Greek Civilization, CL 101, Spring 2021 (T, Th. 9:30-10:45) 1-29-21; draft 4
Professor Stephen Esposito, Dept. of Classical Studies, Boston University
“Though dead, they are not dead.” oude tethnasi thanontes, Ou0de\ teqna=si qano/ntev (Simonides; epitaph
honoring the Spartans who died to save Greece from the invading Persians at Plataea in 479 BCE
“The harder you work, the harder it is to surrender.”
Vince Lombardi, legendary NFL football coach
“Hard work beats talent when talent fails to work hard.”
Kevin Durrant, NBA superstar
“Great minds discuss ideas; average minds discuss events; small minds discuss people.” Eleanor Roosevelt
“Not all readers are leaders, but all leaders are readers.”
President Harry Truman
“Tradition is the democracy of the dead. It means giving votes to that remotest and obscurest of classes, our
ancestors. It refuses to submit to the arrogant oligarchy of those who simply happen to be walking around.”
G.K. Chesterton
“My eyes, however strong or weak they may be, can only see a certain distance, and it is within the space
encompassed by this distance that I live and move. We sit within our nets, we spiders, and whatever we
catch in it, we can catch nothing at all except that which allows itself to be caught in precisely our net.”
Nietzsche, Daybreak #117 (1881)
“As you set out for Ithaka / hope your road is a long one, / full of adventure, full of discovery. /…
Keep Ithaka always in your mind. /Arriving there is what you’re destined for. But don’t hurry the journey at all. /
Better if it lasts for years, / so you’re old by the time you reach the island, / …Ithaka gave you the marvelous
journey. / Without her you wouldn't have set out. / She has nothing left to give you now.”
Ithaka (1911), Constantine P. Cavafy, Greek poet (trans. E. Keeley)
“Only deep, constant reading fully establishes and augments an autonomous self…. The ultimate answer to the
question “Why read?” is that only deep, constant reading fully establishes and augments an autonomous self.
Until you become yourself, what benefit can you be to others?” Harold Bloom How to Read and Why (2000)
How to succeed in CL 101
1. Read the books!
2. Think critically about what you are reading.
3. Attend Prof. Esposito’s lectures and your individual discussion sections consistently.
Daily attendance will be taken for both lectures and discussion sections.
4. Engage vigorously with your teachers and with the material.
Course Information
Instructor Information
Course:
Time:
Place:
Credit:
Professor: Stephen Esposito espo@bu.edu
Office:
School of Theology, room 410, 745 Comm. Ave
Phone:
353-4540 (or 353-2427 = department office)
Office Hours on Zoom: Mon. 10-11; Wed. 10-12 & by apptment
CAS CL 101 A1
T / Th 9:30-10:45
Remote
4 hours
Teaching Fellows
Peter Kotiuga, A 4 & A7
email = PKotiuga@bu.edu Office = STH 435 Office Hours = Wed. 1:30-2:30
Maya Chakravorty, A5 & A6 email = mayac@bu.edu Office = Zoom
Office Hours = Fri. 10:15-11:15
Weekly Discussion Sections (in addition to regular office hours, TFs can be met by arranging an appointment)
CL 101 A4 (18)
CL 101 A5 (18)
CL 101 A6 (18)
CL 101 A7 (18)
(Wed. 11:15-12:05)
(Wed. 1:25-2:15)
(Fri. 9:05-9:55)
(Fri. 10:10-11:00)
CAS 216
EPC 206
EPC 206
EPC 206
Peter Kotiuga (In person)
Maya Chakravorty (Remote)
Maya Chakravorty (Remote)
Peter Kotiuga (In person)
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Note well the following Zoom links for Prof. Esposito’s CL 101 course
Esposito’s CL 101 A1 Lecture Zoom Info:
https://bostonu.zoom.us/j/94507577605?pwd=VVlocjhuWjRzcHZTazlad2dDWmZrdz09
Meeting ID: 945 0757 7605
Passcode: 282706
Esposito’s Office-Hour Zoom Info
https://bostonu.zoom.us/j/94962124244?pwd=dHdqTWhSbHRhY2VLcTBMVFMzM3lXUT09
Meeting ID: 949 6212 4244
Passcode: 039345
Esposito’s Blackboard Link:
https://learn.bu.edu/ultra/courses/_74532_1/cl/outline
Class Composition
(72 students as of 1-21-21; the maximum for this class is 72)
Year:
Schools (6):
Freshman = 13, Sophomores = 26, Juniors = 20, Seniors = 13
CAS = 33, QST (SMG) = 15, SAR = 6, COM = 7, ENG = 10, SED = 1.
