User:Paul August/Telephus

Family sources

See Parada, pp. 78, 172

Wives: Laodice, Argiope, Astyoche

Offspring: Eurypylus, Roma, Tyrenus

• Son: Eurypylus

• Mother unspecified (Homer Od 11.519-520, Ap E.5.12)
• By Astyoche

• Priam's daughter (Dictys Cretensis 2.5)
• Priam's sister (Q.S 6.147)
• Scholiast On Hom Ody 11.519 quoted by Sutton, p. 47

• Wife: Teuthras' daughter Argiope (Grimal, "Telephus"; Dio 4.33.12)^[1]

• Wife: Hiera (Philostratus, On Heroes p. 33)

• By Hiera, father of the Etruscan heroes Tarchon and Tyrsenus (or Tyrrhenus) (Smith, "Te'lephus"; Grimal, "Hiera", "Telephus", Lycophron, Cassandra 1455ff.)^[2] note to line 506, p 149

• Wife: Laodice (Hy Fab 101)

• Son: Cyparissus (Smith, "Cyparissus", Servius, Commentary on the Aeneid of Vergil 3.680)^[3]

• Daughter: Roma

• Half-brother: Teuthranius.^[4]

Aelian

On Animals

3.47

47. In the name of Zeus our father, permit me ask the tragic dramatists and their predecessors, the inventors of fables, what they mean by showering such a flood of ignorance upon the son of Laïusa who consummated that disastrous union with his mother; and upon Telephus^b who, without indeed attempting union, lay with his mother and would have done the same as Oedipus, had not a serpent sent by the gods kept them apart, when Nature allows unreasoning animals to perceive by mere contact the nature of this union, with no need for tokens nor for the presence of the man who exposed Oedipus on Cithaeron.

^b Telephus, son of Heracles and Auge. According to one story Teuthras king of Mysia, unaware of their relationship, gave his daughter Auge in marriage to Telephus who was equally unaware.

Alcidamas

Odysseus

14-16 (Garagin and Woodruff, p. 286)

[14] Now, Aleüs, king of Tegea, consulted the oracle at Delphi and was told that if a son was born to his daughter, this son was destined to kill Aleus' sons. When he heard this, Aleus quickly went home and made his daughter a priestess of Athena, telling her he would put her to death if she ever slept with a man. As fortune (tuchē) would have it, Heracles came by during his campaign against Augeas, king of Elis, [15] and Aleus entertained him in the precinct of Athena. Heracles saw the girl in the temple, and, in a drunken state, he slept with her. When Aleus saw she was pregnant, he sent for this man's father Nauplius, since he knew he was a boatman and a clever one. When Nauplius arrived, Aleus gave him his daughter to cast into the sea. [16] He took her away, and when they reached Mt. Parthenius, she gave birth to Telephus. Nauplius ignored the orders Aleus had given him and took the girl and her child to Mysia, where he sold them to king Teuthras, who was childless. Teuthras made Auge his wife, and giving the child the name Telephus, he adopted him and later gave him to Priam to be educated at Troy.

17 (Garagin and Woodruff, p. 287)

[17] Time passed and Alexander [Paris] wished to visit Greece. He wanted to see the sanctuary at Delphi, but at the same time it is clear that he had heard about Helen's beauty, and he had heard about Telephus' birth: where it took place, and how, and who had sold him. And so for all the reasons Alexander took a trip to Greece.

Jebb, Headlam and Pearson, Vol. 1 p. 46

It so happened [as related by Alcidamas] that Heracles came to Tegea, when on his way to Elis to attack Augeas ...

Sutton, p. 13

... Heracles arrived, marching towards Elis in order to attack Augeas ...

Muir

... Heracles arrived on his expedition against Augeas going towards Elis ...

Gantz, p. 428

Sophocles, "almost certainly one of the sources" for Alcidamas

Alexis (c. 394 - 288 BC)

Alexis, quoted by Athenaeus, The Deipnosophists 10.18, Vol. II p. 664

And in the Parasite, Alexis, speaking of some very vpracious person, says—

And all the younger men do call him parasite,

Using a gentler name; but he cares not'.

And Telephus in speechless silence sits,

Making but signs to those who ask him questions;

So that the inviter often offers prayers

To the great Samothracian gods o' the sea

To cease their blowing, and to grant calm;

For that young man's a storm to all his friends.

Appendix Proverbiorum

2.85 (Leutsch and Schneidewin, pp. 411–412)

Jouanna, p. 553

Telephus's misfortunes certainly included the murder of his uncles; cf. Append. prov. 2, 85: "Telephus, being still young, went into exile from Tegea after killing his mother's brothers," and Hyginus ...

Amphis (4th Century BC)

Amphis quoted by Athenaeus, The Deipnosophists 6.5, Vol. I p. 356

And Amphis says in his Imposter—

...Mute they stand like Telephus

And just as stubborn; ('tis an apt comparison,

For in a word they all are homicides;)

Apollodorus

1.8.6

Howbeit, the sons of Agrius, who had made their escape, lay in wait for the old man at the hearth of Telephus in Arcadia, and killed him.

2.7.2

Not long afterwards he collected an Arcadian army, and being joined by volunteers from the first men in Greece he marched against Augeas. ... Hercules waylaid and killed them at Cleonae,3 and marching on Elis took the city.

2.7.3

After the capture of Elis he marched against Pylus, ... Having taken Pylus he marched against Lacedaemon, wishing to punish the sons of Hippocoon, ...

2.7.4

Passing by Tegea, Hercules debauched Auge, not knowing her to be a daughter of Aleus.¹ And she brought forth her babe secretly and deposited it in the precinct of Athena. But the country being wasted by a pestilence, Aleus entered the precinct and on investigation discovered his daughter's motherhood. So he exposed the babe on Mount Parthenius, and by the providence of the gods it was preserved: for a doe that had just cast her fawn gave it suck, and shepherds took up the babe and called it Telephus.² And her father gave Auge to Nauplius, son of Poseidon, to sell far away in a foreign land; and Nauplius gave her to Teuthras, the prince of Teuthrania, who made her his wife.

¹ As to the story of Herakles, Auge, and Telephus, see Apollod. 3.9.1; Diod. 4.33.7-12; Strab. 13.1.69; Paus. 8.4.9, Paus. 8.47.4, Paus. 8.48.7, Paus. 8.54.6, Paus. 10.28.8; Tzetzes, Scholiast on Lycophron 206; Hyginus, Fab. 99ff. ...

² Apollodorus seems to derive the name Telephus from θηλή, “a dug,” and ἔλαφος, “a doe.”

2.7.8

... by Auge, daughter of Aleus, he [Heracles] had Telephus;

3.8.2

... But Eumelus and some others say that Lycaon had also a daughter Callisto;2 though Hesiod says she was one of the nymphs, Asius that she was a daughter of Nycteus, and Pherecydes that she was a daughter of Ceteus.3 She was a companion of Artemis in the chase, wore the same garb, and swore to her to remain a maid. Now Zeus loved her and, having assumed the likeness, as some say, of Artemis, or, as others say, of Apollo, he shared her bed against her will, and wishing to escape the notice of Hera, he turned her into a bear. But Hera persuaded Artemis to shoot her down as a wild beast. Some say, however, that Artemis shot her down because she did not keep hermaidenhood. When Callisto perished, Zeus snatched the babe, named it Arcas, and gave it to Maia to bring up in Arcadia; and Callisto he turned into a star and called it the Bear..

3.9.1

Arcas had two sons, Elatus and Aphidas, by Leanira, daughter of Amyclas, or by Meganira, daughter of Croco, or, according to Eumelus, by a nymph Chrysopelia.¹ These divided the land between them, but Elatus had all the power, and he begat Stymphalus and Pereus by Laodice, daughter of Cinyras, and Aphidas had a son Aleus and a daughter Stheneboea, who was married to Proetus. And Aleus had a daughter Auge and two sons, Cepheus and Lycurgus, by Neaera, daughter of Pereus. Auge was seduced by Hercules² and hid her babe in the precinct of Athena, whose priesthood she held. But the land remaining barren, and the oracles declaring that there was impiety in the precinct of Athena, she was detected and delivered by her father to Nauplius to be put to death, and from him Teuthras, prince of Mysia, received and married her. But the babe, being exposed on Mount Parthenius, was suckled by a doe and hence called Telephus. Bred by the neatheards of Corythus, he went to Delphi in quest of his parents, and on information received from the god he repaired to Mysia and became an adopted son of Teuthras, on whose death he succeeded to the princedom.

E.3.17

But not knowing the course to steer for Troy, they put in to Mysia and ravaged it, supposing it to be Troy.¹ Now Telephus son of Hercules, was king of the Mysians, and seeing the country pillaged, he armed the Mysians, chased the Greeks in a crowd to the ships, and killed many, among them Thersander, son of Polynices, who had made a stand. But when Achilles rushed at him, Telephus did not abide the onset and was pursued, and in the pursuit he was entangled in a vine-branch and wounded with a spear in the thigh.

¹ With the following account of the landing of the Greeks in Mysia and their encounter with Telephus, compare Proclus, in Epicorum Graecorum Fragmenta, ed. G. Kinkel, pp. 18ff.; Scholiast on Hom. Il. i.59. The accounts of both these writers agree, to some extent verbally, with that of Apollodorus and are probably drawn from the same source, which may have been the epic Cypria summarized by Proclus. The Scholiast tells us that it was Dionysus who caused Telephus to trip over a vine-branch, because Telephus had robbed the god of the honours that were his due. The incident is alluded to by Pind. I. 8.48(106)ff. The war in Mysia is narrated in more detail by Philostratus, Her. iii.28-36 and Dictys Cretensis ii.1-7. Philostratus, Her. 35 says that the wounded were washed in the waters of the hot Ionian springs, which the people of Smyrna called the springs of Agamemnon.

E.3.20

But Telephus, because his wound was unhealed, and Apollo had told him that he would be cured when the one who wounded him should turn physician, came from Mysia to Argos, clad in rags, and begged the help of Achilles, promising to show the course to steer for Troy. So Achilles healed him by scraping off the rust of his Pelian spear. Accordingly, on being healed, Telephus showed the course to steer, and the accuracy of his information was confirmed by Calchas by means of his own art of divination.

E.5.12

Afterwards, Eurypylus, son of Telephus, arrived to fight for the Trojans, bringing a great force of Mysians. He performed doughty deeds, but was slain by Neoptolemus.

Archilochus (c. 680-645 BC)

• Note: Athenaeus mentions a Telephus by Archilochus: The Deipnosophists p. 184

Archilochus, POxy LXIX 4708

One doesn't have to call it weakness and cowardice, having to retreat, if it's under the compulsion of a god: no, we turned our backs to flee quickly: there exists a proper time for flight. Even once Telephus from Arcadia put to flight the great army of Argives, and they fled--indeed, so greatly was the fate of the gods routing them--powerful spear-men though they were. The fair-flowing river Kaikos and the plain of Mysia were stuffed with corpses as they fell. And being slain at the hands of the relentless man (Telephus), the well-greaved Achaeans turned-off with headlong speed to the shore of the much-resounding sea. Gladly did the sons of the immortals and brothers, whom Agamemnon was leading to holy Ilium to wage war, embark on their swift ships. On that occasion, because they had lost their way, they arrived at that shore. They set upon the lovely city of Teuthras, and there, snorting fury along with their horses, came in distress of spirit. For they thought they were attacking the high-gated city of Troy, but in fact they had their feet on wheat-bearing Mysia. And Heracles encountered them (the Argives), as he shouted to his brave-hearted son of Telephus, fierce and pitiless in cruel battle, who, inciting unfortunate flight in the Danaans, strove along on that occasion to gratify his father

Archilochus, POxy LXIX 4708 (page 2)

So I lost my shield by a bush? So what? Who would dare to call this cowardice (3), when even Telephus, who routed the great army of Agamemnon, came to grief on a bush (vine-shoot) and lost his shield—and survived."

Aristophanes (ca. 446 BC – ca. 386 BC)

Clouds

920–922

formerly you were a beggar saying that you were the Mysian Telephus

The Acharnians

429 (Henderson, pp. 110, 111)

Aristotle (384 BC – 322 BC)

Poetics

1453a 19–20

to-day the best tragedies are written about a few families— [20] Alcmaeon for instance and Oedipus and Orestes and Meleager and Thyestes and Telephus and all the others whom it befell to suffer or inflict terrible disasters.

1460a 30–32

Stories should not be made up of inexplicable details; so far as possible there should be nothing inexplicable, or, if there is, it should lie outside the story—as, for instance, Oedipus not knowing how Laius died—and not in the play; for example, in the Electra the news of the Pythian games, or in the Mysians the man who came from Tegea to Mysia without speaking.

Demosthenes

18.72

[72] If it was not right, if Greece was to present the spectacle, as the phrase goes, of the looting of Mysia,¹ while Athenians still lived and breathed, then I am a busybody, because I spoke of those matters, and Athens, too, is a busybody because she listened to me; and let all her misdeeds and blunders be charged to my account! But if it was right that some one should intervene, on whom did the duty fall, if not on the Athenian democracy? That then was my policy. I saw a man enslaving all mankind, and I stood in his way. I never ceased warning you and admonishing you to surrender nothing.

¹ looting of Mysia, by pirates; the proverbial example of cowardly non-resistance.

William Watson Goodwin, note 1 to Demosthenes 18.72

1. εἰ μὲν γὰρ μὴ ἐχρῆν: the alternative is εἰ δ᾽ ἔδει (6).—τὴν Μυσῶν λείαν, Mysian booty, i.e. like the Mysians, a prey to everybody. παροιμία, ἥν φησι Δήμων τὴν ἀρχὴν λαβεῖν ἀπὸ τῶν καταδραμόντων ἀστυγειτόνων τε καὶ λῃστῶν τὴν Μυσίαν κατὰ τὴν Τηλέφου τοῦ βασιλέως ἀποδημίαν, Harpocr. This refers to the wanderings of Telephus, disguised as a beggar, in quest of Achilles, who had wounded him and alone could cure his wound. This was the plot of the much-ridiculed Telephus of Euripides.

Dictys Cretensis (4th century AD)

2.1

The winds drove our whole fleet toward Mysia, and at a given signal we quickly guided all of the ships to shore, where, however, there were guards who opposed our men and prevented them from debarking. These guards had been stationed there by Telephus, who was at that time the ruler of Mysia, to protect his country from overseas enemies. ...

2.2

... Telephus, taking the men he had with him and those who were able to be gathered in the emergency, hastened to encounter the Greeks. When the two sides had drawn up their forces, a great battle ensued. They slaughtered each other at close quarters, the deaths of their comrades spurring them on to fight the more fiercely. It was in this battle that Thersander (the son of Polynices, as we mentioned above) attacked Telephus, and fell at his hands. ...

2.3

... Meanwhile Teuthranius, having noticed that Ajax was winning great glory in battle, hastened to meet him, and there died fighting, felled by Ajax’ spear. Teuthranius was the son of Teuthras and Auge; and the half-brother of Telephus, for they had the same mother. Telephus, being deeply upset by the death of his brother and seeking for vengeance, attacked the enemy line. Having put to flight those who opposed him, he was doggedly pursuing Ulysses in a vineyard nearby when a vine tripped him up. Thereupon Achilles who, from some distance, had seen what had happened, hurled his spear and pierced the king’s left thigh. But Telephus rose quickly and, having drawn out the spear, escaped immediate destruction under cover of a group of his men who had come to the rescue.

2.4

At the close of this day, both sides were exhausted, for the battle had raged without break, the leaders joined in fierce combat. The presence of Telephus had especially dampened our spirits, tired as we already were from sailing so far; for Telephus was a tall and powerful man whose deeds of valor rivalled those of his divine father, Hercules. ...

2.5

... As for the expedition against Priam, he refused to take part; he was prevented by the closest bonds of kinship, for his wife Astyoche, the mother of his son Eurypylus, was one of Priam’s daughters. ...

2.10

... At the same time Telephus hastened to sail to Argos to find relief for the wound he had received while fighting our men. Having suffered a long time and found no remedy, he had gone to the oracle of Apollo, and there been told to consult Achilels and the sons of Aesculapius. He reported the oracle to all or our leaders, who were wondering why he had come, and begged them – they were his friends – not to deny the predicted remedy. On hearing his plea, Achilles, Machaon, and Podalirius treated his wound, and thus soon proved the oracle true. ... And from there we hastened to sail. Telephus, being grateful because of his cure, offered himself as a guide. Thus we boarded the ships and, finding favourable winds, came to Troy several days later.

2.12

... When everyone was settled in place, Telephus departed for home. Our army was very grateful to him for having led us to Troy. ...

Diodorus Siculus

4.33.7

From this campaign Heracles returned into Arcadia, and as he stopped at the home of Aleos the king he lay secretly with his daughter Augê, brought her with child, and went back to Stymphalus.

4.33.8

Aleos was ignorant of what had taken place, but when the bulk of the child in the womb betrayed the violation of his daughter he inquired who had violated her. And when Augê disclosed that it was Heracles who had done violence to her, he would not believe what she had said, but gave her into the hands of Nauplius his friend with orders to drown her in the sea.

4.33.9

But as Augê was being led off to Nauplia and was near Mount Parthenium, she felt herself overcome by the birth-pains and withdrew into a near-by thicket as if to perform a certain necessary act; here she gave birth to a male child, and hiding the babe in some bushes she left it there. After doing this Augê went back to Nauplius, and when she had arrived at the harbour of Nauplia in Argolis she was saved from death in an unexpected manner.

4.33.10

Nauplius, that is, decided not to drown her, as he had been ordered, but to make a gift of her to some Carians who were setting out for Asia; and these men took Augê to Asia and gave her to Teuthras the king of Mysia.

4.33.11

As for the babe that had been left on Parthenium by Augê, certain herdsmen belonging to Corythus the king came upon it as it was getting its food from the teat of a hind and brought it as a gift to their master. Corythus received the child gladly, raised him as if he were his own son, and named him Telephus after the hind (elaphos) which had suckled it. After Telephus had come to manhood, being seized with the desire to learn who his mother was, he went to Delphi and received the reply to sail to Mysia to Teuthras the king.

4.33.12

Here he discovered his mother, and when it was known who his father was he received the heartiest welcome. And since Teuthras had no male children he joined his daughter Argiopê in marriage to Telephus and named him his successor to the kingdom.

Dionysius of Halicarnassus (c. 60 BC–after 7 BC)

Roman Antiquities

1.28.1

I am aware that many other authors also have given this account of the Tyrrhenian race, some in the same terms, and others changing the character of the colony and the date. For some have said that Tyrrhenus was the son of Heracles by Omphalê, the Lydian, and that he, coming into Italy, dispossessed the Pelasgians of their cities, though not of all, but of those only that lay beyond the Tiber toward the north. Others declare that Tyrrhenus was the son of Telephus and that after the taking of Troy he came into Italy.

Hecataeus (c. 550 BC – c. 476 BC)

• Pausanias, 8.4.9

Hecataeus says that this Auge used to have intercourse with Heracles when he came to Tegea. At last it was discovered that she had borne a child to Heracles, and Aleus, putting her with her infant son in a chest, sent them out to sea. She came to Teuthras, lord of the plain of the Caicus, who fell in love with her and married her. The tomb of Auge still exists at Pergamus above the Calcus; it is a mound of earth surrounded by a basement of stone and surmounted by a figure of a naked woman in bronze.

• Pausanias, 8.47.4

... To the north of the temple is a fountain, and at this fountain they say that Auge was outraged by Heracles, therein differing from the account of Auge in Hecataeus.

