. Nothing further is known of him (Plin. xxxv. 10. s. 36.19).
ΛΑΜΙΑ (Πόλη) ΦΘΙΩΤΙΔΑ
1905 - 1975
Ο Αλέκος Κοντόπουλος γεννήθηκε στη Λαμία
το 1904. Από τα μαθητικά του χρόνια ζωγραφίζει. Το 1921 τελειώνει το Γυμνάσιο
και αρχίζει τη ζωγραφική του μαθητεία στο εργαστήρι του αγιογράφου Γ.Σαραφιανού,
ζωγραφίζοντας εκκλησίες της περιοχής. Την ίδια περίοδο οργανώνει την πρώτη ατομική
του έκθεση στη Λαμία.
Το 1923 έρχεται στην Αθήνα και σπουδάζει στη σχολή Καλών Τεχνών με
καθηγητές τους Γεώργιο Ιακωβίδη, Νικόλαο Λύτρα και Δημήτρη Γερανιώτη.Τον Ιούνιο
του 1930 φεύγει στο Παρίσι
για μεταπτυχιακές σπουδές στις Ακαδημίες COLAROSSI και GRANDE CHAUMIERE.
Στα 1933 παντρεύεται την MARCELLE-RACHEL BOUSSARD.
Συμμετέχει σε πολλές εκθέσεις ατομικές και ομαδικές, στην Ελλάδα
και στο εξωτερικό.Στα χρόνια της κατοχής μετέχει στην Εθνική Αντίσταση. Από το
1940 ως το 1969 εργάζεται στο Αρχαιολογικό
Μουσείο Αθηνών.
Δίνει διαλέξεις και με συζητήσεις δρα παιδευτικά για τις μεταπολεμικές
καλλιτεχνικές γενιές. Είναι ο πρώτος ζωγράφος που χάραξε τη γραμμή της μοντέρνας
τέχνης στην Ελλάδα.
Το 1972 αρνείται να δεχθεί το Α´ Κρατικό βραβείο ζωγραφικής,
σαν ένδειξη διαμαρτυρίας και αποδοκιμασίας του δικτατορικού καθεστώτος που επικρατούσε
τότε.
Πέθανε στην Αθήνα
στις 13 Αυγούστου το 1975.
Από το 1963 έζησε στην Αγία
Παρασκευή, στο σπίτι της οδού Αλέκου Κοντόπουλου 13, που σήμερα στεγάζει τη
Δημοτική Βιβλιοθήκη και το ομώνυμο μουσείο Αγίας Παρασκευής "Αλέκος Κοντόπουλος",
σύμφωνα με τη δωρεά που έγινε στο Δήμο
Αγίας Παρασκευής μετά από κοινή επιθυμία του καλλιτέχνη Αλέκου Κοντόπουλου
και της συζύγου του Μαρσέλ Κοντοπούλου.
ΚΑΡΥΣΤΟΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
Diocles Carystius, (Diokles ho Karustios), a very celebrated Greek physician,
was born at Carystus in Euboea, and lived in the fourth century B. C., not long
after the time of Hippocrates, to whom Pliny says he was next in age and fame.
(H. N. xxvi. 6.) He belonged to the medical sect of the Dogmatici (Gal. de Aliment.
Facult. i. 1, vol. vi.), and wrote several medical works, of which only the titles
and some fragments remain, preserved by Galen, Caelius Aurelianus, Oribasius,
and other ancient writers. The longest of these is a letter to king Antigonus,
entitled Epistole Prophulaktike, " A Letter on Preserving Health," which
is inserted by Paulus Aegineta at the end of the first book of his medical work,
and which, if genuine, was probably addressed to Antigonus Gonatas, king of Macedonia,
who died B. C. 239, at the age of eighty, after a reign of forty-four years. It
resembles in its subject matter several other similar letters ascribed to Hippocrates
(see Ermerins, Anecd. Med. Graeca, praef.), and treats of the diet fitted for
the different seasons of the year. It is published in the various editions of
Paulus Aegineta, and also in several other works.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΚΥΜΗ (Κωμόπολη) ΕΥΒΟΙΑ
Ο διάσημος γιατρός-ερευνητής Γεώργιος Παπανικολάου γεννήθηκε στην Κύμη και μεγάλωσε εδώ. Σπούδασε ιατρική στην Αθήνα και συνέχισε τις σπουδές του στη Γερμανία. Το 1913 μετανάστευσε στις Ηνωμένες Πολιτείες όπου του δόθηκε η δυνατότητα να αφοσιωθεί στην ιατρική και εργαστηριακή έρευνα. Είναι παγκόσμια γνωστός από την μέθοδο έγκαιρης διάγνωσης του καρκίνου του τραχήλου της μήτρας που επινόησε (PAP TEST) η οποία αποδείχθηκε και αποδεικνύεται σωτήρια για εκατομμύρια γυναίκες σε όλον τον κόσμο. Το πατρικό του σπίτι σώζεται στην Κύμη.
ΛΙΜΝΗ (Κωμόπολη) ΕΥΒΟΙΑ
1898 - 1944
Ηρωίδα της πρόσφατης ιστορίας μας. Γεννήθηκε στη Λίμνη το 1898. Ήταν η ψυχή της εθνικής οργάνωσης της αντίστασης, την περίοδο της Γερμανικής κατοχής. Με κέντρο ένα σπίτι στην οδό Φυλής και το φαρμακείο του άντρα της στην Πατησίων, σχημάτισε ένα δίκτυο για την απόκρυψη, περίθαλψη και φυγάδευση Αγγλων στρατιωτών. Αργότερα, με κέντρο το μοναστήρι του Αγίου Ιερόθεου στα Μέγαρα, συγκρότησε την παράνομη οργάνωση "Μπουμπουλίνα". Η οργάνωση είχε χαρακτήρα κατασκοπευτικό και αποστολής πληροφοριών. Στις 11 Ιουλίου 1944 οι Γερμανοί πληροφορούνται για τη δράση της και την συλλαμβάνουν. Την οδηγούν στα μπουντρούμια των Ες - Ες, στην οδό Μέρλιν και τη βασανίζουν για να ομολογήσει τη δράση της. Αργότερα, στο στρατόπεδο συγκέντρωσης στο Χαϊδάρι προσπαθούσε ασταμάτητα να ενθαρρύνει τους κρατούμενους με κάθε τρόπο. Τα χαράματα της 8ης Σεπτεμβρίου 1944, οδηγήθηκε μαζί με άλλους πατριώτες στο Δαφνί, όπου εκτελέστηκε ψάλλοντας τον Εθνικό Ύμνο ενθαρρύνοντας τους άλλους.
ΤΡΑΧΙΣ (Αρχαία πόλη) ΦΘΙΩΤΙΔΑ
Πρόδωσε τους Λακεδαιμόνιους στη μάχη των Θερμοπυλών με αποτέλεσμα την ήττα τους από τους Πέρσες (Ηρόδ. 7,213,1).
ΒΟΙΩΤΙΑ (Αρχαία περιοχή) ΕΛΛΑΔΑ
Anaxis, a Boeotian, wrote a history of Greece, which was carried down to B. C. 360, the year before the accession of Philip to the kingdom of Macedonia. (Diod. xv. 95.)
Ctesiphon, the author of a work on Boeotia, of which Plutarch (Parall. Min. 12) quotes the third book. Whether he is the same as the Ctesiphon who wrote on plants and trees (Plut. de Fluv. 14, 18) is uncertain.
Dionysodorus, (Dionusodoros). A Boeotian, who is mentioned by Diodorus Siculus (xv. 95) as the author of a history of Greece, which came down as far as the reign of Philip of Macedonia, the father of Alexander the Great. It is usually supposed that he is the same person as the Dionysodorus in Diogenes Laertius (ii. 42), who denied that the paean which went by the name of Socrates, was the production of the philosopher. (Comp. Schol. ad Apollon. Rhod. i. 917.) It is uncertain also whether he is the auther of a work on rivers (peri potamon, Schol. ad Eurip. Hippol. 122), and of another entitled ta tara tois tragoidois hemartemena, which is quoted by a Scholiast. (Ad Eurip. Rhes. 504.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΘΗΒΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Aristophanes, a Boeotian (Plut. de Malign. Herod.), of whom Suidas (s. vv. Homoloios, Thebaious horous; comp. Steph. Byz. s. v. Antikonduleis) mentions the second book of a work on Thebes (Thebaika). Another work bore the name of Boiotika, and the second book of it is quoted by Suidas. (s. v. Chaironeia)
Armenidas or Armenides, a Greek author, who wrote a work on Thebes (Thebaika), which is referred to by the Scholiast on Apollonius Rhodius (i. 551) and Stephanus Byzantius. (s. v. Hhaliartos. But whether his work was written in prose or in verse, and at what time the author lived, cannot be ascertained.
Cephisodorus, an Athenian orator, a most eminent disciple of Isocrates, wrote
an apology for Isocrates against Aristotle. The work against Aristotle was in
four books, under the title of hai pros Aristotele antigraphai. He also attacked
Plato.
A writer of the same name is mentioned by the Scholiast on Aristotle
(Eth. Nicom. iii. 8) as the author of a history of the Sacred War. As the disciples
of Isocrates paid much attention to historical composition, Ruhnken conjectures
that the orator and the historian were the same person (Hist. Crit. Orat. Graec.38).
There is a Cephisodorus, a Theban, mentioned by Athenaeus (xii.) as an historian.
It is possible that he may be the same person. If so, we must suppose that Cephisodorus
was a native of Thebes, and settled at Athens as a metoikos: but this is mere
conjecture.
ΠΛΑΤΑΙΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Daemachus or Deimachus (Daimachos or Deimachos), of Plataeae, a Greek historian, whose age
is determined by the fact, that he was sent as ambassador to Allitrochades, the
son of Androcottus or Sandrocottus, king of India (Strab. ii.), and Androcottus
reigned at the time when Seleucus was laying the foundation of the subsequent
greatness of his empire, about B. C. 312. (Justin. xv. 4.) This fact at once shews
the impossibility of what Casaubon (ad Diog. Laert. i. 1) endeavoured to prove,
that the historian Ephorus had stolen whole passages from Daimachus's work, since
Ephorus lived and wrote before Daimachus. The latter wrote a work on India, which
consisted of at least two books. He had probably acquired or at least increased
his knowledge of those eastern countries during his embassy; but Strabo nevertheless
places him at the head of those who had circulated false and fabulous accounts
about India. (Comp. Athen. ix.; Harpocrat. s. v. engutheke; Schol. ad Apollon.
Rhod. i. 558.) We have also mention of a very extensive work on sieges (poliorketika
hupomnemata) by one Daimachus, who is probably the same as the author of the Indica.
If the reading in Stephanus of Byzantium (s. v. Lakedaimon) is correct, the work
on sieges consisted of at least 35 (le) books. (Comp. Eustath. ad Hom. Il. ii.
581.) The work on India is lost, but the one on sieges may possibly be still concealed
somewhere, for Magius (in Gruter's Fax Artium) states, that he saw a MS. of it.
It may be that our Daimachus is the same as the one quoted by Plutarch (Comparat.
Solon. cum Publ. 4) as an authority on the military exploits of Solon. In another
passage of Plutarch (Lysand. 12) one Laimachus (according to the common reading)
is mentioned as the author of a work peri eusebeias, and modern critics have changed
the name Laimachus into Daimachus, and consider him to be the same as the historian.
In like manner it has been proposed in Diogenes Laertius (i. 30) to read Daimachos
ho Plataieus instead of Daidachos ho Platonikos, but these are only conjectural
emendations.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΧΑΛΚΙΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
Dionysius of Chalcis, a Greek historian, who lived before the Christian era. He wrote a work on the
foundation of towns (ktiseis) in five books, which is frequently referred to by
the ancients. A considerable number of fragments of the work have thus been preserved,
but its author is otherwise unknown (Marcian. Heracl. Peripl.; Suid. s. v. Chalkidike;
Harpocrat. s. v. Hephaistia and Heraion teichos; Schol. ad Apollon. Rhod. i. 558,
1024, iv. 264, ad Aristoph. Nub. 397; Dionys. Hal. A. R. i. 72; Strab. xii.; Plut.
de Malign. Herod. 2; Seymnus, 115; Clem. Alex. Strom. i.; Zenob. Proverb. v. 64;
Apostol. xviii. 25; Photius, s. vv. Praxidike, Telmiseis; Eudoc.)
ΒΟΙΩΤΙΑ (Αρχαία περιοχή) ΕΛΛΑΔΑ
Lysimachus. A comic poet, mentioned by Lucian, who ridicules him for the absurd pedantry with which, though born in Boeotia, he affected to carry the Attic use of T for S to an extreme, using not only such words as tettarakonta, temeron, kattiteron, kattuma and pittan, but even basilittaa. (Lucian, Jud. Vocal.) Nothing more is known of this Lysimachus, and possibly the name is fictitious.
ΚΑΡΥΣΤΟΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
A Greek poet of the New Comedy, born at Carystus, between B.C. 300 and 260. He wrote forty-seven plays, and won five victories. From him Terence borrowed the plots of his Phormio and Hecyra.
Apollodorus of Carystus. The ancients distinguish between two comic poets of the
name of Apollodorus: the one is called a native of Gela in Sicily, and the other
of Carystus in Euboea. Suidas speaks of an Athenian comic poet Apollodorus, and
this circumstance has led some critics to imagine that there were three comic
poets of the name of Apollodorus. But as the Athenian is not mentioned anywhere
else, and as Suidas does not notice the Carystian, it is supposed that Suidas
called the Carystian an Athenian either by mistake, or because he had the Athenian
franchise. It should, however, be remembered that the plays of the Carystian were
not performed at Athens, but at Alexandria (Athen. xiv.). Athenaeus calls him
a contemporary of Machon; so that he probably lived between the years B. C. 300
and 260. Apollodorus of Carystus belonged to the school of the new Attic comedy,
and was one of the most distinguished among its poets. This is not only stated
by good authorities, but may also be inferred from the fact, that Terence took
his Hecyra and Phormio from Apollodorus of Carystus (A. Mai, Fragm. Plandi et
Terenti). According to Suidas Apollodorus wrote 47 comedies, and five times gained
the prize. We know the titles and possess fragments of several of his plays; but
ten comedies are mentioned by the ancients under the name of Apollodorus alone,
and without any suggestion as to whether they belong to Apollodorus of Carystus
or to Apollodorus of Gela.
