HeroesX

The Ancient Greek Hero in 24 Hours

~ Explore what it means to be human today by studying what it meant to be a hero in ancient Greek times ~

NOTE: This page will be updated when the next iteration is due to run. Meanwhile, these details refer to an earlier session.

Registration is now open for the latest session of The Ancient Greek Hero, a unique MOOC that introduces participants to the literature and heroes of ancient Greece via the content from one of Harvard’s longest running courses.

The Ancient Greek Hero, or HeroesX, is an online educational project created by Harvard Professor Gregory Nagy and hosted by edX/HarvardX that offers an opportunity to explore the concepts related to the ancient Greek hero. Although the content is offered sequentially to offer a broad view of the hero, each part can be explored individually for a unique and focused perspective. This evolving collection of resources is designed to be equally accessible and transformative for a wide audience. HeroesX participants will experience, in English translation, some of the most beautiful works of ancient Greek literature and song-making spanning over a thousand years from the eighth century BCE through the third century CE: the Homeric Iliad and Odyssey; tragedies of Aeschylus, Sophocles, and Euripides; songs of Sappho and Pindar; dialogues of Plato, and selections from On Heroes by Philostratus. Throughout the project, Nagy and his Board of Readers model techniques for “reading out” of these works in an inductive way. This approach allows participants with little or even no experience in the subject matter to begin seeing this literature as an exquisite, perfected system of communication.

Content, community, and conversation are prioritized in HeroesX in a way that redefines MOOC as massive, open, online content. This project provides a supportive learning community, exploring what it means to be human today by studying what it meant to be a hero in ancient Greek times. Since it was launched in March 2013, The Ancient Greek Hero has enrolled over 172,000 participants from over 170 countries. Through this project, Nagy is sharing his latest research on ancient Greek heroes, a subject that he has been studying for over four decades. Participants in previous sessions describe being transformed by the content, the community, and the profound experience of “reading closely.” HeroesX participants in good standing are also eligible to register for Kosmos Society, an open-ended, community-driven companion project.

The project, currently in v16, is due to start in August 2021 and remains open for registration until December 2021. Enroll now!

Part One: Heroes in Epic and Lyric Poetry

Hours 1–5: “Epic and Lyric”

Here we look at the ancient Greek hero from the perspective of two different but related media of poetry and songmaking, epic and lyric. The major focus of interest is Achilles, especially as viewed through the lens of the Homeric Iliad *and* through the “rose-colored glasses” of Sappho’s songs. While the epic of the Iliad is typical of verbal art that is performed by and for men, the lyric songs of Sappho derive from traditions of singing performed mainly by women of all ages, including adolescents about to be initiated into womanhood. These “women’s traditions” are best known for two kinds of singing, laments and love songs, which are interchangeable in contexts that will surprise the modern mind. Another surprise, as we will see, is that the Iliad too contains embedded “quotations” of such laments and love songs, and that our first impression of this epic as a “men’s tradition” obscures the fact that Homeric poetry channels the songs of women as well as men. A perfect expression of such “channeling” is the figure of Achilles himself, who was admired by Greek song culture as a virtuoso singer of laments and love songs in his own right. An analysis of Homeric passages that “quote” the singing of Achilles will be an integral part of our overall experience in close reading.

Hours 6–11: “Signs of the Hero in Epic and Iconography”

Hours 6–8 (including all the subdivisions of Hours 7 and 8), explore the interactions of text and image in a culture where the “text” is not a written document but a live performance and where the “image” is not based on anything that is written down but exists as a free-standing medium of the visual arts, expressing the same myths that are being systematically expressed by the medium of Homeric poetry. Almost all of the images we will be studying are samples of a form of vase painting known as the “Black Figure” technique. We will practice how to “read” such a medium, analyzing what it tells us about ancient Greek heroes like Achilles, in conjunction with our “reading” the performance tradition of the Homeric Iliad itself. It is important to keep in mind, as we read these images and texts together, that the myths expressed by these media were meant to be taken very seriously. In the ancient Greek song culture, myth was not mere fiction. Just the opposite: myth was a formulation of eternal cosmic truths. So, the myths conveyed by the images of the paintings we will study are just as “truthful,” from the standpoint of ancient Greek song culture, as are the related myths conveyed by the Homeric Iliad. We need to read both the texts and the images of these myths as an accurate formulation of an integral system of thought the expresses most clearly and authoritatively all those things that really matter in life.

Hours 9–11 foreground the historical fact that the heroes who were characters in the myths of ancient Greek epic, lyric, and other verbal media were at the same time worshipped as superhuman forces by the communities where their bodies were thought to be hidden from outsiders. When we take for example the Homeric Odyssey, we find that the main hero of this epic, Odysseus, was a cult hero, not only an epic hero. And the agenda that center on the idea of a cult hero, like the prospect of immortalization after death, can be clearly seen in the overall plot of the Odyssey, especially in the memorable scene where the hero experiences his homecoming to Ithaca at the same moment when the sun rises as he wakes from a mystical overnight sleep while sailing homeward.

Hour 12: In Homeric poetry the idea of hero cult is implicit even though characters like Odysseus are not explicitly identified as cult heroes. The situation is different, however, in the poetry attributed to Hesiod, where the very idea of a cult hero is precisely outlined and illustrated, especially in the myth about the five generations of humankind.

