summer newsletter 2013

Malta Classics Association 1Summ

er New

s LetterIssue 5

Summ

er 2013Picture: H

ead of Odysseus from

a sculptural group

representing O

dysseus blinding

Polyphemus.

Marble,

Greek

artwork

of the 2nd century BC

. From the villa of

Tiberius at Sperlonga. Stored in the Museo

Archeologico N

azionale in Sperlonga.

Malta Classics Association 2

EDITORIALAlan J. Adami O.P.What to readAveAmici,

It is a pleasure to assume the role of this newsletter’s new editor. The newsletter is a prime medium through which the Association keeps in touch with its members and supporters. As the new editor I promise you to do my best to fulfil this role.

Have you ever thought of a time-machine? Probably, when we were young, we all imagined ourselves travelling through time and going back to the best moments of our lives, or for those of us with a keen interest in history, we all loved (and perhaps still love) to imagine ourselves living in different eras and experiencing life in the good old days. I used to think that all of this was impossible until I encountered Classics.

To be honest, when I first encountered Classics, all I could think of was learning Latin and Greek. Yet, as time went by I noticed that, by learning these classical languages, I became able to read certain texts of ancient writers and I discovered that the poetry of Catullus and Martial, along with the myths and propaganda by Virgil, and the wise words of Cicero, not only led me to under-stand better their thought but to live and become part of Roman civilisation.

I feel lucky that I can read not only about their glori ous victories and their violent gods but also about their everyday problems, their passions and worries. I was moved to laughter by literary anecdotes and cunning texts. Moreover, I started to under stand the source of many of our contemporary mores and ideas.

So here I am today, happily sailing though the seas of time and eagerly learning more about the Romans and the Greeks. They are fast becoming my friends, friends who teach me and make me laugh. This is why Classics is beautiful. It is not just studying things chronologically, as in history, but understanding and coming literally in touch with their own essential being.

I wish you all happy holidays and a happy summer. Remember to take a hat and sun-screen along with pro tective cream when going to the beach... Ah! And don’t forget to pack your newsletter in your bag, or a tablet to read it on. It’s a good read, I promise you.

New President’s Speech . . . . . . . . . . . . p.3

Former President’s Speech . . . . . . . . . . .. . p.4

A word by new Honorary President . . . . . . . . . . p.5

The Olympic Games . . . . . . . . . . . . . p.6

Hephaestus . . . . . . . p.10

The first woman . . . p.12

The Greek Phalanx . . p.13

Lingua latina non mortua est . . . . . . . . . p.15

Aunty Daisy’s interview . . . . . . . . . . p.18


New President’s Speechby Tyron Baron

Χαίρετε ὦ ἑταῖροι

Welcome to the Newsletter of the Malta Classics Association!

Another wholly fruitful year! It rewards the hard work of the dedicated few and exceeds the growing expectations of the many. I would take this first opportunity to thank the Committee for their support and join them in eagerly welcoming all new faces into our fold.

To steal a line from Oscar Wilde, “Thought is wonderful, but adventure is more wonderful still”. To this end I, and many before me, have found Classics (Lat. Classicus – of the highest rank) to be a happy medium, combining the two into a stimulating journey that can grip you in the very core of your being, leading you through paths nowadays less beaten, yet nonetheless worth visiting.

The still beating heart of this tradition that goes back millennia is the study of the languages themselves and the Malta Classics Association has from its inception provided tuition in Greek and Latin running parallel to the informative public lectures which it frequently coordinates.

Additional works in the MCA’s pipeline besides the tried and tested public lectures include publications but also more exciting developments such as dramatisations, a cultural Trip to Greece and possibly Themed Events.

We encourage you to check our website (http://www.classicsmalta.org) regularly for more information.

Valete amici.

Mr Tyron Baron was elected executive president according to the Malta Classics Association’s statute on the first committe meeting on 4th June 2013. Whilst we thank the outgoing executive Mr Carmelo Serracino, we would like to wish good luck to Mr

Baron on his new appointment.


Former Executive President’sSpeech during the AGM Mr Carmelo Serracino

Once, the great classical scholar Wilamowitz famously said: “To make the Ancients speak, we must feed them with our own blood.” Perhaps a rather gruesome way to describe the job of the classicist – or maybe Wilamowitz had read too much Aeschylus and Greek tragedy. However, there is some truth in that statement, and I am sure some of you will, at least partially, agree with it.

The Malta Classics Association has been actively established for three years now. Although thankfully no blood was spilt, an impressive amount of work was nevertheless done. I shall not repeat the long list of activities that you have just heard from Joanna. Suffice it to say, by way of example, that the students who have been following our weekly evening class in Ancient Greek for the last two years have now reached the level whereby they can translate Xenophon and Aesop from Ancient Greek. Let me mention another example: two weeks ago the Evenings on Campus’ coordinators approached us, rather than the other way round, to entice us to participate again in their summer arts festival. So our work is bearing fruit, and we are proud to acknowledge that the Association is quite a success story.