• Frazer, p. 481

Perhaps ... Euripides may have borrowed his version of the tale from Hecataeus; ...

Euripides

Auge

test. iia (Hypothesis), Collard and Cropp 2008a, pp. 264–267

(Auge), which begins, 'This (is the house of Athena Alea, rich in gold' [F 264a]; the) plot is as follows: (Aleus, ruler) of Arcadia, (had a daughter Auge who excelled) all women in beauty (and Virtue; and he made her priestess of Athena) Alea. But she, when the (all-night festival) ... chorus(es?) ... fell (into disgrace?)¹ ... wash(ing ... clothing) ... (the) nearby spring (or near the spring)² ... by (or according to) the ... (he) being drunk with wine³

test. iib, Collard and Cropp 2008a, pp. 266, 267 (= Moses of Chorene Progymnasmata 3.3)

While a festival of Athena was being celebrated in a certain city in Arcadia, Heracles had his way with Athena's priestess Auge, daughter of Aleus, as she conducted the dances during the nocturnal rites. He left her a ring as evidence of his offence, and then travelled far away. Auge became pregnant by him and gave birth to Telephus—this name became attached to him because of what happened. Auge's father now learned of her violation and in his anger ordered Telephus to be cast out in a deserted place, where he was suckled by a doe, and Auge to be drowned in the ocean. Meanwhile Heracles had returned to that region and was informed by means of the ring of what he had done. He acknowledged that he had fathered the child, and rescued the mother from the imminent danger of death. They also say that Teuthras, instructed by an oracle of Apollo, then took Auge as his wife and adopted Telephus as his son.

test. iii, Collard and Cropp 2008a, pp. 266, 267 (= Tzetzes On Aristophanes, Frogs 1080)

Auge, daughter of Aleus and priestess of Athena, gives birth to Telephus in the sanctuary.

test. iv, Collard and Cropp 2008a, pp. 268, 269 (= Strabo, 13.1.69)

Euripides says ...

fr. 265a Collard and Cropp 2008a, pp. 268, 269 (= Menander, Men at Arbitration 1123–1124)

Nature willed it, which cares nothing for convention. A woman was created by nature for this very purpose ...¹

¹ That is for sexual submission to a man. In Menander's Men at Arbitration a slave quotes these words in order to persuade Smicrines to accept the fact that his daughter Pamphile was raped and made pregnant at a nocturnal festival.

fr. 266, Collard and Cropp 2008a, pp. 270, 271 (= Clement of Alexandria, Miscellanies 7.3.23.4)

Clement of Alexandria, Miscellanies 7.3.23.4, with inscription to 'Auge justifying herself to Athena over Athena's displeasure at her having given birth in the sanctuary.'

AUGE: You enjoy looking on spoils stripped from the dead and the wreckage of corpses; these do not pollute you. Yet you think it a dreadful thing if I have given birth?

fr. 267, Collard and Cropp 2008a, pp. 270, 271

A city that is sick is clever at seeking out errors. ("Possibly referring to the search for the cause of pollution and famine in Tegea")

Webster, p. 239

a city sick is very good at discovering complaints

fr. 268, Collard and Cropp 2008a, pp. 270, 271

In fact you thought it proper to sacrifice oxen for my sake. ("Probably Heracles reminding Aleus of his earlier hospitality towards him.")

fr. 272b (= 265 N), Collard and Cropp 2008a, pp. 274, 275

<HERACLES>: As it is, wine made me lose control. I admit I wronged you, but the wrong was not intentional.

Telephus

fr. 696, Collard and Cropp 2008b, pp. 194, 195

TELEPHUS: O fatherland, which Pelops marked out as his own, greetings—and you, Pan, who haunt Arcadia's stormy massif from whence I claim descent; for Aleus' daughter bore me secretly to Heracles of Tiryns—my witness is mount Parthenion, where Eileithyia released my mother from her labour and I was born. Many hardships I endured, but I will cut short my story: I came to the Mysian plain, where I found my mother and made my home. Teuthras the Mysian gave me authority, and people throughout Mysia call me by the fitting name of Telephus, for I settled far from home when I made my life here. A Greek led barbarians ... abundantly armed—till the Achaean host came roaming and trampling over the Mysian plain.

Page, pp 131-133

TELEPHUS. I greet my fatherland, where Pelops set his boundaries; and Pan, who haunts the stormy Arcadian crags, whence I avow my birth. Auge, the daughter of Aleus, bore me in secret to Heracles of Tiryns. Witness Parthenion, the mountain where Ilithyia released my mother from her pangs, and I was born. And long I laboured—but I will make my story brief; I came to the plain of Mysia, where I found my mother and made a home. Teuthras, the Mysian, granted me his empire. Men call me Telephus in the towns of Mysia, since far from home my life was settled. Over barbarians I ruled, a Hellene, at my task beside me were a thousand spears; until the Achaean army came, and turned to the plains of Mysia ...

Hesiod (Pseudo) (6th century BC)

Catalogue of Women

fr. 165 (Merkelbach–West numbering) from the Oxyrhynchus Papyri XI 1359 fr. 1 (Most, pp. 184–187; Grenfell and Hunt, pp. 52–55)

Most, pp. 184–187:

] has greatly pleased the immortals." Thus he spoke; but the other] shuddered and sweated, hearing the speech of the immortals] who had revealed themselves clearly before him; receiving the maiden] in his halls he raised and reared her up well, and he honored her equally with his daughters. She bore] Telephus, Arcas' descendant, king of the Mysians, mingling] in the desire of Heracles' force. When] he marched [to get] illustrious Laomedon's horses. the ] best ones that were raised in the Asian land, ] slew the tribe of the great-spirited [Dardanians ] and drove them out from that whole country. Then Telephus] fled from the Achaeans with their bronze tunics ] on black ships ....

Grenfell and Hunt, pp. 54–55:

... if he delayed or feared to hear the word of the immortal gods who then appeared plainly to him. And he received and bred her up and tended her well in his halls , making her equal in honour with his daughters. And she was the mother of Telephus, of the stock of Areas, king of the Mysians, after being mated in love with mighty Heracles, who went after the horses of proud Laomedon, the swiftest of foot bred in the land of Asia, and destroyed the race of the high souled Amazons in battle and drove them from all that land. Now Telephus put to flight the warriors of the brazen-coated Achaeans and made them embark on their black ships. But when he had laid many low on mother earth, his death-dealing might was stricken ...

Evelyn-White, p. 607:

if indeed he (Teuthras) delayed, and if he feared to obey the word of the immortals who then appeared plainly to them. But her (Auge) he received and brought up well, and cherished in the palace, honouring her even as his own daughters. And Auge bare Telephus of the stock of Areas, king of the Mysians, being joined in love with the mighty Heracles when he was journeying in quest of the horses of proud Laomedon -- horses the fleetest of foot that the Asian land nourished, -- and destroyed in battle the tribe of the dauntless Amazons and drove them forth from all that land. But Telephus routed the spearmen of the bronze-clad Achaeans and made them embark upon their black ships. Yet when he had brought down many to the ground which nourishes men, his own might and deadliness were brought low . . .

Stewart, p. 110

The gods appear to Teuthras. [Apparently after some hesitation] he heeds their wishes, takes in Auge (who is not named in the extant text), and honors her like his own daughters. Herakles drops in on his way to attack Troy and seduces [Auge]. She bears Telephos, "the Arkasid," who becomes king of the Mysians, routs the invading Achaians, and drives them onto their ships; but after killing many of them, he is laid low.

Homer (c. 8th century BC)

Odyssey

11.519–521

but what a warrior was that son of Telephus whom he [Neoptolemus] slew with the sword, the prince Eurypylus! Aye, and many of his comrades, the Ceteians, were slain about him, because of gifts a woman craved.

Horace (65 BC – 8 BC)

Epodes

17.8–10

movit nepotem Telephus Nereium,

in quem superbus ordinarat agmina

Mysorum et in quem tela acuta torserat: [10]

Telephus prevailed on Nereus’ son,³⁰ when in his pride he had marshalled his Mysian troops against him and had attacked him with sharp spears.

³⁰ Telephus, king of the Mysians, attacked Achilles, whose mother was the Nereid Thetis. He was wounded by Achilles, but the latter was persuaded to heal his wound with the rust of the spear.

Compare Bulwer-Lytton, pp. 478–479:

Even Telephus [as suppliant] moved the fierce grandson of Nereus [Achilles],

Against whom he marshalled, in insolent pride,

The host of his Mysians, and levelled his arrows;–

Hyginus (c. 64 BC – AD 17)

Fabulae [Mary Grant unless otherwise noted]

14

ARGONAUTS ASSSEMBLED ... Amphidamas and Cepheus, sons of Aleus and Cleobule, from Arcadia. Ancaeus, son of Lycurgus; others say grandson, from Tegea.

57

... But Proetus, hearing this, wrote a letter about it, and sent him to Iobates, Stheneboea’s father.

99

Auge, daughter of Aleus, ravished by Hercules, when her time was near, gave birth to a child on Mount Parthenius, and there exposed him. At the same time Atalanta, daughter of Iasius, exposed a son by Meleager. A doe, however, sucked the child of Hercules. Shepherds found these boys and took them away and reared them, giving the name Telephus to the son of Hercules because a doe had suckled him, and to Atalanta’s child the name Parthenopaeus, because she had exposed him on Mount Parthenius [pretending to be virgin]. Auge, however, fearing her father, fled to Moesia to King Teuthras, who took her as a daughter since he was without children.

100

Idas, son of Aphareus, wished to rob Teuthras, king of Moesia, of his kingdom. When Telephus, Hercules’ son, with Parthenopaeus his friend, had come there seeking his mother in accordance with the oracle, Teuthras promised he would give him his kingdom and his daughter Auge in marriage if he would protect him from his enemy. Telephus did not disregard the proposal of the king, and with Parthenopaeus’ help overcame Idas in one battle. The king fulfilled his promise, and gave him his kingdom and Auge as wife, unaware of the relationship. Since she [faithful to Hercules] wished no mortal to violate her body, she intended to kill Telephus, not realizing he was her son. And so when they had entered the wedding-chamber, Auge drew a sword to slay Telephus. Then by the will of the gods a serpent of huge size is said to have glided between them, and at the sight Auge dropped the sword and revealed her attempt to Telephus. Telephus, when he heard this, not realizing she was his mother, was about to kill her, but she called for help on Hercules her ravisher, and by that means Telephus recognized his mother, and took her back to her own country.

101

Telephus, son of Hercules and Auge, is said to have been wounded by Achilles in battle with the spear of Chiron. When for days he suffered cruel torture from the wound, he sought oracular advice from Apollo for a remedy. The answer came that no one could heal him except the very spear that wounded him. When Telephus heard this, he went to King Agamemnon, and by Clytemnestra’s advice snatched the infant Orestes from his cradle, threatening to kill him if the Achaeans did not heal him. Then since the Achaeans had been given an oracle too, that Troy could not be taken without the leadership of Telephus, they readily made peace with him, and begged Achilles to heal him. Achilles replied that he didn’t know the art of healing. Then Ulysses said: Apollo does not mean you, but calls the spear the inflictor of the wound.” When they scraped it, he was healed. When they begged him to go with them to attack Troy, they did not obtain their request, because he had as wife Laodice, daughter of Priam. But in return for their kindness in healing him, he led them there, pointing out places and ways. From there he departed to Moesia.

112 [Smith and Trzaskoma]

Neoptolemus vs. Eurypylus: Eurypylus was killed.

113 [Smith and Trzaskoma]

Eurypylus killed Nireus and Machaon

155

SONS OF JOVE ... Arcas by Callisto, daughter of Lycaon.

162

SONS OF HERCULES: Telephus by Auge, daughter of Aleus.

173

THOSE WHO HUNTED THE CALYDONIAN BOAR ... Ancaeus, son of Lycurgus

244

MEN WHO KILLED THEIR RELATIVES: Telephus, son of Hercules, killed Hippothous and *Nerea, son of his grandmother.

252

THOSE SUCKLED BY ANIMALS Telephus, son of Hercules and Auge, by a deer.

Little Iliad

fr. 4 West (West, pp. 126, 127) = Scholiast on Iliad 19.326 = fr. 5 Evelyn-White

The author of the Little Iliad says that he [Achilles] landed there on leaving Telephus:

As for Achilles the son of Peleus, the storm carried him to Scyros; there he made the harbor with difficulty that night.

fr. 7 West (West, pp. 130, 131) = Pausanias 3.26.9 = fr. 30 PEG (Gantz, p. 640) = fr. 8 Evelyn-White

The author of the epic The Little Iliad says that Machaon was killed by Eurypylus, son of Telephus

• Fowler 2013, p. 542

Lycophron

Alexandra

207–215

Bacchus, ... shall stay the lion^c [Telephus] from his baquest, entangling his foot in withes, ...

1242–1249

And with him shall an erstwhile foe^k ... even Tarchon and Tyrsenus, tawny wolves, sprung from the blood of Heracles.ⁿ

Moses of Chorene (ca. 410–490s AD)

Progymnasmata 3.3 (Collard and Cropp, pp. 266, 267)

While a festival of Athena was being celebrated in a certain city in Arcadia, Heracles had his way with Athena’s priestess Auge, daughter of Aleus, as she conducted the dances during the nocturnal rites. He left her a ring as evidence of his offence, and then travelled far away. Auge became pregnant by him and gave birth to Telephus—this name became attached to him because of what happened.¹ Auge’s father now learned of her violation and in his anger ordered Telephus to be cast out in a deserted place, where he was suckled by a doe, and Auge to be drowned in the ocean. Meanwhile Heracles had returned to that region and was informed by means of the ring² of what he had done. He acknowledged that he had fathered the child, and rescued the mother from the imminent danger of death. They also say that Teuthras, instructed by an oracle of Apollo, then took Auge as his wife and adopted Telephus as his son."

¹ The name Telephus was sometimes explained by reference to his suckling at the teat (thêlê) of a doe (elaphos), as narrated in the next sentence. For an alternative etymology see Telephus F 696.11–13.

² Probably Heracles’ ring, torn by Auge from his finger during the rape and left by her with the exposed baby as a proof of his paternity (like Charisius’ ring in Menander’s Men at Arbitration).

Huys, pp. 393, 295 :

He got his name from circumstances (ubi is a cerva nutritus est)

Webster, pp. 238–239

Moses Chorenensis, whom Wilamowitz^[2] used for the plot, after describing the rape [cont.] of Auge by Herakles, who left her a ring, the birth and exposure of Telephos (whose name here came from being suckled by a deer — Wiliamowitz gives many parallels in late Euripides for punning etymology) and the condemnation of Auge, says that Herakles arrived and recognized the ring, then saved the child and freed the mother from imminent death: 'Teuthras is said then in accordance with an oracle of Apollo to have married Auge and adopted Telephos.

Ovid (20 March 43 BC – AD 17/18)

Epistulae ex Ponto

2.2.26

profuit et Myso Pelias hasta duci.

the Pelian spear helped the Mysian chieftain.

Ibis

255–256

Nor mayst thou suffer less grievously than he who drank of the hind’s udders, whom the armed man wounded and the unarmed succoured;²

² Telephus was suckled by a hind, and was both wounded and healed by Achilles’ spear; “inermis,” i.e. Machaon.

Metamorphoses

12.111–112

... when the Caïcus ran red with the slaughter of its neighbouring tribes, and when Telephus twice felt the strength of my spear.

13.170–172

And I [Odysseus] laid my hand on him [Achilles] and sent the brave fellow forth to do brave deeds. So then, all that he did is mine. ’Twas I who conquered the warring Telephus with my spear and healed him, vanquished and begging aid.

Tristia

1.1.99–100

namque ea vel nemo, vel qui mihi vulnera fecit

solus Achilleo tollere more potest.

For either nobody can remove them or, in the fashion of Achilles, that man only who wounded me.

2.19–20

forsitan ut quondam Teuthrantia regna tenenti,

sic mihi res eadem vulnus opemque feret,

Perchance, as once for him who ruled the Teuthrantian kingdom, the same object will both wound and cure me,

5.2.15–16

Telephus aeterna consumptus tabe perisset,

si non, quae nocuit, dextra tulisset opem.

Telephus would have died, destroyed by eternal disease, had not the hand that harmed him borne him aid.

Palatine Anthology

3.2 (Paton, pp. 150–153)

2 The second pillar has Telephus recognized by his mother.

Leaving the paths of Arcadia’s deep valleys for the sake of my mother Auge, I, Telephus, myself the dear son of Heracles, set foot on this Teuthranian land, to bring her back to Arcadia.

Pausanias

1.4.6

[The Pergamenes] claim that they are themselves Arcadians, being of those who crossed into Asia with Telephus. Of the wars that they have waged no account has been published to the world, except that they have accomplished three most notable achievements; the subjection of the coast region of Asia, the expulsion of the Gauls therefrom, and the exploit of Telephus against the followers of Agamemnon, at a time when the Greeks after missing Troy, were plundering the Meian plain thinking it Trojan territory.

3.26.9

Here in Gerenia is a tomb of Machaon, son of Asclepius, ... The author of the epic The Little Iliad says that Machaon was killed by Eurypylus, son of Telephus

3.26.10

I myself know that to be the reason of the practice at the temple of Asclepius at Pergamum, where they begin their hymns with Telephus but make no reference to Eurypylus, or care to mention his name in the temple at all, as they know that he was the slayer of Machaon.

5.13.3

The same rule applies to those who sacrifice to Telephus at Pergamus on the river Caicus; these too may not go up to the temple of Asclepius before they have bathed.

8.4.9

Hecataeus says that this Auge used to have intercourse with Heracles when he came to Tegea. At last it was discovered that she had borne a child to Heracles, and Aleus, putting her with her infant son in a chest, sent them out to sea. She came to Teuthras, lord of the plain of the Caicus, who fell in love with her and married her. The tomb of Auge still exists at Pergamus above the Calcus; it is a mound of earth surrounded by a basement of stone and surmounted by a figure of a naked woman in bronze.

8.45.7

On the gable [of the Temple of Athena Alea at Tegea] at the back is a representation of Telephus fighting Achilles on the plain of the Caicus.

8.47.4

... To the north of the temple is a fountain, and at this fountain they say that Auge was outraged by Heracles, therein differing from the account of Auge in Hecataeus.

8.48.7

The Tegeans surname Eileithyia, a temple of whom, with art image, they have in their market-place, Auge on her knees, saying that Aleus handed over his daughter to Nauplius with the order to take and drown her in the sea. As she was being carried along, they say, she fell on her knees and so gave birth to her son, at the place where is the sanctuary of Eileithyia. This story is different from another, that Auge was brought to bed without her father's knowing it, and that Telephus was exposed on Mount Parthenius, the abandoned child being suckled by a deer. This account is equally current among the people of Tegea.

8.54.6

At this point begins Mount Parthenius. On it is shown a sacred enclosure of Telephus, where it is said that he was exposed when a child and was suckled by a deer.

9.5.14

The Argives captured Thebes and handed it over to Thersander, son of Polyneices. When the expedition under Agamemnon against Troy mistook its course and the reverse in Mysia occurred, Thersander too met his death at the hands of Telephus. He had shown himself the bravest Greek at the battle; his tomb, the stone in the open part of the market-place, is in the city Elaea on the way to the plain of the Caicus, and the natives say that they sacrifice to him as to a hero.

9.31.2

Here too [on Helicon] is Telephus, the son of Heracles, represented as a baby being suckled by a deer.