Course Description
Why and how did ancient Greek culture produce such remarkable writers, artists, and politicians who still
today expand the horizons of human possibility, educate the imagination, refine moral intelligence, and
enrich the stuff of the human spirit? Studying select masterpieces of epic, history, drama, and philosophy
we’ll strive to become better critics of the ancient Greeks and, through them, better critics of ourselves
and our contemporary cultural assumptions. And we’ll do all this because these texts, which have stood
the test of time for 2500 years, engage us in a useful and formative dialogue between the past and present.
Required Textbooks (5)
All 5 texts are paperbacks and all are mandatory; you must use these specific editions since the syllabus
is based on them as is the writing of your essays.
1. Fitzgerald, Robert (trans.)
2. Fagles, Robert (trans.)
3. Burian, Peter & Shapiro, Alan
Homer: The Odyssey
(1998, Farrar, Straus, Giroux)
Sophocles: Three Theban Plays
(1984, Penguin) ISBN 0140444254
The Complete Sophocles: Volume II: Electra and Other Plays
(Greek Tragedy in New Translations) (Oxford UP, 2009) ISBN 9780195373301
4. Woodruff, Paul (trans.)
Thucydides: On Justice, Power and Human Nature (1993, Hackett)
ISBN 0872201686
5. Tredennik, H. & Tarrant, H. (trans.) Plato: The Last Days of Socrates (Penguin, 2003) ISBN 01404492800
Grading Assessment Metrics
1. Class attendance and participation
2. Midterm Exam (March 4, Thursday)
3. Six (6) quizzes in discussion sections (drop lowest)
4. Five (5) drawings (due dates below on syllabus)
5. Three (3) one-page essays (due dates listed below)
6. Final Exam (Wednesday May 5, 9-11 AM)
= 15 points
= 15 points
= 3 points each
= 3 points each
= 5 points each
= 25 points
=
=
=
=
=
=
15 % of final grade
15 % of final grade
15 % of final grade
15 % of final grade
15 % of final grade
25 % of final grade
Grading Rubric
The final grade will be calculated as a percentage of 100 and then converted to a letter
grade according to the following scheme:
B+ (87-89%)
C+ (77-79%)
D+ (67-69%)
A (95-100%)
B (84-86%)
C (74-76%)
D (65-66%)
A- (90-94%)
B- (80-83%)
C- (70-73%).
F (0-64%).
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Class Requirements
To fail to plan is to plan to fail. The syllabus of readings (see below), with its carefully
demarcated assignments and deadlines, is designed to help you succeed. Consistent, thorough, daily
preparation and vigorous class participation are the keys to success. So read the books and come
prepared to think and to challenge yourself and me.
Each week you must attend two lectures and a one-hour discussion section. Attendance will be
taken and will affect your grade. More than 6 absences (out of a total of 28 lecture classes) could
result in failure in the course.
Class attendance and participation (15%)
Your discussion leaders will assign you a grade based on your degree of engagement in your
discussion section. It is not sufficient merely to attend your weekly discussion section: you must
also ask questions, participate in exercises, and contribute to the intellectual excitement of the class.
Short quizzes (15%; each quiz is worth 3 points; the lowest quiz grade will be dropped)
You will have six (6) short quizzes in your discussion sessions, based on information
presented at the lectures and the readings. Each quiz will take about 5-10 minutes to complete; your
TF will discuss the details of the quizzes with you. The policy in the course is not to allow
makeup quizzes. But we do allow you to ‘drop’ one quiz: i.e. only your five (5) best quiz grades will
be counted towards your final grade for the course.
Five drawings (15%; each drawing is worth 3 points)
You will have due in your discussion sections five (5) drawings; due dates listed on the
syllabus. The idea here is to get you emotionally involved in the text by means of drawing. You
don’t have to be a good drawer. But you do need to show that you put some serious thought into
your drawing. You can draw, paint, or use digital wizardry. These ‘drawings’ will be shared by your
instructor in your small sections (either in person or screen-shared via Zoom); as class time permits,
you will be asked to explain your ‘drawing’ to your classmates. This is a great way to get
imaginatively involved in some of the emotional highpoints of the texts. I will screen-share some
examples in my lectures to give you a sense of what is possible, and how cool these types of
assignments can be at opening up the texts in visual and visceral ways that essays don’t so often do.
