P E Easterling
Biographic Data
| ID | 1134084 |
|---|---|
| NAME | P E Easterling |
| GIVEN NAMES | P E |
| FAMILY NAME | Easterling |
| SIGNATURE | EASTERLING P E |
| AFFILIATIONS | Newham College |
| VERIFIED | No |
| TOTAL WORKS | 38 |
| TOTAL CITATIONS | 129 |
| AUTHOR COUNT | 37 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1960 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 5 |
Studies in Greek Literature
Pat Easterling's articles are fundamental to her status as one of the most influential Hellenists of her generation. Characterised by unostentatious astuteness and an arresting capacity for observation, they put forward tersely considered arguments that have the weight of much longer discussions. Exacting attention to language and detail combines with clear-sighted openness to new developments within and beyond the discipline to allow the texts t…
Agamemnon’s SkĒptron in the Iliad
King Agamemnon rose, holding the skeptron that was the handiwork of Hephaestus. The skeptron’s credentials are clearly impeccable. So Agamemnon is being defined as an outstandingly great hereditary ruler, whose skeptron with its distinguished pedigree marks his divinely given prerogative. The particularly solemn activity of oath-taking is marked by a special gesture with the skeptron, ‘holding it up to all the gods’; so at 10.321 Dolon asks Hecto…
Narrative on the Greek Tragic Stage
A Note on Cambridge Greek and Latin Classics
Journal Article A NOTE ON CAMBRIDGE GREEK AND LATIN CLASSICS Get access PAT EASTERLING PAT EASTERLING Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 56, Issue Supplement_101, January 2013, Pages 177–179, https://doi.org/10.1111/j.2041-5370.2013.tb02531.x Published: 06 February 2014
Perspectives on antiquity and tragedy
Two general points stand out for me among the many interesting issues raised by Charles Martindale’s paper. First there is the really remarkable reconfiguration of Classics that ‘reception’ (however precisely — or imprecisely — defined) has made possible over the past twenty years, with no sign so far that it might be just a passing fashion. This is an exciting change of perspective, but Martindale is right to warn that work under its banner can …
Horace: Odes Book I
In the first book of odes, Horace presents himself to his Roman readers in a novel guise, as the appropriator of the Greek lyric tradition. He aspired to add a new province to the empire of the national literature. The first book is designed both to establish Horace's engagement with his Greek predecessors and to create a role for lyric poetry in contemporary Rome. The collection of thirty-eight poems is therefore a dazzling feat of poetic approp…
Horace: Odes IV and Carmen Saeculare
The Carmen Saeculare was composed and published in 17 BCE as Horace was returning to the genre of lyric which he had abandoned six years earlier; the fourth book of Odes is in part a response to this poem, the only commissioned poem we know from the period. The hardening of the political situation, with the Republic a thing of the past and the Augustan succession in the air, threw the problematic issue of praise into fresh relief, and at the same…
Chapter Fourteen. Looking for Omphale
Omphale is well attested as a play by Ion, and specifically identified as a satyr play in 23 Leurini = TrGF 19 F18 = Strabo 1.3.19: Strabo, in a passage on offshore islands, cites Ion in the satyr play Omphale for a reference to Euboea and the Euripus. In Diodorus and Apollodorus, Omphale is daughter of King Iardanus of Lydia; Diodorus makes her a virgin queen, but in Apollodorus she is the widow of king Tmolus. The story of her union with Heracl…
Sophocles: The First Thousand Years
SOPHOCLES: THE FIRST THOUSAND YEARS P. E. EASTERLING P. E. EASTERLING University of Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 49, Issue Supplement_87, January 2006, Pages 1–15, https://doi.org/10.1111/j.2041-5370.2006.tb02327.x Published: 27 July 2011
Greek and Latin Letters: An Anthology with Translation
Introduction A. Private letters (1-60) B. Public life and official correspondence (61-70) C. Embedded letters (71-2) D. Epistolary theory (73-6) Commentary
Greek and Roman actors: Aspects of an Ancient Profession
Dramatic Identities
The question of whether tragedy was performed in late antiquity and, if so, in what form, has provoked considerable scholarly debate. Much of this work has been influenced by the Gibbonesque model of decline and fall. Culture as an articulation of society mirrors the political decline of the empire. Even scholars who attempt to distance themselves from such a model find it hard not to portray theatre in the middle and late empire as a pale reflec…