ΑΣΚΡΑ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Ctesibius (Ktesibios). A native of Ascra and contemporary of Archimedes, who flourished during the reigns of Ptolemy II. and Ptolemy III., or between B.C. 260 and 240. He was the son of a barber, and for some time exercised at Alexandria the calling of his parent. His mechanical genius, however, soon caused him to emerge from obscurity, and he became known as the inventor of several very ingenious contrivances for raising water, etc. The invention of clepsydrae, or water clocks, is also ascribed to him. (Cf. Vitruvius, ix. 9.) He wrote a book on hydraulic machines, which is now lost.
Ctesibica Machina. An hydraulic engine named after its inventor, Ctesibius of
Alexandria. In the language of modern hydraulics it is a double-action forcing
pump. Vitruvius, in his description (x. 10.7), speaks of it as designed to raise
water, while Ctesibius's pupil, Hero (Pneumat. p. 180), describes, under the name
of siphon, a machine identical in principle, but of improved construction, and
says that it was used as a fireengine (eis tous empresmous). Indeed, the same
principle has been employed in modern fire-engines. The remains of such a siphon
were discovered at Castrum Novum, near Civita Vecchia, in 1795, having probably
served to supply the public baths with water.
The following cut (in URL below) illustrates the construction of Ctesibius's
invention as described by Vitruvius. Two cylinders (modioli), B B, are connected
by pipes with a receiver (catinus), A, which is closed by a cowl (paenula), D.
In each cylinder a piston (embolus masculus), C, is worked by means of its rod
(regula). In the bottom of each cylinder, and at the opening of each pipe into
the receiver, is a movable lid or valve (assis), which only opens upwards. The
bottoms of the cylinders are inserted into a reservoir, or connected with it by
pipes. When one of the pistons is raised, a vacuum is produced in the cylinder,
and the atmospheric pressure forces a stream of water past the raised valve into
the cylinder. When this stream ceases, the valve falls; and if the piston is forced
down, the water is driven out of the cylinder into the pipe, and past the valve
into the receiver, and retained there by the closing of the valve. If the two
pistons are worked alternately, so that one descends as the other rises, a continuous
stream of water is forced out of the top of the paenula.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited April 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Horologium (horologion) was the name of the various instruments by means of which
the ancients measured the time of the day and night. The earliest and simplest
horologia of which mention is made, were called polos and gnomon. Herodotus (ii.
109) ascribes their invention to the Babylonians, and Prof. Sayce says, This is
perfectly correct; Favorinus (ap. Diog. Laert. ii. 1, 3; compare Suidas, s. v.
Inomon and Anaximandros) to Anaximander, but this means only that he was the first
to set one up in Greece, at Sparta; and Pliny, probably by an oversight (H. N.
ii.187), to his disciple Anaximenes. Herodotus mentions the polos and gnomon as
two distinct instruments. Both, however, divided the day into twelve equal parts,
and were a kind of sun-dial. The gnomon, which was also called stoicheion was
the more simple of the two, and probably the more ancient. It consisted of a staff
or pillar standing perpendicular, in a place exposed to the sun (skiatheron),
so that the length of its shadow might be easily ascertained. The shadow of the
gnomon was measured by feet, which were probably marked on the place where the
shadow fell (Hesych. s. v. Heptapous skia and dodekapodos: Pollux, i. 72). The
gnomon is almost without exception mentioned in connexion with the deipnon or
the bath; and the time for the former was towards sunset, or at the time when
the shadow of the gnomon measured 10 or 12 feet (Aristoph. Eccles. 652, with the
Schol.; Pollux, l. c.; Menander, ap. Athen. vi. p. 243; Hesych. s. v. Dekapoun
Stoicheion). The longest shadow of the gnomon, at sunrise and sunset, was 12 feet:
it is only in jest that Eubulus, ap. Athen. i. p. 8 (fr. 118 Meineke), represents
it as double the length, where it is consulted by a very big man. The time for
bathing was when the gnomon threw a shadow of 6 feet (Lucian, Cronos, c. 17; Somn.
s. Gall. c. 9). In later times the name gnomon was applied to any kind of sun-dial,
and especially to its finger, which threw the shadow, and thus pointed to the
hour. Even the clepsydra is sometimes called gnomon (Athen. ii. p. 42).
The gnomon was evidently a very imperfect instrument, and it was impossible
to divide the day into twelve equal spaces by it. This may be the reason that
we find it only used for such purposes as are mentioned above. The polos or heliotropion,
on the other hand, seems to have been a more perfect kind of sun-dial; but it
appears, nevertheless, not to have been much used, as it is but seldom mentioned
(Aristoph. ap. Polluc. ix. 46). It consisted of a basin (lekanis), in the middle
of which the perpendicular staff or finger (gnomon) was erected, and in it the
twelve parts of the day were marked by lines (Alciphron, Epist. iii. 4; Lucian,
Lexiph. c. 4).
Another kind of horologium was the clepsydra (klepsudra). It derived
its name from (kleptein and hudor, as in its original and simple form it consisted
of a vessel with several little openings (trupemata) at the bottom, through which
the water contained in it escaped, as it were, by stealth. This instrument seems
at first to have been used only for the purpose of measuring the time during which
persons were allowed to speak in the courts of justice at Athens. The time of
its invention or introduction is not known; but in the age of Aristophanes (see
Acharn. 692; Vesp. 93 and 857) it appears to have been in common use. Its form
and construction may be seen very clearly from a passage of Aristotle (Problem.
xvi. 8). The clepsydra was a hollow globe, probably somewhat flat at the top part,
where it had a short neck (aulos), like that of a bottle, through which the water
was poured into it. This opening might be closed by a lid or stopper (poma), to
prevent the water running out at the bottom. The clepsydra which Aristotle had
in view was probably not of glass or of any transparent material, but of bronze
or brass, so that it could not be seen in the clepsydra itself what quantity of
water had escaped. As the time for speaking in the Athenian courts was thus measured
by water, the orators frequently use the term hudor instead of the time allowed
to them (en toi emoi hudati, Demosth. de Coron. p. 274,139; ean enchorei to hudor,
c. Leoch. p. 1094,45). Aeschines (c. Ctesiph.197), when describing the order in
which the several parties were allowed to speak, says that the first water was
given to the accuser, the second to the accused, and the third to the judges.
An especial officer (ho eph hudor) was appointed in the courts for the purpose
of watching the clepsydra, and stopping it when any documents were read, whereby
the speaker was interrupted; and it is to this officer that Demosthenes calls
out: su de epilabe to hudor (c. Steph. i. p. 1103;8; cf. c. Conon. p. 1268,36,
with Sandys' note). The time, and consequently the quantity of water allowed to
a speaker depended upon the importance of the case; and we are informed that in
a graphe parapresbeias the water allowed to each party amounted to eleven amphorae
(Aeschin. de Fals. Leg.126), whereas in trials concerning the right of inheritance
only one amphora was allowed (Demosth. c. Macart. p. 1052,8) Those actions in
which the time was thus measured to the speakers are called by Pollux (viii. 113)
dikai pros hudor: others are termed dikai aneu hudatos, and in these the speakers
were not tied down to a certain space of time. The only instance of this kind
of actions of which we know, is the graphe kakoseos (Harpocrat. s. v. kakosis).
The clepsydra used in the courts of justice however was, properly
speaking, no horologium; but smaller ones, made of glass, and of the same simple
structure, were undoubtedly used very early in families for the purposes of ordinary
life, and for dividing the day into twelve equal parts. In these glass clepsydrae
the division into twelve parts must have been visible, either on the glass globe
itself, or in the basin into which the water flowed. These instruments, however,
did not show the time quite correctly all the year round: first, because the water
ran out of the clepsydra sometimes quicker and sometimes slower, according to
the different temperature of the water (Athen. ii. p. 42; Plut. Quaest. Natur.
c. 7); and secondly, because the length of the hours varied in the different seasons
of the year. To remove the second of these defects the inside of the clepsydra
was covered with a coat of wax during the shorter days, and when they became longer
the wax was gradually taken away again (Aen. Tact. c. 22,10). Plato is said to
have used a nukterinon horologion in the shape of a large clepsydra, which indicated
the hours of the night, and seems to have been of a complicated structure (Athen.
iv. p. 174). This instance shows that at an early period improvements
were made on the old and simple clepsydra. But all these improvements were excelled
by the ingenious invention of Ctesibius, a celebrated mathematician of Alexandria
(about 135 B.C.). It is called horologion hudraulikon, and is described
by Vitruvius (ix. 9; compare Athen. l. c.), and more fully by Galen (v. p. 82
K.): cf. Marquardt, Privatalt. ii. 377 ff. Water was made to drop upon wheels
which were thereby turned. The regular movement of these wheels was communicated
to a small statue, which, gradually rising, pointed with a little stick to the
hours marked on a pillar which was attached to the mechanism. It indicated the
hours regularly throughout the year, but still required to be often attended to
and regulated. This complicated crepsydra seems never to have come into general
use, and was probably only found in the houses of very wealthy persons. The sun-dial
or gnomon, and a simpler kind of clepsydra, on the other hand, were much used
down to a very late period. The twelve parts of the day were not designated by
the name ora until the time of the Alexandrian astronomers, and even then the
old and vague divisions, described in the article DIES were preferred in the affairs
of common life. At the time of the geographer Hipparchus, however (about 150 B.C.),
it seems to have been very common to reckon by hours. (Comp. Becker-Goll, Charikles,
vol. i. p. 321 ff.)
There is still existing, though in ruins, a horological building,
which is one of the most interesting monuments at Athens. It is the structure
formerly called the Tower of the Winds, but now known as the Horological Monument
of Andronicus Cyrrhestes. It is expressly called horologium by Varro (R. R. iii.
5,17). This building is fully described by Vitruvius (i. 6,4), and the following
woodcuts show its elevation and ground-plan, as restored by Stuart. The structure
is octagonal; with its faces to the points of the compass. On the N.E. and N.W.
sides are distyle Corinthian porticoes, giving access to the interior; and to
the south wall is affixed a sort of turret, forming three quarters of a circle,
to contain the cistern which supplied water to the clepsydra in the interior.
On the summit of the building was a bronze figure of a Triton, holding a wand
in his hand; and this figure turned on a pivot, so that the wand always pointed
above that side of the building which faced the wind then blowing. The directions
of the several faces were indicated by figures of the eight winds on the frieze
of the entablature. On the plain wall below the entablature of each face, lines
are still visible, which, with the gnomons that stood out above them, formed a
series of sun-dials. In the centre of the interior of the building was a clepsydra,
the remains of which are still visible, and are shown on the plan, where the dark
lines represent the channels for the water, which was supplied from the turret
on the south, and escaped by the hole in the centre. Three other Athenian horologia
are extant, one in the monument of Thrasyllus, another that of Phaedrus in the
British Museum (C. I. G n. 522), a third in the Theatre of Dionysus, besides others
from different parts of Greece.
The first horologium with which the Romans became acquainted was a
sun-dial (solarium, or horologium sciothericum), and was, according to some writers,
brought to Rome by Papirius Cursor twelve years before the war with Pyrrhus, and
placed before the temple of Quirinus (Plin H. N. vii.213); Varro (cf. Censorinus,
de Die Nat. 23) stated that it was brought to Rome from Catina in Sicily, at the
time of the first Punic war, by the Consul M. Valerius Messala, and erected on
a column behind the Rostra. But this solarium being made for a different latitude
did not show the time at Rome correctly. Ninety-nine years afterwards, the Censor
Q. Marcius Philippus erected by the side of the old solarium a new one, which
was more carefully regulated according to the latitude of Rome. But as sun-dials,
however perfect they might be, were useless when the sky was cloudy, P. Scipio
Nasica, in his censorship, 159 B.C., established a public clepsydra, which indicated
the hours both of day and night. This clepsydra was in after-times generally called
solarium (Cic. de Nat. Deor. ii. 3. 4, 87; Plin. H. N. vii.215; Censorin. de Die
Nat. c. 23). The word hora for hour was introduced at Rome at the time when the
Romans became acquainted with the Greek horologia, and was in this signification
well known at the time of Plautus (Pseudol. 1307). After the time of Scipio Nasica
several horologia, chiefly solaria, seem to have been erected in various public
places at Rome. In a fragment of the Boeotia ascribed by Ribbeck to Aquilius,
but by others to Plautus (cf. Ritschl, Parerg. 83 ff., 123 ff.), we have jam oppletum
oppidumst solariis. Cf. Ribbeck, Frag. Com. p. 33. A magnificent horologium was
erected by Augustus in the Campus Martius. It was a gnomon in the shape of an
obelisk; but Pliny (H. N. xxxvi.73) complains that in the course of time it had
become incorrect. Another horologium stood in the Circus Flaminius (Vitruv. ix.
9, 1). Sometimes solaria were attached to the front side of temples and basilicas
(Varro, L. L. vi. 4; Gruter, Inscript. vi. 6). The old solarium which had been
erected behind the Rostra seems to have existed on that spot till a very late
period, and it would seem that the place was called ad Solarium, so that Cicero
uses this expression as synonymous with Rostra or Forum (pro Quint. 18, 59; ad
Herenn. iv. 10, 14). Horologia of various descriptions seem also to have been
commonly kept by private individuals (Cic. ad Fam. xvi. 1. 8, 3; Dig. 33, 7, 12,
23); and at the time of the emperors, the wealthy Romans used to keep slaves whose
special duty it was to announce the hours of the day to their masters. (Juven.
x. 216, with Mayor's note; Mart. viii. 67; Petron. 26.)
From the number of solaria which have been discovered in modern times
in Italy (thirteen having been discovered in the neighbourhood of Rome alone),
we must infer that they were very generally used among the ancients. The following
woodcut represents one of the simplest horologia which have been discovered; it
seems to bear great similarity to that, the invention of which Vitruvius ascribes
to Berosus. It was discovered in 1741, on the hill of Tusculum, and is described
by Zuzzeri, in a work entitled D'una antica villa scoperta sul dosso del Tusculo,
e d'un antico orologio a sole, Venezia, 1746, and by G. H. Martini, in his Abhandlung
von den Sonnenuhren der Alten, Leipzig, 1777, p. 49, &c.