9.41.1

Poets have sung, and the tradition of men has followed them, that Hephaestus made many works of art, but none is authentic except only the scepter of Agamemnon. However, the Lycians in Patara show a bronze bowl in their temple of Apollo, saying that Telephus dedicated it and Hephaestus made it, apparently in ignorance of the fact that the first to melt bronze were the Samians Theodorus and Rhoecus.

10.28.8

Next after Eurynomus are Auge of Arcadia and Iphimedeia. Auge visited the house of Teuthras in Mysia, and of all the women with whom Heracles is said to have mated, none gave birth to a son more like his father than she did.

Pentadius

De Fortuna (On Changing Fortune)

29-30

Pelias hasta fuit, vulnus grave quae dedit hosti;

hoc quae sanavit, Pelias hasta fuit.

Achilles' spear it was which dealt the enemy a heavy blow : what also cured the wound was Achilles' spear.

Philostratus (2nd to 3rd century AD)

• Philostratus, On Heroes, editors Jennifer K. Berenson MacLean, Ellen Bradshaw Aitken, BRILL, 2003, ISBN 9789004127012. Online version at Harvard University Center for Hellenic Studies Google Books

• See also Loeb edition

• Telephus' lost shield

"The loss of Telephus' shield appears only in the narrative of Philostratus' Heroicus, with a clear anticipation of the armorum iudicium." *POxy Online

• Heroicus: Google search

• Grimal "Protesilaus" p. 395

• Google search "Telephus' shield"

• Hiera as wife Cohart p.84

On Heroes

23.4

How the Achaeans before they came to Troy plundered Mysia, which was then ruled by Têlephos, and how Têlephos, fighting for his own people, was wounded by Achilles, you can hear from the poets since they have not neglected these stories.

23.5–9

But the belief that the Achaeans, in ignorance of the land, thought they were carrying off the spoils of Priam slanders Homer's account, which he sings about Kalkhas the prophet. If they sailed under prophetic skill and made his skill their guide, how could they have anchored there unitentionally? And how, once they had anchored, could they have been ignorant that they had come to Troy, although they met many cowherds and shepherds? For this region extends to the sea, and it is customary, I think, for those who put into port to ask the name of a foreign country.

Even if they had not met any herdsmen or asked any such questions, Odysseus and Menelaos had already been to Troy, served as ambassadors, and knew the battlements of Ilion. It seems unlikely to to me, therefore, that they would have overlooked these matters and permitted the army to go quite so astray from the enemy's country. Indeed the Achaeans plundered the Mysians deliberately, because a report had come to them that the Mysians fared best of theose on the mainland. Moreover, they feared lest those who were dwelling in the vicinity of Ilion might somehow be called over as allies in the battles.

23.9–11

To Herakles' son Têlephos, an especially noble man and a leader of armed men, these matters seemed intolerable, Hence, he drew many infantry and cavalry into battle formation. He led troops from the part of Mysia that he controlled (he ruled, I believe, all of coastal Mysia), and fighting alongside him were those from uper Mysia, whom the poets call "Abians" and "horse shepherds" and "drinkers of milk".

23.12–13

Protesilaos says that this was the greatest contest for them [the Greeks], greater than both those at Troy itself and any susequent battles between Hellenes and barbarians. The allince of Têlephos was highly esteemed by both the multitude and the warriors. Just as the Achaeans celbrated in song the Aikidai and heroes renowned Diomedes and Patroklos, so the Mysians sang the names Têlephos and Haimos, son of Ares. But the most renowned names were Heleros and Aktaios, sons of the river god Istros in Scythia.

23.24–25

Protesilaos says that he himself fought Têlephos and stripped him of his shield while still alive, but that Achilles fell upon the unprotected man, wounding him at once in the thigh. And although later in Troy he healed the wound, at that time Têlephos lost heart because of it and would have died if the Mysians had not together run to Têlephos and snatched him out of the battle. So many Mysians are said then to have fallen for him that the Kaikos river ran red with their blood. Protesilaos says that Achilles contended with him for the shield since Achilles was the one who wounded Têlephos. The Achaeans voted rather that the shield belonged to Protesilaos because Têlephos would not have been wounded had he not been stripped of the shield.

23.26–29

He [Protesilaos] says that even the Mysian women fought from horses alongside the men, just as the Amazons do, and the leader of the cavalry was Hiera, wife of Têlephos. Niereus is said to have killed her (for the young men of the army, who had not yet won honor, drew up for battle against the women), When she fell, the Mysian women cried out, scaring their horses, and were driven into the marshes of the Kaikos. This Hiera, Protesilaos says, was the tallest woman he had ever seen and the most beautiful of all who won a name for beauty. He does not claim that he saw Menelaos's wife Helen in Troy, but that he now sees Helen herself and does not blame her for his death. When he considers Hiera, however, he says that she surpasses Helen as much as Helen surpasses the Trojan women. Not even Hiera, my guest, won the praise of Homer, who did not introduce this divine woman into his own works because he favored Helen. Even the Achaeans are said to have been afflicted with passion for Hiera when she fell in battle, and the elders commanded the young soldiers neither to despoil Hiera nor touch her as she lay dead.

Pindar (ca. 522–443 BC)

Isthmean

5.38–40

Now, drive me into the air! Tell me, who killed Cycnus, and who Hector, and the fearless commander of the Ethiopians, bronze-armed Memnon? Who wounded noble Telephus with his spear by the banks of Caïcus?

8.49–50

Achilles, who stained the vine-covered plain of Mysia, spattering it with the dark blood of Telephus, and bridged a homecoming for the Atreids

Olympian

9.69–79

But among the settlers he chiefly honored the son of Actor [70] and Aegina, Menoetius, whose son went with the Atreidae to the plain of Teuthras, and stood alone beside Achilles, when Telephus turned to flight the mighty Danaans, and attacked their ships beside the sea, to reveal to a man of understanding [75] the powerful mind of Patroclus. From that time forward, the son of Thetis exhorted him in deadly war never to post himself far from his own man-subduing spear.

Pliny (AD 23–79)

Natural History

25.42

XIX. Achilles too, the pupil of Chiron, discoveredaAchilleos. a plant to heal wounds, which is therefore called achilleos, and by it he is said to have cured Telephus. Some have it that he was the first to find out that copper-rust is a most useful ingredient of plasters, for which reason he is represented in paintings as scraping it with his sword from his spear on to the wound of Telephus,

[See also Bostock 25.19: "Achilles too, the pupil of Chiron, discovered a plant which heals wounds, and which, as being his discovery, is known as the "achilleos." It was by the aid of this plant, they say, that he cured Telephus. Other authorities, however, assert that He was the first to discover that verdigris is an extremely useful ingredient in plasters; and hence it is that he is sometimes represented in pictures as scraping with his sword the rust from off a spear into the wound of Telephus"]

34.152

XLV. The list of remedies even includes rust itself, and this is the way in which Achilles is stated to have cured Telephus, whether he did it by means of a copper javelin or an iron one; at all events Achilles is so represented in painting, knocking the rust off a javelin with his sword.

[See also Bostock 34.45: "Rust itself, too, is classed among the remedial substances; for it was by means of it that Achilles cured Telephus, it is said, whether it was an iron weapon or a brazen one that he used for the purpose. So it is, however, that he is represented in paintings detaching the rust with his sword."

35.71

his [Parrhasius'] group^a of Telephus with Achilles, Agamemnon and Odysseus.

^a Showing the healing of Telephus by rust from Achilles’ sword, with Agamemnon and Odysseus looking on.

[See also Bostock 35.36: "his [Parrhasius'] Telephus also, and his Achilles, Agamemnon, and Ulysses."]

Plutarch

Romulus

2.1.5

Others again say that the Roma who gave her name to the city was a daughter of Italus and Leucaria, or, in another account, of Telephus the son of Heracles;

Proclus (?)

Summary of the Cypria (7th/6th century BC) = Cypria argument 7 West, pp. 72, 73

Nagy

They [the Achaeans] put to sea and land at Teuthrania, and they mistake it for Ilion and destroy it. Telephos comes to its aid, and kills Thersandros, son of Polyneikes; but he himself is wounded by Achilles. As the Achaeans sail away from Mysia a storm comes on them and their ships are scattered. Achilles lands at Skyros and marries Deidameia, daughter of Lykomedes. Telephos, guided by an oracle, comes to Argos. Achilles heals him, in order that he become their guide for the voyage to Ilion.

West, p. 73

Then they put to sea and land at Teuthrania, and they were setting out to sack it thinking it was Ilion. Telephus comes out to defend it, kills Polynices’ son Thersander, and is himself wounded by Achilles. < ... > As they are sailing away from Mysia, a storm catches them and they become dispersed. Achilles lands on Scyros and marries Lycomedes’ daughter Deidamea. Then Telephus comes to Argos on the advice of an oracle and Achilles heals him on the understanding that he will be their guide when they sail against Ilion.

Summary of the Little Iliad = Little Iliad argument 3 West, pp. 122, 123

Nacy

Odysseus fetches Neoptolemos from Skyros; he gives him his father's armor, and the ghost of Achilles appears to Neoptolemos. Eurypylos the son of Telephos comes to the aid of the Trojans as an ally, and while he is having his ἀριστεία Neoptolemos kills him. Troy is under siege.

West, p. 123

And Odysseus30 fetches Neoptolemus from Scyros and gives him his father’s armor; and Achilles appears to him. Eurypylus the son of Telephus arrives to help the Trojans, < ... > and dominates the battlefield, but Neoptolemus kills him. The Trojans are penned in the city.

Propertius (50–45 BC - 15 BC)

2.1.63–64

and the Mysian prince who received his wound from the Thessalian’s spear, from the selfsame spear received its cure.

Quintus Smyrnaeus

Posthomerica

4.172–177

Yea, silverfooted Thetis smiled, and gave

The singer fleetfoot horses, given of old

Beside Caicus' mouth by Telephus

To Achilles, when he healed the torturing wound

With the same spear wherewith himself had pierced

Telephus' thigh, and thrust the pint clear through.

6.130–138

To these, while sorely thus they yearned, the Gods

Brought present help in trouble, even the seed

Of mighty Hercules, Eurypylus.

A great host followed him, in battle skilled,

All that by long Caicus' outflow dwelt,

Full of triumphant trust in their strong spears.

Round them rejoicing thronged the sons of Troy:

As when tame geese within a pen gaze up

On him who casts them corn, and round his feet

Throng hissing uncouth love, and his heart warms

As he looks down on them; so thronged the sons

Of Troy, as on fierce-heart Eurypylus

They gazed; and gladdened was his aweless soul

To see those throngs: from porchways women looked

Wide-eyed with wonder on the godlike man.

Above all men he towered as on he strode,

As looks a lion when amid the hills

He comes on jackals. Paris welcomed him,

As Hector honouring him, who was born

Of Astyoche, King Priam's sister fair

Whom Telephus embraced in his strong arms,

Telephus, whom to aweless Hercules

Auge the bright-haired bare in secret love.

6.139–142

That babe, a suckling craving for the breast,

A swift hind fostered, giving him the teat

As to her own fawn in all love; for Zeus

So willed it, in whose eyes it was not meet

That Hercules' child should perish wretchedly.

8.150–153

...Achilles' son am I,

Son of the man whose long spear smote thy sire,

And made him flee—yea, and ruthless fates

Of death had seized him, but my father's self

Healed him upon the brink of woeful death. [153]

Scholiast on Homer's Iliad 1.52

Platter p. 148

The scholiast on Iliad 1.59 records a version in which Telephus was wounded by Achilles after he became tangled in some vines, the latter mishap having been brought about by Dionysus, whom he had angered.

Gantz, p. 579

... the A scholia to Iliad 1.59 ...[says that] Telephus after killing many Greeks came face to face with Achilleus and fled; becoming tangled in vines (Dionysos was angry with him because he had deproved the god of honors) he was wounded in the thigh by his opponent.

Scholiast on Homer's Odyssey 11.519

Sutton, p. 47

Eurypylus was the son of Astyoche and Telephus, the son of Heracles. He inherited his father's kingdom of Mysia. And Priam, hearing of his power, sent asking him to appear [at the Trojan War] as an ally. But he refused, saying that his mother would not allow it. So Priam sent his mother a golden vine as a gift. She accepted the vine and sent her son with an army, and he was killed by Neoptolemus son of Achilles.

Seneca (ca. 4 BC – 65 AD)

Troades

215–218

inhospitali Telephus regno impotens,

dum Mysiae ferocis introitus negat,

rudem cruore regio dextram imbuit

fortemque eandem sensit et mitem manum.

When Telephus, unbridled ruler of inhospitable realm, refused him passage through warlike Mysia, he with his royal blood first dyed that inexperienced hand, and found that same hand brave and merciful.

Fitch, pp. 192, 193

Telephus, headstrong ruler of an inhospitable realm, who denied him entry to wild Mysia, was the first to stain that inexperienced hand with his royal blood, and found that hand both warlike and gentle.

Servius

On Virgil's Eclogues

6.72.

Eurypylus namque filius Telephi, Herculis et Auges filii, ex Astyoche, Laomedontis filia

Sophocles

Aleadae

fr. 89 (Lloyd-Jones, pp. 40, 41)

And a horned deer came down from the high hills ... lifting its nostrils ... and the tines of its horns it went down safely ...

Strabo

12.8.2

... Teuthrania, situated between these two countries, where Teuthras lived and where Telephus was reared

12.8.4

Telephus might be thought to have come from Arcadia with his mother; and having become related to Teuthras, to whom he was a welcome guest, by the marriage of his mother to that ruler, was regarded as his son and also succeeded to the rulership of the Mysians.

13.1.7

For by "Troy" [Homer] means the part of the mainland that was sacked by [Achilles]; and, along with other places, Achilles also sacked the country opposite Lesbos in the neighborhood of Thebe and Lyrnessus and Pedasus, which last belonged to the Leleges, and also the country of Eurypylus the son of Telephus. “But what a man was that son of Telephus who was slain by him with the bronze," that is, the hero Eurypylus, slain by Neoptolemus.

13.1.69

Between Elaea, Pitane, Atarneus, and Pergamum lies Teuthrania, which is at no greater distance than seventy stadia from any of them and is this side the Caïcus River; and the story told is that Teuthras was king of the Cilicians and Mysians. Euripides¹ says that Auge, with her child Telephus, was put by Aleus, her father, into a chest and submerged in the sea when he had detected her ruin by Heracles, but that by the providence of Athena the chest was carried across the sea and cast ashore at the mouth of the Caïcus, and that Teuthras rescued the prisoners, and treated the mother as his wife and the child as his own son. Now this is the myth, but there must have been some other issue of fortune through which the daughter of the Arcadian consorted with the king of the Mysians and her son succeeded to his kingdom. It is believed, at any rate, that both Teuthras and Telephus reigned as kings over the country round Teuthrania and the Caïcus, though Homer goes only so far as to mention the story thus:“But what a man was the son of Telephus, the hero Eurypylus, whom he slew with the bronze; and round him were slain many comrades, Ceteians, on account of a woman's gifts.³ The poet thus sets before us a puzzle instead of making a clear statement; for we neither know whom we should understand the poet to mean by the "Ceteians" nor what he means by "on account of the gifts of a woman";⁴

1 Eur. Fr. 696 (Nauck)

3 Hom. Od. 11.521

4 On the variant myths of Auge and Telephus see Eustathius Hom. Od. 11.521; also Leaf's note and references (p. 340).

Collard and Cropp 2008a

p. 260

... through Telephus the historical rulers of Mysia—notably the Attalids of Pergamum in the Hellenistic period—could claim descent from Heracles.

Davies

• Davies, Malcolm (2000). "Euripides Telephus Fr. 149 (Austin) and the Folk-Tale Origins of the Teuthranian Expedition" (PDF). Zeitschrift für Papyrologie und Epigraphik. 133: 7–10. [Not currently used]

Dignas

p. 119

Pausanias continues,

The same rule applies to those who sacrifice to Telephos at Pergamon ...

...

p. 120

... He [Pausanias] may, however, refer to this particular example because he is aware that the Pergamenes found it exceptionally problematic to join the worship of Telephos with that of Asklepios. Such awareness is revealed in a different passage by the same author. In Book 3 Pausanias talks about Gerenia in Laconia where there ...

...

In his commentary on Vergil's sixth eclogue, for example, Servius offers an exclamation for the naming of the city and reveals an eponymous founder: Telephos' grandson Grynos and his friend Pergamos, son of Andromache and Neoptolemos, overcame the king of Teuthrania and became the founders of two cities, which were named Pergamon and Gryneion respectively.

p. 122

Tanja Scheer, in particular, has examined the history of the transmission of the myth of Telephos and has come to the conclusion that the mythical past of the city is entirely a creation of the Attalid dynasty, who transformed it into a religious and political present to match their rivals' claims to divine descent and as heirs to a long cultural tradition.¹¹ One glance at the [cont.]

...

¹¹ Scheer 1993, 71-152.

p. 123

marvellous Smaller Frieze on the Great Altar makes it clear that the Attalids strongly promoted their identity as descendants of the Mysian hero, and any examination of Attalid benefactions shows that the religious policies of the dynasty were as carefully calculated as they were successful.¹²

p. 124

With regard to Telephos, there is the possibility of a Hittite precursor in the hero Telepinu, whose stories, rituals, and cultic geography may well be crucial, and whose name may well have been transformed in Aeolic into Telephos.¹⁷

...

¹⁷ Barnett 1956, 212-38; Stewart 1997, 113; very sceptical Scheer 1993, 135 and 2003, 224; see also Ünal 1991.

Dreyfus

p. 114

SInce a more precise date has yet to be determined, the altar and its friezes are therefore placed somewhere between 180 and 156 B.C.

Frazer

Note to Paus. 1.4.6, I, p. 75ff.