On the other hand, I feel there is still ground where the Association should venture and explore. I have always seen the Association as a means by which the Classics can be brought to people who

would otherwise have little opportunity to get to know them. There is something about the Classics that is a source of edification and intrigue for people of all ages. I am especially referring here to the tales from mythology and history which not only exert an endless fascination but can also be models of universal morality – or at least serve as a provocation to a discussion of universal themes.

For this reason, I feel that the Association should increase its efforts to get the attention of that section of the population, which is non-specialist and non-academic, but which, perhaps unknowingly, wants to learn more about those perennial rudiments of knowledge from the classical world that are the common heritage of mankind but may in the long term be risking extinction.

I think this should be an important objective of the Association, namely, to disseminate, as widely as possible, a lively interest in the classical world and to communicate the notion that the classical legacy belongs to all of us, and, thus, should be enjoyed and appreciated by everyone. And, in order to achieve this, we need a livelier participation by our members themselves. The members can assist the Association not only through their presence and (obviously) their annual renewal of membership, but also by sharing ideas and thoughts on how the Association can be more

effective in reaching out to new people.

I would like take the opportunity to express our gratitude to Prof. Peter Vassallo who graciously privileged the Association by being its Honorary President for the past 12 months. Prof Vassallo is the example par excellence of a scholar who, although not a classicist in the academic sense of the word, fully embraces the importance of the Classics to his work and to his life. Thank you, Professor Vassallo.

I also would like to thank Rev. Dr Nicholas Debono Montebello for accepting the title of honour for the next 12 months. An erudite classicist and teacher of a very long experience, Dr Debono Montebello holds unanimous respect by academics who were lucky enough to be taught by him, including Prof. Anthony Bonanno, Prof. Horace Vella, and Dr Nicholas Vella, all from the Department of Classics and Archaeology. The Association can stand to gain from his guidance and knowledge.

Finally, I would like thank the committee for the trust they have shown in me during the past months, and for their great commitment. If none of them has, as yet, fed any blood to the Ancients, they have nonetheless given towards their remembrance a great deal of energy and time, with an equal amount of love and dedication, which is what matters mostly after all. Thank you.


A word by new Honorary President Rev. Dr Nicholas Debono Montebello

In a brief ex tempore speech Rev. Dr Nicholas Debono Montebello expressed his gratefulness for the honour conferred and remarked that he accepted as a token of his support to the MCA.

He said that since his retirement he became even more convinced of the permanent value of the Classics. He mentioned, among other things, that he had noticed from certain documentaries about WWII that the Nazis prohibited Greek dramas that depicted the wickedness of tyranny. His rumination on Romance languages always leads him to appreciate the eternal vigour of the Latin language. He encouraged the MCA to continue imparting the knowledge of Classics also at primary level as they do with other languages.

by Joanna Zammit Falzon

On Friday 10th May, the MCA held its 4th Annual General Meeting. At the meeting, a new committee was elected. We welcome incoming members Maria Giuliana Fenech and Alan Adami O.P. We also heartily thank outgoing members Peter Farrugia and Dr Michael Zammit for their sterling contribution over the months of their year in

office. In particular, special thanks are due to Dr Michael Zammit who is a founder-member of the Association and who has served the Association on its committee

since its inception with great distinction. Meanwhile, further thanks are due to our outgoing Honorary President, Prof. Peter Vassallo, and a warm welcome is extended

to our new Honorary President, Rev. Dr Nicholas Debono Montebello.


Sports in the Ancient Olympic Gamesby Jurgen Dingli

Ancient Greek Olympic Games: runners depicted on vase, c. 525 BC

Basic History of the Ancient Olympic Games:

As far as historical records state, the first Ancient Olympic Games date back to ca.776 BC and they took place in the ancient plains of Olympia. Olympia is located in the western part of the Peloponnese, the island of Pelops. The Games were dedicated to the Olympian Gods. The Greeks’ intention was to show off the physical qualities and evolution of the performances accomplished by the young participants. The other aim was to encourage good relations between the cities of Greece. The Ancient Olympic Games were initially a one-day event until 684 BC, until they were extended to five days in the fifth century BC. Since the Games were closely linked to the religious festivals of the cult of Zeus, Emperor Theodosius halted the games in 393 AD due to the reason that all such “pagan cults” should be stopped.

The Sports:

The main sports events in the Ancient Olympic Games were: Pentathlon, Running, Jumping, Discus throw, Javelin,

Wrestling, Boxing, Chariot Racing, Riding and Pankration.

Pentathlon:This event consisted of running the length of the stadium, jumping, throwing the spear, throwing the discus and wrestling. One can imagine the amount of physical fitness which was needed for such events. It was first introduced at the eighteenth Olympiad in 708 BC. Obviously this event was considered to be the climax of the Games. The winner of this event would have been ranked as Victor Luderum.

A painting which shows some of the activities of the pentathlon. On vase, c. 525 BC


Running:There were four different types of running events. These were:Stadion - This event consisted of a sprint of one stade (192m, which is the length of the Stadium).

Diaulos - This event was a two stade race (384m).

Dolichos - This was a much longer race, which ranged from 7 to 24 stades (1344m to 4608m). This event was first introduced in 720 BC and usually would have started after the Diaulos.