The breadth as well as the height (A O and P A) are somewhat more
than 8 inches; and the length (A B) a little more than 16 inches. The surface
(A O R B) is horizontal. S P Q T is the basis of the solarium, which, originally,
was probably erected upon a pillar. Its side, A S T B, inclines somewhat towards
the basis. This inclination was called enklima, or inclinatio solarii and enclima
succisum (Vitruv. l. c.), and shows the latitude or polar altitude of the place
for which the solarium was made. The angle of the enclima is about 40° 43?, which
coincides with the latitude of Tusculum. In the body of the solarium is the almost
spherical excavation, H K D M I F N, which forms a double hemicyclium (hemicyclium
excavatum ex quadrato, Vitruv.). Within this excavation the eleven hour-lines
are marked which pass through three semicircles, H L N, K E F, and D M J. The
middle one, K E F, represents the equator, the two others the tropic lines of
winter and summer. The curve representing the summer tropic is somewhat more than
a semicircle, the other two curves somewhat smaller. The ten middle parts or hours
in each of the three curves are all equal to one another; but the two extreme
ones, though equal to each other, are by one-fourth smaller than the rest. In
the middle, G, of the curve D K H N I J, there is a little square hole, in which
the gnomon or pointer must have been fixed, and a trace of it is still visible
in the lead by means of which it was fixed. It must have stood in a perpendicular
position upon the surface A B R O, and at a certain distance from the surface
it must have turned in a right angle above the spheric excavation, so that its
end (C) extended as far as the middle of the equator, as it is restored in the
above woodcut. Another solarium is described in G. H. Martini's Antiquorum Monumentorum
Sylloge, p. 93 f. (Lips. 1783); cf. Overbeck's Pompeii, p. 411.
Clepsydrae were used by the Romans in their camps, chiefly for the
purpose of measuring accurately the four vigiliae into which the night was divided
(Caes. de Bell. Gall. v. 13; Veget. de Re Milit. iii. 8; Aen. Tact. c. 22).
The custom of using clepsydrae as a check upon the speakers in the
courts of justice at Rome is said to have been introduced by a law of Cn. Pompeius,
in his third consulship (Tac. de clar. Orat. 38), who adds, before that time the
speakers had been under no restrictions, but spoke as long as they deemed proper.
But there is some inaccuracy here, as Cicero in B.C. 70 (in Verr. i. 9, 25) speaks
of his legitimae horae; in B.C. 63 (pro Rab. Perd. 2, 6) his defence is limited
to half an hour, and in B.C. 59 (pro Flacc. 33, 82) six hours are allotted. At
Rome, as at Athens, the time allowed to the speakers depended upon the importance
of the case. Pliny (Epist. ii. 11) states that on one important occasion he spoke
for nearly five hours, ten large clepsydrae having been granted to him by the
judices, but the case was so important that four others were added. (Compare Plin.
Epist. vi. 2; Martial, vi. 35, viii. 7.) The law of Pompeius only limited the
time during which the accuser was allowed to speak to two hours, while the accused
was allowed three hours in the case of prosecutions de vi. (Ascon. in Milon. p.
37, ed. Orelli.) It is clear from the case of Pliny and others that this restriction
was not observed on all occasions. In a case mentioned by Pliny (Epist. iv. 9),
according to law (e lege) the accuser had six hours, while the accused had nine.
An especial officer was at Rome as well as at Athens appointed to stop the clepsydra
during the time when documents were read. (Apul. Apolog. i. and ii.; compare Ernesti,
de Solariis, in his Opuscul. Philolog. et Grit. pp. 21-31; Wopcke, Disquisitiones
arch. math. circa Solaria veterum, Berol. 1842; Becker-Goll, Gallus, ii p. 407
ff.; and especially Marquardt, Privatl. 370 ff.)
This text is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited April 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Hydraulus (hudraulos). A water-organ. According to Athenaeus, it was the invention
of Ctesibius of Alexandria, who evidently took the idea of his organ from the
syrinx or Pandean pipes, a musical instrument of the highest antiquity among the
Greeks. His object being to employ a row of pipes of great size, and capable of
emitting the most powerful as well as the softest sounds, he contrived the means
of adapting keys with levers (ankoniskoi), and with perforated sliders (pomata)
to open and shut the mouths of the pipes (glossokoma), a supply of wind being
obtained, without intermission, by bellows, in which the pressure of water performed
the same part which is fulfilled in the modern organ by a weight (Hero , Spirit.
228). On this account the instrument invented by Ctesibius was called the water-organ
(hudraulis, hudraulikon organon, Heron, Spirit.; hydraulica machina, Vitruv. x.
13; hydraulus, Pliny , Pliny H. N.ix. 24; Cic. Tusc.iii. 18. 43). It is described
in an epigram by the emperor Julian (Brunck, Anal.ii. 403=Anth. Pal. ix. 365),
who mentions the swift fingers of the performer, but not the water-bellows; and
more clearly in the lines of Claudian (De Manl. Theod. Cons. 316-319). We have
here the keys, the innumerable pipes of metal, the lever as large as a beam which
sets the water in motion. Its pipes were partly of bronze (chalkeie aroura, Julian
; seges aena, Claudian), and partly of reed (donakes, Julian ). The number of
its stops, and consequently of its rows of pipes, varied from one to eight, so
that Tertullian (De Anima, 14) describes it with reason as an exceedingly complicated
instrument. We are still in the dark as to the exact part played by the water,
which, besides, must have rendered the instrument much less portable. As invented
by Ctesibius, the organ was doubtless hydraulic: but the epigram of Julian omits
all mention of the water, and probably, in later times, the mechanism was simplified
and the bellows blown directly by the pedal, as in the modern harmonium.
The organ was well adapted to gratify the Roman people in the splendid
entertainments provided for them by the emperors and other opulent persons. Nero
was very curious about organs, both in regard to their musical effect and their
mechanism ( Suet. Ner.41Suet. Ner., 54). A contorniate coin of this emperor in
the British Museum (see illustration in the URL below) shows a small organ with
a sprig of laurel on one side and a man standing on the other. The general form
of the organ is also clearly exhibited in a poem by Publilius Porphyrius Optatianus,
describing the instrument, and composed of verses so constructed as to show both
the lower part which contained the bellows, the wind-chest which lay upon it,
and over this the row of twenty-six pipes. These are represented by twenty-six
lines, which increase in length each by one letter, until the last line is twice
as long as the first (Wernsdorf, Poetae Lat. Min. vol. ii. pp. 394-413). There
can be little doubt that hudraules, hydraula or hydraules, denotes the organist
( Suet. Ner.54; Sat.36). See Musica.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited April 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΚΑΡΥΣΤΟΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
240 - 180
ΧΑΛΚΙΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
Περίφημος μηχανικός από τη Χαλκίδα. Έζησε την εποχή του Μ. Αλεξάνδρου. Έργο του ήταν οι υπόγειες σήραγγες για μερική αποξήρανση της Κωπαϊδας, μέσω των οποίων το νερό της λίμνης διοχετεύονταν στον Ευβοϊκό κόλπο. Αυτές τις σήραγγες βρήκε η εταιρία που ανέλαβε την αποξήρανση της Κωπαϊδας τον προηγούμενο αιώνα. Ο Κράτης κατασκεύασε και στην Αθήνα περιφερειακή τάφρο για την αποχέτευση των νερών.
ΘΗΒΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
4ος αιώνας π.Χ.
Ξακουστός Θηβαίος αυλιστής : Pereus Project - Charlton T. Lewis, Charles Short, A Latin Dictionary
Perseus Project - Charlton T. Lewis, Charles Short, A Latin Dictionary
ΑΝΤΙΚΥΡΑ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Στα Αντίκυρα θανατώθηκε ο Τραχίνιος Εφιάλτης, επώνυμος του τρόμου και της προδοσίας, που έδειξε πέρασμα στα στρατεύματα του Ξέρξη για να περικυκλώσουν τους τριακόσιους με το Λεωνίδα (Παυσ. 1,4,2).
ΑΓΡΑΦΑ (Χωριό) ΕΥΡΥΤΑΝΙΑ
Επώνυμο αρματολικής οικογένειας των Αγράφων. Οι Μπουκουβαλαίοι καταδιωκόμενοι
από τους Τουρκαλβανούς μετακινήθηκαν νοτιότερα. Από το 1822 και ύστερα έχασαν
και τυπικά τα δικαιώματά τους στα ´Αγραφα που περιήλθαν στον Καραϊσκάκη
και σε άλλους οπλαρχηγούς. Μπούσγος, Βασίλης (Απόκουρο Ναυπακτίας, 1796 - Λιβαδειά,
1860) Υπηρέτησε προεπαναστατικά στην αυλή του Αλή πασά και το 1821 μυήθηκε στη
Φιλική Εταιρεία. Κατά την έκρηξη της Επανάστασης βρέθηκε στο Γαλαξείδι,
ξεσήκωσε τους κατοίκους της Αράχοβας,
πήρε μέρος στη μάχη για την κατάληψη της Λιβαδειάς
και στη μάχη της Αλαμάνας
με τον Αθανάσιο Διάκο. Συνέχισε την πολεμική του δραστηριότητα σε διάφορες περιοχές
της Στερεάς Ελλάδας στο πλευρό
του Ανδρούτσου, του Γκούρα και του Καραϊσκάκη και κατέλαβε στρατιωτικά αξιώματα
στο ανεξάρτητο ελληνικό κράτος.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΔΩΡΙΔΑ (Επαρχία) ΦΩΚΙΔΑ
Eπώνυμο οικογενείας από τη Δωρίδα. Μέλη της ανέπτυξαν εθνική δραστηριότητα
στα προεπαναστατικά χρόνια, αγωνίστηκαν στην Επανάσταση του 1821 και αναδείχτηκαν
στην πολιτική και στα γράμματα στα νεότερα χρόνια. Ως Γενάρχης της αναφέρεται
ο κοτζαμπάσης της περιφέρειας Λιδωρικίου
Αναγνώστης Λιδωρίκης (1767 1827). Ο γιος του Αναστάσιος Λιδωρίκης (1797 1845)
ήταν από τους αξιολογότερους αγωνιστές της Κεντρικής Στερεάς
Ελλάδας, και αντιπροσώπευε τη Δωρίδα στις εθνοσυνελεύσεις. Ο άλλος του γιος
Παναγιώτης Λιδωρίκης (1800 1860) έδρασε κυρίως ως γερουσιαστής κατά τη βασιλεία
του Όθωνα.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΑΓΙΑ ΕΥΘΥΜΙΑ (Χωριό) ΠΑΡΝΑΣΣΙΔΑ
1893 - 1984
Γεννήθηκε το 1893 στις 28 Σεπτεμβρίου, στην Αγία Ευθυμία Παρνασσίδος
από τον Ευθύμιο Σκαρίμπα και την Ανδρομάχη Σκαρτσίλα. Το 1984 πεθαίνει σε ηλικία
91 χρόνων, στις 21 Ιανουαρίου, και κηδεύεται με δημοτική δαπάνη στην αγαπημένη
του πόλη, τη Χαλκίδα, στο λόφο του Καράμπαμπα.
Χωρίς αμφιβολία ο Γιάννης Σκαρίμπας υπήρξε μια πολυδιάστατη φυσιογνωμία
των Ελληνικών Γραμμάτων αφού ασχολήθηκε με όλα σχεδόν τα είδη του γραπτού λόγου
(διήγημα, νουβέλα, ποίηση, μυθιστόρημα, ιστορικό δοκίμιο, θέατρο, Καραγκιόζη,
σχολιογραφία κ.λ.π.)
Και σύμφωνα με τις εκτιμήσεις του συνόλου των κριτικών και των μελετητών
του στη χώρα μας, σφράγισε με την παρουσία του την ελληνική ηθογραφία, για να
συνεχίσει αργότερα σε άλλους χώρους που δεν είχαν καμιά σχέση με τον παραδοσιακό
τρόπο γραφής.
Προικισμένος με μια υπερτροφική φαντασία και σπάνια λογοτεχνική
ενόραση είχε τη δυνατότητα να κινείται με άνεση στους χώρους που προαναφέραμε
χρησιμοποιώντας το δικό του τρόπο γραφής που τον καθιέρωσε από την πρώτη του
παρουσία στα Ελληνικά Γράμματα.
Η πρώτη του εμφάνιση πραγματοποιήθηκε στα 1929, περίοδο που η Λογοτεχνία
μας περνούσε κρίση καθώς οι συγγραφείς εκείνου του καιρού (Καρκαβίτσας, Θεοτόκης,
Χατζόπουλος κ.ά.) μέσα από το χώρο της ηθογραφίας, επαναλάμβαναν σχεδόν ο ένας
τον άλλο, χωρίς να προσθέτουν τίποτα καινούριο, πράγμα που η κριτική είχε επισημάνει
από την αρχή.
Τότε ο Σκαρίμπας με το διήγημα του "Καπετάν Σουρμελής ο Στουραϊτης"
που παρέδωσε στην κρίση των μελών της Κριτικής Επιτροπής (μεγάλα ονόματα τότε
στη Λογοτεχνία μας: Φώτης Κόντογλου, Λεων. Κουκούλας, Κωστής Μπαστιάς κ.ά.)
του περιοδικού "Νεοελληνικά Γράμματα", απέσπασε ομόφωνα το πρώτο βραβείο
του Διαγωνισμού για "το πρωτότυπο ύφος του, την εκρηκτική του γλώσσα και
τις πλούσιες εικόνες του που μοιάζουν με λαϊκές ζωγραφιές".
Έτσι καθιερώθηκε από την πρώτη του κιόλας εμφάνιση σαν συγγραφέας
με δικό του προσωπικό ύφος, το περίφημο "α-λα-Σκαρίμπα" ύφος, όπως
το αποκάλεσε τότε ο Κόντογλου αλλά και άλλοι μετέπειτα μελετητές του.
Μα ο Σκαρίμπας πνεύμα ανήσυχο και δημιουργικό με φαντασία αχαλίνωτη
θα προχωρήσει τρία (3) χρόνια αργότερα (1932) στην έκδοση ενός καινούριου βιβλίου
του ("το θείο τραγί") και στα 1935 ενός άλλου βιβλίου του (ο "Μαριάμπας")
του ίδιου με το προηγούμενο style.