Note 1 to Apollodorus, 2.7.4

As to the story of Herakles, Auge, and Telephus, see Apollod. 3.9.1; Diod. 4.33.7-12; Strab. 13.1.69; Paus. 8.4.9, Paus. 8.47.4, Paus. 8.48.7, Paus. 8.54.6, Paus. 10.28.8; Tzetzes, Scholiast on Lycophron 206; Hyginus, Fab. 99ff. The tale was told by Hecataeus （Paus. 8.4.9, Paus. 8.47.4）, and was the theme of tragedies by Sophocles and Euripides. See TGF (Nauck 2nd ed.), pp. 146ff., 436ff.; The Fragments of Sophocles. ed. A. C. Pearson, i. 46ff., ii.70ff. Different versions of the story were current among ancient writers and illustrated by ancient artists. See Frazer, note on Paus. 1.4.6 （vol. ii. pp. 75ff.）. One of these versions, which I omitted to notice in that place, ran as follows. On a visit to Delphi, king Aleus of Tegea was warned by the oracle that his daughter would bear a son who would kill his maternal uncles, the sons of Aleus. To guard against this catastrophe, Aleus hurried home and appointed his daughter priestess of Athena, declaring that, should she prove unchaste, he would put her to death. As chance would have it, Herakles arrived at Tegea on his way to Elis, where he purposed to make war on Augeas. The king entertained him hospitably in the sanctuary of Athena, and there the hero, flushed with wine, violated the maiden priestess. Learning that she was with child, her father Aleus sent for the experienced ferryman Nauplius, father of Palamedes, and entrusted his daughter to him to take and drown her. On their way to the sea the girl （Auge） gave birth to Telephus on Mount Parthenius, and instead of drowning her and the infant the ferryman sold them both to king Teuthras in Mysia, who, being childless, married Auge and adopted Telephus. See Alcidamas, Od. 14-16, pp. 179ff., ed. Blass （appended to his edition of Antiphon）. This version, which represents mother and child as sold together to Teuthras, differs from the version adopted by Apollodorus, according to whom Auge alone was sold to Teuthras in Mysia, while her infant son Telephus was left behind in Arcadia and reared by herdsmen （Apollod. 3.9.1）. The sons of Aleus and maternal uncles of Telephus were Cepheus and Lycurgus （Apollod. 3.9.1）. Ancient writers do not tell us how Telephus fulfilled the oracle by killing them, though the murder is mentioned by Hyginus, Fab. 244 and a Greek proverb-writer （Paroemiographi Graeci, ed. Leutsch and Schneidewin, i. p. 212）. Sophocles appears to have told the story in his lost play, The Mysians; for in it he described how Telephus came, silent and speechless, from Tegea to Mysia （Aristot. Poet. 1460a 32">P">Aristot. Poet. 1460a 32）, and this silence of Telephus seems to have been proverbial. For the comic poet Alexis, speaking of a greedy parasite who used to gobble up his dinner without exchanging a word with anybody, says that, “he dines like speechless Telephus, answering all questions put to him only with nods” （Athenaeus x.18, p. 421 D）. And another comic poet, Amphis, describing the high and mighty airs with which fish-mongers treated their customers in the market, says that it was a thousand times easier to get speech of a general than of a fish-monger; for if you addressed one of these gentry and, pointing to a fish, asked “How much?” he would not at first deign to look at you, much less speak to you, but would stoop down, silent as Telephus, over his wares; though in time, his desire of lucre overcoming his contempt of you, he would slap a bloated octopus and mutter meditatively, as if soliloquizing, “ Sixpence for him, and a bob for the hammerfish.” This latter poet explains incidentally why Telephus was silent; he says it was very natural that fish-mongers should hold their tongue, “for all homicides are in the same case,” thus at once informing us of a curious point in Greek law or custom and gratifying his spite at the “cursed fish-mongers,” whom he compares to the worst class of criminals. See Athenaeus vi.5, p. 224 DE. As Greek homicides were supposed to be haunted by the ghosts of their victims until a ceremony of purification was performed which rid them of their invisible, but dangerous, pursuers, we may conjecture that the rule of silence had to be observed by them until the accomplishment of the purificatory rite released them from the restrictions under which they laboured during their uncleanness, and permitted them once more to associate freely with their fellows. As to the restrictions imposed on homicides in ancient Greece, see Psyche's Task, 2nd ed. pp. 113ff.; Folk-Lore in the Old Testament, i.80, 83ff. The motive of the homicide's silence may have been a fear lest by speaking he should attract the attention, and draw down on himself the vengeance, of his victim's ghost. Similarly, among certain peoples, a widow is bound to observe silence for some time after her husband's death, and the rule appears to be based on a like dread of exciting the angry or amorous passions of her departed spouse by the sound of the familiar voice. See Folk-Lore in the Old Testament, iii.71ff.

Note 2 to Apollodorus, 2.7.4

Apollodorus seems to derive the name Telephus from θηλή, “a dug,” and ἔλαφος, “a doe.”

Note to Apollodorus, E.3.17

With the following account of the landing of the Greeks in Mysia and their encounter with Telephus, compare Proclus, in Epicorum Graecorum Fragmenta, ed. G. Kinkel, pp. 18ff.; Scholiast on Hom. Il. i.59. The accounts of both these writers agree, to some extent verbally, with that of Apollodorus and are probably drawn from the same source, which may have been the epic Cypria summarized by Proclus. The Scholiast tells us that it was Dionysus who caused Telephus to trip over a vine-branch, because Telephus had robbed the god of the honours that were his due. The incident is alluded to by Pind. I. 8.48(106)ff. The war in Mysia is narrated in more detail by Philostratus, Her. iii.28-36 and Dictys Cretensis ii.1-7. Philostratus, Her. 35 says that the wounded were washed in the waters of the hot Ionian springs, which the people of Smyrna called the springs of Agamemnon.

Note to Apollodorus, E.3.20

This account of how Telephus steered the Greek fleet to Troy after being healed of his grievous wound by Achilles, is probably derived from the epic Cypria; since it agrees on these points with the brief summary of Proclus. See Epicorum Graecorum Fragmenta, ed. G. Kinkel, p. 19. Compare Scholiast on Hom. Il. i.59; Dictys Cretensis ii.10. As to the cure of Telephus's wound by means of the rust of the spear, see also Hyginus, Fab. 101; Prop[ertius] ii.1.63ff.; Ovid, Ex Ponto ii.2.6. Pliny describes a painting in which Achilles was represented scraping the rust from the blade of his spear with a sword into the wound of Telephus （Pliny, Nat. Hist. xxv.42, xxxiv.152）. The spear was the famous one which Chiron had bestowed on Peleus, the father of Achilles; the shaft was cut from an ash-tree on Mount Pelion, and none of the Greeks at Troy, except Achilles, could wield it. See Hom. Il. 16.140-144; Hom. Il. 19.387-391; Hom. Il. 22.133ff. The healing of Telephus's wound by Achilles is also reported, though without mention of the spear, by Dictys Cretensis ii.10, a Scholiast on Hom. Il. i.59 and a Scholiast on Aristoph. Cl. 919. The subject was treated by Sophocles in a play called The Assembly of the Achaeans, and by Euripides in a play called Telephus. See The Fragments of Sophocles, ed. A. C. Pearson, i.94ff.; Griechische Dichterfragmente. ii. Lyrische und dramatische Fragmente, ed. W. Schubart und U. von Wilamowitz-Moellendorff （Berlin, 1907）, pp. 64ff.; TGF (Nauck 2nd ed.), pp. 161ff., 579ff. Aristophanes ridiculed the rags and tatters in which Telephus appeared on the stage in Euripides's play （Aristoph. Acharn. 430ff.）. Apollodorus may have had the passage of Euripides or the parody of Aristophanes in mind when he describes Telephus as clad in rags. The cure of a wound by an application to it of rust from the weapon which inflicted the hurt is not to be explained, as Pliny supposed, by any medicinal property inherent in rust as such, else the rust from any weapon would serve the purpose. It is clearly a folklore remedy based on the principle of sympathetic magic. Similarly Iphiclus was cured of impotence by the rust of the same knife which had caused the infirmity. See Apollod. 1.9.12. The proverbial remedy for the bite of a dog “the hair of the dog that bit you,” is strictly analogous in principle; for it is not the hair of any dog that will work the cure, but only the hair of the particular dog that inflicted the bite. Thus we read of a beggar who was bitten by a dog, at the vicarage of Heversham, in Westmoreland, and went back to the house to ask for some of the animal's hair to put on the wound. See W. Henderson, Notes on the Folk-lore of the Northern Counties of England （London, 1879）, p. 160, note 1. A precisely similar remedy for similar hurts appears to be popular in China; for we hear of a missionary who travelled about the province of Canton accompanied by a powerful dog, which bit children in the villages through which his master passed; and when a child was bitten, its mother used to run after the missionary and beg for a hair from the dog's tail to lay on the child's wound as a remedy. See N. B. Dennys, The Folklore of China （London and Hongkong, 1876）, p. 52. For more examples of supposed cures based on the principle of sympathy between the animal who bites and the person who is bitten, see W. Henderson, l.c.; W. G. Black, Folk-Medicine （London, 1883）, pp. 50ff.; W. Gregor, Notes on the Folklore of the North-East of Scotland （London, 1881）, p. 127.

Fullerton

p. 233

Temple of Athena Alea at Tegea

According to Pausanias (8.45-46) this temple replaced an Archaic predecessor, ... There is no further documentation of the date, the Archaic temple burned in 495, but technical and stylistic studies are now generally agreed that its replacement was finished circa 350-340. ...

Pausanias adds that the ... West [pediment] held a battle between Telephus and Achilles by the Caikos River; as at Olympia, he names most of the figures. He does not mention the metopes, but those above the porches were scuptured, formed from separately carved figures dowelled onto the metope slabs, ... Some subjects can be identified from [cont.]

p. 234

names inscribed on the architrave below. Telephos and Auge are named on the west, ...

Gantz

p. 429

Euripides wrote two relevant dramas for separate occasions, a Telephos, set like that of Aischylos in Achaian Argos (with a prologue preserved), and an Auge, dealing directly with the plight of the mother. ...

p. 431

In art we have mostly late representations, most often on coins or Roman walls, of Telephos and the doe, or of Herakles finding Telephos and the doe.⁸⁷ [Bauchhenss-Thüriedl Der Mythos von Telephos in der antiken Bildkunst] This last scene appears also on the Pergamon frieze, but with no secure sequence of events it becomes difficult in all cases to say whether Herakles' discovery of his child )not mentioed in literary sources) has any bearing on the narrative or is just tableau.

p. 576

But when they come to the shore of Asia Minor they mistake Teuthrania in the land of Mysia for Troy and attack. The local king Telephus slays Thersandros, son of Polyneikes, but is himself wounded by Achilleus. ... From here the action shifts to Argos and Telephos' arrival there to seek from Achilleus a cure for his wound in exchange for guiding the army to Troy. So the summary of Proklos; there are no fragments or quotes touching on this part of the story, and we can only guess at what the original poem contained by way of detail.

p. 578

Aischylos' Telephos must have [cont.]

p. 579

dealt with the same situation, but we know only that he may have anticipated Euripides in the use of Orestes as hostage (Σ Acharnes 332 says so, but has been questioned¹⁹). Red-figure, however, certainly begins to illustrate that detail [Orestes as hostage] in the second quarter of the fifth century (e.g. London E382).

...

Apollodoros adds that Achilleus used the rust from the spear to effect the cure, a motif we find first in Propertius ..., Ovid ..., an undated painting seen by Pliny (NH 25.42; 34.152); in all likelihood this folktale-laden motif goes back to the Kypria.

...

From Diktys, finally, comes the seemingly innocuous detail that Diomedes carried the body of the slain Thersandros out of the battle in Mysia (Dik 2.2). Such elaboration is typical of Diktys, but in this case it leads us back to the early fifth century and a Red-Figure calyx krater by Phintias of which only fragments survive (Leningrad St 1275).²¹ What remains are Patroklos (named), Diomedes (also named, bent forward under the weight of something, surely a fallen comrade), plus the inscription "Dionysos" (figure not preserved). Seemingly, then, the main part of the krater represented Achilleus and [cont.]

p. 580

Telephos, with the god's role in the latter's wounding thus guaranteed as at least this early.

Grimal

• "Auge" p. 70

s.v. Telephus pp. 437–438

p. 438

Telephus was linked with Italian myths through his two sons Tarchon and Tyrensus (or Tyrrhenus). This link appears in Lycophron's Cassandra and is confirmed by Tzetzes and Dionysus of Halicarnassus. Tarchon and Tyrsenus were sons of Telephus and Hiera. They emigrated to Eturia after the capture of Troy. Likewise ROMA, one of the heroines to whom the foundation of Rome was attributed, was sometimes considered a daughter of Telephus and wife of Aeneas.

• "Eurypylus" p. 158

• Auge goes to Mysia

• With Telephus (epic sources):

• Either abandoned at sea in a chest, or handed over to Nauplius to be drowned. Telephus raised at the court of Teutrhas

• Without Telephus (tragic writers):

• Handed over to Nauplius to be drowned. On the way Auge gave birth to Telephus and abandoned him on Mount Parthenion. Suckled by a deer. Found by shepards of King Corythus who raised him. Telephus asks the oracle at Delphi about his mother; told to go to Mysia. He had accidentally killed his mothers two brothers Hippothous and Pereus; the subject of Sophocles' lost tragedy Aleadae. The oracle at Delphi orders him to go to Mysia without speaking until purified by Teuthras.
• Then either promised in marriage to Auge, but prevented by divine intervention and they return together to Arcadia, or more commonly he is recognized by Auge, and remains in Mysia as the heir of Teuthras.

Heres

p. 83

According to ancient literary tradition, [Telephus] was the mythical founder of Pergamon. The Attalids, the ruling dynasty of Pergamon, regarded him as the ancestor of their line. The earliest evidence of a Greek city acknowledging Heracles as an ancestor is an Athenian inscription for Attalos I (r. 241-197 B.C.) from about 200 B.C. The descent from the hero Telephus, the son of Heracles and grandson of Zeus, secured the legitimacy of the Attalids’ claim claim to sovereignty.

To be sure, for the same reason other Hellenistic dynasties also traced their descent back to a divine origin. But the population of Pergamon also was included in this mythical descent: a Milesian inscription from after 129 B.C. and an oracle of Apollo at Klaros, written down in the second century A.D., call these people Telephidai, descendants of Telephos, and Pausanias (‘’Description of Greece’’ 1.4.6) reports in the second century A.D. that they were descendants of the Arkadians who had accompanied Telephos to Mysia. Mutual honors, recorded in inscriptions, confirm the bond between Pergamon and the Arkadian city of Tegea. From there Auge, Telephos's mother was said to have conveyed the cult of Athena to Pergamon.

p. 85

Herakles finds Telephos in the Parthenion mountains being suckled by a lioness (panel 12, cat. no. 5).

p. 96

The battle of the Mysians against the Greeks and the wounding of Telephos by Achilles was the subject of the west pediment of the temple of Athena Alea at Tegea, the home city of Auge.²⁷ Only fragments of the pedimental sculptures are preserved. One reconstruction places the two heroes, Telephos and Achilles, in the center of the pediment standing upright and facing each other, similar to their representation in the Telephos frieze (see fig. 10).²⁸ In the pediment, however, Telephos seems to have worn the lion skin of his father, Heracles, instead of a helmet. Achilles lunges at him.

…

The healing of Telephos was, according to tradition, represented in a painting by Parrhasios, which is perhaps [cont.]

p. 97

fig. 20. Telephone takes refuge on the altar with Orestes. The scene takes place in the sanctuary of Apollo. From the right Agamemnon approaches hurriedly. Two terrified women flee. Red-figure krater, ca. 400 B.C. Staatliche Museen zu Berlin. Antikensammlung inv. V.I. 3974.

[cont.] echoed in an Etruscan mirror (fig. 21). The motif is also known from a glass intaglio in Berlin (fig. 22). Such a scene is not found among the remains of the Telephos frieze, but it must surely have formed part of the cycle.

fig. 21. Achilles heals the wound of Telephos with rust splinters from his spear. Engraving on the reverse of an Etruscan bronze mirror, second half 4th century B.C. Staatliche Museen zu Berlin. Antikensammlung inv. Fr. 35.

p. 101

Thus the frieze could have been executed between 165 and 159 B.C., or later.

p. 177 [endnotes]

²⁷ An inscription on the epistyle of the temple testifies to the representation of Auge, Telephos, and Aleus on the Metopes: LIMC 7: no. 3 s.v. "Telephos" (Heres and Strauss).

Heres and Strauss

p. 857

A. Gesamtdarstellung [A. Overall Presentation]

1. ...

...

p. 862

B. Auge mit dem kind Telephos [C. Auge with the child Telephus]

2. ...

3. (= Auge 3) Metope. Tegea, Mus. Aus Tegea, Athena-Alea-Tempel, Opisthodom. -- Nach 370 v.Chr. -- Inscriften auf dem Architravblock: ΑΥΓΑ, ΤΗΛΕΦΟΣ, Α[ΛΕΟΣ]. Aleos entdeckt T. im Beisein der Auge (?). Das Metopenrelief ist zerstört.

3. (= Auge 3) Metope. Tegea, Mus. Aus Tegea, Athena-Alea-Tempel, Opisthodomos. -- After 370 BC - Inscription on the architrave block: ΑΥΓΑ, ΤΗΛΕΦΟΣ, Α[ΛΕΟΣ]. Aleos discovers T. in the presence of the Auge (?). The metope-relief is destroyed.

4.

C. Telephos von der Hindin gesäugt [C. Telephos suckled by the hind]

5. ...

6.* Chalzedongemme, ostionisch. München, Münzslg. A 1474. -AGD I Nr. 284 Taf. 33; ... Ca. 480 v. Chr. -- T. kniet unter der Hindin, das eine Bein ist vorgesetzt. Beide Arme greifen [cont.]

6. * Chalcedon gem, East-Ionian. Munich, Münzslg. A 1474.-AGD I No. 284 Plate 33; ... c. 480 BC - T. kneels under the hind, one leg is set. Both arms grasp [cont.]

p. 863

nach den Zitzen der Hindin. Sie trägt ein Geweih auf dem erhobenen Haupt.

at the hind's teats. She is wearing an antler on her raised head.

7.* Chalzedongemme, ostionisch. Providence, Rhode Island School of Design 25.097. -- Hackens, T., Classical Jewelry (1976) 146; ... Ca. 450 v. Chr. - T. krabbelt, die Hände ergreifen die Zitzen der Stehenden Hindin. Diese wendet das gesenkte Haupt mit Geweih dem Kinde zu.

7. * Chalcedon gem, East-Ionian. Providence, Rhode Island School of Design 25,097. Hackens, T., Classical Jewelry (1976) 146; ... c. 450 BC - T. crawls, hands grasp the teat of the standing hind. She turns her lowered head with antlers to the child.

7a)* Eisenring. Malibu, Getty Mus. 81.AI.17 ... Mitte 4. Jh. v. Chr. -- Wie 7. Hinden ohne Geweih.

7a)* Iron ring. Malibu, Getty Mus. 81.AI.17 ... mid 4th century BC -- like 7. Hind without antlers.

8.* Münzen. AE, Tegea, ab ca. 370 v.Chr. -- ... -- Vs.: Athena-kopf. Rs.: a) T. kniet nah r. Die Hindin (ohne Geweih) steht nach l., das Haupt T. zugewandt. b) T. krabbelt nach l. Hinden spiegelbildich zu a.

8.* Coins. AE, Tegea, from c. 370 BC. - ... - Rev .: Athena head. Rev .: a) T. kneels close to r. the Hind (without antlers) stands to left, facing the main T. b) T. crawls to l. Hind mirror-image to a.

9.* Spiegelfrg., etr. Paris, Cab. Méd. 1348. -- ... Ca. 300 v.Chr. -- Unter einer nach l. stehenden Hinden (Bruch: drei Läufe erhalten) kniet T. in Vorderansicht und greift an die Zitzen (Bruch). L. am Boden steht ein Fuß (Herakles?), r. eine Säulenbasis (Heiligtum). Beischr. ...

9.* Mirror frg., Etr. Paris, Cab. Méd. 1348. - ... Approx. 300 BC - Under a to l. standing Hind (break: three runs received) kneels T. in front view and attacks the teats (break). L. on the ground stands one foot (Heracles), r. a pillared base (sanctuary). Beischr. ...

...

17.*

D. Herakles entdeckt Telephos [D. Herakles discovers Telephos]

18. (?) = 9 ...

...

p. 865

...

42. ...

p. 866

E. Telephos begegnet Auge [E. Telephs meets Auge]

43. ...

44. (= Agisthos 51*, = Auge 35) Marmorrelief. Neapel, Mus. Naz. 76/128. ... L. steht T. vor Auge. Sie sitzt auf einem Felsen. R. heilt Achilleus die Wunde des T. mit der Lanze. T. sitzt auf einem Stuhl und streckt das verwundete Bein vor. Er hält sich am Stuhl und an seinem Szepter fest.

44. (= Agisthos 51*, = Auge 35) Marble relief. Naples, Mus. Naz. 76/128. ... L. is T. in front of Auge. She is sitting on a rock. R. Achilles heals the wound of the T. with his spear. T. sits in a chair and stretches out his wounded leg. He clings to the chair and his scepter.