Three one-page Essays (15%; each essay is worth 5 points x 3 = 15 points)
You will write three (3) one-page essays (400-450 words). These essays must be submitted to
your Teaching Fellow via Turn-It-In on Blackboard; the due dates and approximate subject matter
are indicated on the syllabus below (pp. 8-9). Late essays lose one full grade per day. More
specifics about each topic will be mentioned as the due dates of those essays approach. On pages 5-6
of this syllabus you will find ‘Ground-rules for Writing a Dynamic Essay.’ Please read these two
crucial pages very carefully and use them frequently when writing your essays. The ‘groundrules’
will serve as the basis for our grading of your three one-page essays.
Extra Credit homework
For most of the readings on the syllabus I will be putting on my Blackboard, at
the relevant time, a set of Extra Credit Study Questions. These questions have several
purposes. The first is to give you the opportunity to receive extra credit which, if
consistently done, could raise your grade by as much as a full grade. Secondly, even if
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you don’t type out answers to the questions for Extra Credit, still just reading over the
questions will focus you on the most important themes of our texts. And thirdly, these
questions will serve as excellent preparation for your Midterm and Final Exams. So if
you want to receive Extra Credit you can type out answers to the questions and
hand them in, via Blackboard, to your discussion section leader. The best practice is
to submit your answers at the same time as you are reading the material. But there is
some leeway here; you can hand them in within a week following the assignment. And
you don’t need to do all the questions, just those you want do. P.S.: you do NOT need to
rewrite the questions themselves; just put the number of the question so we can see which
question you are answering.
Zoom-Room Etiquette
- Be on time to class.
- Mute yourself whenever you aren’t speaking.
- Use the chat function responsibly (e.g. no bullying or inappropriate language) and please
don’t chat privately during class.
- Please keep your camera ON at all times. The reason for this is fairly simple: to help
keep you focused on the material at hand. The lectures will contain the material
covered on your drawings, essays, and exams. So please close all other windows, and
tune out all other distractions. We can’t fully recreate the in-person experience, but we
can commit to being fully present. Imagine being FULLY PRESENT. Definitely worth it.
Plagiarism
Plagiarism (< Latin plagium = “kidnaping”) is dishonest and won’t be tolerated. Plagiarists, like
robbers, take something that isn’t theirs and pretend it is. The old axiom is true: borrowed
thoughts, like borrowed money, only show the poverty of the borrower. You’re not an
intellectual pauper so don’t act like one. Plagiarism will result in a failing grade and/or referral of
the case to the CAS Academic Conduct Committee, which may impose penalties up to and
including expulsion from the University. Please consult the College’s Academic Conduct Code if
you have questions about the kinds of actions that constitute plagiarism.
www.bu.edu/academics/policies/academic-conduct-code/. The Academic Conduct Code applies to assessments
that take place remotely. Using resources that are prohibited during remote assessment is unacceptable.
Various B.U. Policies
B.U. complies with the Americans with Disabilities Act and Section 504 of the Rehabilitation Act. If you’re a student
who needs academic accommodations, contact your instructor and present your letter ASAP. For questions about this contact the
Office of Disability and Access Services at access@bu.edu and 617-353-3658. Letters of accommodations should be presented
ASAP. Current info can be found online at www.bu.edu/disability/policies-procedures. As your instructor, I’m a mandatory
reporter under B.U.’s Title IX and non-Title IX regulations. This shouldn’t discourage you from coming to talk to me, but I am
legally obligated to report instances of sexual misconduct. SARP (Sexual Assault Response and Prevention: 617-353-SARP
[7277]) is available 24/7 to provide free and confidential assistance. More details: http://www.bu.edu/policies/sexual-misconducttitle-ix-hr/
This syllabus affirms that B.U.’s policy on religious observance will be adhered to in this course.
http://www.bu.edu/ctl/university-policies/policy-on-religious-observance/
Incompletes
If incomplete work isn’t finished within one calendar year, the grade of “I” automatically and irrevocably
becomes “F”. Also an “I” grade won’t be accepted by the registrar unless the student fills out a special agreement
form, which the student and prof. both must sign before final grades are submitted, specifying the work to be
completed and the date by which it is to be finished. Incompletes will be given only in unusual and well-documented
emergency cases.