Και στα δυο αυτά βιβλία, όλα έρχονται τα πάνω - κάτω: Το γράψιμο
γίνεται πιο άτσαλο, πιο αναρχικό. Το πραγματικό μπλέκεται με το φανταστικό,
το κωμικό με το δραματικό. Και για πρώτη φορά το παράλογο θα κάμει την εμφάνισή
του στη Λογοτεχνία μας. Αυτό θα φανεί πιο έντονα και στο πρώτο θεατρικό έργο
του Σκαρίμπα τον "ήχο του κώδωνος" που παίχτηκε στη Χαλκίδα στα 1942
και πριν ακόμα ο Ιονέσκο - που θεωρείται ο πατέρας του παράλογου θεάτρου - παρουσιάσει
(στα 1948) το έργο του "Η φαλακρή τραγουδίστρια".
Συνεχίζουμε εδώ την απαρίθμηση και άλλων έργων του Σκαρίμπα: Το
Βατερλό δυο γελοίων, η Μαθητευόμενη των τακουνιών, Σπαζοκεφαλιές στον ουρανό,
Τυφλοβδομάδα στη Χαλκίδα, όλα γραμμένα στο ίδιο παράλογο ύφος που προαναφέραμε,
με την παρουσία ενός νέου κεντρικού προσώπου στα έργα αυτά του Οικτιήρωα, στη
θέση του κλασικού ήρωα.
Εδώ πλέον οι άνθρωποι που περιγράφονται είναι όλοι αντικοινωνικοί,
ζουν μακριά από την κοινωνία και την οικογένεια, άνθρωποι περιθωριακοί θα λέγαμε
που στη συμπεριφορά και στη δράση τους καθρεφτίζεται η άσχημη πλευρά της ζωής.
Ο Σκαρίμπας παράλληλα με τον πεζό λόγο ασχολήθηκε και με την ποίηση
που παρά τις ακροβασίες που έκανε στο στίχο και στη φόρμα της διατήρησε τη μουσικότητά
της. Δεν ήταν κοινωνική ή πολιτική η μορφή της Σκαριμπικής ποίησης. Ήταν απλώς
τραγούδι. Ελεγειακό ή ερωτικό είχε αυτό το περίφημο "α-λα-Σκαρίμπα"
ύφος. Πολλά από τα ποιήματα του Σκαρίμπα μελοποιήθηκαν από αξιόλογους συνθέτες
(Γ. Σπανός, Σαρ. Κασάρας, Χρ. Λεοντής, Ασημος κ.ά.) και κυκλοφόρησαν σε δίσκους.
Ιδιαίτερο πάθος και αγάπη έτρεφε ο Σκαρίμπας για τον Καραγκιόζη
που τον θεωρούσε το γνησιότερο είδος λαϊκού θεάτρου αφού μέσα απ' αυτόν εκφράζονταν
τα όνειρα κι οι καημοί του λαού κι ακόμα γιατί οι ρίζες του βυζαίνουν στην αρχαία
μας παράδοση. Έγραφε σχετικά με το θέμα αυτό σε κάποιο βιβλίο του: "Τούτος
ο ξυπόλυτος έρχεται ντρίτα από τα μυστήρια: τα ορφικά, τα ελευσίνια, τα διονύσια,
όπως ο άνθρωπος έρχεται ντρίτα από τη μόδα. Ντεμοντέ είναι μόνον οι νεκροί,
ενώ και η καρδιά του Έθνους δεν χτυπάει στα νάιτ-κλαμπ ούτε στα σαλονειακά κουκουβαγεία
της Αθήνας".
Έπαιζε κι ο ίδιος Καραγκιόζη στο ταρατσάκι του σπιτιού του στον
Καράμπαμπα, επιτρέποντας την είσοδο μόνον στις λαϊκές γυναίκες της γειτονιάς
με εξαίρεση της έγκυες, γιατί όπως έλεγε "υπήρχε ο κίνδυνος να αποβάλλουν
από τα πολλά γέλια". Για τους πιτσιρικάδες το εισιτήριο ήταν ενάμισι! αυγό.
Είχε κατασκευάσει και δικής τους έμπνευσης φιγούρες, τον "Κόντε
Ρεπανάκια" και "Διαμάντω" που ξεχώριζαν για το ιδιόρρυθμο style
της κατασκευής τους.
Αργότερα και στις αρχές της δεκαετίας του 60, όταν τα ρεύματα της
μοντέρνας ζωγραφικής (εξπρεσιονισμός κ.ά.) έκαναν δυναμικά την παρουσία τους
στη χώρα μας, ο Σκαρίμπας επηρεασμένος ίσως από τη στενή φιλία του με το Φώτη
Κόντογλου αλλά και από την ίδια του την έφεση για τα εικαστικά, θα κατασκευάσει
από τα πιο ευτελή και άχρηστα υλικά τις περίφημες φιγούρες του Καραγκιόζη, σπουδές
πιο πολύ στην εικαστική πρωτοπορία εκείνου του καιρού, παρά εργαλείο για την
τελετή παράστασης Καραγκιόζη επάνω στο πανί.
Ο Σκαρίμπας έγραψε και θεατρικά έργα με κορυφαίο τον "Ήχο του
κώδωνος" και άλλα στο ίδιο ύφος του παράλογου όπως: το "Σεβαλιέ Σερβάν
της κυρίας", την "Κυρία του τραίνου", τον "πάτερ Συνέσιο",
τα "Καγκουρώ", το "σημείο του σταυρού κ.ά.
Σημαντική ήταν η προσφορά του Σκαρίμπα και στην ιστορία που όπως
πίστευε δεν έδιδε την πραγματική εικόνα του εθνικού μας βίου κομμένη και ραμμένη
όπως ήταν στα μέτρα των εκάστοτε κατεστημένων από τους εκπροσώπους τους, Παπαρρηγόπουλο,
Κόκκινο, Μαρκεζίνη, "σφουγκοκωλάριους" και "σπαζομεσίτες"
όπως τους αποκαλούσε.
Έτσι ύστερα από πολύχρονες προσπάθειες και θυσίες κατόρθωσε να συγκεντρώσει
πολύτιμα στοιχεία και να γράψει το πολυσυζητημένο τρίτομο έργο του, το "Εικοσιένα
και η αλήθεια" που προκάλεσε αληθινό σάλο η έκδοσή του καθώς μέσα από τις
σελίδες του ο Σκαρίμπας απομυθοποιεί πρόσωπα και γεγονότα δίνοντας τις αληθινές
διαστάσεις στην εποποιία του 21.
Δε γράφει βέβαια ιστορία - με τη σωστή έννοια του όρου - στο τρίτομο
αυτό έργο του ο Σκαρίμπας. Ανοιξε όμως διαδρόμους μέσα από τους οποίους οι ιστορικοί
του μέλλοντος θα πορευτούν για ν' ανακαλύψουν την κρυμμένη στα βαθιά σκοτάδια
και τη σκόνη των Κρατικών Αρχείων την αληθινή ιστορία του τόπου μας, που ως
τότε ήταν τροφή των ποντικών, της υγρασίας των υπογείων.
Στις αγαπημένες ενασχολήσεις του Σκαρίμπα εντάσσεται κι η Σχολιογραφία.
Με το οξύ, ευθύβολο, σαρκαστικό και μαχητικό του πνεύμα θα βάλει προς κάθε ύποπτη
κατεύθυνση όπου δειλοί και "κατεστημένοι" της πολιτικής και του πνεύματος,
εθνικοί μειοδότες και προσκυνημένοι της εξουσίας και των ξένων "προστατών"
μας θα δέχονται συνεχώς τα πυρά του και ο βρώμικος ρόλος τους θα αποκαλύπτεται
συνεχώς.
Σε μερικές ωστόσο περιπτώσεις το πάντα ανήσυχο, μαχητικό και ετοιμοπόλεμο
πνεύμα του θα μεταλλάζει σε καλοκάγαθη σάτυρα φωτίζοντας μερικές πλευρές της
καθημερινής ζωής.
Σπουδαία ήταν η συμμετοχή του Σκαρίμπα και στην αντιπολεμική Λογοτεχνία.
Με τα περίφημα βιβλία του "Περίπολος Ζ" και "φυγή προς τα εμπρός"
(προσωπικές του εμπειρίες από τον πρώτο παγκόσμιο πόλεμο) γραμμένα στο γνωστό
παράλογο ύφος του εντάσσονται στο πλευρό και των άλλων κορυφαίων της χώρας μας:
Του Στρατή Μυριβήλη με τη "Ζωή εν τάφω"
Του Ηλία Βενέζη με το "Νούμερο"
Του Στρατή Δούκα με την "Ιστορία ενός αιχμαλώτου"
Του Ζήση Σκάρου με τις "Κλούβες"
Αμείλικτο κατηγορώ εναντίον του πολέμου και ύμνο-θούριο στην ειρήνη θεωρούν
οι ειδικοί τα δύο αντιπολεμικά βιβλία του Σκαρίμπα που παραπάνω αναφέραμε.
Ο Σκαρίμπας έχει απασχολήσει και αρκετά συχνά απασχολεί τα Μ.Μ.Ε.
της χώρας μας και πολλών ξένων χωρών (Β.Β.C του Λονδίνου, Ντόιτσε Βέλε, Μόσχα,
Σουηδία κ.ά.). Ενώ μια σειρά εκδοτικοί οίκοι στη χώρα μας (Ζαχαρόπουλος, Σύγχρονη
Εποχή, Κάκτος, Νεφέλη κ.ά.) συχνά εκδίδουν τα έργα του, ενδεικτικό του ενδιαφέροντος
ενός μεγάλου αναγνωστικού κοινού.
Ο μπαρμπα-Γιάννης πολιτογραφήθηκε μέσα μας σαν μια συνείδηση, τόσο
εθνική όσο και λαϊκή. Ήταν ένας απέραντος ποταμός σοφίας - λαϊκής σοφίας -,
γνώσης, σπουδής, πάθους για τη γυμνή αλήθεια και αγωνιστικότητα.
Είτε θυμόσοφος, είτε οργισμένος, είτε είρωνας σαρκαστής ο Γιάννης
Σκαρίμπας ήταν η φωνή του καθένα μας. Του άγνωστου Έλληνα που δεν είχε ποτέ
φωνή, που δεν έμαθε παρά όσα του δίδαξαν και κάποτε το κατάλαβε και εξεγέρθηκε
μετρώντας μια-μια τις τύψεις της κυρίαρχης τάξης, της κυρίαρχης ιδεολογίας,
της κυρίαρχης "ιστορίας", της κυρίαρχης αρλουλοπολογίας, που ποτέ
τους δεν μπόρεσαν να τον κοιτάξουν κατάματα και να τον αντιμετωπίσουν "στα
ίσια".
Στοχαστής μοναδικός και φύση ανήσυχη δεν μπόρεσε ποτέ του να βολευτεί
με τη συμβατικότητα. Έμεινε απροσκύνητος, μέχρι τα στερνά του και πάντα οπλισμένος
με το δραστικό λόγο του που δεν "χάριζε κάστανα" χωρίς ποτέ του να θεωρεί
ότι είναι σπουδαίος.
Επιμέλεια: Νίκος Χατζηγιάννης
Το
ΑΜΦΙΣΣΑ (Αρχαία πόλη) ΠΑΡΝΑΣΣΙΔΑ
Archytas (Archutas), of Amphissa, a Greek poet, who was probably a contemporary of Euphorion, about B. C. 300, since it was a matter of doubt with the ancients themselves whether the epic poem Geranos was the work of Archytas or Euphorion (Athen. iii.). Plutarch (Quaest. Gr. 15) quotes from him an hexameter verse concerning the country of the Ozolian Locrians. Two other lines, which he is said to have inserted in the Hermes of Eratosthenes, are preserved in Stobaeus (Serrn. lviii. 10). He seems to have been the same person whom Laertius (viii. 82) calls an epigrammatist, and upon whom Bion wrote an epigram which he quotes. (iv. 52)
ΑΝΑΤΟΛΙΚΗ ΦΡΑΓΚΙΣΤΑ (Χωριό) ΕΥΡΥΤΑΝΙΑ
Λυρικός ποιητής.
ΑΣΚΡΑ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
730 - 680
A celebrated Greek poet, supposed to have been born at Ascra
in Boeotia. His father, it seems, had migrated to Ascra in consequence of his
poverty, and resided at the latter place for some time, though without obtaining
the rights of a citizen. Still, however, he left at his death a considerable property
to his two sons, Hesiod, and a younger one named Perses. The brothers divided
the inheritance; but Perses, by means of bribes to the judges, contrived to defraud
his elder brother. Hesiod thereupon migrated to Orchomenus, as Gottling supposes,
and the harsh epithets which he applies to his native village were, in all probability,
prompted by resentment at the wrong which he had suffered from the Ascraean judges.
From a passage in the proem to his Theogony, it has been inferred that Hesiod
was literally a shepherd, and tended his flocks on the side of Helicon. He was
evidently born in an humble station, and was himself engaged in rural pursuits;
and this perfectly accords with the subject of the poem which was unanimously
ascribed to him--namely, the Works and Days (Erga kai Hemerai), which is a collection
of reflections and precepts relating to husbandry and the regulation of a rural
household, interwoven with fables, allegories, etc., forming, as has been said,
"a Boeotian shepherd's-calendar." The only additional fact that can
be gathered from Hesiod's writings is that he went over to the island of Euboea,
on occasion of a poetical contest at Chalcis, which formed part of the funeral
games instituted in honour of Amphidamas; that he obtained a tripod as the prize,
and consecrated it to the Muses of Helicon. This latter passage is suspected by
Wolf; but it seems to have formed a part of the poem from time immemorial; and
it may not be unreasonable to infer its authenticity from the tradition respecting
an imaginary contest between Homer and Hesiod.
