By John Edwin Sandys
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The ruling goes against Sisyphus in the dispute that arises between the two men. Here, the description of Mestra’s actions is lacking, though she may be described as ‘knowing subtle wiles in her mind’ (fr. 9) and/or may be the subject who ‘deceives even the polÅjrona man’ (fr. 18). There is no doubt, however, that this is a disorder of the regular plot which is very much more disturbing than Stratonike’s not receiving a bride-price. Here is a bride who does not remain in the halls, a woman who is always changing her form.
Heilinger 1983: 19–34 doubts that the fragment comes from the end of the Catalogue, and believes that vv. 95ff. have nothing to do with what precedes. That would, of course, simplify our lives. The eris dividing the gods could be either the cause or effect of Zeus’s plan (cf. Marg 1970: 516), but I think the explanatory gr suggests the latter. 30 jenny strauss cl ay (vv. 99–100). In early Greek poetry, the term hemitheoi always seems to convey not only their hybrid nature, but also a distancing perspective on the heroes that assigns them to a bygone era.
And some women, it appears, only gods can expect to subdue (fr. 55, cf. 81). Here, for the ﬁrst time, we have an indication that the simple plot that dominates the poem may not be the only plot to be met with in real life. The daughters of Tyndareus, Timandre, Clytemnestra, and Helen, are systematically disorderly, made polygamous abandoners of their husbands by Aphrodite (fr. 176). We do not know exactly how either Clytemnestra’s or Helen’s story was played out, but Timandre’s leaving her husband is presented as her action, and Clytemnestra is credited with having ‘chosen a worse man’ (e¯leto ce©ronì ko©thn fr.
A history of classical scholarship / Vol. 1 by John Edwin Sandys