A vase depicting the Dolichos

Race in armour - If the above races were not tiring enough, the Greeks set up another event. This race was a 2 to 4 stade race (384m to 768m). This time the athletes would have to run wearing the standard hoplite armour (helmet, shield, and greaves) which weighed about 50-60 lbs. The aim behind this event was that the participants would build up the stamina and speed which was needed during their military service.

Jumping:Athletes used either lead or stone weights (halteres) which were shaped like telephone receivers to jump. These helped the athletes increase their jump’s length. These would be held in front of the athlete during his ascent and forcibly thrust behind his back and dropped during his ascent to help propel his body further.

A vase depicting a man jumpingDiscus throw:The discus was the shape of a U.F.O made of stone, bronze, or lead. The Greeks considered the rhythm and precision of the athlete which is throwing it as important as his strength. The man who could throw it the furthest, won.

Javelin:A javelin is a straight length of wood with either a sharpened end or an attached metal point. The man who could throw it the furthest, won.

Haltares


Wrestling:The ancient sport has nearly the same rules as the modern. The aim was to throw the opponent on the ground three times, landing on a hip, shoulder, or back. Biting and genital holds were illegal but attacks such as breaking your opponent’s fingers were completely legal. Boxing: Ancient Boxing had much less rules than the modern sport. The participants fought rounds until one was knocked out or

A painting showing the javelin athletes

This picture shows two men wrestling.admitted he was beaten. Unlike the modern boxing there was no rule prohibiting hitting an opponent while he was on the floor. There were no weight c l a s s e s and the opponents were chosen randomly. Instead of gloves the participants wrapped leather himantes around their hands and wrists.

A vase showing two men boxing

Equestrian Events

Chariot racing:There were two animals which were used to race chariots. There were both 2-horse and 4-horse chariot races. There were races between carts drawn by a team of 2 mules. The course was 12 laps around the hippodrome (9 miles). Riding:The course was 6 laps around the hippodrome (4.5 miles). This was a sport for the wealthy which paid for the jockey, training, equipment, and the horses. The winner owner received the olive wreath of victory instead of the jockey.

Hippodrome - ἵππος; horse (hippos), δρόμος; course (dromos)

Pankration:This event was a combination of boxing and wrestling. Punching was allowed but the participants did not were himantes. Rules only prohibited biting, and gouging an opponent’s eye, nose, or mouth with fingernails.


Committee of the Malta Classics Association (2013-2014): (From Left) - Joseph Anthony Debono (no longer part of the committee), Victor Bonnici (Treasurer), Joanna Zammit Falzon (General Secretary), Prof. Horatio C. R. Vella (International Officer), Carmelo Serracino (Vice-President & Creative Officer), Tyron Baron (Executive President), Maria Giuliana Fenech (PRO), Alan Adami O.P. (Editor), Bernie Mizzi (Member).

MCA’s Committee2013-2014

A vase showing Pankration

Nowadays the Olympic games still take place every 4 years and it consists of lots of other sports. The modern Olympic Games’ logo. The five rings represent the five major regions of the world: Africa, the Americas, Asia, Europe, and Oceania.

Resources: Olympic.org Pentathlon.org Perseus.tufts.edu


Hephaestusby Marchéta Scalpello

Hephaestus was one of the twelve Olympian gods, also known as the Dodekatheon , which was a clan of gods consisting of: Athena, Artemis, Apollo, Ares, Aphrodite, Demeter, Hermes, Hera, Hestia, Hephaestus, Poseidon and Zeus.

If one could look up at a genealogy of the gods, one could see that there are at least two versions showing Hephaestus’ blood relatives.

One version, which, according to Homer, shows Hephaestus being born from Hera, with Zeus being the biological father.

Another version says otherwise. According to Hesiod, the story begins with Zeus being married to his first wife, Metis, Titan goddess of ‘Crafty Intelligence’. One day amongst others, Zeus learns that the male child Metis would bear after childbirth would be a very powerful deity, thus taking Zeus’ place, hence ruling over all gods and men. Like Ouranos, he refused to give up his place, very much like Kronos, Zeus took the step of swallowing up his pregnant wife.

Athena was born, from the top of Zeus’ head, smashed open by an axe wielded by Prometheus or – according to different versions – by Hermes. The goddess of warfare, cunning, defence and craftsmanship, was born fully grown, complete with helmet and spear and ready to take her place amongst the gods.

Hera, sister and wife of Zeus, is consumed by jealousy. Therefore, as an act of retaliation, Hera reproduces a child on her own, thus Hephaestus.

“But Hera without union with Zeus -- for she was very angry and quarrelled with her mate -- bare famous Hephaestus, who is skilled in

crafts more than all the sons of Heaven.” Hesiod – Theogony

However, the god of metalwork, building, fine arts and fire, is born crippled. According

to Homer’s Iliad; Hera, who was blinded by failure, throws the young god from the heavens.

Thetis, a sea goddess, and Eurynome, Titan goddess of pasturelands and

water-meadows, caught Hephaestus and took care of him.