The following legendary account is given as to the manner of
Hesiod's death. He is said to have consulted the oracle of Delphi as to his future
destinies, and the Pythia directed him, in reply, to shun the grove of Nemean
Zeus, since there death awaited him. There were at Argos a temple and a brazen
statue of Zeus; and Hesiod, believing this to be the fatal spot, directed his
course to Oenoe, a town of the Locri; but the ambiguity of the oracle had deceived
him, for this place also, by obscure report, was sacred to the same god. He was
here the guest of two brothers. It happened that their sister Clymene was violated
in the night-time by the person who had accompanied Hesiod, and hanged herself
in consequence of the outrage. This man they accordingly slew; and, suspecting
the connivance of Hesiod, killed him also, and threw his body into the sea. The
murder is said to have been detected by the sagacity of Hesiod's dog; though by
some it is related that his corpse was brought to the shore by a company of dolphins,
at the moment that the people were celebrating the festival of Poseidon. The body
of Hesiod was recognized, the houses of the murderers were razed to the foundation,
and the murderers themselves cast into the sea. Another account states them to
have been consumed by lightning; a third, to have been overtaken by a tempest
while escaping to Crete in a fishing-boat, and to have perished in the wreck.
The only works that remain under the name of Hesiod are: (i.)
Erga kai Hemerai ("Works and Days"); (ii.) Theogonia ("Theogony");
(iii.) Aspis Herakleous ("The Shield of Heracles"). The Works and Days
(which, according to Pausanias, the Boeotians regarded as the only genuine production
of Hesiod) is entirely occupied with the events of common life. The poem consists
of advice given by Hesiod to his brother Perses, on subjects relating for the
most part to agriculture and the general conduct of life. The object of the first
portion of the poem is to improve the character and habits of Perses, and to incite
him to a life of labour, as the only source of permanent prosperity. Mythical
narratives, fables, descriptions, and moral apophthegms, partly of a proverbial
kind, are ingeniously chosen and combined, so as to illustrate and enforce the
principal idea, and served as a model for Vergil in his Georgics. In the second
part Hesiod shows Perses the succession in which his labours must follow, if he
determines to lead a life of industry. The poet speaks of the time of life when
a man should marry, and how he should look out for a wife. He recommends all to
bear in mind that the immortal gods watch over the actions of men; in all intercourse
with others to keep the tongue from idle and provoking words, and to preserve
a certain purity and care in the commonest occurrences of every-day life. At the
same time, he gives many curious precepts, which resemble sacerdotal rules, with
respect to the decorum to be observed in acts of worship, and which, moreover,
have much in common with the symbolic rules of the Pythagoreans, that ascribed
a spiritual import to many acts of ordinary life. Of a very similar nature is
the last part of the poem, which treats of the days on which it is expedient or
inexpedient to do this or that business.
The Theogony (Theogonia) consists of an account of the origin
of the world, including the birth of the gods, and makes use of numerous personifications.
Even as early as the time of Pausanias it was doubted whether Hesiod was actually
the author of this poem, though its genuineness is expressly asserted by Herodotus,
and all the internal evidence is in favour of this view. According to Hermann,
it is a species of melange, formed by the union of several poems on the same subject,
and which has been effected by the same copyists or grammarians. The Theogony
is interesting as being the most ancient monument that we have of the Greek mythology.
When we consider it as a poem, we find no composition of ancient times so stamped
with a rude simplicity of character. It is without luminous order of arrangement,
abounds with dry details, and only occasionally rises to any particular elevation
of fancy. It exhibits that crude irregularity and that mixture of meanness and
grandeur which characterize a strong but uncultivated genius. The censure of Quintilian
that "Hesiod rarely soars, and a great part of him is occupied in mere names,"
is undoubtedly merited. The sentence just quoted, however, refers plainly to the
Theogony alone, while the following seems exclusively applicable to the Works
and Days: "Yet he is distinguished by useful sentences of morality, and an
admirable sweetness of diction and expression, and he deserves the palm in the
middle style of writing." The passage relating to the battle of the gods,
however, can not surely be classed among the specimens of the middle style. This
passage, together with the combat of Zeus and Typhoeus, astonishes the reader
by sudden bursts of enthusiasm, for which the prolix and nerveless narrative of
the general poem has little prepared him. Mahaffy speaks of it as having "a
splendid crash and thunder about it," and even as "far superior in conception,
though inferior in execution, to the battle of the gods in the Iliad." Milton
has borrowed some suggestions from these descriptions; and the arming of the Messiah
for battle in Paradise Lost is obviously imitated from the magnificent picture
of Zeus summoning all the terrors of his omnipotence for the extirpation of the
Titans.
We have also, under the name of Hesiod, a fragment of 480 lines
from a poem entitled the Heroogonia or the genealogy and history of the demigods.
To this poem some unknown rhapsodist has attached a piece on the combat between
Heracles and Cycnus, containing a description of the hero's shield. It is from
this part that the fragment in question bears the title of the Shield of Heracles
(Aspis Herakleous). Modern crities think that to the Heroogony of Hesiod belonged
two works which are cited by the ancients--the one under the title of Catalogue
of Women (Ka<*>alogos Gunaikon), a sort of Greek Debrett, giving t<*> history
of those mortal women who had become the mothers of demigods, and the other under
the title of the Megalai Eoiai, so named because the history of each woman or
heroine mentioned therein commenced with the words e hoie ("or such as").
There are scholia on Hesiod by Proclus, John Tzetzes, Moschopulus, and John Protospatharius;
but the commentary by Aristophanes of Byzantium is lost.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Hesiodus (Hesiodos), one of the earliest Greek poets, respecting whose personal
history we possess little more authentic information than respecting that of Homer,
together with whom lie is frequently mentioned by the ancients. The names of these
two poets, in fact, form as it were the two poles of the early epic poetry of
the Greeks; and as Homer represents the poetry, or school of poetry, belonging
chiefly to Ionia in Asia
Minor, so Hesiod is the representative of a school of bards, which was developed
somewhat later at the foot of Mount
Helicon in Boeotia, and
spread over Phocis and Euboea.
The only points of resemblance between the two poets, or their respective schools,
consist in their forms of versification and their dialect, but in all other respects
they move in totally distinct spheres; for the Homeric takes for its subjects
the restless activity of the heroic age, while the Hesiodic turns its attention
to the quiet pursuits of ordinary life, to the origin of the world, the gods and
heroes. The latter thus gave to its productions an ethical and religious character;
and this circumstance alone suggests an advance in the intellectual state of the
ancient Greeks upon that which we have depicted in the Homeric poems, though we
do not mean to assert that the elements of the Hesiodic poetry are of a later
date than the age of Homer, for they may, on the contrary, be as ancient as the
Greek nation itself. But we must, at any rate, infer that the Hesiodic poetry,
such as it has come down to us, is of later growth than the Homeric; an opinion
which is confirmed also by the language and expressions of the two schools, and
by a variety of collateral circumstances, among which we may mention the range
of knowledge being much more extensive in the poems which bear the name of Hesiod
than in those attributed to Homer. Herodotus (ii. 53) and others regarded Homer
and Hesiod as contemporaries, and some even assigned to him an earlier date than
Homer (Gell. iii. 11, xvii. 21; Suid. s.v. Hesiodos; Tzetz. Chil. xii. 163, 198,
xiii. 650); but the general opinion of the ancients was that Homer was the elder
of the two, a belief which was entertained by Philochorus, Xenophanes, Eratosthenes,
Apollodorus, and many others.
If we inquire after the exact age of Hesiod, we are informed by Herodotus
(l. c.) that he lived four hundred years before his time, that is, about B. C.
850. Velleius Paterculus (i. 7) considers that between Homer and Hesiod there
was an interval of a hundred and twenty years, and most modern critics assume
that Hesiod lived about a century later than Homer, which is pretty much in accordance
with the statement of some ancient writers who place him about the eleventh Olympiad,
i. e. about B. C. 735. Respecting the life of the poet we derive some information
from one of the poems ascribed to him, viz. the Erga kai hemerai. We learn from
that poem (648), that he was born in the village of Ascra
in Boeotia, whither his father
had emigrated from the Aeolian
Cuma in Asia
Minor. Ephorus (Fragm. p. 268, ed. Marx) and Suidas state that both Homer
and Hesiod were natives of Cuma,
and even represent them as kinsmen, --a statement which probably arose from the
belief that Hesiod was born before his father's emigration to Ascra; but if this
were true, Hesiod could not have said that he never crossed the sea, except from
Aulis to Euboea
(Op. et Dies, 648.) Ascra,
moreover, is mentioned as his birthplace in the epitaph on Hesiod (Paus. ix. 38.9),
and by Proclus in his life of Hesiod. The poet describes himself (Theog. 23) as
tending a flock on the side of Mount
Helicon, and from this, as well as from the fact of his calling himself an
atimetos (Op. et Dies, 636), we must infer that he belonged to a humble station,
and was engaged in rural pursuits. But subsequently his circumstances seem to
have been bettered, and after the death of his father, he was involved in a dispute
with his brother Perses about his small patrimony, which was decided in favour
of Perses (Op. et Dies, 219, 261, 637). He then seems to have emigrated to Orchomenos,
where he spent the remainder of his life. (Pind. ap. Proclum, genos Hesiodou,
p. xliv. in Gottling's edit. of Hesiod.) At Orchomenos
he is also said to have been buried, and his tomb was shown there in later times.
This is all that can be said, with any degree of certainty, about the life of
Hesiod. Proclus, Tzetzes, and others relate a variety of anecdotes and marvellous
tales about his life and death, but very little value can be attached to them,
though they may have been derived from comparatively early sources. We have to
lament the loss of some ancient works on the life of Hesiod, especially those
written by Plutarch and Cleomenes, for they would undoubtedly have enlightened
us upon many points respecting which we are now completely in the dark. We must,
however, observe that many of the stories related about Hesiod refer to his whole
school of poetry (but not to the poet personally), and arose from the relation
in which the Boeotian or Hesiodic school stood to the Homeric or Ionic school.
In this light we consider, e. g. the traditions that Stesichorus was a son of
Hesiod, and that Hesiod had a poetical contest with Homer, which is said to have
taken place at Chalcis during
the funeral solemnities of king Amphidamas, or, according to others, at Aulis
or Delos (Proclus, l. c.
p. xliii. and ad Op. et Dies, 648; Plut. Conv. Sept. Sap. 10). The story of this
contest gave rise to a composition still extant under the title of Agon Homerou
kai Hesiodou, the work of a grammarian who lived towards the end of the first
century of our era, in which the two poets are represented as engaged in the contest
and answering each other in their verses. The work is printed in Gottling's edition
of Hesiod, p. 242--254, and in Westermann's Vitarum Scriptores Graeci, p. 33,
&c. Its author knows the whole family history of Hesiod, the names of his father
and mother, as well as of his ancestors, and traces his descent to Orpheus, Linus,
and Apollo himself. These legends, though they are mere fictions, show the connection
which the ancients conceived to exist between the poetry of Hesiod (especially
the Theogony) and the ancient schools of priests and bards, which had their seats
in Thrace and Pieria,
and thence spread into Boeotia,
where they probably formed the elements out of which the Hesiodic poetry was developed.
Some of the fables pretending to be the personal history of Hesiod are of such
a nature as to throw considerable doubt upon the personal existence of the poet
altogether; and athough we do not deny that there may have been in the Boeotian
school a poet of the name of Hesiod whose eminence caused him to be regarded as
the representative, and a number of works to be attributed to him, still we would,
in speaking of Hesiod, be rather understood to mean the whole school than any
particular individual. Thus an ancient epigram mentions that Hesiod was twice
a youth and was twice buried (Proclus; Suidas; Proverb. Vat. iv. 3); and there
was a tradition that, by the command of an oracle, the bones of Hesiod were removed
from Naupactus to Orchomenos,
for the purpose of averting an epidemic (Paus. ix. 38. § 3). These traditions
show that Hesiod was looked upon and worshipped in Boeotia
(and also in Phocis) as an
ancient hero, and, like many other heroes, he was said to have been unjustly killed
in the grove of the Nemean
Zeus (Plut. Conviv. Sept. Sap. 19; Certamen Hom. et Hes. p. 251, ed. Gottling;
comp. Panus. ix. 31.3). All that we can say, under these circumstances, is that
a poet or hero of the name of Hesiod was regarded by the ancients as the head
and representative of that school of poetry which was based on the Thracian
or Pierian bards, and was
developed in Boeotia as distinct
from the Homeric or Ionic
school.
The differences between the two schools of poetry are plain and obvious,
and were recognised in ancient times no less than at present, as may be seen from
the Agon Homerou kai Hesiodou (p. 248, ed. Gottling). In their mode of delivery
the poets of the two schools likewise differed; for while the Homeric poems were
recited under the accompaniment of the cithara, those of Hesiod were recited without
any musical instrument, the reciter holding in his hand only a laurel branch or
staff (rhabdos, skeptron, Hesiod, Theog. 30; Paus. ix. 30, x. 7.2; Pind.Isthm.
iii. 55, with Dissen's note; Callimach. Fragm. 138). As Boeotia,
Phocis, and Euboea
were the principal parts of Greece where the Hesiodic poetry flourished, we cannot
be surprised at finding that the Delphic
oracle is a great subject of veneration with this school, and that there exists
a strong resemblance between the hexameter oracles of the Pythia and the verses
of Hesiod; nay, there is a verse in Hesiod (Op. et Dies, 283), which is also mentioned
by Herodotus (vi. 86) as a Pythian oracle, and Hesiod himself is said to have
possessed the gift of prophecy, and to have acquired it in Acarnania.
A great many allegorical expressions, such as we frequently find in the oracular
language, are common also in the poems of Hesiod. This circumstance, as well as
certain grammatical forms in the language of Hesiod, constitute another point
of difference between the Homeric and Hesiodic poetry, although the dialect in
which the poems of both schools are composed is, on the whole, the same,--that
is, the Ionic-epic, which had become established as the language of epic poetry
through the influence of Homer.
The ancients attributed to the one poet Hesiod a great variety of
works; that is, all those which in form and substance answered to the spirit of
the Hesiodic school, and thus seemed to be of a common origin. We shall subjoin
a list of them, beginning with those which are still extant.
1. Erga or Erga kai hemerai, commonly called Opera et Dies. In the time of Pausanias
(ix. 31.3), this was the only poem which the people about Mount
Helicon considered to be a genuine production of Hesiod, with the exception
of the first ten lines, which certainly appear to have been prefixed by a later
hand. There are also several other parts of this poem which seem to be later interpolations;
but, on the whole, it bears the impress of a genuine production of very high antiquity,
though in its present form it may consist only of disjointed portions of the original.