F. Telephos vor Troia [F. Telephos before Troy]

45. ...

G. Telephos als Krieger [G. Telephos as a warrior]

46.* ...

H. Die Schlacht in der Ebene des Kaikos [H. The Battle of the Kaikos]

47. ...

48. (= Diomedes I 7* mit Lit., = Thersandros II 6) Kelchkrater, att. rf., 2 Frr. St. Petersburg, Ermitage B 1843 (St. 1275) ... Phintias ... 510 v.Chr. -- Linkes Fr.: Patroklos wendet sich auf der Flucht nach l. zurück, der den gefallenen Thersandros aus dem Schlachtfeld trägt (Bruch). in der Mitte war Achilleus dargestellt, der T. r. mit der Lanze trifft. T. war über den Weinschößling gestrauchelt, den Dionysos mit dem Thyrsos hat sprießen lassen. Rechtes Fr.: Der Unterarm des Dionysos mit Thyrsos. Beischriften ΠΑΤΡΟΚΛΟΣ ΔΙΟΜΕΔΕ[Σ] [ΔΙΟ]ΝΥΣΟΣ.

48. (= Diomedes I 7* with ref., = Thersandros II 6) Sepal crater, att. rf., 2 Fr. St. Petersburg, Ermitage B 1843 (St. 1275) ... 510 BC. - Left Fr .: Patroclus turns to flee to l. back carrying the fallen Thersandros from the battlefield (break). in the middle was Achilles, the T. r. hits with the lance. T. had stumbled over the vine, which Dionysus had sprouted with the thyrsus. Right Fr .: Dionysus' forearm with thyrsos. Inscriptions ΠΑΤΡΟΚΛΟΣ ΔΙΟΜΕΔΕ[Σ] [ΔΙΟ]ΝΥΣΟΣ.

49.* Giebel. Teagea, Athena-Alea-Tempel, Opisthodom. -- Paus. 8,45,7; ... Mitte 4.Jh. v.Chr. -- Der Zweikampf Achilleus gegen T. war in der Giebelmitte dargestellt. L. steht T. frontal, der mit Löwenkappe bedeckte Kopf (ehem. Tegea, Mus. 60 [1992 gestohlen]) blickt zu seinem Gegner r. Achilleus in Ausfallstellung greift von r. an (Kopf Athen, Nat. Mus. 180). In der Mitte des Giebelfeldes ist ein Weinschößling anzunehmen.

49.* Gable. Teagea, Athena Alea Temple, Opisthodomos. - Paus. 8.45.7; ... middle of the 4th cent. B.C. - The duel of Achilles against T. was shown in the center of the gable. L. is T. frontal, the head covered with lion's cap (formerly Tegea, Mus. 60 [stolen in 1992]) looks to his opponent r. Achilles in defensive position attacks from r. (Head Athens, Nat. Mus. 180). In the middle of the gable field is to accept a vine shoot.

50. = 25b.

I. Telephos als Hiketes [I. Telephos as Hiketes (i.e a stranger arriving as suppliant)]

51.* (= Peirithoos 87 [I]) Schale, att. rf. Boston, MFA 1898.931. ... 470-460 v.Chr. -- I: L. steht ein bärtiger Mann in Reisekleidung. Rechts hockt ein Mann in Reisekleidung auf einem Felsen, das Haupt auf die Rechte gestützt. In der Mitte eine Säule mit Gebälk. Ankkunft in Argos. A: T. sitzt auf dem Altar, der r. Fuß steht auf der Altarfläche, der l. Fuß auf der Basis. Der l. Oberschenkel ist verbunden. T. trägt einen Filzhut, Chlamyrs und hohe Stiefel, er hält zwei Lanzen. R. zückt ein Krieger das Schwert, aber Odysseus hält ihn zurück. Von l. kommt ->Kalchas mit Stab, dahinter Achilleus (?) mit Lanze. Seit T.' Eintritt steht die Tür offen. B: In der Mitte sitzt Agamemnon auf einem Thron. Seine Gefahrten eilen mit vorgehaltenen Lanzen aufgeregt gestikulierend zu T.

51.* (= Peirithoos 87 [I]) Shell, att. rf. Boston, MFA 1898,931. ... 470-460 BC - I: L. is a bearded man in traveling clothes. On the right, a man in traveling gear sits on a rock, his head resting on his right. In the middle of a column with beams. Arrival in Argos. A: T. sits on the altar, the r. foot is on the altar surface, the l. foot is on the base. The l. thigh is bandaged. T. wears a felt hat, chlamyrs and high boots, he holds two lances. R. draws a warrior's sword, but Odysseus holds him back. From l. comes -> Kalchas with staff, behind it Achilles (?) with lance. Since T. ' admission is the door open. B: In the middle sits Agamemnon on a throne. His companions rush excitedly gesticulating with their lances in their hands.

52. ->Agamemnon 11* (Pelike, att. rf.).

53. Pelike, att. rf. Polygiros (Thessaloniki, Arch. Mus. Ol. 34-263) ... Ca. 360 v.Chr. -- L. sitzt T. auf einem Altar, Orestes liegt auf seinem l. Arm. Odysseus hält Agamemnon von einem Angriff ab.

53. Pelike, att. rf. Polygiros (Thessaloniki, Arch. Mus. Ol. 34-263) ... c. 360 BC - L. T. is sitting on an altar, Orestes is lying on his l. arm. Odysseus keeps Agamemnon from attacking.

54. Relieflekythos att. New York, MMA 28.57.9 ...

54. Relief lekythos att. New York, MMA 28.57.9 ...

55. ...

55. ...

...

59.* (=Medeia 36[A]) Kelchkrater, Lucan. rf. Umkreis des Policoro-Malers. Cleveland Mus. of Art 91.1 ... [cont.]

59.* (=Medeia 36[A]) Calyx crater, Lucan. rf. Perimeter of the Policoro painter. Cleveland Mus. of Art 91.1 ... [cont.]

p. 867

Ca. 400 v.Chr. --B: T. kniet mit dem l. Bein auf dem Altar. Der. r. Oberschenkel trägt einen Verband. Die Rechte hält ein Schwert, die Linke hebt Orestes hoch. Das Kind streckt die Arme Agamemnon entgegen. Der zückt das Schwert. Klytaimestra eilt von r. herbei, um einen Angriff zu vereiteln. -- Vlg. ->Agamemnon 14*.

C. 400 BC - B: T. kneels with the l. leg on the altar. On the r. thigh wearing a bandage. The right hand holds a sword, the left ::raises Orestes. The child extends his arms towards Agamemnon. He pulls the sword. Klytaimestra hurries from r. come to frustrate an attack.

...

64. (=Agamemnon 15*) Hydria, camp. rf. Neapel, Mus. Naz. 86064 (RC 141). ... Ca. 320 v. Chr. -- Das r. Bein des T. kniet auf der oberen Stufe des Altars, der l. Fuß steht auf der unteren Altarstufe. Die ausgestreckte Linke hält Orestes kopfüber an der Ferse, in der Rechten ein Schwert. L. rauft sich eine Dienerin das Haar. Agamemnon greift mit der Lanze an, Klytaimestra tritt ihm in den Weg. Über T. schwebt die Sonnenscheibe.

64. (=Agamemnon 15*) Hydria, camp. rf. Neapel, Mus. Naz. 86064 (RC 141). ... C. 320 BC Chr. - The r. leg of T. kneels on the upper level of the altar, the l. foot stands on the lower altar step. The outstretched left arm holds Orestes headfirst on the heel, in the right hand a sword. L. gets a servant's hair. Agamemnon attacks with the lance, Klytaimestra steps in his path. The sun disc hovers over T.

...

68. Kalbskopf-Rhyton, skyth.-propont., Silber. St. Petersburg, Ermitage 575. ... Ca. 300 v.Chr. -- Relief auf dem Rhytonschaft: Von r. kniet T. mit dem r. Bein auf dem Stufenaltar. In der Linken hält er Orestes, die Rechte führt ein Schwert. Von r. eilt Klytaimestra herbei. L. strebt Agamemnon mit dem Schwert nach l., aufgehalten von dem unbewaffneten Odysseus. Ganz l. steht eine Dienerin.

68. Calf-head-Rhyton, skyth.-propont., Silver. St. Petersburg, Ermitage 575. ... C. 300 BC - Relief on the Rhytonschaft: From r. kneels T. with the r. leg on the step altar. In the left he holds Orestes, his right hand carries a sword. From r. hurries Clytaimestra. L. seeks Agamemnon with the sword to l., Stopped by the unarmed Odysseus. Whole l. is a servant.

p. 868

...

80. = 25b.

I. Telephos Hiketes: Travestie [I. Telephos Hiketes: in parody]

81.* Glockenkrater, apul. rf. Würzburg, Wagner-Mus. H 5697. ... Ca. 370 v. Chr. -- Ein als Frau verkleideter Mann kniet auf dem Altar. In der Linken hält er einen Weinschlauch, der mit Kinderschuhen "bekleidet" ist. L. kommt die "Mutter" mit einem Weingefaß. Sie will das "Blut" auffagen, sollte der Mann das "Kind" schlachten (Aristoph. Them. 733-755).

81.* Bell crater, Apul. rf. Würzburg, Wagner-Mus. H 5697. ... c. 370 BC. A man disguised as a woman kneels on an altar. In his left hand he holds a wineskin, which is "clothed" with children's shoes. L. comes the "mother" with a wine barrel. She wants to catch the "blood" if the man slaughters the "child" (Aristoph., Them. 733-755).

82.* ...

83.* ...

K. Die Heilung des Telephos [K. The healing of Telephus]

84. Gemälde des Parrhasios. Plin. nat. 35, 71; 25, 42; ... 2. Hälfte 5. 5.Jh. v.Chr. -- Die Kombination beider Zitate erlaubt den Schluß, Achilleus habe T. im Beistein Agamemnons und des Odysseus geheilt.

84. Painting of Parrhasios. Pliny. Nat. 35.71, 25.42; ... 2nd half of the 5th cent. B.C. - The combination of the two citations leads to the conclusion that Achilles had healed T. in the presence of Agamemnon and Odysseus.

85.* ->Agamemnon 27 ( ... Berlin, Staatl. Mus. 3294 [Fr. 35]. ...

86.

87.

88. = 44

L. Der Heros Telephos

...

p. 869

KOMMENTAR (Commentary)

Auge mit dem Kind T. werden selten dargestellt. Die Konfrontation des Herakles mit Athena wegen T. und Auge (2) -- ein ikonographisches Unikum -- scheint politisch motiviert. Das Motiv des ausgesetzten, von einem Tier gesäugten Kindes entsteht in der ostionischen Glyptik um 480 v. Chr. am Beispiel des T. mit der Hindin (6. 7), lange Zeit vor der ersten literarischen Erwähnung. Eine Motivübernahme aus orientalischen Königsmythen (Moses; Kyros, Hdt. I, 122) kann angenommen werden. Das Bildmuster findet rasch große Verbreitung (z.B. Paris [->Alexandros], Romulus und Remus, ->Zeus). Tegeatische Münzen ab 370 v.Chr. (8) kopieren das Kind auf den Siegelabdrücken. Ab hellenistischer Zeit kann Herakles T. und Hindin auffinden (1. 9[?]. 19). In der augusteischen Glyptik wird die Auffindung erzählerisch untermalt: die scheue Hinden flüchtet (30). Aufgrund der genealogischen Verbindung zu Aineias wird T. auf Grabmalen u. a. gleichrangig neben Romulus und Remus dargegestellt (14. 15. 20): Herakles und T. werden auf Münzen vor allem aus Kleinasien, besonders z. Zt. der Severer, häufig abgebildet (31. 35, vgl. 17), ebenso in großplastischen Gruppen antoninischer und severischer Zeit (38-40). Der T.-Zyklus aus vier Darstellungen auf zwei Tintenfässern um 300 n. Chr. (25) und ein später Kontorniat (36) belegen eine dauerhafte Vertrautheit der Römer mit dem Mythos. Der tragische Streit des T. mit seinen Onkeln -- in der Bildkunst nicht nachweisbar. Die Begegnung des erwachsenen T. mit Auge ist nur selten dargestellt (1. 43. 44).

Darstellungen der Schlacht in der Ebene des Kaikos (1. 47-50) entsprechen jeweils zeitgenössischen Kampfdarstellungen. Gelegentlich greift Dionysos in die Schlacht ein (1. 48-49).

Um seine Heilung zu erzwingen, flieht T. in Argos an den Altar, meist mit Orestes als Geisel. Diese Szene ist nicht auf der Theaterbühne dargestellt gewesen, sondern in einem Botenbericht erzählt worden (Gould, J. JHS 93, 1973, 101-103); auf die Bühne kam sie nur als Travestie (81-83). Attische (51-54) bzw. attisch beeinflußte Darstellungen (55. 67. 79[?]. 80) zeigen T. auf dem Altar sitzend mit einer Haltung der Beine, die jegliche Fortbewegung des Hiketes verhindert. Die italische Gestalt der Hikesie hat (meist) das linke Knie auf den Altar gestützt, den rechten Fuß zum Boden gestreckt (57-66 u.a.). Ohne Altar (69. 72) ist das linke Knie gebeugt. Die Haltung der Geisel Orestes variiert. Er steht neben dem Altar (67), sitzt im Schoß (52-54), windet sich aus der Umarmung (56 u. a.), sitzt auf der Schulter des T. (61) oder er Hängt, am Fuß festgehalten, mit dem Kopf nach unten (64). Etruskische Darstellungen gleichen T. und Orestes z. T. an: Beide knien auf dem Altar (70. 74), oder beide stehen mit gebeugtem linken Bein (72) bzw. knien (78) am Boden. Eine etr. Urne mit T. auf dem Altar sitzend, die Rechte mit Schwert erhoben, Orestes im Schoß liegend (77) könnte den Telephosfries (1, Platten 42-43) zum Vorbild haben es wäre das einzige erhaltene Monument, das den Fries ikonographisch rezipiert. Auf attischen Darstellungen der Hikesie des T. sind entweder Agamemnon (51-53. 67) oder Klytaimestra (54) anwesend. Italische Darstellungen zeigen meistens Agamemnon und Klytaimestra (57-59. 64-66 u. a.), häufig hindert sie ihren Mann, T. anzugreifen (59. 64-65 u.a.), oder Odysseus vereitelt den Angriff (55. 68 u. a.)

Trotz der literarischen Gestaltung, die Euripides der Heilung des T. gegeben hat, heilt Achilleus die Wunde des T. auf allen Darstellungen sebst (84-88). Eine Darstellung lokalisiert die Wunde an der Ferse in Anlehnung an die Wune des ->Philoktetes (86). In Besitz der Lanze gelangt, wird T. Heilung erlangen (89). Aus dem Geheilten kann in der Folge ein Heilsheros werden (91).

-------------

Auge with the child T. are rarely presented. The confrontation of Heracles with Athena because of T. and Auge (2) - iconographically unique - seems politically motivated. The motif of the abandoned child, nursed by an animal, originates in the East-Ionian glyptics [engraved gems] around 480 BC, for example T. with the hind (6, 7), long before the first literary mention. A motif taken from Oriental royal myths (Moses, Kyros, Hdt. I, 122) can be accepted. The pattern rapidly spread (for example, Paris [-> Alexandros], Romulus and Remus, -> Zeus). Tegeatic coins from 370 BC. (8) copy the child on the seal impressions. From the Hellenistic period Herakles can find T. and Hind (1, 9 [?], 19). In the Augustan glyptics, the discovery is narrated: the shy Hind flees (30). Due to the genealogical connection to Aineias T. on tombs etc. equally represented alongside Romulus and Remus (14, 15, 20): Herakles and T. are on coins especially from Asia Minor, esp. during the Severan dynasty, frequently depicted (31, 35, cf 17), as well as in large-plastic groups of Antoninian and Severan times (38-40). The T.-cycle of four illustrations on two inkwells around 300 AD (25) and a later contorniate (36) prove a lasting familiarity of the Romans with the myth. The tragic dispute of T. with his uncles - undetectable in the art of the picture. The encounter of the adult T. with Auge is rarely depicted (1, 43, 44).

Representations of the Battle of the Kaikos (1, 47-50) correspond to contemporary battle representations. Occasionally Dionysos intervenes in the battle (1, 48-49).

In order to force his healing, T. escapes to the altar in Argos, mostly with Orestes hostage. This scene was not depicted on the theater stage, but told in a messenger report (Gould, J. JHS 93, 1973, 101-103); It appeared on stage only as parody (81-83). Attic (51-54) or Attic influenced representations (55, 67, 79 [?], 80) show T. sitting on the altar with a posture of the legs, which means any Prevents movement of the Hiketes. The Italian figure of the Hikesie has (mostly) supported his left knee on the altar, his right foot stretched to the ground (57-66 et al.). Without altar (69. 72) the left knee is bent. The attitude of the hostage Orestes varies. He stands next to the altar (67), sitting in his lap (52-54), writhing out of his embrace (56 et al ), sits on the shoulder of the T. (61) or he hangs with his head down (64). Etruscan representations are like T. and Orestes z. T.: Both kneel on the altar (70. 74), or both stand with bent left leg (72) or knee (78) on the ground. An Etr. urn with T. sitting on the altar, his right hand raised with sword, Orestes lying in his lap (77) could be the example of the Telephosfries (1, plates 42-43). It would be the only surviving monument that confronts the frieze iconographically. On Attic representations of the hikesia of T. either Agamemnon (51-53, 67) or Clytaimestra (54) are present. Italian depictions mostly depict Agamemnon and Clytaimestra (57-59, 64-66 etc.), often preventing her husband from attacking T. (59, 64-65, etc.), or Odysseus defeating the attack (55, 68 and others).

Despite the literary design that Euripides has given to the healing of T., Achilles heals the wound of T. on all representations (84-88). A representation locates the wound on the heel in the style of the -> Philoctetes (86). In possession of the lance, T. will gain healing (89). The healed person can subsequently become a salvation hero (91).

Huys

p. 293

Auge

On the other hand, the child's suckling by a doe, which was certainly described in Sophokles' 'Aleadai', probably also occured in Euripides' play.

Jebb, Headlam and Pearson

Vol I

p. 46ff.

Sophocles, "Aleadae"

p. 96

It had already been argued by L. Pollak ... from a vase painting, which he refers to a date earlier than 470 B.C., that the Orestes-episode did not belong to the original version of the story given in Cypria. On the vase Telephus has taken refuge at the altar: his right hand covers his wounded foot, [sic?] and his left hand is streched out in the direction of a warrior (Achilles) who has drawn his sword against him, while he looks for protection to a seer (Calchas) who is approaching on the right.

Vol II

p. 70ff.

Sophocles, "Mysoi"

Kotlinska-Toma

p. 30

Table 1. Play titles from the Helleistic and Classical periods.

Title         Hellenistic author      Classical author

...

Telephus      Moschion      Aeschylus, Sophocles, Euripides

...

Mysians      Nicomachus      Aeschylus, Sophocles, Euripides

...

On [sic] should add that particular themes were especially evident in tragedies, and that is why they were so frequently repeated. This had already been noticed by Aristotle, who from a dramatic point of view considered the best mythological figures to be Alcmaeon. Oedipus, Meleager, Thyestes and Telephus. ... as Telephus was written by Cleophon ...

p. 128

None of Moschion's plays have survived in their entirety. However thanks to Stobaeus we know the titles of three: ... and Telephus.

p. 130

'Telephus

F2

...