The Cambridge Companion to Greek Tragedy
The Cambridge Companion to Greek Tragedy
From repertoire to canon
This is a chapter about change: the complex and largely irrecoverable process whereby Athenian tragedy transformed itself into an international art-form which became familiar and influential throughout the Greek-speaking world, was translated and imitated by Roman playwrights, mutated into various types of balletic and operatic performance, and as a select corpus of classical texts helped to shape the educational system, and inform the culture, o…
Form and performance
The story of Greek tragedy in the fifth century BC is an extraordinarily difficult one to tell. On the one side there are thirty-two well-known plays transmitted from antiquity through the medieval tradition, plays that have exerted a profound, even immeasurable, influence on Western culture, while on the other there are fragmentary scraps of evidence, often enough distorted by the preconceptions of later times, from which scholars try to reconst…
The Cambridge Companion to Greek Tragedy
As a creative medium, ancient Greek tragedy has had an extraordinarily wide influence: many of the surviving plays are still part of the theatrical repertoire, and texts like Agamemnon, Antigone, and Medea have had a profound effect on Western culture. This Companion is not a conventional introductory textbook but an attempt, by seven distinguished scholars, to present the familiar corpus in the context of modern reading, criticism, and performan…
Menader: Loss and Survival
Journal Article MENADER: LOSS AND SURVIVAL Get access Pat Easterling Pat Easterling University College London ‐ Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 40, Issue Supplement_66, July 1995, Pages 153–160, https://doi.org/10.1111/j.2041-5370.1995.tb02187.x Published: 22 February 2011
Men's κλέος and Women's γόος: Female Voices in the Iliad
Female characters in the Iliad are often given voices in contexts of formal lamentation, where their grief at the loss of husbands or sons is presented not merely in emotional terms but also as articulate commentary on the events of the poem. (This is brought out with particular clarity in Books 6 and 24.) Women are also given a role as creators: their domestic handiwork as weavers, which sets them in contrast with the men, active in war and publ…
The Cambridge History of Classical Literature, 1: Greek Literature
Women in Tragic Space
The Cambridge History of Classical Literature Vol. 1, Greek Literature
The literature of the Empire
THE EARLY EMPIRE: GEOGRAPHY, HISTORY, LITERARY CRITICISM Strabo After the defeat of Antony at Actium in 31 B.C. and the fall of Alexandria in the next year, the eastern and western parts of the Roman empire quickly recovered from the divisiveness of Rome's civil war; and with the encouragement of the heir of Caesar, soon to be named Augustus, the Graeco-Roman culture of the Mediterranean world renewed itself. Several of the major Greek writers of…
Books and readers in the Greek world
FROM THE BEGINNINGS TO ALEXANDRIA The Greeks, who gave us the names, forms and classic models of tragedy, comedy, epic, lyric and pastoral poetry, and, in fact, of almost every literary genre known to the West, did not develop a system of writing adequate for the recording of literature until late in their history. When, towards the end of the eighth century B.C., they finally did so, Egyptian literature, religious and secular, had been transmitt…
The epic tradition after Homer and Hesiod
THE CYCLIC EPICS Homer and Hesiod, as the sole survivors of the earliest age of Greek literature, have conveyed such an impression of uniqueness that it requires some effort to recall that they were by no means without rivals and imitators. The formulaic nature of their verse, which implies a common bardic tradition, the recitations of Phemius and Demodocus in the Odyssey, and the occasion of Hesiod's competition at Chalcis all suggest that the e…
Greek and Roman actors: Aspects of an Ancient Profession
Men's κλέος and Women's γόος: Female Voices in the Iliad
Female characters in the Iliad are often given voices in contexts of formal lamentation, where their grief at the loss of husbands or sons is presented not merely in emotional terms but also as articulate commentary on the events of the poem. (This is brought out with particular clarity in Books 6 and 24.) Women are also given a role as creators: their domestic handiwork as weavers, which sets them in contrast with the men, active in war and publ…
The Tragic Homer