It is written in the most homely and simple style, with scarcely any poetical
imagery or ornament, and must be looked upon as the most ancient specimen of didactic
poetry. It contains ethical, political, and economical precepts, the last of which
constitute the greater part of the work, consisting of rules about choosing a
wife, the education of children, agriculture, commerce, and navigation. A poem
on these subjects was not of course held in much esteem by the powerful and ruling
classes in Greece at the time, and made the Spartan Cleomenes contemptuously call
Hesiod the poet of helots, in contrast with Homer, the delight of the warrior
(Plut. Apophth. Lac. Cleom. 1). The conclusion of the poem, from v. 750 to 828
is a sort of calendar, and was probably appended to it in later times, and the
addition kai hemerai in the title of the poem seems to have been added in consequence
of this appendage, for the poem is sometimes simply called Erga. It would further
seem that three distinct poems have been inserted in it; viz.
1. The fable of Prometheus and Pandora (47--105);
2. On the ages of the world, which are designated by the names of
metals (109--201); and,
3. A description of winter (504--558).
The first two of these poems are not so much out of keeping with the whole as
the third, which is manifestly the most recent production of all, and most foreign
to the spirit of Hesiod. That which remains, after the deduction of these probable
interpolations, consists of a collection of maxims, proverbs, and wise sayings,
containing a considerable amount of practical wisdom; and some of these gnomai
or hupothekai may be as old as the Greek nation itself. (Isocrat. c. Nicocl. p.
23, ed. Steph.; Lucian, Dial. de Hes. 1, 8.) Now, admitting that the Erga originally
consisted only of such maxims and precepts, it is difficult to understand how
the author could derive from his production a reputation like that enjoyed by
Hesiod, especially if we remember that at Thespiae,
to which the village of Ascra
was subject, agriculture was held degrading to a freeman (Heraclid. Pont. 42).
In order to account for this phenomenon, it must be supposed that Hesiod was a
poet of the people and peasantry rather than of the ruling nobles, but that afterwards,
when the warlike spirit of the heroic ages subsided, and peaceful pursuits began
to be held in higher esteem, the poet of the plough also rose from his obscurity,
and was looked upon as a sage; nay, the very contrast with the Homeric poetry
may have contributed to raise his fame. At all events, the poem, notwithstanding
its want of unity and the incoherence of its parts, gives to us an attractive
picture of the simplicity of the early Greek mode of life, of their manners and
their domestic relations. (Comp. Twesten, Commentat. Critica de Hesiodi Carmine,
quod inscrib. Opera et Dies, Kiel, 1815, 8vo.; F. L. Hug, Hesiodi Erga megala,
Freiburg, 1835 ; Ranke, De Hesiodi Op. et Diebus, 1838, 4to ; Lehrs, Quaest. Epic.
p. 180, &c.; G. Hermann, in the Jahrbucher fur Philol. vol. xxi. 2. p. 117, &c.)
2. Theogonia. This poem was, as we remarked above, not considered by Hesiod's
countrymen to be a genuine production of the poet. It presents, indeed, great
differences from the preceding one: its very subject is apparently foreign to
the homely author of the Erga; but the Alexandrian grammarians, especially Zenodotus
and Aristarchus, appear to have had no doubt about its genuineness (Schol. Venet.
ad Il. xviii. 39), though their opinion cannot be taken to mean anything else
than that the poem contained nothing that was opposed to the character of the
Hesiodic school; and thus much we may therefore take for granted, that the Theogony
is not the production of the same poet as the Erga, and that it probably belongs
to a later date. In order to understand why the ancients, nevertheless, regarded
the Theogony as an Hesiodic work, we must recollect the traditions of the poet's
parentage, and the marvellous events of his life. It was on
mount Helicon, the ancient seat of the Thracian
muses, that he was believed to have been born and bred, and his descent was traced
to Apollo; the idea of his having composed a work on the genealogies of the gods
and heroes cannot therefore have appeared to the ancients as very surprising.
That the author of the Theogony was a Boeotian is evident, from certain peculiarities
of the language. The Theogony gives an account of the origin of the world and
the birth of the gods, explaining the whole order of nature in a series of genealogies,
for every part of physical as well as moral nature there appears personified in
the character of a distinct being. The whole concludes with an account of some
of the most illustrious heroes, whereby the poem enters into some kind of connection
with the Homeric epics. The whole poem may be divided into three parts:
1. The cosmogony, which widely differs from the simple Homeric notion
(Il. xiv. 200), and afterwards served as the groundwork for the various physical
speculations of the Greek philosophers, who looked upon the Theogony of Hesiod
as containing in an allegorical form all the physical wisdom that they were able
to propound, though Hesiod himself was believed not to have been aware of the
profound philosophical and theological wisdom he was uttering. The cosmogony extends
from v. 116 to 452.
2. The theogony, in the strict sense of the word, from 453 to 962;
and 3. the last portion, which is in fact a heroogony, being an account of the
heroes born by mortal mothers whose charms had drawn the immortals from Olympus.
This part is very brief, extending only fron v. 963 to 1021, and forms the transition
to the Eoeae, of which we shall speak presently.
If we ask for the sources from which Hesiod drew his information respecting the
origin of the world and the gods, the answer cannot be much more than a conjecture,
for there is no direct information on the point. Herodotus asserts that Homer
and Hesiod made the theogony of the Greeks; and, in reference to Hesiod in particular,
this probably means that Hesiod collected and combined into a system the various
local legends, especially of northern Greece, such as they had been handed down
by priests and bards. The assertion of Herodotus further obliges us to take into
consideration the fact, that in the earliest Greek theology the gods do not appear
in any definite forms, whereas Hesiod strives to anthropomorphise all of them,
the ancient elementary gods as well as the later dynasties of Cronus and Zeus.
Now both the system of the gods and the forms under which he conceived them afterwards
became firmly established in Greece, and, considered in this way, the assertion
of Herodotus is perfectly correct. Whether the form in which the Theogony has
come down to us is the original and genuine one, and whether it is complete or
only a fragment, is a question which has been much discussed in modern times.
There can be little doubt but that in the course of time the poets of the Hesiodic
school and the rhapsodists introduced various interpolations, which produced many
of the inequalities both in the substance and form of the poem which we now perceive;
many parts also may have been lost. Hermann has endeavored to show that there
exist no less than seven different introductions to the Theogony, and that consequently
there existed as many different recensions and editions of it. But as our present
form itself belongs to a very early date, it would be useless to attempt to determine
what part of it formed the original kernel, and what is to be considered as later
addition or interpolation. (Comp. Creuzer and Hermann, Brief uber Hom. und Hes.,
Heidelberg, 1817, 8vo.; F. K. L. Sickler, (Cadmus I. Erklurung der Theogonie des
Hesiod, Hildburghausen, 181, 4to. ; J. D. Guigniant, De la Theogonie d'Hesiod,
Paris, 1335, 8vo.; J. C. Mutzell, De Emendatione Theogoniae Hesiodi, Lips. 1833,
8vo.; A. Soetbeer, Versuch die Urform der Hesiod. Theogonie nachzuweisen, Berlin,
1837, 8vo.; O. F. Gruppe, Ueber die Theog, des Hesiod, ihr Verderbniss und ihre
ursprungliche Beschaffenheit, Berlin, 1841, 8vo. The last two works are useless
and futile attempts; comp. Th. Kock, De pristina Theogoniae Hesiodeae Forma, pars.
i. Vratislav. 1842, 8vo.)
3. Eoiai or eoiai megalai, also called katalopsoi gunaikon. The name eoiai was
derived, according to the ancient grammarians, from the fact that the heroines
who, by their connection with the immortal gods, had become the mothers of the
most illustrious heroes, were introduced in the poem by the expression e hoie.
The poem itself, which is lost, is said to have consisted of four books, the last
of which was by far the longest, and was hence called eoiai megalai, whereas the
titles katalogoi or eoiai belonged to the whole body of poetry, containing accounts
of the women who had been beloved by the gods, and had thus become the mothers
of the heroes in the various parts of Greece, from whom the ruling families derived
their origin. The two last verses of the Theogony formed the beginning of the
eoiai, which, from its nature, might justly be regarded as a continuation of the
Theogony, being as a heroogony (heroogonia) the natural sequel to the Theogony.
The work, if we may regard it as one poem, thus contained the genealogies or pedigrees
of the most illustrious Greek families. Whether the Eoeae or Catalogi was the
work of one and the same poet was a disputed point among the ancients themselves.
From a statement of the scholiast on Apollonius Rhodius (ii. 181), it appears
that it consisted of several works, which were afterwards put together; and while
Apollonius Rhodius and Crates of Mallus attributed it to Hesiod (Schol. ad Hes.
Theog. 142), Aristopllanes and Aristarchus were doubtful (Anonym. Gram. in Gottling's
ed. of Hes. p. 92; Schol. ad Hom. Il. xxiv. 30 ; Suid. and Apollon. s. v. machlosune).
The anonymous Greek grammarian just referred to states that the first fifty-six
verses of the Hesiodic poem Aspis Herakleous (Scutum Herculis) belonged to the
fourth book of the Eoeae, and it is generally supposed that this poem, or perhaps
fragment of a poem, originally belonged to the Eoeae. The Aspis Herakleous, which
is still extant, consists of three distinct parts; that from v. 1 to 56 was taken
from the Eoeae, and is probably the most ancient portion; the second from 57 to
140, which must be connected with the verses 317 to 480; and the third from 141
to 317 contains the real description of the shield of Heracles, which is introduced
in the account of the fight between Heracles and Cycnus. When therefore Apollonius
Rhodius and others considered the Asris to be a genuine Hesiodic production, it
still remains doubtful whether they meant the whole poem as it now stands, or
only some particular portion of it. The description of the shield of Heracles
is an imitation of the Homeric description of the shield of Achilles, but is done
with less skill and ability. It should be remarked, that some modern critics are
inclined to lock upon the Aspis as an independent poem, and wholly unconnected
with the Eoeae, though they admit that it may contain various interpolations by
later hands. The fragments of the Eoeae are collected in Lehmann, De Hesiodi Carminibus
perditis, pars i. Berlin, 1828, in Gottling's edition of Hesiod, p. 209, &c.,
and in Hermann's Opuscula, vi. 1, p. 255, &c. We possess the titles of several
Hesiodic poems, viz. Keukos gamoi, Theseos eis Haiden katabasis, and Epithalamios
Peleos kai [p. 443] Thetidos, but all these poems seem to have been only portions
of the Eoeae. (Athen. ii. p. 49 ; Plut. Sympos. viii. 8; Paus. ix. 31. § 5; Schol.
ad Hes. Theog. 142; comp. C. Ch. Heyler, Ueber Hesiods Schild des Hercules, Worms,
1787, 8vo. ; F. Schlichtegroll, Ueber den Schild des Heracles nach Hesiod, Gotha,
1788, 8vo.; G. Hermann, Opusc. vi. 2, p. 204, &c.; Marckscheffel, De Cutalogo
et Eoeis Carminibus Hesiodeis, Vratislav. 1838, 8vo., and the same author's Hesiodi,
Eumeli, Cinaethonis, &c., Fragmenta colley. emend. dispos., Lips. 1840, 8vo.)
4. Aigimios, an epic poem, consisting of several books or rhapsodies on the story
of Aegimius, the famous ancestral hero of the Dorians, and the mythical history
of the Dorians in general. Some of the ancients attributed this poem to Cercops
of Miletus (Apollod. ii.
1,3; Diog. Laert. ii. 46). The fragments of the Aegimius are collected in Gottling's
edit. of Hesiod, p. 205, &c.
5. Melampodia, an epic poem, consisting of at least three books. Some of the ancients
denied that this was an Hesiodic poem (Paus. ix. 31.4). It contained the stories
about the seer Melampus, and was thus of a similar character to the poems which
celebrated the glory of the heroic families of the Greeks. Some writers consider
the Melampodia to have been only a portion of the Eoeae, but there is no evidence
for it, and others regard it as identical with the epe mantika, an Hesiodic work
mentioned by Pausanias (l. c. ; comp. Athen. ii. p. 47, xi. p. 498, xiii. p. 609
; Clem. Alex. Strom. vi. p. 751). The fragments of the Melampodia are collected
in Gottling's edit. of Hesiod, p. 228, &c.
6. Exegesis epi terasin is mentioned as an Hesiodic work by Pausanias, and distinguished
by him from another entitled epe mantika; but it is not improbable that both were
identical with, or portions of, an astronomical work ascribed to Hesiod, under
the title of astrike biblos or astrologia (Athen. xi. p. 491; Plut. dee Pyth.
Orac. 18; Plin. H. N. xviii. 25). See the fragments in Gottling's edit. of Hesiod,
p. 207.
7. Cheironos hupothekai seems to have been an imitation of the Erga. The few fragments
still extant are given by Gottling, l. c. p. 230, &c.
Strabo (vii. p. 436) speaks of a ges Periodos as the work of Hesiod,
but from another passage (vii. p. 434) we see that he means a compilation made
by Eratosthenes from the works of Hesiod. Respecting a poem called Peri ldaion
Daktulon, which was likewise ascribed to Hesiod, see Lobeck, Aglaoph. p. 1156.
The poems of Hesiod, especially the Theogony, were looked up to by
the Greeks from very early times as a great authority in theological and philosophical
matters, and philosophers of nearly every school attempted, by various modes of
interpretation, to bring about a harmony between the statements of Hesiod and
their own theories. The scholars of Alexandria
and other cities, such as Zenodotus, Aristophanes, Aristarchus, Crates of Mallus,
Apollonius Rhodius, Seleucus of Alexandria,
Plutarch, and others, devoted themselves with great zeal to the criticism and
explanation of the poems of Hesiod; but all their works on this poet are lost,
with the exception of sonic isolated remarks contained in the scholia on Hesiod
still extant. These scholia are the productions of a much later age, though their
anthors made use of the works of the earlier grammarians. The scholia of the Neo
Platonist Proclus (though only in an abridged form, of Joannes Tzetzes, and Moschopulus,
on the Erga and introductions on the life of Hesiod, are still extant; the scholia
on the Theogony are a compilation fiom earlier and later commentators. The most
complete edition of the scholia on Hesiod is that in the third volume of Gaisford's
Poetae Graeci Minores.
