I received word from Amazon that the newest version of my FREE educational Alexa skill, “Caesar’s Ancient World” has been certified. This latest version of the skill includes 280 images of ancient art from almost 100 institutions worldwide for those of you with Alexa-enabled devices with displays like the Echo Show, Echo Spot and FireTV. Of course the voice-only version remains available for those with regular Echos or Echo Dots.
I have redesigned the interface so you can now just ask Caesar what you would like to talk about and he will reply with narrative including sound effects. You can say things like “I want to know more about chariot racing” or “Tell me more about your greatest victory” or “I’m interested in gladiators”. If you can’t think of anything just say “I don’t know” or “I can’t think of anything” and he’ll suggest a topic!
The new fragments show conclusively the alternation in book 1 of poems about family and cult, on the one hand, and personal concerns about love on the other. A cycle of poems concerning sea-faring is revealed, centering on the drama of a mercantile family of wine-traders on 7th-century Lesbos. The presence of Dionysus in the trinity of gods in the Pan-Lesbian sanctuary at Mesa on the island is explained, and the whole complex of love, sea-faring, wine, and trade falls neatly into the context of Herodotus’ story (2.135) of how Sappho’s brother Charaxos spent a great deal of money . . . to free his lover the courtesan Rhodopis (aka Doricha), then a slave at Naucratis in Egypt—for which Herodotus claims a pedigree in a poem of Sappho’s. In fragments 5 and 17 and now the ‘Brothers Poem’ we can see the existence of a song type, a prayer for the safe return of the merchant-gone-to-sea (or going). The prayer may rehearse an occasion leading to the performance of a song (as in the ‘Brothers Poem’), or its actual performance in the past or present (as in fragment 5). The prayer for safe return, introduced as a matter of concern, then expands to envisage what such a return would mean for the family—wealth, and an enhanced social position in the community. A further connection with the poems involving Aphrodite (who dominates book 1 but is virtually missing elsewhere) is suggested, since she is also typically invoked in seaside cult as a protectress of sailors (as we can see at the end of fragment 5, perhaps associated with prostitutes and hetair ae frequented by Charaxos).
“Savagery and barbarism both frightened and excited her. She admitted that ‘ritual seizes me: a ritual dance, a ritual procession and vestments and lights and banners, moves me as no sermon, no hymn, no picture, no poem has ever moved me.'”
She was both Puritan and would-be Bacchante in the same body, a fascinating character, described when lecturing at Cambridge as “a tall figure in black drapery, with touches of her favorite green and a string blue Egyptian beads, like a priestess’s rosary.” Hutton suggests that she did much to create the notion of a Great Goddess who preceded the familiar Greek pantheon. He quotes Beard, so now I will see what Beard has to say.
Beard herself describes the myth of Harrison thus in her preface:
“Jane Ellen Harrison changed the way we think about the ancient Greeks; she infuriated the academic establishment at the turn of the nineteenth and twentieth centuries with her uncompromising refusal to play the submissive part; she fell repeatedly and hopelessly in love–usually with entirely unsuitable men, who were also her academic colleagues; she gave some of the most remarkably theatrical lectures that the University of Cambridge has ever seen; in the very male intellectual world of a century ago, she put women academics and women’s colleges (dangerously) on the map.”