In another version in Homer’s Iliad, states that Hephaestus was cast away from the heavens by his father, Zeus.

T h i s happened during a fight between Hera and the

god of thunder.

Hera tried eliminating Heracles, by setting a

storm as he was sailing back from his conquest of

Troy, after putting Zeus to sleep. However, Zeus wakes up, catches his

wife red-handed at her attempt and hung her from

Olympos in chains.

To save his mother from getting beaten, Hephaestus attempts

to free Hera. Alas, Zeus grabbed the young god and threw him from the heavens.


[Hephaestus addresses his mother Hera:]

“There was a time once before now I was minded to help you, and he caught me by the foot and threw me from the magic threshold,

and all day long I dropped helpless, and about sunset I landed in Lemnos, and there

was not much life left in me. After that fall it was the Sintian men who took care of me,”

Homer – Iliad.

Being a god of fine arts, Hephaestus crafted many-a beautiful equipage, for the gods. Moreover, it is said that most of the metalwork was made by Hephaestus. He created, with the help of the Cyclopes, Hades’ helmet of invisibility, the Aegis breastplate, Achilles’ armour, Aphrodite’s girdle, Eros’ bow and arrows, Heracles’ bronze clappers, Helios’ chariot and the magical golden throne.

Angered by his mother’s thoughtless act of shame, Hephaestus took revenge by creating a throne of adamant, which he sent specifically to Hera in Olympos. Unaware of any malevolent plot, the goddess sat on the throne. However, she was not allowed to leave it.

The gods pleaded for Hephaestus to release his mother from the throne, but he refused. Dionysus (god of wine, vegetation, pleasure and festivity) then came and made Hephaestus drunk, he then convinced the crippled god to release Hera from the throne by promising him to marry the goddess of love, Aphrodite. Dionysos returned to Olympos, with Hephaestus on a mule. The plan succeeded, Hera was freed from her captivity, and the reluctant Aphrodite was wed to the crippled god.

Hephaestus is often depicted, in vase paintings, as a cripple, misshapen and

ugly. Therefore, both Athena and Aphrodite stood not without reason to refusing the unfortunate god’s requests of love. Aphrodite cheated on Hephaestus with the god of war, Ares. When Hephaestus learned from Apollo (sun god) of his wife’s doings, he made chains, fine, strong and invisible. These he put on his marriage bed and caught Aphrodite and Ares during one of their trysts.

Red with rage, Hephaestus called for all the gods to bring his untrustworthy wife and her paramour to shame.

“Come, Father Zeus; come, all you blessed immortals with him; see what has happened

here - no matter for laughter nor yet forbearance. Aphrodite had Zeus for father; because I am lame she never ceased to do me outrage and give her love to destructive Ares, since he is handsome and sound-footed and

I am a cripple from my birth; yet for that my two parents are to blame, no one else at all, and I wish they had never begotten me.

You will see the pair of lovers now as they lie embracing in my bed; the sight of them

makes me sick at heart. Yet I doubt their desire to rest there longer, fond as they are. They will soon unwish their posture there;

but my cunning chains shall hold them both fast till her father Zeus has given me back

all the betrothal gifts I bestowed on him for his wanton daughter; beauty she has, but no

sense of shame.” Homer – Odyssey.

When Hephaestus undid the chains, Aphrodite and Ares parted and went to separate places.

Another myth tells of Athena’s refusal of union with the god. Athena came to Hephaestus in order to make some weapons. When Hephaestus attempted to foreplay, Athena pushed him aside, wiped off the semen, which fell on her leg, with wool and fled. The wool was thrown away and fell on Gaia – Earth, resulting to the birth of Erichtonius of Athens, whose lower part of his body was snake-like.

Athena took Erichtonius and put him in a chest, which she gave to “Aglaurus, Pandrosus, and Herse, daughters of Cecrops, to guard.”


The First Womanby Marchéta Scalpello

Similar to the story from the Genesis, that is, Adam and Eve; Man was created first. Epimetheus (afterthought) was responsible pf giving of giving traits to all animal species, but when Man came into being, it was found impossible to find an apposite trait.However, Prometheus (forethought) thought differently to his brother. The Titan god Prometheus believed that since human beings were to be the dominant species, it was within right that Man did human practices, such as animal sacrifice. Prometheus set forth to steal fire from Hephaestus and gave it to Man in a hollow fennel-stalk.

F u r t h e r m o r e , Prometheus tricked the gods in order to pick the best portion of food. This, he sought to do by laying two portions of food before Zeus: one consisted of meat, unappetizingly covered with an ox paunch; another portion consisted of bones, cunningly covered in fat, giving them an appealing look. Zeus looked through the trick and made choice, which on his part reflected badly.

Therefore, Prometheus, benefactor of humankind, acquired the meat.

Enraged, Zeus decided to punish Prometheus and mankind. This, he carried out, by first creating, with the help of Hephaestus, a girl out of clay. She was named Pandora, which means “all gifts”, because she was given gifts from all the gods.