Telephus was a popular tragic hero. The theme of him killing his mother's brothers, Hippothous and Rereus, was used by Sophocles in Aleadae, whereas the theme of [cont.

p. 131

being reunited with and recognizing his mother was most probably used in the Mysians. Euripides authored a play entitled Telephus in which the hero, disguised as a beggar, goes to Aulis and begs Achilles to heal a wound which the same Achilles had previously inflicted on him. Euripides also recounts the tale of Telephus abducting the child Orestes in order to blackmail the Greek army. We do not know which of these tales Moschion based his drama on. The extant fragment has survived by chance and what it expresses, the helplessness of humankind in the face of fate, could apply to any episode in the her's life story.

Lloyd-Jones

Sophocles, "Aleadae"

p. 33ff.

Ogden

• Perseus, "The Chest and Its Mythological Caoparanda": p. 19 ff.

Smith

s.v. Telephus

... and some, again, call his wife Hiera, by whom he is said to have been the father of Tarchon and Tyrrhenus. (Tzetz. ad Lycoph. 1242, 1249 ; Pilostr. Her. 2.18.) ... Telephus was worshipped as a hero at Pergamus (Paus. 5.13.2), and on mount Parthenion, in Arcadia (Paus. 8.34.5; Apollod. 1.8.6), and on the temple of Athena Alea, in Tegea, he was represented fighting with Achilles. (Paus. 8.4, 5, in fin. ; Muller, Anc. Art and its Rem. § 410, 8.)

• "Auge"

Sommerstein

p. 150

The central character of Mysians was Telephus. This can be inferred from the mention in the play (fr. 145) of Oeum, a village near Telephus’ birthplace Tegea in Arcadia, and also from Aristotle’s criticism (Poetics 1460a30–32) of “the man in Mysians who came from Tegea to Mysia without ever speaking”—for though Sophocles also wrote a play called Mysians in which a man, almost certainly Telephus, arrives in Mysia from abroad, we know that in Sophocles’ play this man immediately asks a native what country he is in (Sophocles fr. 411). The Aeschylean Telephus had been silent because he was under blood-pollution (cf. Eumenides 448–450), having killed his maternal uncles, the sons [cont.]

p. 151

of Aleos; the play may well have included his purification (cf. fr. 144, which is addressed to a priest). In several accounts Telephus either arrives in Mysia together with his mother Auge, or is reunited with her there; if Aeschylus used such a version, Auge may have acted as Telephus’ spokesperson.

Telephus (q.v.) is widely thought to have been a sequel to Mysians.

Recent studies: C. Preiser, Euripides: Telephos (Hildesheim, 2000) 51–52.

143

Hail, Caïcus,¹ and you tributary streams of Mysia!

The opening words of the play.²

¹ The chief river of Mysia.

² Taplin, Stagecraft 424, shrewdly notes that we need not rule out Telephus as the speaker of these words, if he was at this point alone on stage.

144

Greeting, chief priest of the river Caïcus, and may you bring safety to your masters¹ by your prayers for their health!

¹ i.e., presumably, the Mysian royal house; several versions of the Telephus story mention a king Teuthras, who usually marries Auge and eventually bequeaths his kingdom to Telephus.

p. 242

The most sensational episode in Euripides' play, Telephus' seizure of the infant Orestes as a hostage, may have featured already in Aeschylus' play; this is stated by a scholiast on Aristophanes, Archarnians 332, and Csapo and Preiser [cont.]

p. 243

(see below) have argued that iconographic evidence supports the view that Orestes was first brought into the Telephus story not in 438 but in or around the 460s.

...

Recent Discussions: E. G. Csapo, "Hikesia" in the Telephus of Aeschylus", QUCC 63 (1900) 41–52; C. Preiser, Euripides: Telephos (Hildesheim, 2000) 51–59.

Stewart

p. 109

Because the Telephos frieze represents by far the most extensive and complete account of the hero’s life, it is easy to forget that its particular version of the story had not always been the canonical one. Of course the designer’s concern with establishing Telephos's impeccably Greek credentials—from his birth and upbring in Arkadia through his voyage to Argos to his foundation of cults of Greek gods at Pergamon—is self-evident and suggests a local agenda at work.

…

(T4) Seminides fr. 37 West “Mysian spoil”

p. 110

CA. 500 B.C.

(T6a) Fragmentary red-figure calyx-krater by Phintias, St. Petersburg (Hermitage inv. 1843: ARV² 23/5).⁴ Patroklos and Diomedes (names inscribed) defend a fallen warrior (Thersandros?); Dionysos (name inscribed) brandishes a thyrsos above another fallen warrior (Telephos?) with his hand on a rock.

...

Telephos ("Farlight")

p. 111

And from their contemporary, the lyric poet Pindar, we learn that the battle “on the vine-clad plain of Mysia” (a hint at Dionysos’s intervention?) actually took place on the banks of the river Kaikos and that Achilles and Patroklos were the only two Achaians to withstand Telephos’s assault.¹⁰

p. 114

Next after his wound at the Kaikos, he asked Apollo how he could be healed, and received the famous reply, ... ("your assailant will heal you"), upon which he went to Argos to seek Achilles.

Webster

p. 43

Certainly included the seizing of the infant Orestes but nothing more is known about it.

Sophocles' Telepheia would naturally have included the wounding and healing of Telephos, and the suggestion that the third play after the Aleadai and Mysoi was the Assembly of the Achains is still persuasive in spite of the discovery that the Berlin papyrus certainly and the Rylands papyrus probably belong not to that play but to Euripides' Telephos. ... As a connected trilogy the Telephia is likely to have been produced before 449 BC

p. 238

Telephus "came to Mysia and there found his mother."

...

pp. 239–241 p. 239

As Herakles later finds the baby suckled by a deer (fr. 278 ...)

Athens, National Archaeological Museum

Heres and Strauss, p. 866

49.* Gable. Teagea, Athena Alea Temple, Opisthodomos. - Paus. 8.45.7; ... middle of the 4th cent. B.C. - The duel of Achilles against T. was shown in the center of the gable. L. is T. frontal, the head covered with lion's cap (formerly Tegea, Mus. 60 [stolen in 1992]) looks to his opponent r. Achilles in defensive position attacks from r. (Head Athens, Nat. Mus. 180). In the middle of the gable field is to accept a vine shoot.

LIMC 8521 (Telephos 49)

Type: pediment

Origin:

Category: sculpture in the round of stone

Material: marble

Discovery: Tegea (Arcadia) (Temple of Athena Alea)

Description

Western pediment of the temple of Athena Alea in Tegea: Battle between Achilleus and Telephos in the Kaikos plane. Hiera on the horse is reconstructed in one of the gaps of the pediment. Front gable: Depiction of the Calydonian Boar hunt: The boar stands in the centre, on one side are Athena, Meleager and maybe the sons of Thestius (Thestiadai), the brothers of Althaia, Prothous and Cometes.

Names

Hiera, Meleagros, Thestiadai

Berlin, Antikensammlung 3974

Heres, p. 97

Fig. 20. Telephos takes refuge on the altar with Orestes. The scene takes place in the sanctuary of Apollo. From the right Agamemnon approaches hurriedly. Two terrified women flee. Red-figure krater, ca. 400 BC. Staatliche Museen zu Berlin, Antikensammlung inv. V.I. 3974.

Webster, p. 302

...

LIMC 8741 (Telephos 55)

Type: calyx crater

Origin: Attica

Category: vase painting

Material: terracotta

Discovery:

Dating: -400,-390

Description

Telephos sur l’autel retient le petit Orestes qui tend les bras vers son père Agamemnon courant à son secours depuis la droite. A gauche Klytaimestra en fuite, en haut Apollon assis. Thelephos schutzflehend auf rechteckigem Block-Altar (Basis,Deckplatte, Feuerschutzaufsatz, Blutspur) kniend; dahinter Lorbeerbaum mit 2 bemalten, aufgehängten Pinakes.

[Telephos on the altar holds the small Orestes who holds out his arms to his father Agamemnon running to his rescue from the right. Left Klytaimestra on the run, up Apollo sitting. Thelephos kneeling on a rectangular block altar (protective base, cover plate, fire protection tower, blood trail). behind laurel tree with 2 painted, suspended pinakes.]

Technique

red figured

Names

Agamemnon, Apollon, Klytaimestra, Orestes, Telephos

Comment

Pour cette scène dans ses variantes v. les articles Agamemnon, Orestes et Telephos.

Beazley Archive 6980

Fabric: ATHENIAN

Technique: RED-FIGURE

Sub Technique: ADDED COLOUR

Shape Name: KRATER, CALYX

Attributed To: Near LONDON F 64, P OF by SCHONE-DENKINGER

Decoration: A: AGAMEMNON, TELEPHOS AND ORESTES ON ALTAR, KLYTAIMESTRA, APOLLO, ACHILLES (?) WOMAN WITH STAFF (?), FLEEING (?)

Berlin, Antikensammlung T.I.71 and 72

LIMC Telephos 1 (plate 42)

Berlin, Antikensammlung Fr. 35 (Misc 3294)

Heres, p. 97

fig. 21. Achilles heals the wound of Telephos with rust splinters from his spear. Engraving on the reverse of an Etruscan bronze mirror, second half 4th century B.C. Staatliche Museen zu Berlin. Antikensammlung inv. Fr. 35.

Heres and Strauss, p. 868

85. ->Agamemnon 27* ( ... Berlin, Staatl. Mus. 3294 [Fr. 35]. ...

LIMC 8903 (Telephos 85)

Type: mirror

Origin: Etruria

Category: engraving

Material: bronze

Discovery: Bomarzo

Dating: -350,-300

Description

Scene showing three figures: a standing male figure (Achilles) scraping his spearhead with the bill-hook cleaning it, with it he wounded the other male figure (Telephus) in the thigh; a male figure (Agamemnon) assisting

Inscription

Achle, Achmemrun, Telef[e]

Museum

Address

Staatliche Museen zu Berlin, Antikensammlung

Berlin

Inventory

Misc 3294

Boston, MFA 98.931 Etrurian cylix

Heres and Strauss, p. 866

51.* (= Peirithoos 87 [I]) Shell, att. rf. Boston, MFA 1898,931. ... 470-460 BC - I: L. is a bearded man in traveling clothes. On the right, a man in traveling gear sits on a rock, his head resting on his right. In the middle of a column with beams. Arrival in Argos. A: T. sits on the altar, the r. foot is on the altar surface, the l. foot is on the base. The l. thigh is bandaged. T. wears a felt hat, chlamyrs and high boots, he holds two lances. R. draws a warrior's sword, but Odysseus holds him back. From l. comes -> Kalchas with staff, behind it Achilles (?) with lance. Since T. ' admission is the door open. B: In the middle sits Agamemnon on a throne. His companions rush excitedly gesticulating with their lances in their hands.

LIMC 5985 (Telephos 51)

Type: cup, kylix

Origin: Attica

Category: vase painting

Material: terracotta

Discovery: Etruria

Dating: -480,-450

Description

Interior: Two men in traveling costume (Pollak: Telephos and Teuthras or Parthenopaios; Caskey/Beazley: Theseus and Peirithoos). Exterior (two scenes): 1) Five male figures in an architectural setting (zwei ionische Säulen und ein Altar deuten ein Heiligtum an). In the center Telephos sits on an altar (rechteckig, Seitenansicht, Basis, Blutspuren an Altarkörper, Deckplatte mit Kymation, Volutenaufsatz, Epipyron). On the right Achilleus and Patroklos. On the left man and Kalchas. 2) From the left five male figures: Man, Odysseus, Agamemnon and, on the right, two men

Beazley Archive 205037 [No image]

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: CUP

Provenance: ITALY, ETRURIA, EAST

Date: -500 to -450

Inscriptions: HIERON

Decoration: A: TELEPHOS SEATED ON ALTAR, OLD MAN WITH STAFF (KALCHAS ?), DRAPED MEN, ONE WITH SPEAR, ONE DRAWING SWORD (ACHILLES ?), COLUMNS, DOOR

B: DRAPED MEN, SOME WITH SPEARS, ONE IN PILOS, ONE SEATED (AGAMEMNON ?), BUILDING

I: TELEPHOS AND TEUTHRAS (?), MEN, ONE SEATED ON STONE IN CHLAMYS, WITH PETASOS, ONE IN PILOS AND CHITONISKOS WITH SPEARS, COLUMN, BUILDING

MFA 98.931

Drinking cup (kylix) with Telephos at the palace of Agamemnon

Greek

Early Classical Period

470–460 B.C.

the Telephos Painter, Potter Hieron

AVI 2674

AVI 2674: Boston, Museum of Fine Arts 98.931. RF cup. From Eastern Etruria. Telephos Painter. Hieron, potter. Second quarter fifth. Ca. 470.

Decoration: Int.: Telephos and Teuthras? A-B: Telephos in the house of Agamemnon.

Jebb, Headlam and Pearson, Vol. 1 p. 96

It had already been argued by L. Pollak ... from a vase painting, which he refers to a date earlier than 470 B.C., that the Orestes-episode did not belong to the original version of the story given in Cypria. On the vase Telephus has taken refuge at the altar: his right hand covers his wounded foot, [sic?] and his left hand is streched out in the direction of a warrior (Achilles) who has drawn his sword against him, while he looks for protection to a seer (Calchas) who is approaching on the right.

Boston, MFA 1970.487 calyx krater

LIMC 1667 (Telephos 56) [= Agamemnon 18*]

Type: calyx crater

Origin: Etruria

Category: vase painting

Material: terracotta

Discovery: unknown

Dating: ,

Description

(A): In the center Telephos sits on an altar (Basis, Kymation auf Abschlussprofil, weiße Deckplatte, Volutenaufsatz, Aschereste) brandishing sword and holding the baby Orestes. The child stretches out his arms to Agamemnon. On the right Menelaos or Odysseus?, on the left Klytaimestra. Above are deities. (B): In the center the nude Dionysos holds a kantharos and a thyrsos looking back at Ariadne who stands to left with her foot on an altar. They are flanked by two dancing Satyroi. The right holds an oinochoe.

MFA 1970.487

Mixing bowl (calyx-krater)

Italic, Latin, Faliscan

Classical Period

about 380–360 B.C.

The Nazzano Painter

Ceramic, Red Figure

Side A: Telephos and the infant Orestes. Telephos, the wounded Mysian king, is seated on the altar in the palace at Mycenae with a dagger in his left hand and the infant Orestes in the other. The child is represented with white skin and wearing a wreath. He stretches out his arms imploringly toward his father, Agamemnon, and another man, perhaps Menelaos or Odysseus or the seer Kalchas. Agamemnon rushes toward the altar, his long scepter in his right hand, but is restrained by the second man. The king wears a sleeved tunic, a long chiton, and a himation that trails from his left arm. His garments are richly embroidered with stars, wave-pattern, palmettes, and egg-pattern. The same is true of the chitons of Telephos and “Kalchas,” both of whom also carry himatia and wear embades. At the right, the nurse, raising her arms in panic, has dropped a basket, possibly the baby’s cradle. At her right stands the mantled Clytemnestra, pouring a libation with a phiale in her lowered right hand. Like the nurse, she wears bracelets and a richly embroidered chiton and himation but has the latter pulled over her head. Both women have white skin, as do all the females in the scene except Athena.

Civita Castellana, Museo Archeologico dell'Agro Falisco 6208

LIMC 8827 (Telephos 65) [=Agamemnon 19*]

Type: stamnos

Origin: Faliscan

Category: vase painting

Material: terracotta

Discovery: Corchiano

Dating: -375,-350

Technique

red figured

Names

Agamemnon, Apollon/Aplu, Klytaimestra, Telephos

Cleveland Museum of Art 1991.1

Heres and Strauss, pp. 866–867

59.* (=Medeia 36[A]) Calyx crater, Lucan. rf. Perimeter of the Policoro painter. Cleveland Mus. of Art 91.1 ... Approx. 400 BC - B : T. kneels with the l. Leg on the altar. Of the. r. Thigh wearing a bandage. The right holds a sword, the left raises Orestes. The child extends his arms towards Agamemnon. He pulls the sword. Klytaimestra hurries from r. come to frustrate an attack.

LIMC 8743 (Telephos 59)

Type: calyx crater

Origin: Lucania

Category: vase painting

Material: terracotta

Discovery:

Dating: -410,-390

Description

Medeasage. Altar in Übereckansicht (Basis, Altarkörper mit Metopen und Triglyphen verziert, Kymation als Abschlussprofil, Palmettenaufsätze an den Ecken)

Medea legend. Altar in angled view (base, altar body decorated with metopes and triglyphs, kymation as end profile, palmette tops on the corners)

Technique

red figured

Names

Agamemnon, Erinys, Iason, Medeia, Telephos

Beazley Archive 1002926

Fabric: SOUTH ITALIAN, LUCANIAN

Technique: RED-FIGURE

Shape Name: KRATER, CALYX

Current Collection: Cleveland (OH), Museum of Art: 1991.1

London, British Museum E 382

Gantz, p. 579

Red-figure, however, certainly begins to illustrate that detail [Orestes as hostage] in the second quarter of the fifth century (e.g. London E382).

LIMC 8734 (Telephos 52) [= Agamemnon 11*]

Type: pelike

Origin: Attica

Category: vase painting

Material: terracotta

Discovery: Vulci

Dating: ,

Beazley Archive 207332

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: PELIKE

Provenance: ITALY, ETRURIA, VULCI

Date: -475 to -425

Attributed To: Imitation of CHICAGO P by BEAZLEY

Decoration: A: TELEPHOS (WOUNDED) SEATED ON ALTAR, WITH SPEAR AND CHILD (ORESTES ?), AGAMEMNON

British Museum 1836,0224.28

Date 450BC (circa)

Description:

Pottery: red-figured pelike.

(a) Telephos withholding the infant Orestes from Agamemnon. Upon an altar on the right with Ionic capital Telephos is seated in three-quarter face, looking to the left; he is bearded and wreathed, and wears a swordbelt and a mantle over his shoulders; he sits in a crouching attitude, with his right knee raised and bent so that the foot rests upon his left knee; around the left thigh is a white bandage covering his wound, and bound with crossed cords. With his right hand he holds upright a short spear, the butt resting on the altar; and with his left arm he holds against his body the infant Orestes, represented as a fully developed boy of very diminutive size. Orestes extends his right arm as if appealing for aid to Agamemnon, a bearded man wearing a fillet, and a mantle shawl-fashion over his arm, who advances rapidly on the left, carrying a spear over his right shoulder and raising his left hand as if addressing Telephos. Both spears overlap the upper border.

Naples, National Archaeological Museum 6591

Heres and Strauss, p. 866

44. (= Agisthos 51*, = Auge 35) Marble relief. Naples, Mus. Naz. 76/128. ... L. is T. in front of Auge. She is sitting on a rock. R. Achilles heals the wound of the T. with his spear. T. sits in a chair and stretches out his wounded leg. He clings to the chair and his scepter.

LIMC 8717 (Telephos 44) [= Telephos 88]

Type: relief

Origin: Roman

Category: relief

Material: marble

Discovery: Ercolano, Herculaneum, Herculanum

Dating: -100,-1

Description

On the left half a standing youth and a woman seated on a rock. In the right half a youth with a dagger and spear bending over a seated, bearded, nude man. Pemberton interprets this as Orestes and Elektra in the left half and the murder of Aigisthos in the right. Hoewever, most consider the right half to be the healing of Telephos by Achilleus and the left half as Telephos and Auge.

