The Myth of Lycurgus in Aeschylus, Naevius, and Beyond

‎Contents
‎Acknowledgments
‎Figures
‎Introduction
	‎The Structure of This Book
‎Chapter 1. Lycurgus before Theatre
	‎1.1. Iliad 6.130–140: Who Are You, My Dear?
	‎1.2. Eumelus and the Early Dionysian Saga
	‎1.3. The Presuppositions of the Homeric Passage: All that We Will Never Know about Life, Death, and Lycurgus
	‎1.4. Stesichorus fr. 276 (Finglass): The Gift of Dionysus
		‎1.4.1. Hephaestus Meets Dionysus in Naxos
	‎1.5. Conclusions
‎Chapter 2. Aeschylus’ Lycurgeia
	‎2.1. Introduction
	‎2.2. Tragic Trilogy
		‎2.2.1. Apollodorus and the Edonoi
		‎2.2.2. Eratosthenes and the Bassarai
		‎2.2.3. The Neaniskoi
	‎2.3. The End of Lycurgus in Sophocles, Aeschylus, and Related Texts
		‎2.3.1. Sophocles’ Antigone 955–965
		‎2.3.2. Back to Aeschylus
	‎2.4. Orpheus in Fabula
		‎2.4.1. Diodorus of Sicily and the Chronology of the Thracian Kings
		‎2.4.2. The Conflict
		‎2.4.3. Towards a Resolution of the Conflict
		‎2.4.4. Orpheus’ Oracular Head
		‎2.4.5. Back to Eratosthenes
		‎2.4.6. Dionysian Cannibalism
		‎2.4.7. Theophrastus’ De pietate, Porphyry’s De abstinentia 2.8.3
		‎2.4.8. Resolution of the Conflict
		‎2.4.9. Conclusions
		‎2.4.10. Appendix: Krater
	‎2.5. Reconstruction of the Lycurgeia
		‎2.5.1. Edonoi: An Outline of the Plot
		‎2.5.2. Bassarai: An Outline of the Plot
		‎2.5.3. Neaniskoi
		‎2.5.4. Further Fragments
	‎2.6. Lycurgus Satyricus
		‎2.6.1. Beer or Wine?
		‎2.6.2. Further Fragments and Testimony
	‎2.7. Appendix I: Euripides’ Bacchae and Its Role in Dionysian Imagery
	‎2.8. Appendix II: Between Lycurgus’ and Pentheus’ Iconography
‎Chapter 3. Naevius’ Lycurgus
	‎3.1. Fragments
		‎3.1.1. Fragment 30–32: Two-legged Birds or Two-legged Worms
		‎3.1.2. The Request
		‎3.1.3. The Artifice
		‎3.1.4. The Chorus
		‎3.1.5. A Good Advisor and Lycurgus’ Lesson
		‎3.1.6. Rheseis Angelikai and the Locus Amoenus
		‎3.1.7. Quadrupeds: Another Hallucination?
		‎3.1.8. The Palace Miracle: Social Discord or What?
		‎3.1.9. Further Fragments
	‎3.2. Beyond Fragments
		‎3.2.1. Plautus’ Captivi 561–563: Lycurgus’ Mother
		‎3.2.2. Plautus’ Menaechmi 835–871
	‎3.3. Summary of the Plot
	‎3.4. The Readership of Naevius
‎Chapter 4. Lost in Translation: Lycurgus between Aeschylus, Naevius, Poetry, and Visual Arts
	‎4.1. From Aeschylus to Naevius
	‎4.2. Aeschylus’ Afterlife
	‎4.3. Plays with Lycurgus in the Title
	‎4.4. Iconography
		‎4.4.1. Some Methodological Remarks
		‎4.4.2. Panthers: Did They Kill Lycurgus?
		‎4.4.3. The Difficult Life and Death of Lycurgus’ Wife
		‎4.4.4. The Woman Killed by Lycurgus
		‎4.4.5. The Painter of Boston and the Fury/Lyssa
	‎4.5. Instead of Conclusions
	‎4.6. Appendix: The Location of Lycurgus’ Kingdom and the Chronology of His Myth
‎Chapter 5. Lycurgus monocrepis
	‎5.1. Introduction
	‎5.2. Lycurgus’ Self-Mutilation in Greek Literature
	‎5.3. Lycurgus’ Self-Mutilation in Latin Literature
	‎5.4. The Iconography of Lycurgus monocrepis
	‎5.5. The History of Research
		‎5.5.1. Spurious and Dubious
		‎5.5.2. The Practical Use of a Single Sandal
		‎5.5.3. True Instances of Wearing a Single Sandal in Myth and Fiction
	‎5.6. Conclusions
‎General Conclusions
‎References
‎General Index
‎Index of Modern Authors
‎Index of Ancient Authors