Beauty from Aphrodite; Healing and musical talent from Apollo; clothing and necklaces from Athene; spinning and manual cunning from Hephaestus; garden tending from Demeter; curiosity from Hera; cunning,

boldness and charm from Hermes; a pearl necklace and the ability to never drown from Poseidon; idleness, foolishness and mischief from Zeus. Last but not least, Pandora was given a box.

However, despite the title (i.e. Pandora’s Box), what was

actually handed to the girl was not really a box, but a

large storage jar.

Afterwards, Zeus took Prometheus and fastened him tight in chains to a rock. This happened right after Prometheus had warned his brother, Epimetheus not to take any gifts from the gods.When Prometheus was bound, Zeus set an eagle

(one of the great god’s symbol) over Prometheus

to eat his liver everyday Since Prometheus was an

immortal, his liver grew back, but that did not stop the

eagle from returning for his daily feed.

Epimetheus did not listen to his brother, and eventually accepted the worst – although to his eyes, the best – gift a god could be handed from his fellow deities. Soon Pandora became Epimetheus’ wife and, together with mankind, lived peacefully.

One fine day, although warned not to, Pandora’s curiosity overcame her and approached her curio. She had opened the large storage jar. At that moment, all the evils stowed in that jar escaped into the world and there was total darkness.

Pandora made another attempt to open the jar, at which Hope went out. This symbolises the fact that at any moment of evil, Hope is always at Man’s disposition.

Painting: Pandora by Alma Taderna


The Greek Phalanxby Andrew Vella Zarb

OverviewA phalanx is a formation of spearmen standing in a block, holding their shields up to form a solid wall of protection, and their spears out, protruding from between the shields. The origin of the Greek phalanx is difficult to put a date on – there was never a reform, but rather a gradual change in fighting style. It is generally accepted that the Greek city

states began o r g a n i z i n g t h e m s e l v e s into phalanxes on the b a t t l e f i e l d circa 750-700BC, with the birth of hoplite a r m a m e n t.

The phalanx spread over time northwards and eastwards, until men fought in phalanxes everywhere from Sicily to India. It also enjoyed a revival in the Middle Ages, being employed by European pikemen.

The Hoplite PhalanxHoplites were the backbone of the Greek city-states’ fighting forces throughout classical antiquity. A typical hoplite wore a bronze breastplate, helmet, and greaves for armour, and held a 2 metre long spear called a dory, and carried a large, round, wooden shield called a hoplon, from which the hoplite gets its name. Commonly carried by a hoplite’s side was a short bronze sword, used as a secondary weapon in case the spear was unusable.

The hoplite panoply was cumbersome, particularly the large shield, which could weigh up to 8 kilograms. For this reason, the phalanx focuses on protection, rather than mobility. A hoplite phalanx would have at least two ranks of spears protruding from a wall of shields and armour, making them almost impenetrable from the front. The men in the rows further back would hold their spears up at an angle to prevent the points from hitting other men further forward in the phalanx, and to serve as (however small) protection from arrows. However impenetrable from the front though they may be, a phalanx

An illustration of a hoplite

was extremely vulnerable to attacks from the sides or back, lacking the mobility to wheel around to face the enemy. Phalanxes were thus deployed in long, continuous lines, restricting the enemy’s ability to flank it.

Their lifestyle and the topography of the land greatly affected Greek warfare. Battles were fought between different city-states, and there weren’t large resources of men to take part. The hoplites serving in Greek armies were farmers and merchants, and needed to get back home in time for harvesting crops – war is costly, and there wasn’t the time for any long operations. For this reason, wars were often decided in just one battle, usually on a pre-appointed battlefield already agreed upon by the opponents. Hoplite armies were small, and it was common for battles to be held in long valleys, with the hoplite line going from one end to another.

It is debated whether the dory was held in an overarm or underarm position, with both appearing on vase paintings. The opposing phalanx lines would assemble, and slowly march towards each other. At some point, they would often break into a run, in an effort to break the enemy’s ranks in the clash. Early Greek armies did not utilise other soldiers such as archers, slingers, or cavalry that much, believing them to be inferior to the hoplite. Given the situation of the battles, in many ways they were. The two hoplite lines themselves would have a hard time inflicting casualties – the soldiers were not well trained, and both armies were covered in armour from head to toe. The main focus was on holding steady. Even the armament of the hoplite lent itself to this idea – the hoplon shield had its handle at the rim, with a tubular section in the centre for the arm to go through. This means that half the shield was used to protect the soldier on one’s left, with the shields in the phalanx overlapping slightly. Breaking ranks to score as many single victories as possible was frowned upon, as it weakened the formation. Casualties from these armies were surprisingly small, usually only about 5% of the initial number. The losing army would be the first to turn and run. The victorious army would usually ransom the enemy’s


fallen back to them, therefore earning at least something from the expedition.

The Greek city-states only realised the true potential of the hoplite phalanx in the Greco-Persian wars. For many years they had only fought each other, and their soldiers had become more and more well armoured in a form of arms race – the Persian troops that arrived to fight them had little chance. These wore light cloths, and carried shorter spears and thin, wicker shields. They charged as a mass, without keeping any regular formation, and the Persian armies suffered tremendous casualties compared to those of the opposing armies.