The Greek text of the Hesiodic poems was first printed at Milan in
1493, fol., together with Isocrates and some of the idyls of Theocritus. The next
edition is that in the collection of gnomic and bucolic poems published by Aldus
Manutius, Venice, 1495. The first separate edition is that of Junta, Florence,
1515, and again 1540, 8vo. The first edition that contains the Greek scholia is
that of Trincavellus, Venice, 1537, 4to., and more complete at Cologne, 1542,
8vo., and Frankfurt, 1591, 8vo. The most important among the subsequent editions
are those of Dan. Heinsius (Amsterdam, 1667, 8vo., with lectiones Hesiodeae, and
notes by Scaliger and Gujetus; it was reprinted by Leclerc in 1701, 8vo), of Th.
Robinson (Oxford, 1737, 4to., reprinted at Leipzig 1746, 8vo.), of Ch. F. Loesner
(Leipzig, 1778, 8vo., contains all that his predecessors had accumulated, together
with some new remarks), of Th. Gaisford (in vol. i. of his Poet. Gr. Min., where
some new MSS. are collated), and of C. Gottling (Gotha and Erfurt, 1831, 8vo.,
2d edit. 1843, with good critical and explanatory notes). The Erga were edited
also by Brunck in his Poetae Gnomici and other collections; the Theogony was edited
separately by F. A. Wolf (Halle, 1783), and by D. J. van Lennep (Amsterdam, 1843,
8vo., with a very useful commentary). There are also two good editions of the
Aspis', the by C. Fr. Heinrich (Breslau, 1802, 8vo., with introduction, scholia,
and commentary), and by C. F. Ranke (Quedlinburg, 1840, 8vo.).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited April 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Πληροφορίες Σύνταξης: Τα ηλεκτρονικά κείμενα των έργων του Ησίοδου παρατίθενται στην Ελλάδα (αρχαία χώρα) στην κατηγορία Αρχαία Ελληνική Γραμματεία.
ΒΟΙΩΤΙΑ (Αρχαία περιοχή) ΕΛΛΑΔΑ
Bees plaster honey on mouth of youthful, vanquished by Corinna, receives share of first-fruits offered to Apollo at Delphi, his iron chair at Delphi, dedicates images of Ammon and Hermes, dedicates sanctuary of Mother Dindymene, praises Athenians and is honoured by them, dream before his death, his tomb, statue at Athens, ruins of his house, his hymn in honour of Ammon, his song about Aphaea, his posthumous hymn on Proserpine, his poem on Sacadas, Pindar on children of Aloeus, on Alpheus and Artemis, on the Altis, on Antiope the Amazon, on founders of sanctuary of Ephesian Artemis, on Fortune, on Glaucus the sea demon, on Iamus, on Lynceus, on the Navel (omphalos) at Delphi, on selfishness in trouble, on Silenus, on golden songstresses, on Theseus and Pirithous, on loves of Zeus and Thebe, on the kibisis, quoted ("Custom is the lord of all").
Perseus Project Index. Total results on 18/7/2001: 782 for Pindar, 39 for Pindarus, 1000 for Pind., 3 for Pindaros.
ΕΡΕΤΡΙΑ (Αρχαία πόλη) ΕΥΒΟΙΑ
484 - 401
Achaeus. A Greek tragic poet of Eretria, born about B.C. 484, a contemporary
of Sophocles, and especially famous in the line of satyric drama. He wrote about
forty plays, of which only small fragments are preserved. These have been edited
by Urlichs (Bonn, 1834).
Achaeus (Achaios) of Eretria in Euboea, a tragic poet, was born B. C. 484, the year in which Aeschylus gained his first victory, and four years before the birth of Euripides. In B. C. 477, he contended with Sophocles and Euripides, and though he subsequently brought out many dramas, according to some as many as thirty or forty, he nevertheless only gained the prize once. The fragments of Achaeus contain much strange mythology, and his expressions were often forced and obscure (Athen. x.). Still in the satyrical drama he must have possessed considerable merit, for in this department some ancient critics thought him inferior only to Aeschylus (Diog. Laer. ii. 133). The titles of seven of his satyrical dramas and of ten of his tragedies are still known. The extant fragments of his pieces have been collected, and edited by Urlichs, Bonn, 1834. (Suidas, s. v.) This Achaeus should not be confounded with a later tragic writer of the same name, who was a native of Syracuse. According to Suidas and Phavorinus he wrote ten, according to Eudocia fourteen tragedies.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Sep 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΘΗΒΑΙ (Αρχαία πόλη) ΒΟΙΩΤΙΑ
Antigenidas, a Theban, the son of Satyrus or Dionysius, was a celebrated flute-player, and also a poet. He lived in the time of Alexander the Great (Suidas and Harpocrat. s. v.; Plut. de Alex. fort., a., de Music.; Cic. Brut. 50). His two daughters, Melo and Satyra, who followed the profession of their father, are mentioned in an epigram in the Greek Anthology (v. 206).
Archebulus (Archeboulos), of Thebes, a lyric poet, who appears to have lived about the year B. C. 280, as Euphorion is said to have been instructed by him in poetry. (Said. s.v. Euphorion.) A particular kind of verse which was frequently used by other lyric poets, was called after him (Hephaest. Enchir. 27). Not a fragment of his poetry is now extant.
Hegemon, an epic poet, who celebrated in verse the exploits of the Thebans under Epaminondas in the campaign of Leuctra. (Steph. Byz. s. v. Alexandreia.) Aelian quotes Hegemon en tois Dardanikois metrois.
ΚΑΡΥΣΤΟΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
Antigonus (Antigonos), of Carystus, is supposed by some to have lived in the reign
of Ptolemaeus Philadelphus, and by others in that of Euergetes. Respecting his
life nothing is known, but we possess by him a work called historion paradoxon
sunagoge (Historiae Mirabiles), which consists for the most part of extracts from
the "Auscultationes" attributed to Aristotle, and from similar works of Callimachus,
Timaeus, and others which are now lost. It is only the circumstance that he has
thus preserved extracts from other and better works, that gives any value to this
compilation of strange stories, which is evidently made without skill or judgment.
It was first edited, together with Antoninus Liberalis, by Xylander, Basel, 1568.
The best editions are those of Meursius, Lugd. Bat. 1619 and of J. Beckmann, Leipzig,
1791. Antigonus also wrote an epic poem entitled Antipatros, of which two lines
are preserved in Athenaeus (iii. p. 82). The Anthologia Graeca (ix. 406) contains
an epigram of Antigonus.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Diocles, Julius, (Ioulios Diokles), of Carystus, the author of four epigrams in
the Greek Anthology (Brunck, Anal. ii. 182; Jacobs, ii. 167). His name implies
that he was a Greek, and had obtained the Roman civitas. Reiske supposed him to
be the same person as the rhetorician Diodes of Carystus, who is often mentioned
by Seneca. Others suppose him to be the same as the physician. The name of the
poet himself is variously written in the titles to his epigrams. (Jacobs, xiii.
882, 883)
ΛΟΚΡΙΣ (Αρχαία χώρα) ΦΘΙΩΤΙΔΑ
Axiopistus (Axopiostos), a Locrian or Sicyonian, was the author of a poem entitled Kanon kai Tnomai, which was commonly ascribed to Epicharmus. (Athen. xiv.)
Charilaus (Charilaos), a Locrian, and a dramatic poet. Whether he wrote tragedies or comedies is uncertain, nor is anything further known of him than that plays of his were represented at Athens in B. C. 328.
ΟΠΟΥΣ (Αρχαία πόλη) ΑΤΑΛΑΝΤΗ
Bacchylides of Opus, a poet, whom Plato, the comic poet (about B. C. 400), attacked in his play entitled the Sophists. (Suidas, s. v. Sophistes.)
Corinna (Korinna), a poetess of Thebes (fl. B.C. 490), or, according to others, of Tanagra, distinguished for her skill in lyric verse, and remarkable for her personal attractions. She was the rival of Pindar, while the latter was still a young man; and, according to Aelian, she gained the victory over him no less than five times. Pausanias, in his travels, saw at Tanagra a picture, in which Corinna was represented as binding her head with a fillet of victory, which she had gained in a contest with Pindar. He supposes that she was less indebted for this victory to the excellence of her poetry than to her Boeotian dialect, which was more familiar to the ears of the judges at the games, and also to her extraordinary beauty. Corinna afterwards assisted the young poet with her advice. It is related of her that she recommended him to ornament his poems with mythical narrations; but that when he had composed a hymn, in the first six verses of which (still extant) almost the whole of the Theban mythology was introduced, she smiled and said, "We should sow with the hand, not with the whole sack". She was surnamed "the Fly" (Muia), as Erinna had been styled 'the Bee." The poems of Corinna were all in the Boeotian or Aeolic dialect. Too little of her poetry, however, has been preserved to allow of our forming a safe judgment of her style of composition. The extant fragments refer mostly to mythological subjects, particularly to heroines of the Boeotian legends. These remains are given by Bergk in his Poetae Lyrici Graeci (4th ed. 1878).
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Corinna (Korinna), a Greek poetess, a native of Tanagra in Boeotia. According to some
accounts (Eudocia), she was the daughter of Achelodorus and Procratia. On account
of her long residence in Thebes, she was sometimes called a Theban. She flourished
about the beginning of the fifth century B. C., and was a contemporary of Pindar,
whom she is said to have instructed (Plut. de Glor. Athen. iv.), and with whom
she strove for a prize at the public games at Thebes. According to Aelian (V.
H. xiii. 25), she gained the victory over him five times. Pausanias (ix. 22.3)
does not speak of more than one victory, and mentions a picture which he saw at
Tanagra, in which she was represented binding her hair with a fillet in token
of her victory, which he attributes as much to her beauty and to the circumstance
that she wrote in the Aeolic dialect, as to her poetical talents. At a later period,
when Pindar's fame was more securely established, she blamed her contemporary,
Myrtis, for entering into a similar contest with him (Apollon. Dyscol. in Wolf,
Corinnae Carm.). The Aeolic dialect employed by Corinna had many Boeotian peculiarities
(Eustath. ad Od.). She appears to have intended her poems chiefly for Boeotian
ears; hence the numerous local references connected with Boeotia to be found in
them (Paus. ix. 20.1; Steph. Byz. s. v. Thespeia). They were collected in five
books, and were chiefly of a lyrical kind, comprising choral songs, lyrical nomes,
parthenia, epigrams, and erotic and heroic poems. The last. however, seem to have
been written in a lyrical form. Among them awe find mentioned one entitled Iolaus,
and one the Seven against Thebes. Only a few unimportant fragments have been preserved.
Statues were erected to Corinna in different parts of Greece, and
she was ranked as the first and most distinguished of the nine lyrical Muses.
She was surnamed Muia (the Fly). We have mention of a younger Corinna of Thebes,
also sur named Myia, who is probably the same with the contemporary of Pindar.
And so also is probably a Myia or Corinna of Thespiae who is mentioned (Suidas,
s.v. Korinna).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΧΑΛΚΙΣ (Αρχαία πόλη) ΕΥΒΟΙΑ
Euphorion. Of Chalcis in Euboea, an eminent grammarian and poet, was the son of
Polymnetus, and was born, according to Suidas (s. r.), in the 126th Olympiad,
when Pyrrhus was defeated by the Romans, B. C. 274. He became, but at what period
of his life is not known, a citizen of Athens. (Hellad. ap. Phot. Cod 279, p.
532, Bekker.) He was instructed in philosophy by Lacydes, who flourished about
B. C. 241, and Prytanis (comp. Athen. xi.), and in poetry by Archebulus of Thera.
Though he was sallow, fat, and bandylegged, he was beloved by Nicia (or Nicaea),
the wife of Alexander, king of Euboea. His amours are referred to in more than
one passage in the Greek Anthology. (Brunck, Anal. vol. ii.) Having amassed great
wealth, he went into Syria, to Antiochus the Great (B. C. 221), who made him his
librarian. He died in Syria, and was buried at Apameia, or, according to others,
at Antioch. (Suid. s. v.) The epigram (Brunck, Anal. vol. ii.), which places his
tomb at the Peiraeeus, must be understood as referring to a cenotaph.
Euphorion wrote numerous works, both in poetry and prose, relating
chiefly to mythological history. The following were poems in heroic verse :--
1. Hesiodos, the subject of which can only be conjectured from the title. Some
suppose it to have been an agricultural poem. Euphorion is mentioned among the
agricultural writers by Varro (i. 1.9) and Columella (i. 1.10). 2. Mopsopia, so
called from an old name of Attica, the legends of which country seem to have been
the chief subject of the poem. From the variety of its contents, which Suidas
calls summingeir historiar, it was also called Atakta, a title which was frequently
given to the writings of that period. 3. Chiliades, a poem written against certain
persons, who had defrauded Euphorion of money which he had entrusted to their
care. It probably derived its title from each of its books consisting of a thousand
verses. The fifth book, or chilias, was entitled peri chresmon, and contained
an enumeration of oracles which had been fulfilled; and it is probably of this
book in particular that the statement of Suidas concerning the object of the poem
should be understood, namely, that the poet taught his defrauders that they would
in the end suffer the penalty of their faithlessness. The above seems the best
explanation of the passage in Suidas, which is, however, very corrupt, and has
been very variously explained. (See especially Heyne and Harless, l. c., and Meineke,
Euphor.) To these epic poems must be added the following, which are not mentioned
by Suidas : -- 4. Alexandros, which Meineke conjectures to have been addressed
to some friend of that name. (Steph. Byz. s. v. Suloi.) 5. Anios, a mythological
poem referring to Anius, the son and priest of the Delian Apollo. (Steph. Byz.
Fragment. p. 744, c., ed. Pined.) 6. Antigraphai pros Theoridan (Clem. Alex. Strom.
v., ed. Sylb.), a work of which nothing further is known, unless we accept the
not improbable conjecture of Meursius and Schneider, who read Theodoridan for
Theoridan, and suppose that the poem was written in controversy with the grammarian
Theodoridas, who afterwards wrote the epitaph on Euphorion, which is extant, with
seventeen other epigrams by Theodoridas, in the Greek Anthology. (Brunck, Anal.
vol. ii.) 7. Apollodoros, which seems to have been a mythological poem addressed
to a friend of that name. (Tzetzes, Schol. ad Lycophr. 513; Schol. ad Apollon.