THE TRAGIC HOMER P.E. EASTERLING P.E. EASTERLING Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 31, Issue 1, December 1984, Pages 1–8, https://doi.org/10.1111/j.2041-5370.1984.tb00524.x Published: 12 March 2010
Alcman 58 and Simonides 37
ALCMAN 58 (D. L. Page, Poetae Melici Graeci ) = 38 Bergk; 36 Diehl. It is not Aphrodite, but wild Eros plays like a boy (or ‘like the boy he is’), coming down over the tips of the galingale flowers: don't touch them! There are no serious textual variants; Bentley's παῖς looks a certain supplement. The context in which the fragment is quoted (Hephaestion 13. 6, p. 42 Consbr.) is a discussion of the cretic; the lines are cited as a metrical example…
Perspectives on antiquity and tragedy
Two general points stand out for me among the many interesting issues raised by Charles Martindale’s paper. First there is the really remarkable reconfiguration of Classics that ‘reception’ (however precisely — or imprecisely — defined) has made possible over the past twenty years, with no sign so far that it might be just a passing fashion. This is an exciting change of perspective, but Martindale is right to warn that work under its banner can …
The Cambridge Companion to Greek Tragedy
Sophocles' Philoctetes: Collations of the Manuscripts G, R, and Q
In an earlier article I reported the text Ajax offered by the so-called ‘Roman’ family of Sophocles, the manuscripts G, R, and Q. My present purpose is to give collations of G, R, and Q for Philoctetes , with some introductory comments confined to this play; I hope I may be allowed to refer the reader to my previous article for a discussion of the general problems arising from a study of these manuscripts
Sophocles, Trachiniae
Journal Article SOPHOCLES, TRACHINIAE Get access P. E. Easterling P. E. Easterling Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 15, Issue 1, December 1968, Pages 58–69, https://doi.org/10.1111/j.2041-5370.1968.tb00062.x Published: 12 March 2010
The Manuscript a of Sophocles and its Relation to the Moschopulean Recension
Professor Kamerbeek in a recent article raises some interesting questions about the value of the manuscript of Sophocles Parisinus gr. 2712, universally known as A. Ever since the time of Brunck, who was the first to use this manuscript extensively, it has been considered second only to Laurentianus XXXII 9 (L) as a source of correct readings and as a witness of the old, i.e. pre-Byzantine, tradition of Sophocles. But the importance of A has been…
The Clouds of Aristophanes. The Greek Text Performed at Cambridge in February 1962 with an English Translation
Sophocles' Ajax: Collations of the Manuscripts G, R, and Q
Since the appearance in 1952 of Alexander Turyn's Studies in the Manuscript Tradition of the Tragedies of Sophocles it has been quite clear that editors must abandon the traditional stemma and with it much of their traditional thinking about the text. One of Turyn's most important contributions to Sophoclean studies has been his treatment of what he calls the vetustiores
Sophocles, Trachiniae
Journal Article SOPHOCLES, TRACHINIAE Get access P. E. Easterling P. E. Easterling Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 15, Issue 1, December 1968, Pages 58–69, https://doi.org/10.1111/j.2041-5370.1968.tb00062.x Published: 12 March 2010
Three Greek Papyri in Westminster College, Cambridge
Three Greek Papyri in Westminster College, Cambridge
Sophocles' Philoctetes: Collations of the Manuscripts G, R, and Q
In an earlier article I reported the text Ajax offered by the so-called ‘Roman’ family of Sophocles, the manuscripts G, R, and Q. My present purpose is to give collations of G, R, and Q for Philoctetes , with some introductory comments confined to this play; I hope I may be allowed to refer the reader to my previous article for a discussion of the general problems arising from a study of these manuscripts
Westminster College Papyri: A Further Note
Westminster College Papyri: A further note
Alcman 58 and Simonides 37
ALCMAN 58 (D. L. Page, Poetae Melici Graeci ) = 38 Bergk; 36 Diehl. It is not Aphrodite, but wild Eros plays like a boy (or ‘like the boy he is’), coming down over the tips of the galingale flowers: don't touch them! There are no serious textual variants; Bentley's παῖς looks a certain supplement. The context in which the fragment is quoted (Hephaestion 13. 6, p. 42 Consbr.) is a discussion of the cretic; the lines are cited as a metrical example…
Dionysiaca: Nine Studies in Greek Poetry by Former Pupils Presented to Sir Denys Page on His Seventieth Birthday
The Tragic Homer