Iphicrates, an Athenian general, can be credited for much of the innovation in hoplite warfare. He was the first to make peltasts a large part of his armies. These were lightly armed skirmishers, carrying only a clutch of javelins and a light shield called a pelte, from which they get their name. Iphicrates used a group of peltasts to effectively destroy about 600 of the famed Spartan hoplites moving out in the open. He also armed his hoplites in leather (or according to some studies, linen – this is hotly debated) cuirasses as opposed to the heavy bronze breastplates, and more open helmets that permitted better vision and hearing became more common. Shields became smaller and lighter, too, and even a new sandal design was adopted to encourage faster movement. Some phalanx groups fought very lightly armoured – wearing only a cloth tunic along with their shield, spear and helmet – in an effort to become more mobile. Arguably the most important innovation, though, was arming his hoplites with longer spears. This paved the way for the next great development of the phalanx.

The Macedonian PhalanxPhilip II was the first King of Macedon to unite it under one rule and expand its territory. He aspired to seize control of the Greek mainland, and with great resources at his disposal, began moving southward, conquering the northern Greek city-states as he went. His main advantage over his Greek opponents was the way in which he armed his phalangites. Inspired by the victories of Iphicrates, Philip II took his innovations and expanded on them. His phalangites wore lighter cuirasses, and in place of the enormous hoplon, wore a much

smaller buckler slung round their neck. This allowed it to rest upon their left arm, leaving both hands free to wield their weapon: the mighty sarissa, a 6 metre long pike. Philip II’s phalanxes, with their incredibly long spears, had up to 5 rows of spears ahead of the soldiers. The Greek city-states were no match for his armies.

The Macedonian phalanx was, however, even more immobile than those of the more traditional hoplite style. For this reason, Philip II deployed his phalanx together with full-time, professional cavalry and missile support, with heavy infantry protecting the phalanx’ flanks. With this combined arms approach to phalanx warfare, the Kingdom of Macedon grew to encompass all of the Greek mainland, before the rule of the kingdom passed over to Philip’s son, Alexander III. Alexander trained huge, professional armies, and set out to conquer Asia. The Macedonian phalanx appeared to be an unstoppable force, and within just six years, Alexander’s kingdom stretched from Egypt to the north-western borders of India. After his death, the Macedonian style of phalanx warfare still remained with the successor kingdoms that Macedon split into. The successor kingdoms, however, did not maintain the same standard of training, and relied too heavily on the phalanx alone, abandoning the combined arms approach. The highly effective and versatile Roman legions eventually took over all the land under Hellenic influence, resulting in the demise of the phalanx.

BIBLIOGRAPHYjasonoleinik.hubpages.com/hub/Ancient-Soldiers-Hoplitewww.ancientgreekbattles.net/Pages/90087_PhalanxHistory.htmwww.koryvantes.orgwww.ancientsites.com/aw/Post/96054www.britannica.com


First year students of Classics at the University of Malta produced a play from Greek mythology in Latin. It was directed by Mr. Carmel Serracino and was held on 19th December 2012 at the Classics and Archaeology building at the University.

For us as first year students it was an experience to break the ice and become friends but more importantly to overcome ourselves and act. However this was not just any acting but it was acting in Latin, something which few actors themselves come to experience! For us it was like living again in 1st century A.D.

We bring this report on our unforgettable experience in the hopes that you too may come

Lingua Latina non mortua estby 1st year Classics University Students

The Myth’s plot by Valentina Callus

Ogygia was the island where Calypso dwelt. There are various interpretations on the exact position of the island of Ogygia but it is the general conviction that Calypso’s homeland was on our dear island Gozo.

The legendary Calypso’s obsession was to make Odysseus her husband. Her desire for him was so intense and her expectations for him to love her so enduring and persistent, that she obliged Odysseus to remain with her for a period of seven years on her island.

The goddess Athena pleaded with Zeus to liberate Odysseus from Calypso’s possessiveness. Through Hermes’ persuasion, Calypso was forced to give into Zeus’ command. Calypso aided Odysseus to return to his wife and home by providing the necessary provisions and influencing the elements for the distant voyage.

Who were the Greek Characters? by Francesca Baldacchino

This play narrates the story written by Homer about Calypso and Odysseus in Ogygia. Calypso, a very beautiful nymph, living in Ogygia, falls for Odysseus, a Greek hero and king of Ithaca, who is married to Penelope and has a child called

Telemachus, and wants to make him her immortal husband giving him eternal youth in return. The story continues with the narration of Odysseus’ return home. Apart from these two major characters, there are some others that need to be mentioned as they also take part in this story and their prescence is very effective. One of such characters would be Zeus, the king of the gods , the god of sky, weather, law, order and fate whose usual attributes were a lightning bolt, a royal sceptre and an eagle. He is married to Hera, the goddess of marraige and childbirth who takes special care of married women. One of Zeus’ sons is also present in this short play and this would be Hermes, the messanger of Zeus and is the fastest of the gods. He is known for his winged


sandals and hat. He is also often depicted as carrying a wand in his hands. He is said to be the guide for the dead to go to the underworld.

