Hostname: page-component-78c5997874-4rdpn Total loading time: 0 Render date: 2024-11-08T05:22:55.715Z Has data issue: false hasContentIssue false
  • English
  • Français

Heroic Haircuts

Published online by Cambridge University Press:  11 February 2009

John Boardman
John Boardman
Affiliation:
Merton College, Oxford
Get access Rights & Permissions [Opens in a new window]

Extract

In C.Q,. xxii (1972), 199 Professor R. G. Austin has drawn attention to the short at the front, unusually long at the back. It must be related to that other heroic ‘long back and sides’, the Theseis, which is described by Plutarch (Thes. 5) who compares Homer's Abantes Il. 2. 542, and adds by way of explanation that the custom was not learnt from the Arabes, as some think, nor from the Mysians (which incidentally explains Hector), but because the Abantes liked close combat and short front hair denied their adversaries a hand hold. The same explanation probably serves the Hectorean hair style.

Type
Research Article
Information
The Classical Quarterly , Volume 23 , Issue 2 , December 1973 , pp. 196 - 197
Copyright
Copyright © The Classical Association 1973

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

page 196 note 1 See also W. Bremer in R.E. s.v. ‘Haar. tracht’, 2120, where the Hectorean style explained, wrongly in the light of Professor Austin's note, as for hair brushed up and back from the forehead.

page 196 note 2 Benson, J. L., Horse, Bird and Man (1970) 100 f.Google Scholar

page 196 note 3 Ahlberg, G., Fighting on Land and Sea in Greek Geometric Art (1971), 76 f.Google Scholar

page 196 note 4 E. Haspels, Attic Black-figured Lekythoi 71–4; J. D. Beazley, Der Kleophrades-Maler 28 and Attic Red-figured Vases in American Museums, 72 f.

page 196 note 5 Examples are: on the Kleophrade: Painter cup, Acr. 336 (A.R.V.2 192, no. 105; Beazley, Der Kleophrades-Maler, 28 f., pl. 32. 2; Simon, E., Antike Kunst, iii (1960),15Google Scholar; Richter, G. M. A., A.J.A. lxxiv (1970), pl. 82Google Scholar. 9); on a hydria in Switzerland (Richter, op. cit. 331–3, pl. 81, fig. 5, where Parthenopaios is named and the identity of the Seven certain); on a lekythos by the Oionokles Painter, Cleveland 28. 660 (A.R.V.2 648, no. 37, where a single figure is shown). For dedication of hair locks and their attachment to chariots see Anderson, J. K., A.J.A. lxxv (1971), 195 f.Google Scholar

page 197 note 1 A.R.V.2 26, no. I; Pfuhl, E., Malerei und Zeichnung, iii, fig. 364.Google Scholar

page 197 note 2 Auktion, , Münzen und Medaillen xxxiv (1967), pl. 46Google Scholar, no. 149; Beazley, J. D., Paralipomena (1971), 324Google Scholar; Buitron, D. M., Attic Vase Painting in New England Collections (1972), 80 f., no. 37.Google Scholar

page 197 note 3 A.R.V.2 32, no. 2, recently republished by Arias, P. E. in Archeologia Classics xxi (1969), 190 ff. with pls. 53–63. The men lifting him are not winged, so the body need not be either Sarpedon or Memnon.Google Scholar

page 197 note 4 A.R.V. 126, no. 24; Pfuhl, op. cit., fig. 345.

page 197 note 5 Metropolitan Museum Bulletin xxxi. (1972), no. 15.Google Scholar

page 197 note 6 The Brygos Painter, A.R.V.2 380, no. 171 (Johansen, K. F., The Iliad in Early Greek Art, 134, fig. 46); and Makron, A.R.V.2 460, no. 14 (B.A. Besch. xxix, 15, fig. 4). Sarpedon's body had been similarly treated, again by Apollo, before removal by Sleep and Death (II. 16. 667–83), but Euphronios shows it still bleeding freely.Google Scholar