Rhod. i. 1063; Suid. and Harpocrat. s. v. Ho katothen nomos; Phot. s. v. Ho katothen
logos.) 8. Arai e poteriokleptes (Steph. Byz. s. v. Alube ; Schol. ad Theocrit.
ii. 2), an attack on some person who had stolen a cup from Euphorion, which Callimachus
imitated in his Ibis, and both were probably followed by Ovid in his Ibis, and
by Cato and Virgil in their Dirae. (Meineke, Euphor.) 9. Artemidoros, probably
a poem like the Apollodorus. (Steph. Byz. s. v. Assoron.) 10. Geranos, the subject
of which, as well as its genuineness, is very uncertain. (Athen. iii.) 11. Demosthenes,
the title of which Meineke explains as he does the Alexander, Apollodorus, and
Artemidorus, and he conjectures that the person to whom the poem was addressed
was Demosthenes of Bithynia. (Choeroboscus, ap. Bekker. Anecd. Graec. iii.) 12.
Dionusos, which doubtless contained a full account of the myths relating to Dionysus.
(Schol. Ph. ad Odyss. iv., ed. Buttmann; Steph. Byz. s. v. Oruchion, Akte, Lukapsos;
Schol. ad Arat. Phaenom. 172; Tzetzes, Schol. ad Lycophr. 320; Etym. Mag.) 13.
Epikedeios eis Protagoran, an elegy on an astrologer named Protagoras. (Diog.
Laert. ix. 56.) This poem was doubtless in the elegiac, and not in the heroic
verse. 14. Thraix. (Steph. Byz. s. v. Asbotos, Onkaiai; Parthen. Erot. xiii.,
xxvi.) 15. Hippomedon. (Tzetzes, Schol. ad Lycophr. 451.) 16. Xenion. (Schol.
ad Apollon. Rhod. ii. 354.) 17. Poluchares. (Etym. Mag.; Choeroboscus, ap. Bekker.
Anecd. Graec. iii. ) 18. Huakinthor. (Schol. Theocr. x. 28; Eustath. ad Hom.)
19. Philoktetes. (Stobaeus, Serm. lviii., Tit. lix.; Tzetzes, Schol. ad Lycophr.
911.)
Euphorion was an epigrammatist as well as an epic poet. He had a place
in the Garland of Meleager (Prooem, 23), and the Greek Anthology contains two
epigrams by him. (Brunck, Anal. vol. i.; Jacobs, Anth. Graec. vol. i.) They are
both erotic; and that such was the character of most of his epigrams, is clear
from the manner in which he is mentioned by Meleager, as well as from the fact
that he was among the poets who were imitated by Propertius, Tibullus, and Gallus.
(Diomed. iii.; Probus, ad Virgil. Ecl. x. 50.) It was probably this seductive
elegiac poetry of Euphorion, the popularity of which at Rome, to the neglect of
Ennius, moved the indignation of Cicero. (Tusc. Disp. iii. 19.) It was therefore
quite natural that Euphorion should be a great favourite with the emperor Tiberius,
who wrote Greek poems in imitation of him (Sueton. Tiber. 70)
Some writers have supposed that Euphorion was also a dramatic poet.
Ernesti (Clav. Ciceron. s. v.) and C. G. Muller (ad Tzetz. Schol. p. 651) say,
that he composed tragedies; but they give no reasons for the assertion, and none
are known. Fabricius (Bibl. Graec. vol. ii.) places him in his list of comic poets,
mentioning as his plays the Apollodoros, which was an epic poem (vid. sup.), and
the Apodidousa, respecting which there can be no doubt that for Euphorion we should
read Euphron in the passage of Athenaieus (xi.).
Euphorion's writings in prose were chiefly historical and grammatical.
They were : 1. Historika upomnemata. (Athen. iv., xv.) 2. Peri ton Aleuadon (Clem.
Alex. Strom. i., Sylb.; Schol. Theocr. ad Idyll. xvi. 34; Quintil. x. 2), which
Suidas (s. v. Ephoros) attributes to the younger Ephorus. 3. Peri ton Isthmion.
(Athen. iv.) 4. Peri Melopoiion (Athen. iv.) 5. A grammatical work of great celebrity,
which related chiefly to the language of Hippocrates, and appears to have been
entitled Lexis Hippokratous.
The character of Euphorion as a poet may be pretty clearly understood
from the statements of the ancient writers, and from his extant fragments, as
well as from the general literary character of his age. He lived at the time when
the literature of the Alexandrian school had become thoroughly established, when
originality of thought and vigour of expression were all but extinct, and, though
the ancient writers were most highly valued, their spirit was lost, and the chief
use made of them was to heap together their materials in elaborate compilations
and expand them by trivial and fanciful additions, while the noble forms of verse
in which they had embodied their thoughts were made the vehicles of a mass of
cumbrous learning. Hence the complaints which the best of succeeding writers made
of the obscurity, verboseness, and tediousness of Euphorion, Callimachus, Parthenius,
Lycophron, and the other chief writers of the long period during which the Alexandrian
grammarians ruled the literary world. (Clem. Alex. Strom. v.; Cic. de Div. ii.
64; Lucian. de Conscrib. Hist. 57, vol. ii.) These faults seem to have been carried
to excess in Euphorion, who was particularly distinguished by an obscurity, which
arose, according to Meineke, from his choice of the most out of the way subjects,
from the cumbrous learning with which he overloaded his poems, from the arbitrary
changes which he made in the common legends, from his choice of obsolete words,
and from his use of ordinary words with a new meaning of his own. The most ancient
and one of the most interesting judgments concerning him is in an epigram by Crates
of Mallus (Brunck, Anal., vol. ii.), from which we learn that he was a great admirer
of Choerilus, notwithstanding which, however, the fragments of his poetry shew
that he also imitated Antimachus. Meineke conjectures that the epigram of Crates
was written while the contest about receiving Antimachus or Choerilus into the
epic canon was at its height, and that some of the Alexandrian grammarians proposed
to confer that honour on Euphorion. In the same epigram Euphorion is called Omerikos,
which can only mean that he endeavoured, however unsuccessfully, to imitate Homer,
-- a fact which his fragments confirm. (Comp. Cic. de Div. l. c.) That he also
imitated Hesiod, may be inferred from the fact of his writing a poem entitled
Hesiodos; and there is a certain similarity in the circumstance of each poet making
a personal wrong the foundation of an epic poem,--Hesiod in the Erga kai Hemerai,
and Euphorion in the Chiliades.
As above stated, Euphorion was greatly admired by many of the Romans,
and some of his poems were imitated or translated by Cornelius Gallus ; but the
arguments by which Heyne and others have attempted to decide what poems of Euphorion
were so translated, are quite inconclusive.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Euphorion. An epic and epigrammatic poet, born at Chalcis in Euboea, B.C. 276, and who became librarian to Antiochus the Great. He wrote various poems, entitled Hesiod, Alexander, Arius, Apollodorus, etc. His Mopsopia or Miscellanies (Mopsopia e atakta) was a collection, in five books, of fables and histories relative to Attica, a very learned work, but rivalling in obscurity the Cassandra of Lycophron. The fifth book bore the title of Chiliad (Chilias), either because it consisted of a thousand verses, or because it contained the ancient oracles that referred to a period of a thousand years. Perhaps, however, each of the five books contained a thousand verses, for the passage of Suidas respecting this writer is somewhat obscure and defective, and Eudocia, in the "Garden of Violets," speaks of a fifth Chiliad, entitled Peri Chresmon, "Of Oracles." Quintilian recommends the reading of this poet, and Vergil is said to have esteemed his productions very highly. A passage in the tenth eclogue and a remark made by Servius have led Heyne to suppose that C. Cornelius Gallus , the friend of Vergil, had translated Euphorion into Latin verse. This poet was one of the favourite authors of the emperor Tiberius, one of those whom he imitated, and whose busts he placed in his library. . .
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Dec 2002 from The Perseus Project URL below, which contains interesting hyperlinks
275 - 200
Ευφορίων : Γεννήθηκε στην Χαλκίδα στα 276/5 π.χ. στην ακμή της ελληνιστικής εποχής. Η ποίησή του δείχνει τον ξεπεσμό του ύφους. Σπούδασε στην Αθήνα. Σε προχωρημένη ηλικία βρέθηκε στην βιβλιοθήκη της Αντιοχείας, προσκεκλημένος του Αντίοχου Γ΄. Η μεγάλη επιτυχία του δημιούργησε και φθόνους και γι' αυτό διαβάζουμε ακόμα λογής - λογής ιστορίες για την ασχήμια του και για την αμφίβολη διαγωγή του. Τους νέους Ρωμαίους τους επηρέασε δυνατά, ακριβώς εξαιτίας της φανατικής υποστήριξης των ελληνιστικών καλλιτεχνικών αρχών. Σώζονται αποσπάσματα από έργα του: Κατάρες, Θραξ, Χιλιάδες, με περιεχόμενο σκοτεινό και αινιγματικό, σπάνιες λέξεις και ύφος αντικλασσικό, συνειδητά αντίθετο προς εκείνο του Ομήρου.
This file forms part of A Hellenistic Bibliography, a bibliography on post-classical Greek poetry and its influence, accessible through the website of the department of Classics of the University of Leiden.
The file contains 22 titles on Euphorion, listed by year/author.
Compiled and maintained by Martijn Cuypers
Email: m.p.cuypers@let.leidenuniv.nl
Additions and corrections will be gratefully received.
Last updated: 3 july 2002
Lycophron (Lukophron). A grammarian and poet who was a native of Chalcis in Euboea, and lived at Alexandria under Ptolemy Philadelphus (B.C. 285-247). He was the author of an extant poem in 1474 iambic lines, entitled Cassandra or Alexandra, in which Cassandra is made to prophesy the fall of Troy, with numerous other events. The obscurity of this work is proverbial, and it is filled with obsolete words and long compounds. Among the numerous ancient commentaries on the poem, the most important are the scholia of Isaac and John Tzetzes, which are far more valuable than the poem itself. The earliest edition is that which appeared at Venice in 1513. It has since been edited by Bachmann (Leipzig, 1828), Kinkel (1880), and Scheer (1881). There is an English version by Lord Royston. Lycophron also wrote a work on the history of Greek comedy and the comic poets, and composed tragedies now lost.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited August 2003 from The Perseus Project URL below, which contains interesting hyperlinks
Lycophron (Lukophron), the celebrated Alexandrian grammarian and poet, was a native
of Chalcis in Euboea, the son of Socles, and the adopted son of the historian
Lycus of Rhegium (Suid. s. v.). Other accounts made him the son of Lycus (Tzetz,
Chil. viii. 481). He lived at Alexandria, under Ptolemy Philadelphus, who entrusted
to him the arrangement of the works of the comic poets contained in the Alexandrian
library. In the execution of this commission Lycophron drew up a very extensive
work on comedy (peri komoidias), which appears to have embraced the whole subject
of the history and nature of the Greek comedy, together with accounts of the comic
poets, and, besides this, many matters bearing indirectly on the interpretation
of the comedians (Meineke, Hist. Crit. Com. Graec.). Nothing more is known of
his life. Ovid (Ibis, 533) states that he was killed by an arrow.
As a poet, Lycophron obtained a place in the Tragic Pleiad; but there
is scarcely a fragment of his tragedies extant. Suidas gives the titles of twenty
of Lycophron's tragedies; while Tzetzes (Schol. in Lyc. 262, 270) makes their
number forty-six or sixty-four. Four lines of his Pelopidai are quoted by Stobaeus
(cxix. 1). He also wrote a satyric drama, entitled Menedemos, in which he ridiculed
his fellow-countryman, the philosopher Menedemus of Eretria (Ath. x.; Diog. Laert.
ii. 140; comp. Menag. ad loc.), who, nevertheless, highly prized the tragedies
of Lycophron (Diog. ii 133). He is said to have been a very skilful commposer
of anagrams, of which he wrote several in honour of Ptolemy and Arsinoe.
The only one of his poems which has come down to us is the Cassandra
or Alexandra. This is neither a tragedy nor an epic poem, but a long iambic monologue
of 1474 verses, in which Cassandra is made to prophesy the fall of Troy, the adventures
of the Grecian and Trojan heroes, with numerous other mythological and historical
events, going back as early as the Argonauts, the Amazons, and the fables of Io
and Europa, and ending with Alexander the Great. The work has no pretensions to
poetical merit. It is simply a cumbrous store of traditional learning. Its obscurity
is proverbial. Suidas calls it skoteinon poiema, and its author himself obtained
the epithet skoteinos. Its stores of learning and its obscurity alike excited
the efforts of the ancient grammarians, several of whom wrote commentaries on
the poem: among them were Theon, Dection, and Orus. The only one of these works
which survives, is the Scholia of Isaac and John Tzetzes, which are far more valuable
than the poem itself.
A question has been raised respecting the identity of Lycophron the
tragedian and Lycophron the author of the Cassandra. From some lines of the poem
(1226, &c., 1446, &c.) which refer to Roman history, Niebuhr was led to suppose
that the author could not have lived before the time of Flamininus (about B. C.
190); but Welcker, in an elaborate discussion of. the question, regards the lines
as interpolated.
The first printed edition of Lycophron was the Aldine, with Pindar
and Callimachus, Venet. 1513, 8vo.; the next was that of Lacisius, with the Scholia,
Basil. 1546, fol.: of the later editions the most important are those of Potter,
Oxon. 1697, fol., reprinted 1702; Reichard, Lips. 1788, 2 vols. 8vo.; and Bachmann,
Lips. 1828, 2 vols. 8vo.; to which must be added the admirable edition of the
Scholia by C. G. Miller, Lips. 1811, 3 vols. 8vo. (Fabric. Bibl. Graec. vol. iii.
p. 750; Welcker, die Griech. Tragd. pp. 1256-1263; Bernhardy, Grundriss d. Griech.
Lift. vol. ii. pp. 613, 1026-1029.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
ΑΝΑΤΟΛΙΚΗ ΦΡΑΓΚΙΣΤΑ (Χωριό) ΕΥΡΥΤΑΝΙΑ
1873 - 1946
Ηγέτης του βενιζελογενή χώρου κατά την διάρκεια του Μεσοπολέμου και Πρωθυπουργός (6/2 - 12/3/1924).
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