Part Two: Heroes in Prose Media

Hours 13–15: “The Cult of Heroes”

Hours 13–15 show the vast variety of perspectives brought to bear on the idea of the ancient Greek hero in the versatile medium of prose, as exemplified by authors as varied as Herodotus, the so-called father of history, and Philostratus, an intellectual from a post-classical period who was prodigiously well-versed in classical and pre-classical lore about cult heroes. As we can see from the lively prose narratives of such learned and captivating authors, the mystique of cult heroes, both male and female, enthralled their adoring worshippers, who treasured the exotic stories of epiphanies and miracles that were linked with the places made sacred by the felt presence of heroes residing in the mother earth that concealed their bodies. We will even get the chance of reading and analyzing an eyewitness prose account of an actual initiation into the mysteries of a hero cult. This prose account brings home to us the dead seriousness of personally experiencing such an initiation, and it shows the emotional impact of making contact with the consciousness of superhuman forces who inhabit the mystical world of hero cult.

Part Three: Heroes in Tragedy

Hours 16–21: “The Hero in Tragedy”

Hours 16–21 bring us into the world of high classical poetry in drama, as brought to life in three tragedies of Aeschylus, two of Sophocles, and two of Euripides. We see here the Greek hero as best known to us from the perspective of world literature. The medium of drama makes heroes seem more familiar to us, since we think we know drama better than we know other verbal arts such as epic and lyric, but, by the time we finish analyzing the seven classical tragedies that we will be reading, we will see that the traditions of hero cult, infused into the verbal art of drama, cast an altogether new light on tragedy, defamiliarizing for us not only the heroes illuminated by this art but also the art itself. We will see, then, maybe for the first time ever, that the ancient Greek hero of tragedy was not at all like us—even less like us than the hero of epic or lyric. The male and female heroes of drama were larger than life, far more so than we may ever have imagined, reaching levels of both nobility and debasement that challenge our sense of equilibrium in the cosmos. As our close readings of our seven chosen tragedies will show, there was a disequilibrium in myths about heroes in the remote past, and this disequilibrium could be compensated only by experiencing the equilibrium of rituals in the immediate present—rituals culminating in the drama of heroic tragedy.

Part Four: Heroes in Two Dialogues of Plato/
Part Five: Heroes Transcended

Hours 22–24: “Plato and Beyond”

Hours 22–24 challenge the idea that Socrates was a hero, just as Plato’s Socrates himself challenges that same idea. And yet, as we will see from reading Plato’s Apology of Socrates and Phaedo, the idea of the hero is very much present in Plato’s works—just as it persists in works beyond Plato, whether or not these works adopt Plato’s project of trying to substitute philosophy for literature—especially for poetry. Just as poetry serves as a primary representative for the idea of the hero, we will discover though our close readings that the philosophical prose of Plato likewise represents this same idea – though now the hero is no longer some superhuman human. Rather, the real hero now becomes the word of philosophical dialogue, which is brought back to life much as a cult hero is brought back to life ever time a heroic life is narrated or dramatized. In Plato’s works, the narration and the dramatization show not the life of the hero but the life of the word that survives the speaker of the word, provided that the word engages in dialogue—a philosophical dialogue that contemplates the eternal truths of the cosmos.

Watch a video introduction to Gregory Nagy’s HarvardX project HeroesX: The Ancient Greek Hero.

The Ancient Greek Hero in 24 Hours
Gregory Nagy
Harvard University Press

The Ancient Greek Hero in 24 Hours explores what it means to be human today by studying what it meant to be a hero in ancient Greek times. Readers will experience, in English translation, some of the most beautiful works of ancient Greek literature and song-making spanning over a thousand years from the the eighth century BCE through the third century CE: the Homeric Iliad and Odyssey; tragedies of Aeschylus, Sophocles, and Euripides; songs of Sappho and Pindar; dialogues of Plato, and selections from On Heroes by Philostratus. Nagy has carefully selected and translated over 250 passages from these works with special attention to the subtleties of the original language. Throughout his analysis, Nagy models techniques for “reading out” of these works in an inductive way. This approach allows readers with little or even no experience in the subject matter to begin seeing this literature as an exquisite, perfected system of communication.

Gregory Nagy is the Francis Jones Professor of Classical Greek Literature and Professor of Comparative Literature at Harvard University, and is the Director of the Center for Hellenic Studies, Washington, DC. In his publications, he has pioneered an approach to Greek literature that integrates diachronic and synchronic perspectives. His books include The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry (Johns Hopkins University Press), which won the Goodwin Award of Merit, American Philological Association, in 1982; also Pindar’s Homer: The Lyric Possession of an Epic Past (Baltimore: Johns Hopkins University Press, 1990), Poetry as Performance: Homer and Beyond (Cambridge: Cambridge University Press, 1996), Homeric Questions (Austin: University of Texas Press, 1996), Homeric Responses (Austin: University of Texas Press, 2003), Homer’s Text and Language (University of Illinois Press 2004), Homer the Classic (Harvard University Press, online 2008, print 2009), and Homer the Preclassic (University of California Press 2010). He co-edited with Stephen A. Mitchell the 40th anniversary second edition of Albert Lord’s The Singer of Tales (Harvard Studies in Comparative Literature vol. 24; Harvard University Press, 2000), co-authoring with Mitchell the new Introduction, pp. vii–xxix.