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Ground-rules for writing a dynamic one-page essay (Esposito, p. 1) 1-26-21
I. The heading at the top of the page should closely resemble the following style:
Steve Esposito, CL 101
TOP LINE:
‘Euripides’ Medea and the Interrogation of the Greek moral code’
WC #1 = 448
WC #2 = 5
WC #3 = 32
1-21-21
Contains 4 items: your name, course (CL 101), title of the essay, and date.
Regarding the title: The beginning of the title is informational (‘Euripides’ Medea’) and the
latter part is your creative addition (‘and the Interrogation of the Greek moral code’)
SECOND LINE: Contains 3 items: WC #1, WC #2, WC #3.
WC#1 = the Word Count of whole essay: no less than 400 and no more than 450 words.
WC#2 = the # of times you use any form of the verb “to be.” This word count can NOT exceed
seven (7); note that this word count excludes any forms of the verb ‘to be’ that appear in
the first sentence (i.e. the question you are answering) or in a quotation. The forms of
the verb ‘to be’ are the following: be, am, is, are, was, were, been, being.
You must put such words in UNDERLINED BOLD CAPITAL LETTERS.
WC#3 = the # of times you cite/quote the text. This word count can’t be less than ten (10).
II. GROUND-RULES for your essay
1. Formatting specifications: spacing = 1.5; FONT = 11 point; margins = about an inch on each side
2. Adhere to the length limitation: 400-450 words on ONE PAGE (Please, no cover sheets)
3. Provide your own fitting title (i.e. a succinct, accurate description of your theme or argument).
4. First sentence must begin with the assigned question which you are answering.
5. Second sentence must begin with the words “I SHALL ARGUE THAT” in BOLD CAPITAL LETTERS.
6. Do not use secondary sources; this essay represents your own critical analysis and argument. NO Footnotes!
7. Italicize the titles of plays or books, e.g. Odyssey, Oedipus the King, Antigone, etc…
8. “Justify” the right margin, i.e. make it one long parallel column. Your computer can do this for you. Of course
your computer automatically “justifies” your left margin but you need to ‘justify’ the right margin manually.
III. COMMON ERRORS in essay writing
9. Excessive use of forms of the verb “to be” and other passive verbs. Write aggressively -- use active verbs.
10. Confusion of who/whom: ‘who’ is a subject; ‘whom’ is a direct or an indirect object (to / for whom).
11. SPLIT INFINITIVES: “to argue persuasively” is better than “to persuasively argue”; the latter expression
breaks up the integrity (i. e. togetherness) of the infinitive “to argue.”
12. Repetitious sentence-openings, e.g. “He...He...He...His...Her...” Variety is the spice of writing.
13. Lame expressions; “it seems that”; “the fact that”; “kind of”; “I feel”; “in my opinion.”
14. Vague adverbs; e.g., “simply”, “basically”; “perhaps”; “maybe”; “apparently”; “possibly”; “nicely.”
15. Failure to hyphenate compound adjectives: e.g., heart-wrenching tragedy, cold-hearted murder,
guild-ridden queen, ten-year journey, the less-than-witty king, plot-based story.
16. Excessive use of adjectives and adverbs; let your nouns and verbs do the hard work.
17. Misuse of God vs. god: ‘God’ is the deity to whom the monotheistic Jews, Christians, and Muslims pray;
‘god’ is a deity to whom the polytheistic Greeks and Romans sacrificed.
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Ground-rules for writing a dynamic one-page essay (Esposito, p. 2)
IV. PROPER METHOD OF CITING TEXTS
18. Proper citation method (all citations should be placed in parentheses following the passage cited):
For Homer’s Odyssey, cite the book and line number (not the page number), e.g. (2.37).
For Sophocles’ plays cite the (approximate) line number, e.g. (863).
For Thucydides’ History and Plato’s Apology cite just the page number (since there are no line numbers).
19. Cite the text accurately; any quotations should be very very brief, i.e. only a few words at most.
V. MAIN CRITERIA WE’LL USE IN EVALUATING YOUR ESSAYS
Form
A. Does the essay have a clearly demarcated three-part structure (beginning, middle & end)?
1. Does the introduction state the thesis succinctly and clearly?
[A thesis is a claim, not a statement of fact; as such, it needs demonstration by rational
argument and textual evidence.]
2. Does the argument and body of evidence (= the middle part of the essay) give specific,
relevant, and persuasive examples from the text to support the thesis?
3. Does the conclusion summarize the argument and concisely incorporate your
evidence? Does it have the energy of a lawyer’s closing argument to a jury.