Deiss, p. 58

Naples, National Archaeological Museum 9008

LIMC 3417 (Telephos 19)

Type: wall painting

Category: wall painting

Discovery: Ercolano, Herculaneum, Herculanum (Basilica)

Dating: 69,96

Description

The main figure of a large wall painting is Arkadia (or Rhea-Kybele?) who is enthroned on a rocky hillside. She wears chiton, coat and a wreath of flowers and holds a staff. To her right is a basket with grapes and pomegranates. Other depicted figures are Herakles and his son Telephos who is lactated by a hind. On the left the head of a young Pan is visible who wears an animal skin. Winged Virgo.

Naples, National Archaeological Museum 86064

Heres and Strauss, p. 867

64. (=Agamemnon 15*) Hydria, camp. rf. Neapel, Mus. Naz. 86064 (RC 141). ... C. 320 BC Chr. - The r. leg of T. kneels on the upper level of the altar, the l. foot stands on the lower altar step. The outstretched left arm holds Orestes headfirst on the heel, in the right hand a sword. L. gets a servant's hair. Agamemnon attacks with the lance, Klytaimestra steps in his path. The sun disc hovers over T.

Webster, p. 302

LIMC 8821 (Telephos 64) [=Agamemnon 15*]

Type: hydria

Origin: Campania

Category: vase painting

Material: terracotta

Discovery: Kyme, Cumae

Dating: -330,-320

Description

Telephos kniet, den Orestes kopfüber am Bein haltend auf zweistufigem rechteckigen Blockaltar. Rechts Agamemnon und Klytaimestra.

Telephos kneels, holding Orestes upside down on a two-tier rectangular block altar. Right Agamemnon and Klytaimestra.

Names

Agamemnon, Klytaimestra, Orestes, Telephos

New York, Metropolitan Museum of Art 28.57.9 vase

Webster, p. 302

Attic relief. Squat lekythos. New York, Metropolitan Museum 28.57.9. ... Late fourth century B.C. Telephos and Orestes on the altar, a woman extends both arms to the child.

LIMC 8739 (Telephos 54)

Type: lekythos

Origin: Attica

Category: relief vase

Material: terracotta

Discovery:

Dating: -375,-350

Description

Telephos assis sur l’autel (großer Block mit reliefierter Deckplatte) une épée dans la droite, retient Orestes du bras gauche. Depuis la gauche approche Klytaimestra.

Telephos sitting on the altar (large block with reliefed cover plate) a sword in the right hand, holds Orestes with the left arm. From the left approaches Clytemnestra.

Metropolitan Museum of Art 28.57.9

Hellenistic

Date:late 4th century B.C.

Culture:Greek, Attic

Medium:Terracotta; applied relief

Dimensions:H. 5 3/8 in. (13.7 cm)

Classification:Vases

Telephos, Orestes, and Clytemnestra

Telephos, king of Mysia, was wounded by the Greek hero Achilles during the Greeks' first offensive against Troy. The Delphic oracle told :Telephos that he could be healed only by the offending weapon. In an attempt to secure Achilles' help, he sought out Orestes, the young son of Agamemnon, and threatened to kill him. Achilles finally heeded Telephos' entreaties and furnished scrapings of his spear that healed the festering wound.

The story of Telephos was the subject of a play by Euripides performed in 438 B.C. This lekythos is one of several vases inspired by the drama. Here Clytemnestra pleads for her child.

Paris, Louvre MA 75

LIMC 8705 (Telephos 38)

Category: sculpture in the round of stone

Material: marble

Discovery: Tivoli

Description

So-called Louvre Herakles: Herakles holding the baby Telephos in left hand, right hand resting on the club. Accompanied by fawn.

Polygyros

Heres and Strauss, p. 866

53. Pelike, att. rf. Polygiros (Thessaloniki, Arch. Mus. Ol. 34-263) ... c. 360 BC - L. T. is sitting on an altar, Orestes is lying on his l. arm. Odysseus keeps Agamemnon from attacking.

Webster, p. 302

Attic Pelike. Thesaloniki 34.263. ...375-50 B.C. Telephos in pilos with baby; two bearded men conversing (Agamemnon and Odysseus?); man with chlamys (Achilles?).

LIMC 8737 (Telephos 53)

San Antonio Museum of Art 86.134.167

LIMC 4850 (Telephos 57) [= Kalchas 4*]

Type: calyx crater

Origin: Paestum

Category: vase painting

Material: terracotta

Discovery:

Description

Al centro, Telephos, un ginocchio sull’altare (rechteckiger, langgestreckter Altar auf dreistufiger Basis, Altarkörper mit Metopen-Triglyphenfries, Deckplatte, Windschutzaufsatz, dahinter kannelierte Säule), trattiene con un braccio il piccolo Oreste.

At the center, Telephos, a knee on the altar (rectangular, elongated altar on a three-level basis, altar body with metope-triglyph frieze, cover plate, windscreen attachment, fluted column behind)), holds with one arm the little Oreste.

St. Petersburg, State Hermitage Museum Кэ 5306

Heres and Strauss, p. 867

68. Calf-head-Rhyton, skyth.-propont., Silver. St. Petersburg, Ermitage 575. ... C. 300 BC - Relief on the Rhytonschaft: From r. kneels T. with the r. leg on the step altar. In the left he holds Orestes, his right hand carries a sword. From r. hurries Clytaimestra. L. seeks Agamemnon with the sword to l., Stopped by the unarmed Odysseus. Whole l. is a servant.

Gantz, p. 579

LIMC 8850 (Telephos 68)

Category: relief vase

St. Petersburg, State Hermitage Museum St 1275

Gantz, pp. 579–580

From Diktys, finally, comes the seemingly innocuous detail that Diomedes carried the body of the slain Thersandros out of the battle in Mysia (Dik 2.2). Such elaboration is typical of Diktys, but in this case it leads us back to the early fifth century and a Red-Figure calyx krater by Phintias of which only fragments survive (Leningrad St 1275).²¹ What remains are Patroklos (named), Diomedes (also named, bent forward under the weight of something, surely a fallen comrade), plus the inscription "Dionysos" (figure not preserved). Seemingly, then, the main part of the krater represented Achilleus and Telephos, with the god's role in the latter's wounding thus guaranteed as at least this early.

Heres and Strauss, p, 866

48. (= Diomedes I 7* with ref., = Thersandros II 6) Sepal crater, att. rf., 2 Fr. St. Petersburg, Ermitage B 1843 (St. 1275) ... 510 BC. - Left Fr .: Patroclus turns to flee to l. back carrying the fallen Thersandros from the battlefield (break). in the middle was Achilles, the T. r. hits with the lance. T. had stumbled over the vine, which Dionysus had sprouted with the thyrsus. Right Fr .: Dionysus' forearm with thyrsos. Inscriptions ΠΑΤΡΟΚΛΟΣ ΔΙΟΜΕΔΕ[Σ] [ΔΙΟ]ΝΥΣΟΣ.

Stewart, p. 110

CA. 500 B.C.

(T6a) Fragmentary red-figure calyx-krater by Phintias, St. Petersburg (Hermitage inv. 1843: ARV² 23/5).⁴ Patroklos and Diomedes (names inscribed) defend a fallen warrior (Thersandros?); Dionysos (name inscribed) brandishes a thyrsos above another fallen warrior (Telephos?) with his hand on a rock.

LIMC 8728 (Telephos 48)

Type: calyx crater

Origin: Attica

Category: vase painting

Discovery: Cerveteri, Caere

Description

Patroklos moves left, looking back to the bearded hoplite Diomedes (I) who is stooping, apparently over a dead body (Thersandros (II)). Both are named. By the upper border behind him is a spear tip and the top of a thyrsos, then at the right a hand on a rock and the inscription DIO]NYSOS.

Beazley Archive 200122

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: KRATER, CALYX FRAGMENTS

Date: -550 to -500

Inscriptions: Named: DIOMED[ES], PATROKLOS Named: THESEUS

Attributed To: PHINTIAS by JONES

Current Collection: St. Petersburg, State Hermitage Museum: ST1275

Previous Collections:

St. Petersburg, State Hermitage Museum: 1843

AVI 7395

St. Petersburg, Hermitage inv. 1843. Frs. of RF calyx krater. Phintias. Last quarter sixth. 510-500.

Decoration: A: Theseus and the Bull? B: The Wounding of Telephos.

Inscriptions: A: to left of his head (he faces right) starts: Θεσευς v. καλος, retr. B: Πατ(ρ)ο^κλος, retr. except the rho. Διομεδε[ς], given in the facs. in KAV as upside down and hence retr.

Commentary: = St. 1275. The facs. shows the Theseus inscription upside down, and hence not retr. The frs. have been cleaned.

Sir William R. Hamilton collection (formerly), Tischbein II, 6

Webster, p. 302

Apulian vase. Lost. Séchan, 510, fig. 150; Tischbein, II, pl.6. 350-25 B.C. Telephos on altar with Orestes. Woman rushes up from right to take child. On left, woman stops Agamemnon who hold spear.

LIMC 8742 (Telephos 58) [= Agamemnon 16]

Type: vase

Origin:

Category: vase painting

Material: terracotta

Technique

red figured

Names

Agamemnon, Klytaimestra, Orestes, Telephos

Würzburg, Martin von Wagner Museum H 5697

Heres and Strauss, p. 868

81.* Bell crater, Apul. rf. Würzburg, Wagner-Mus. H 5697. ... c. 370 BC. A man disguised as a woman kneels on an altar. In his left hand he holds a wineskin, which is "clothed" with children's shoes. L. comes the "mother" with a wine barrel. She wants to catch the "blood" if the man slaughters the "child" (Aristoph., Them. 733-755).

LIMC 8894 (Telephos 81)

Type: bell crater

Origin: Apulia

Category: vase painting

Material: terracotta

Dating: ,

Darstellung einer Szene aus Aristophanes' Komödie 'Die Frauen beim Thesmophorienfest' (733-755): Der als Frau verkleidete und enttarnte Mnesilochos (Komödienmaske) sucht Zuflucht an einem Altar (rechteckiger Block mit Blutspuren auf Basis, mit Zickzackmuster dekorierte Deckplatte) und droht das einer Frau eintrissene "Kleinkind" (verkleideter Weinschlauch) zu töten. Die "Mutter" eilt herbei, um in einem Gefäß das "Blut" ihres Kindes aufzufangen.

[Representation of a scene from Aristophanes' comedy 'The Women at the Thesmophoria Festival' (733-755): Mnesilochos (comedy mask) disguised as a woman seeks refuge on an altar (rectangular block with traces of blood on the base, a zig-zag decorated cover plate) and threatens that Killing a woman with a "toddler" (disguised wineskin). The "mother" hurries to catch the "blood" of her child in a jar.]

?

Telephos 1 (plate 42): Berlin, Antikensammlung T.I.71 and 72

LIMC Telephos 1 (plate 42)

Telephos 3: Tegea, Archeological Museum, Temple of Athena Alea

LIMC 8621 (Telephos 3)

Type: metope

Origin:

Category: relief_stone

Discovery: Tegea (Arcadia)

Description

Auge and her son Telephos.

Names

Auge, Telephos

Telephos 19: Naples, National Archaeological Museum 9008

LIMC 3417 (Telephos 19)

Type: wall painting

Category: wall painting

Discovery: Ercolano, Herculaneum, Herculanum (Basilica)

Dating: 69,96

Description

The main figure of a large wall painting is Arkadia (or Rhea-Kybele?) who is enthroned on a rocky hillside. She wears chiton, coat and a wreath of flowers and holds a staff. To her right is a basket with grapes and pomegranates. Other depicted figures are Herakles and his son Telephos who is lactated by a hind. On the left the head of a young Pan is visible who wears an animal skin. Winged Virgo.

Telephos 38: Paris, Louvre MA 75

LIMC 8705 (Telephos 38)

Category: sculpture in the round of stone

Material: marble

Discovery: Tivoli

Description

So-called Louvre Herakles: Herakles holding the baby Telephos in left hand, right hand resting on the club. Accompanied by fawn.

Telephos 44 [= 88]: Naples, National Archaeological Museum 6591

Heres and Strauss, p. 866

44. (= Agisthos 51*, = Auge 35) Marble relief. Naples, Mus. Naz. 76/128. ... L. is T. in front of Auge. She is sitting on a rock. R. Achilles heals the wound of the T. with his spear. T. sits in a chair and stretches out his wounded leg. He clings to the chair and his scepter.

LIMC 8717 (Telephos 44) [= Telephos 88]

Type: relief

Origin: Roman

Category: relief

Material: marble

Discovery: Ercolano, Herculaneum, Herculanum

Dating: -100,-1

Description

On the left half a standing youth and a woman seated on a rock. In the right half a youth with a dagger and spear bending over a seated, bearded, nude man. Pemberton interprets this as Orestes and Elektra in the left half and the murder of Aigisthos in the right. Hoewever, most consider the right half to be the healing of Telephos by Achilleus and the left half as Telephos and Auge.

Deiss, p. 58

Telephos 48: St. Petersburg, State Hermitage Museum: ST1275

Gantz, pp. 579–580

From Diktys, finally, comes the seemingly innocuous detail that Diomedes carried the body of the slain Thersandros out of the battle in Mysia (Dik 2.2). Such elaboration is typical of Diktys, but in this case it leads us back to the early fifth century and a Red-Figure calyx krater by Phintias of which only fragments survive (Leningrad St 1275).²¹ What remains are Patroklos (named), Diomedes (also named, bent forward under the weight of something, surely a fallen comrade), plus the inscription "Dionysos" (figure not preserved). Seemingly, then, the main part of the krater represented Achilleus and Telephos, with the god's role in the latter's wounding thus guaranteed as at least this early.

Heres and Strauss, p, 866

48. (= Diomedes I 7* with ref., = Thersandros II 6) Sepal crater, att. rf., 2 Fr. St. Petersburg, Ermitage B 1843 (St. 1275) ... 510 BC. - Left Fr .: Patroclus turns to flee to l. back carrying the fallen Thersandros from the battlefield (break). in the middle was Achilles, the T. r. hits with the lance. T. had stumbled over the vine, which Dionysus had sprouted with the thyrsus. Right Fr .: Dionysus' forearm with thyrsos. Inscriptions ΠΑΤΡΟΚΛΟΣ ΔΙΟΜΕΔΕ[Σ] [ΔΙΟ]ΝΥΣΟΣ.

LIMC 8728 (Telephos 48)

Type: calyx crater

Origin: Attica

Category: vase painting

Discovery: Cerveteri, Caere

Description

Patroklos moves left, looking back to the bearded hoplite Diomedes (I) who is stooping, apparently over a dead body (Thersandros (II)). Both are named. By the upper border behind him is a spear tip and the top of a thyrsos, then at the right a hand on a rock and the inscription DIO]NYSOS.

Beazley Archive 200122

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: KRATER, CALYX FRAGMENTS

Date: -550 to -500

Inscriptions: Named: DIOMED[ES], PATROKLOS Named: THESEUS

Attributed To: PHINTIAS by JONES

Current Collection: St. Petersburg, State Hermitage Museum: ST1275

Previous Collections:

St. Petersburg, State Hermitage Museum: 1843

AVI 7395

St. Petersburg, Hermitage inv. 1843. Frs. of RF calyx krater. Phintias. Last quarter sixth. 510-500.

Decoration: A: Theseus and the Bull? B: The Wounding of Telephos.

Inscriptions: A: to left of his head (he faces right) starts: Θεσευς v. καλος, retr. B: Πατ(ρ)ο^κλος, retr. except the rho. Διομεδε[ς], given in the facs. in KAV as upside down and hence retr.

Commentary: = St. 1275. The facs. shows the Theseus inscription upside down, and hence not retr. The frs. have been cleaned.

Telephos 49: Athens, National Archaeological Museum

Heres and Strauss, p. 866

49.* Gable. Teagea, Athena Alea Temple, Opisthodomos. - Paus. 8.45.7; ... middle of the 4th cent. B.C. - The duel of Achilles against T. was shown in the center of the gable. L. is T. frontal, the head covered with lion's cap (formerly Tegea, Mus. 60 [stolen in 1992]) looks to his opponent r. Achilles in defensive position attacks from r. (Head Athens, Nat. Mus. 180). In the middle of the gable field is to accept a vine shoot.

LIMC 8521 (Telephos 49)

Type: pediment

Origin:

Category: sculpture in the round of stone

Material: marble

Discovery: Tegea (Arcadia) (Temple of Athena Alea)

Description

Western pediment of the temple of Athena Alea in Tegea: Battle between Achilleus and Telephos in the Kaikos plane. Hiera on the horse is reconstructed in one of the gaps of the pediment. Front gable: Depiction of the Calydonian Boar hunt: The boar stands in the centre, on one side are Athena, Meleager and maybe the sons of Thestius (Thestiadai), the brothers of Althaia, Prothous and Cometes.

Names

Hiera, Meleagros, Thestiadai

Telephos 51: Boston, MFA 98.931 Etrurian cylix

Heres and Strauss, p. 866

51.* (= Peirithoos 87 [I]) Shell, att. rf. Boston, MFA 1898,931. ... 470-460 BC - I: L. is a bearded man in traveling clothes. On the right, a man in traveling gear sits on a rock, his head resting on his right. In the middle of a column with beams. Arrival in Argos. A: T. sits on the altar, the r. foot is on the altar surface, the l. foot is on the base. The l. thigh is bandaged. T. wears a felt hat, chlamyrs and high boots, he holds two lances. R. draws a warrior's sword, but Odysseus holds him back. From l. comes -> Kalchas with staff, behind it Achilles (?) with lance. Since T. ' admission is the door open. B: In the middle sits Agamemnon on a throne. His companions rush excitedly gesticulating with their lances in their hands.

LIMC 5985 (Telephos 51)

Type: cup, kylix

Origin: Attica

Category: vase painting

Material: terracotta

Discovery: Etruria

Dating: -480,-450

Description

Interior: Two men in traveling costume (Pollak: Telephos and Teuthras or Parthenopaios; Caskey/Beazley: Theseus and Peirithoos). Exterior (two scenes): 1) Five male figures in an architectural setting (zwei ionische Säulen und ein Altar deuten ein Heiligtum an). In the center Telephos sits on an altar (rechteckig, Seitenansicht, Basis, Blutspuren an Altarkörper, Deckplatte mit Kymation, Volutenaufsatz, Epipyron). On the right Achilleus and Patroklos. On the left man and Kalchas. 2) From the left five male figures: Man, Odysseus, Agamemnon and, on the right, two men

Beazley Archive 205037 [No image]

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: CUP

Provenance: ITALY, ETRURIA, EAST

Date: -500 to -450

Inscriptions: HIERON

Decoration: A: TELEPHOS SEATED ON ALTAR, OLD MAN WITH STAFF (KALCHAS ?), DRAPED MEN, ONE WITH SPEAR, ONE DRAWING SWORD (ACHILLES ?), COLUMNS, DOOR

B: DRAPED MEN, SOME WITH SPEARS, ONE IN PILOS, ONE SEATED (AGAMEMNON ?), BUILDING

I: TELEPHOS AND TEUTHRAS (?), MEN, ONE SEATED ON STONE IN CHLAMYS, WITH PETASOS, ONE IN PILOS AND CHITONISKOS WITH SPEARS, COLUMN, BUILDING

MFA 98.931

Drinking cup (kylix) with Telephos at the palace of Agamemnon

Greek

Early Classical Period

470–460 B.C.

the Telephos Painter, Potter Hieron

AVI 2674

AVI 2674: Boston, Museum of Fine Arts 98.931. RF cup. From Eastern Etruria. Telephos Painter. Hieron, potter. Second quarter fifth. Ca. 470.