Another important goddess mentioned in this play is Athena who is the Greek virgin goddess of reason and is also the daughter of Zeus. Her attribute was armour showing her ferocity and bravery in battle. Another important symbol associated with this goddess is the owl.

All these characters were brought to life during this play and were given a hint of comedy in order to make the play look funny and also to make it more entertaining for the audience.

The Story’s setting by Susan deKock

The story of Calypso and Odysseus is taken from Homer’s epic poem Odyssey. The Odyssey details the journey of Odysseus from the end of the Trojan War until he comes home to Ithaca. Odysseus was cursed by the sea god Poseidon to wander a r o u n d t h e

Mediterranean for 10 years before being able to find his way home. During his wanderings Odysseus has many adventures, all the while his crew thins out until only he is left. First all but one of his ships –the one he was on- get destroyed in the harbour of an island full of cannibalistic giants. Then half of his men are turned into swine by the sorceress Circe. The god of trickery, Hermes, gives him a potion to

withstand her magic, which impresses her enough to turn his swine back into men and let them stay on her island for a year. The only casualty here being one sailor who gets drunk and falls off a roof, which no one actually noticed until Odysseus, on the next part of his journey, has a chat with the dead and this sailor appears. He manages not to lose any of his sailors passing by the sirens, by plugging their ears with wax, only to lose six men to a sea monster named Scylla, and later in a shipwreck caused by Zeus. And so only Odysseus remains, washed ashore after this shipwreck and found by Calypso, where he is forced to remain for 7 more years before finally returning to Ithaca where his wife and son had been waiting for him for 20 years now. Even then Odysseus still doesn’t catch a break. Thinking that he is dead, no fewer than 108 suitors are vying for his wife’s hand. Only by competition does he defeat the suitors, shooting an arrow through a dozen axe heads, and then kills all 108 of the suitors. Naturally the people of Ithaca weren’t very okay with that, Odysseus was now responsible for two generations of dead men, the sailors and the suitors. Luckily for Odysseus his patron goddess Athena intervenes before the citizens of Ithaca wreak bloody vengeance and the island is at peace once more, thus concluding the Odyssey.

Why should I speak and learn Latin? by Amy Scerri

A common question we, as Classics students, often encounter is: “Latin? Why would you ever want to learn Latin? It’s a dead language!”. But learning Latin gives one a better perspective on other languages,aside from a beautiful insight into Roman culture First and foremost, being such an incredibly complex language and so extremely different from contemporary languages, once you tackle Latin almost nothing can overwhelm you anymore. Secondly, the translation


of Latin texts broadens the perspective of your view of Roman society. A simple example of this is the discovery of so many different Latin words for ‘killing’, showing that killing occurred so often that they coined a term for every possible method. From these insights you can see the gradual lapse in culture from the Roman era to today, the differences and similarities. Aside from all this though, as students, learning at least simple notions of Latin can help in a lot of our studies. The methods of learning grammar and syntax principles can be applied to various other subjects, while the concepts of Latin grammar may boost your skills when studying another language as in-depth as University level. Philosophy students gain an advantage over others by being able to read the writings of Cicero, Plato and Virgil, among others, straight from the horse’s mouth and being able to give their own interpretation. Latin is most certainly a necessary tool for anyone seeking to broaden their mind and gain a superior level of learning.

Latin today by Zachiella Vassallo

“Latin is a language, Dead as Dead Can Be, First it Killed the Romans, Now It’s Killing Me.”

While searching the net for some information about the Latin language, when deciding whether or not to read for a Bachelor of Arts in Classics, this little poem popped up on a large variety of websites used by students who ask for help on diverse academic subjects – Probably, they had problems understanding the Subjunctive, or maybe the Ablative Absolute, and forgot the overall entailed richness of this Language.

Latin, is often considered to be a dead language – partly due to the fact that nowadays it’s not spoken widely across the globe, as opposed to the whole lot of centuries in which Latin was considered to be the mother tongue. In the latter, it

was ‘alive’ and a must amongst the literate ones.

Technically Latin is an original world language, together with Classical Greek of course. They are both known for their purity, clarity, universality, and conciseness, and for the Great epic Literature written using either of these languages. When one gets to read, or at least appreciate the Classical Literature, written in either Ancient Latin or Greek, a window is opened into another world – a rich world full of myths, tragedies and comedies, politics, philosophical thought, passion for the arts, and sciences. In the northern country of Finland, a Finnish Broadcasting Company, Radiophonia Finnica Generalis, has been putting out a 5minute news bulletin every week, for the last 14 years, entitled Nuntii Latini, spoken in Classical Latin vis-à-vis Ecclesiastical Latin. Such initiative has helped in making this language more alive, and created the desire of reviving other Ancient Languages in our contemporary cultures. In conclusion, Latin is anything but a dead language. It entails cultural enrichment, and is an important piece of our linguistic puzzle. It would do a great deal of good, if students within the academic disciplines, would firstly get to know, then, learn, cultivate and share, the importance and richness of Classical Antiquity.