B. Does each paragraph open with a topic sentence indicating the paragraph’s theme?
Content
A. Does the essay present an argument? Is that argument logical?
B. Does each paragraph present at least one major point and is that point supported
by well-chosen examples (either citations or quotations) from the text?
C. Has the student “made” his or her case, using the text to support the argument?
D. Does the essay reveal a sense of the student’s pride in a job well done?
VI. Excellent and brief WRITING HANDBOOKS
The Elements of Style
W. Strunk and E.B. White (4th edn., 2000)
The Elements of Grammar
Margaret Shertzer (1986)
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SAMPLE one-page ESSAY
Steve Esposito, CL 101
‘Euripides’ Medea and the Interrogation of the Greek moral code’
WC #1 = 448 WC #2 = 5
WC #3 = 32
1-26-21
What is the main conflict between Medea and Jason (hereafter M and J), how is it tragic, and why
does M escape unpunished? I SHALL ARGUE THAT Medea’s struggle begins as an external one (battle
of the sexes: 250-51, 573-74) which gradually escalates into an internal one (her ‘split’ self: 1021-80).
Both conflicts end tragically, the first by generating the most shocking ‘crime’ in Athenian tragedy,
namely premeditated infanticide; the second by showing ‘M the avenger’ psychologically murder ‘M the
mother’ (1246-49).
Two factors create M’s intractable dilemma. First, J’s hybris (256, 603, 1366), selfishness (559-67),
deceit (587), erotic lust for the Corinthian princess (491, 623, 1364), dishonoring of her bed (1354-5), and
betrayal of his marriage oath (1391). Second, Creon’s fear of M’s witchcraft and life-threats (282-88)
drives him to decree her exile from Corinth (273). M hates these ‘injustices’ (578), especially the sexual
double standard (230-51). And she dreads the dishonor (1354) of BEING publicly laughed at by her
enemies (383, 405, 797, 1049, 1061, 1362).
As a ‘barbarian’ female in an ancient patriarchy (410-445) M has no ‘voice’ and no model for
decisive action. Therefore she must adopt the male warrior code that “wins most glorious renown”, which
WAS a version of the generic Greek moral code of ‘helping friends and harming enemies’ (809-10). So J
and M become enemies, her house a battleground, and her boys weapons of war. M’s tragedy, as revealed
in her famous “divided self” speech, IS that, despite knowing better (1078-80), she feels compelled to
eradicate her maternal instinct and become a monster of revenge by murdering her two young sons. Victim
turns victimizer as loving mother (1069-75, 1397) arms her ‘hoplite’ heart (1242) and becomes a ‘childkilling lioness’ (1407).
In the end, then, ‘the law of the claw’ (lex talionis) obliterates the chorus’ hopeful vision of eros and
wisdom (sophia) teaming up as ‘accomplices in every kind of excellence’ (843-45). As the debunked
‘hero’ Jason bangs at the door, a blood-stained, corpse-laden M, resplendent symbol of hideous pollution,
flies off-stage as a semi-divine Fury in a chariot drawn by the dragons of the Sun god, Helios. Brave new
world indeed! - the lust for revenge unleashed in 431 BCE, winging its way to Athens, bold prophet, like
Euripides himself, of the violence of the impending Peloponnesian War (431-404 BCE) between Athens
and Sparta. So off to Athens M flies unpunished, high above the stage, driving home her stunning ‘defeat’
of Jason and his gross callousness. But M’s pyrrhic victory IS no cause for celebration. Her monstrous
infanticide has erased forever Medea the mother. Such IS the price of ‘fame’ in the Greek warrior’s tragic
zero-sum game of getting ‘glory’.
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CL 101 Greek Civilization: HOMEWORK ASSIGNMENTS
TIME = T / Th. 9:30-10:45
CLASSROOM = Zoom
Spring 2021, Esposito
28 classes in 15 weeks
Due to Covid there is NO SPRING BREAK this semester; but there are 2
Wellness Days when there are no classes, i.e. March 18 (Th) or March 31 (W).
The date on the far left side (below) indicates the date by which the reading assignment should be
prepared. And you will note certain dates where your 5 DRAWINGS and 3 one-page ESSAYS
are due. Those drawings and essays must submitted BEFORE LECTURE meets that day. You
can submit your material via ‘Turn-It-In’ on your discussion leader’s BLACKBOARD site.