Decoration: Int.: Telephos and Teuthras? A-B: Telephos in the house of Agamemnon.

Telephos 52: London, British Museum E 382

Gantz, p. 579

Red-figure, however, certainly begins to illustrate that detail [Orestes as hostage] in the second quarter of the fifth century (e.g. London E382).

LIMC 8734 (Telephos 52) [= Agamemnon 11*]

Type: pelike

Origin: Attica

Category: vase painting

Material: terracotta

Discovery: Vulci

Dating: ,

Beazley Archive 207332

Fabric: ATHENIAN

Technique: RED-FIGURE

Shape Name: PELIKE

Provenance: ITALY, ETRURIA, VULCI

Date: -475 to -425

Attributed To: Imitation of CHICAGO P by BEAZLEY

Decoration: A: TELEPHOS (WOUNDED) SEATED ON ALTAR, WITH SPEAR AND CHILD (ORESTES ?), AGAMEMNON

British Museum 1836,0224.28

Date 450BC (circa)

Description:

Pottery: red-figured pelike.

(a) Telephos withholding the infant Orestes from Agamemnon. Upon an altar on the right with Ionic capital Telephos is seated in three-quarter face, looking to the left; he is bearded and wreathed, and wears a swordbelt and a mantle over his shoulders; he sits in a crouching attitude, with his right knee raised and bent so that the foot rests upon his left knee; around the left thigh is a white bandage covering his wound, and bound with crossed cords. With his right hand he holds upright a short spear, the butt resting on the altar; and with his left arm he holds against his body the infant Orestes, represented as a fully developed boy of very diminutive size. Orestes extends his right arm as if appealing for aid to Agamemnon, a bearded man wearing a fillet, and a mantle shawl-fashion over his arm, who advances rapidly on the left, carrying a spear over his right shoulder and raising his left hand as if addressing Telephos. Both spears overlap the upper border.

Telephos 53: Polygyros

Heres and Strauss, p. 866

53. Pelike, att. rf. Polygiros (Thessaloniki, Arch. Mus. Ol. 34-263) ... c. 360 BC - L. T. is sitting on an altar, Orestes is lying on his l. arm. Odysseus keeps Agamemnon from attacking.

Webster, p. 302

Attic Pelike. Thesaloniki 34.263. ...375-50 B.C. Telephos in pilos with baby; two bearded men conversing (Agamemnon and Odysseus?); man with chlamys (Achilles?).

LIMC 8737 (Telephos 53)

Telephos 54: New York, Metropolitan Museum of Art 28.57.9 vase

Webster, p. 302

Attic relief. Squat lekythos. New York, Metropolitan Museum 28.57.9. ... Late fourth century B.C. Telephos and Orestes on the altar, a woman extends both arms to the child.

LIMC 8739 (Telephos 54)

Type: lekythos

Origin: Attica

Category: relief vase

Material: terracotta

Discovery:

Dating: -375,-350

Description

Telephos assis sur l’autel (großer Block mit reliefierter Deckplatte) une épée dans la droite, retient Orestes du bras gauche. Depuis la gauche approche Klytaimestra.

Telephos sitting on the altar (large block with reliefed cover plate) a sword in the right hand, holds Orestes with the left arm. From the left approaches Clytemnestra.

Metropolitan Museum of Art 28.57.9

Hellenistic

Date:late 4th century B.C.

Culture:Greek, Attic

Medium:Terracotta; applied relief

Dimensions:H. 5 3/8 in. (13.7 cm)

Classification:Vases

Telephos, Orestes, and Clytemnestra

Telephos, king of Mysia, was wounded by the Greek hero Achilles during the Greeks' first offensive against Troy. The Delphic oracle told :Telephos that he could be healed only by the offending weapon. In an attempt to secure Achilles' help, he sought out Orestes, the young son of Agamemnon, and threatened to kill him. Achilles finally heeded Telephos' entreaties and furnished scrapings of his spear that healed the festering wound.

The story of Telephos was the subject of a play by Euripides performed in 438 B.C. This lekythos is one of several vases inspired by the drama. Here Clytemnestra pleads for her child.

Telephos 55: Berlin, Antikensammlung: 3974

Heres, p. 97

Fig. 20. Telephos takes refuge on the altar with Orestes. The scene takes place in the sanctuary of Apollo. From the right Agamemnon approaches hurriedly. Two terrified women flee. Red-figure krater, ca. 400 BC. Staatliche Museen zu Berlin, Antikensammlung inv. V.I. 3974.

Webster, p. 302

...

LIMC 8741 (Telephos 55)

Type: calyx crater

Origin: Attica

Category: vase painting

Material: terracotta

Discovery:

Dating: -400,-390

Description

Telephos sur l’autel retient le petit Orestes qui tend les bras vers son père Agamemnon courant à son secours depuis la droite. A gauche Klytaimestra en fuite, en haut Apollon assis. Thelephos schutzflehend auf rechteckigem Block-Altar (Basis,Deckplatte, Feuerschutzaufsatz, Blutspur) kniend; dahinter Lorbeerbaum mit 2 bemalten, aufgehängten Pinakes.

[Telephos on the altar holds the small Orestes who holds out his arms to his father Agamemnon running to his rescue from the right. Left Klytaimestra on the run, up Apollo sitting. Thelephos kneeling on a rectangular block altar (protective base, cover plate, fire protection tower, blood trail). behind laurel tree with 2 painted, suspended pinakes.]

Technique

red figured

Names

Agamemnon, Apollon, Klytaimestra, Orestes, Telephos

Comment

Pour cette scène dans ses variantes v. les articles Agamemnon, Orestes et Telephos.

Beazley Archive 6980

Fabric: ATHENIAN

Technique: RED-FIGURE

Sub Technique: ADDED COLOUR

Shape Name: KRATER, CALYX

Attributed To: Near LONDON F 64, P OF by SCHONE-DENKINGER

Decoration: A: AGAMEMNON, TELEPHOS AND ORESTES ON ALTAR, KLYTAIMESTRA, APOLLO, ACHILLES (?) WOMAN WITH STAFF (?), FLEEING (?)

Telephos 56: Boston, MFA 1970.487 calyx krater

LIMC 1667 (Telephos 56) [= Agamemnon 18*]

Type: calyx crater

Origin: Etruria

Category: vase painting

Material: terracotta

Discovery: unknown

Dating: ,

Description

(A): In the center Telephos sits on an altar (Basis, Kymation auf Abschlussprofil, weiße Deckplatte, Volutenaufsatz, Aschereste) brandishing sword and holding the baby Orestes. The child stretches out his arms to Agamemnon. On the right Menelaos or Odysseus?, on the left Klytaimestra. Above are deities. (B): In the center the nude Dionysos holds a kantharos and a thyrsos looking back at Ariadne who stands to left with her foot on an altar. They are flanked by two dancing Satyroi. The right holds an oinochoe.

MFA 1970.487

Mixing bowl (calyx-krater)

Italic, Latin, Faliscan

Classical Period

about 380–360 B.C.

The Nazzano Painter

Ceramic, Red Figure

Side A: Telephos and the infant Orestes. Telephos, the wounded Mysian king, is seated on the altar in the palace at Mycenae with a dagger in his left hand and the infant Orestes in the other. The child is represented with white skin and wearing a wreath. He stretches out his arms imploringly toward his father, Agamemnon, and another man, perhaps Menelaos or Odysseus or the seer Kalchas. Agamemnon rushes toward the altar, his long scepter in his right hand, but is restrained by the second man. The king wears a sleeved tunic, a long chiton, and a himation that trails from his left arm. His garments are richly embroidered with stars, wave-pattern, palmettes, and egg-pattern. The same is true of the chitons of Telephos and “Kalchas,” both of whom also carry himatia and wear embades. At the right, the nurse, raising her arms in panic, has dropped a basket, possibly the baby’s cradle. At her right stands the mantled Clytemnestra, pouring a libation with a phiale in her lowered right hand. Like the nurse, she wears bracelets and a richly embroidered chiton and himation but has the latter pulled over her head. Both women have white skin, as do all the females in the scene except Athena.

Telephos 57: San Antonio Museum of Art 86.134.167

LIMC 4850 (Telephos 57) [= Kalchas 4*]

Type: calyx crater

Origin: Paestum

Category: vase painting

Material: terracotta

Discovery:

Description

Al centro, Telephos, un ginocchio sull’altare (rechteckiger, langgestreckter Altar auf dreistufiger Basis, Altarkörper mit Metopen-Triglyphenfries, Deckplatte, Windschutzaufsatz, dahinter kannelierte Säule), trattiene con un braccio il piccolo Oreste.

At the center, Telephos, a knee on the altar (rectangular, elongated altar on a three-level basis, altar body with metope-triglyph frieze, cover plate, windscreen attachment, fluted column behind)), holds with one arm the little Oreste.

San Antonio Museum of Art 86.134.167

Telephos 58: Sir William R. Hamilton collection (formerly), Tischbein II, 6

Webster, p. 302

Apulian vase. Lost. Séchan, 510, fig. 150; Tischbein, II, pl.6. 350-25 B.C. Telephos on altar with Orestes. Woman rushes up from right to take child. On left, woman stops Agamemnon who hold spear.

LIMC 8742 (Telephos 58) [= Agamemnon 16]

Type: vase

Origin:

Category: vase painting

Material: terracotta

Technique

red figured

Names

Agamemnon, Klytaimestra, Orestes, Telephos

Telephos 59: Cleveland Museum of Art 1991.1

Heres and Strauss, pp. 866–867

59.* (=Medeia 36[A]) Calyx crater, Lucan. rf. Perimeter of the Policoro painter. Cleveland Mus. of Art 91.1 ... Approx. 400 BC - B : T. kneels with the l. Leg on the altar. Of the. r. Thigh wearing a bandage. The right holds a sword, the left raises Orestes. The child extends his arms towards Agamemnon. He pulls the sword. Klytaimestra hurries from r. come to frustrate an attack.

LIMC 8743 (Telephos 59)

Type: calyx crater

Origin: Lucania

Category: vase painting

Material: terracotta

Discovery:

Dating: -410,-390

Description

Medeasage. Altar in Übereckansicht (Basis, Altarkörper mit Metopen und Triglyphen verziert, Kymation als Abschlussprofil, Palmettenaufsätze an den Ecken)

Medea legend. Altar in angled view (base, altar body decorated with metopes and triglyphs, kymation as end profile, palmette tops on the corners)

Technique

red figured

Names

Agamemnon, Erinys, Iason, Medeia, Telephos

Beazley Archive 1002926

Fabric: SOUTH ITALIAN, LUCANIAN

Technique: RED-FIGURE

Shape Name: KRATER, CALYX

Current Collection: Cleveland (OH), Museum of Art: 1991.1

Cleveland Museum of Art 1991.1

Lucanian Calyx-Krater, c. 400 BC

Cartledge, Paul, ed. The Cambridge Illustrated History of Ancient Greece. Cambridge: Cambridge University Press, 1998. Pg 246-7.

Telephos 64: Naples, National Archaeological Museum 86064

Heres and Strauss, p. 867

64. (=Agamemnon 15*) Hydria, camp. rf. Neapel, Mus. Naz. 86064 (RC 141). ... C. 320 BC Chr. - The r. leg of T. kneels on the upper level of the altar, the l. foot stands on the lower altar step. The outstretched left arm holds Orestes headfirst on the heel, in the right hand a sword. L. gets a servant's hair. Agamemnon attacks with the lance, Klytaimestra steps in his path. The sun disc hovers over T.

Webster, p. 302

LIMC 8821 (Telephos 64) [=Agamemnon 15*]

Type: hydria

Origin: Campania

Category: vase painting

Material: terracotta

Discovery: Kyme, Cumae

Dating: -330,-320

Description

Telephos kniet, den Orestes kopfüber am Bein haltend auf zweistufigem rechteckigen Blockaltar. Rechts Agamemnon und Klytaimestra.

Telephos kneels, holding Orestes upside down on a two-tier rectangular block altar. Right Agamemnon and Klytaimestra.

Names

Agamemnon, Klytaimestra, Orestes, Telephos

Telephos 65: Civita Castellana, Museo Archeologico dell'Agro Falisco 6208

LIMC 8827 (Telephos 65) [=Agamemnon 19*]

Type: stamnos

Origin: Faliscan

Category: vase painting

Material: terracotta

Discovery: Corchiano

Dating: -375,-350

Technique

red figured

Names

Agamemnon, Apollon/Aplu, Klytaimestra, Telephos

Telephos 66: Berlin, Staatliche Museen zu Berlin, Antikensammlung 30042

LIMC 8832 (Telephos 66) [=Agamemnon 17*]

Type: column crater

Origin: Etruria

Category: vase painting

Material: terracotta

Discovery: Civita Castellana, Falerii

Dating: -400,-375

Description

A: Telephos mit dem kleinen Orestes am Altar (rechteckiger Block auf Basis, Kyma, Deckplatte, Windschutz), r. Klytaimestra, l. Agamemnon.

B: A traveller arrives at a fountain and meets a girl with hydria on head. A woman with one foot raised and resting on an elevation looks on. Resembles the situation at the beginning of Euripides' Elektra.

Technique

red figured

Names

Agamemnon, Elektra I, Klytaimestra, Orestes, Telephos

Telephos 68: St. Petersburg, State Hermitage Museum Кэ 5306

Heres and Strauss, p. 867

68. Calf-head-Rhyton, skyth.-propont., Silver. St. Petersburg, Ermitage 575. ... C. 300 BC - Relief on the Rhytonschaft: From r. kneels T. with the r. leg on the step altar. In the left he holds Orestes, his right hand carries a sword. From r. hurries Clytaimestra. L. seeks Agamemnon with the sword to l., Stopped by the unarmed Odysseus. Whole l. is a servant.

LIMC 8850 (Telephos 68)

Category: relief vase

Telephos 81: Würzburg, Martin von Wagner Museum H 5697

Heres and Strauss, p. 868

81.* Bell crater, Apul. rf. Würzburg, Wagner-Mus. H 5697. ... c. 370 BC. A man disguised as a woman kneels on an altar. In his left hand he holds a wineskin, which is "clothed" with children's shoes. L. comes the "mother" with a wine barrel. She wants to catch the "blood" if the man slaughters the "child" (Aristoph., Them. 733-755).

LIMC 8894 (Telephos 81)

Type: bell crater

Origin: Apulia

Category: vase painting

Material: terracotta

Dating: ,

Darstellung einer Szene aus Aristophanes' Komödie 'Die Frauen beim Thesmophorienfest' (733-755): Der als Frau verkleidete und enttarnte Mnesilochos (Komödienmaske) sucht Zuflucht an einem Altar (rechteckiger Block mit Blutspuren auf Basis, mit Zickzackmuster dekorierte Deckplatte) und droht das einer Frau eintrissene "Kleinkind" (verkleideter Weinschlauch) zu töten. Die "Mutter" eilt herbei, um in einem Gefäß das "Blut" ihres Kindes aufzufangen.

[Representation of a scene from Aristophanes' comedy 'The Women at the Thesmophoria Festival' (733-755): Mnesilochos (comedy mask) disguised as a woman seeks refuge on an altar (rectangular block with traces of blood on the base, a zig-zag decorated cover plate) and threatens that Killing a woman with a "toddler" (disguised wineskin). The "mother" hurries to catch the "blood" of her child in a jar.]

Telephos 85: Berlin, Antikensammlung Fr. 35 (Misc 3294)

Heres, p. 97

fig. 21. Achilles heals the wound of Telephos with rust splinters from his spear. Engraving on the reverse of an Etruscan bronze mirror, second half 4th century B.C. Staatliche Museen zu Berlin. Antikensammlung inv. Fr. 35.

Heres and Strauss, p. 868

85. ->Agamemnon 27* ( ... Berlin, Staatl. Mus. 3294 [Fr. 35]. ...

LIMC 8903 (Telephos 85)

Type: mirror

Origin: Etruria

Category: engraving

Material: bronze

Discovery: Bomarzo

Dating: -350,-300

Description

Scene showing three figures: a standing male figure (Achilles) scraping his spearhead with the bill-hook cleaning it, with it he wounded the other male figure (Telephus) in the thigh; a male figure (Agamemnon) assisting

Inscription

Achle, Achmemrun, Telef[e]

Museum

Address

Staatliche Museen zu Berlin, Antikensammlung

Berlin

Inventory

Misc 3294

Mysians

• "Plot "traced by Welckler to Hy 100" i.e travels to Mysia with Parthenopaeus, following the command of the oracle, in search of his mother, defeats Idas, but perhaps not see Jebb v.2, pp. 70–72

Eurypyus

• Astyoche, wife of Telephus, mother of Eurypylus (Lloyd-Jones (1996) p. 82 ff.
• "There is [here] evidently an allusion to the spear of Achilles, which healed Telephus but which has now in the hands of Neoptolemus killed his son" (Lloyd-Jones (1996) p. 87)

Auge

• "Since Telephos was abandoned on Mount Parthenion, he was enevitably exposed to wild beasts, but whether there was any reference to this in Auge remaind uncertain. On the other hand, the child's suckling by a doe, which was certainly described in Sophokles' Aleadai, probably also occurred in Euripides' play ... (Huys, p. 293)

• Frs. 264a-281 TrGF (Ogden, p. 20)
• Dionysius of Halicarnassus, On Literary Composition, Telephus Frag. 696 Nauck
• "In Euripides Auge (frs. 265, 268) he [Heracles] ascrbes his rape of Auge to the combined influences of lust and wine; and this may have been traditional" (Winnington-Ingram p. 333)
• "He [Heracles] finds Aleos and says that, after Aleos had feasted him (268N²), love and wine led him to abandon reason and rape Auge; it was an act of violence, not persuasion; but nature has no respect for conventions; it was an injustice but an involuntary injustice (269, omitting 1. 2, as Wilamowitz^[3] saw; adesp. 402 (Aleos); adesp. 570; 265a; 265N²." (Webster, p. 240)
• Fr. 265a (=? 920 N):

Nature wanted it, and does not care about nomoi at all (Scodel p. 67)

Nature willed it, which cares nothing for convention.

Nature willed it: she cares naught for laws (Eur. fr. 920 TGF) (Knox p. 152])

• Fr. 265 N²:

Wine caused me to lose my mind: I agree / I wrong you, but the wrong happened unintentionally. (Rosivach p. 43)

Telephus

• Webster pp. 43-48; Page p.12-15 (G.L.P., no. 3, formerly assigned to Sophocles' Gathering of the Achaeans), pp. 130-135 (G.L.P., no. 17).
• Davies Malcolm, Euripides 'Telephus' Fr. 149 (Austin) and the Folk-Tale Origins of the Teuthranian Expedition, Zeitschrift für Papyrologie und Epigraphik volume133, pages 7-10
• Greek Literary Papyri, Page
• Frs. 696-727c TrGF (Ogden, p. 20)

• P.Oxy.XXVII 2460

• Telephus was "burlesqued in Aristophanes' Acharnians and Thesmophoriazusae." Heath, "Euripides' Telephus
• Born on Mt. Parthenion (Page pp.130-131, Huys p. 158)
• King of Mysia (Page, p. 130-131)
• Achaean attack on Mysia. (Page, p. 132-133, Webster, p. 44)
• Comes to Arcadia disguised as a beggar (Fragments 697N², 698N² Webster, pp. 44-45, Aristophanes)
• Orestes seizure by Telephus: (also in Aeschylus?) see: []