Why should I study Classics?by Alan Joseph Adami O.P. Perhaps one might ask why should I learn Classical languages and study about Classical cultures? Would it be of any benefit to my future?

Being a student in a much industrialised society makes it hard for one to choose one of the liberal arts’ subjects since it does provide you directly with a lucrative profession. As Horace puts it,“Multa ferunt anni venientes commoda secum,


Multa recedentes adimunt”1 (“The years, as they come, bring many agree able things with them; as they go, they take many away”). But why should a student come to choose one of the liberal arts subject to study at univeristy? Surely there are many reasons for this question.

Liberal arts do not only widen your view of life and deepen it but they enrich you in culture and thought. They put you in touch with people who lived thousands of years ago and understand their fears and emotions. Yet, although they might have lived in a different age, their utterances have influenced people through the whole course of subsequent history. Many people to day live, thinking they live in a new age when people are different from those who lived in the 1st century A.D. Perhaps our likings and fashions have changed dras tically however our actions, thoughts and logic have a constant and direct link with Classical times.

Classics is not only the historical study of Ancient Rome but rather it is the study of its philosophy. It does not only give you information or a sequence of events but it makes you re late to these people. Reading the ancient writings of Martial and Catullus almost takes me to 1st century A.D. Rome. The study of the Latin language is not a waste of time but it is a study which makes you love the Romans with all their laws, morality and hypocrisy.

So indeed the study of Classics today is needed more than ever. In a globalised world where cultures are influencing each other so much, it is a relief that Classics, as if in a time machine, can take you back to the authentic roots of our civilisations.

1 Horace, De Arte Poetica Liber, verses 175-176

Horace, portrayed by

Giacomo Di Chirico


As Aunt Daisy pursues her quest to interview as many mythological protagonists as possible, it seems that besides the heroes, bizarre and grotesque characters attract her attention more and more. Here follow her 5 questions to the awful (or not?) Minotaur.

‘Dear readers, after surviving the interview with Medusa I gained more self-confidence and decided to approach the Minotaur this time round. I believe my old bones will put off his appetite, since it is told he is used to consuming young Athenian flesh! So, off to Crete!

1. Greetings Mr Minotaur. You, among many others, have remained a wonderful character of mythology, in particular, for your unusual ‘shape’ which is partly human and partly not. How did you acquire such attributes?

I am a character that belongs to the age of the kingdom of Minos in Crete, who had a wife called Pasiphae. Now Poseidon had given Minos a wonderous bull as as proof of his favour to be sacrificed to the same god. But the greedy Minos sacrificed another animal of inferior quality instead to keep the magical bull for himself. Poseidon became furious and as a punishment made Pasiphae fall in love with this bull. As a result of this strange love, I was born.

2. And how were you received then?

Unfortunately, since in those days diversity was not so accepted as in today’s civilised world, I was segregated to the Labyrinth since I looked like a man but with the head of a bull - at least that is how most artistic renditions show me.

3. Can you tell us more about this Labyrinth, it’s like what we call a maze nowadays, right?

Yes, the idea is this: you go in and will never go out! However, I believe this structure has become a classic feature in great palaces for hundreds of years now, as a garden design. Phew, to think that in my time it was considered utterly threatening! But


I used to enjoy tricking my Athenian guests inside it! Such fun it was, exclusively for me of course! It also gave me great apetite to try my teeth on the tender flesh of the seven youths and seven maidens which was the yearly tribute that Athens paid Minos as a dependent state.

4. On a less happy note, it is narrated that – as good things do not last forever - a certain young lad with the aid of a certain princess found out how to pay you back the trick. Can you elaborate on this?

You mean Theseus, that heartthrob, and that naive Ariadne. You know some people do anything to earn the title of hero. Therefore, he offered to be part of the 14 young Athenians destined to be my feast. As he landed in Crete, this Theseus seduced Ariadne, daughter of Minos, and she gave him some string to track his way out of my Labyrinth. She believed he would marry her once he completed the feat of (alas!) killing me and out of the maze. But she only ended up abandoned on Dia, modern Naxos.

5. Finally do you - who has suffered segregation because of your difference - have any message to pass on to modern society?

Yes, undoubtedly, my message is one: do not segregate those who look different to you. Excluding them would be like shutting the door of opportunities to these persons. I was born as I was, not because of my own fault, but nobody cared. I was only exploited for others’ benefit and none ever thought I would have enjoyed life, too, outside that cage –which the labyrinth was after all. No one ever gave me the opportunity to show the positive side of my character. I might have even been of more positive use to my own society. So, please never deny opportunities to those who are different from you. You might be the first to earn from the added value of including them.

Thank you Mr Minotaur. I can assure you that if in your living days you were notorious and people feared you, so many more today are interested in your tale and actually consider you a celebrity of mythology.


Colour up the Minotaur and see how many of your friends know about him!


THE MALTA CLASSICS ASSOCIATION The General Secretary

The Malta Classics Association C/O Department of Classics & Archaeology

Archaeology Centre (Car Park 6) University of Malta Msida MSD 2080

MALTA, E.U.

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summer newsletter 2013

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