PART I:
‘Archaic’ Greece: Homer (750-700 BCE)
Week 1
Jan. 26 (T)
Jan. 28 (TH)
Homer, Odyssey books 1-2 and Postscript pp. 485-509 (R. Fitzgerald translation)
Homer, Odyssey, books 3-4
Week 2
Feb. 2 (T)
Feb. 4 (TH)
Homer, Odyssey, books 5-8 and Drawing #1 (of simile, bk 8. 560-71, pp. 140-1)
Homer, Odyssey, books 9-12
Week 3
Feb. 9 (T)
Feb. 11 (TH)
Homer, Odyssey, books 13-19
Homer, Odyssey, books 20-24
PART II:
‘Classical’ Athens: Tragedies of Sophocles I (496-406 BCE)
Week 4
Feb. 16 (T)
Feb. 18 (TH)
Week 5
Feb. 23 (T)
Feb. 25 (TH)
NO CLASS: Substitute Monday Schedule of Classes (Presidents’ Day)
Soph. Oedipus King lines 1-997 (= pp. 159-210) & Knox’s intro (pp. 13-30)
and ESSAY #1 due (on Penelope’s moral agency in Homer’s Odyssey)
Soph. Oedipus King, 998-1684 (= pp. 211-251) & Knox’s intro (pp. 131-53)
Sophocles, Oedipus at Colonus, lines 1-1238 (pp. 284-349) & Knox’s intro
(pp. 255-77) and ESSAY #2 due (on Oedipus the King)
Week 6
March 2 (T)
March 4 (TH)
Sophocles, Oedipus at Colonus, lines 1239-2001 (= pp. 350-388)
Sophocles, Antigone, lines 1-899 (= pp. 59-101) and Knox’s intro (pp. 35-53)
Week 7
March 9 (T)
Sophocles, Antigone, lines 900-1470 (= pp. 102-128) and Drawing #2
(of the embrace of Antigone and Haemon at lines 1344-1373 in Fagles pp. 122-23)
March 11 (TH)
MIDTERM EXAM (on all the preceding readings and lectures)
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PART III: History: Thucydides on the Peloponnesian War (431-404 BCE)
Week 8
March 16 (T)
March 18 (TH)
Week 9
March 23 (T)
March 25 (TH)
Thucydides, History of the Peloponnesian War (Intro, pp. vii-xxxiii and 1-37)
No classes, campus wide: B.U. ‘Wellness Day’ (= day of rest due to Covid)
Thucydides, History of the Peloponnesian War (pp. 39-109)
and ESSAY #3 due (on Pericles’ Funeral Oration)
Thucydides, History of the Pelop. War (pp. 111-160)
PART IV: ‘Classical’ Athens: Tragedies of Sophocles II (496-406 BCE)
Week 10
March 30 (T)
April 1 (TH)
Week 11
April 6 (T)
April 8 (TH)
Week 12
April 13 (T)
April 15 (TH)
Sophocles, Ajax, lines 1-965 (= pp. 27-58 & Introduction pp. 3-22)
Sophocles, Ajax, lines 966-1608 (= pp. 59-80) and Drawing #3 (draw a
picture of Tecmessa covering the corpse of Ajax using the description
on pp. 60-61 (= lines 990-1023)
Soph., Women of Trachis, lines 1-645 (= pp. 114-44 and Intro pp. 97-112)
Sophocles, Women of Trachis, 646-1227 (= pp.144-68) and Drawing #4
(of the wrestling match described in the choral song on pp. 135-138)
Sophocles, Philoctetes, lines 1-751 (= pp. 332-363 and Intro pp. 305-30)
Sophocles, Philoctetes, lines 752-1675 (= pp. 363-398) and Drawing #5
(of the details and appearance of Philoctetes’ cave on the desert island)
Week 13
April 20 (T)
Sophocles, Electra, entire play (pp. 230-294)
PART V:
Plato and Socrates: ‘Free yourself from mental slavery!’
April
22 (TH)
Plato, Apology (Justice & Duty I; Socrates speaks at his trial), pp. 33-51
Week 14
April 27 (T)
April 29 (TH)
Plato, Apology (Justice & Duty I; Socrates speaks at his trial), pp. 51-70
Plato, Crito (Justice & Duty II; Socrates in prison), pp. 73-96
FINAL EXAM
Study Period
Final Exam Period
Commencement Weekend
May 5 (Wed), 9-11 AM
April 30 (F) – May 3 (Mon.)
May 4 (Tues.) – May 8 (Sat.)
May 13 (Thurs.) -- May 16 (Sun.)
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