THE TRAGIC HOMER P.E. EASTERLING P.E. EASTERLING Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 31, Issue 1, December 1984, Pages 1–8, https://doi.org/10.1111/j.2041-5370.1984.tb00524.x Published: 12 March 2010
The literature of the Empire
THE EARLY EMPIRE: GEOGRAPHY, HISTORY, LITERARY CRITICISM Strabo After the defeat of Antony at Actium in 31 B.C. and the fall of Alexandria in the next year, the eastern and western parts of the Roman empire quickly recovered from the divisiveness of Rome's civil war; and with the encouragement of the heir of Caesar, soon to be named Augustus, the Graeco-Roman culture of the Mediterranean world renewed itself. Several of the major Greek writers of…
Books and readers in the Greek world
FROM THE BEGINNINGS TO ALEXANDRIA The Greeks, who gave us the names, forms and classic models of tragedy, comedy, epic, lyric and pastoral poetry, and, in fact, of almost every literary genre known to the West, did not develop a system of writing adequate for the recording of literature until late in their history. When, towards the end of the eighth century B.C., they finally did so, Egyptian literature, religious and secular, had been transmitt…
The epic tradition after Homer and Hesiod
THE CYCLIC EPICS Homer and Hesiod, as the sole survivors of the earliest age of Greek literature, have conveyed such an impression of uniqueness that it requires some effort to recall that they were by no means without rivals and imitators. The formulaic nature of their verse, which implies a common bardic tradition, the recitations of Phemius and Demodocus in the Odyssey, and the occasion of Hesiod's competition at Chalcis all suggest that the e…
Elegy and iambus
ARCHILOCHUS Archilochus is in many ways the focal point for any discussion of the development of literature in the seventh century, since he is the first Greek writer to take his material almost entirely from what he claims to be his own experience and emotions, rather than from the stock of tradition. By a happy coincidence this central figure is also precisely datable. He was a contemporary of Gyges, king of Lydia c. 687-652 (fr. 19). He allude…
The Cambridge History of Classical Literature Vol. 1, Greek Literature
Women in Tragic Space
The Cambridge History of Classical Literature, 1: Greek Literature
Men's κλέος and Women's γόος: Female Voices in the Iliad
Female characters in the Iliad are often given voices in contexts of formal lamentation, where their grief at the loss of husbands or sons is presented not merely in emotional terms but also as articulate commentary on the events of the poem. (This is brought out with particular clarity in Books 6 and 24.) Women are also given a role as creators: their domestic handiwork as weavers, which sets them in contrast with the men, active in war and publ…
Menader: Loss and Survival
Journal Article MENADER: LOSS AND SURVIVAL Get access Pat Easterling Pat Easterling University College London ‐ Newnham College, Cambridge Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 40, Issue Supplement_66, July 1995, Pages 153–160, https://doi.org/10.1111/j.2041-5370.1995.tb02187.x Published: 22 February 2011
From repertoire to canon
This is a chapter about change: the complex and largely irrecoverable process whereby Athenian tragedy transformed itself into an international art-form which became familiar and influential throughout the Greek-speaking world, was translated and imitated by Roman playwrights, mutated into various types of balletic and operatic performance, and as a select corpus of classical texts helped to shape the educational system, and inform the culture, o…
Form and performance
The story of Greek tragedy in the fifth century BC is an extraordinarily difficult one to tell. On the one side there are thirty-two well-known plays transmitted from antiquity through the medieval tradition, plays that have exerted a profound, even immeasurable, influence on Western culture, while on the other there are fragmentary scraps of evidence, often enough distorted by the preconceptions of later times, from which scholars try to reconst…
The Cambridge Companion to Greek Tragedy
As a creative medium, ancient Greek tragedy has had an extraordinarily wide influence: many of the surviving plays are still part of the theatrical repertoire, and texts like Agamemnon, Antigone, and Medea have had a profound effect on Western culture. This Companion is not a conventional introductory textbook but an attempt, by seven distinguished scholars, to present the familiar corpus in the context of modern reading, criticism, and performan…
The Cambridge Companion to Greek Tragedy
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