Suda in the context of "Delphi"

⭐ In the context of the Suda, Delphi is considered to derive its name from the defeat of which mythological creature?

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⭐ Core Definition: Suda

The Suda or Souda (/ˈsdə/; Medieval Greek: Σοῦδα Soûda [ˈsuða]; Latin: Suidae Lexicon) is a large 10th-century Byzantine encyclopedia of the ancient Mediterranean world, formerly attributed to an author called Soudas (Σούδας) or Souidas (Σουίδας). It is an encyclopedic lexicon, written in Greek, with 30,000 entries, many drawing from ancient sources that have since been lost, and often derived from medieval Christian compilers.

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👉 Suda in the context of Delphi

Delphi (/ˈdɛlf, ˈdɛlfi/; Greek: Δελφοί [ðelˈfi]), in legend previously called Pytho (Πυθώ), was an ancient sacred precinct in central Greece. It was the seat of Pythia, the major oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the Omphalos of Delphi. The term omphalos was the Greek word for "navel".

According to the Suda, Delphi took its name from the Delphyne, the she-serpent (drakaina) who lived there and was killed by the god Apollo (in other accounts the serpent was the male serpent (drakon) Python).

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Suda in the context of Euripides

Euripides (/jʊəˈrɪpɪdz/; Ancient Greek: Eὐριπίδης, romanizedEurīpídēs, pronounced [eu̯.riː.pí.dɛːs]; c. 480 – c. 406 BC) was a Greek tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three authors of Greek tragedy for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Nineteen plays attributed to Euripides have survived more or less complete, although one of these (Rhesus) is often considered not to be genuinely his work. Many fragments (some of them substantial) survive from most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined: he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.

Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He was referred to by Aristotle as "the most tragic of poets", probably in reference to a perceived preference for unhappy endings, but Aristotle's remark is seen by Bernard Knox as having wider relevance, since "in his representation of human suffering Euripides pushes to the limits of what an audience can stand; some of his scenes are almost unbearable." Focusing on the inner lives and motives of his characters in a way previously unknown, Euripides was "the creator of ... that cage which is the theatre of Shakespeare's Othello, Racine's Phèdre, of Ibsen and Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.

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Suda in the context of Athenaeus

Athenaeus of Naucratis (/ˌæθəˈnəs/, Ancient Greek: Ἀθήναιος ὁ Nαυκρατίτης or Nαυκράτιος, Athēnaios Naukratitēs or Naukratios; Latin: Athenaeus Naucratita) was an ancient Greek rhetorician and grammarian, flourishing about the end of the 2nd and beginning of the 3rd century AD. The Suda says only that he lived in the times of Marcus Aurelius, but the contempt with which he speaks of Commodus, who died in 192, implies that he survived that emperor. He was a contemporary of Adrantus.

Athenaeus himself states that he was the author of a treatise on the thratta, a type of fish mentioned by Archippus and other comic poets, and of a history of the Syrian kings. Both works are lost. Of his works, only the fifteen-volume Deipnosophistae mostly survives.

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Suda in the context of Nicomachus (father of Aristotle)

Nicomachus (Ancient Greek: Νικόμαχος; fl. c. 375 BC) was the father of Aristotle. The Suda states that he was a doctor descended from Nicomachus, son of Machaon the son of Asclepius. Greenhill notes he had another son named Arimnestus, and a daughter named Arimneste, by his wife Phaestis, or Phaestias, who was descended from Asclepius as well. He was a native of Stageira, and the friend and physician of Amyntas III, king of Macedonia, 393–369 BC. Nicomachean Ethics, Aristotle's work on Ethics may have been dedicated to his father. Aristotle's son was also called Nicomachus.

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Suda in the context of Colossus of Rhodes

The Colossus of Rhodes (Ancient Greek: ὁ Κολοσσὸς Ῥόδιος, romanizedho Kolossòs Rhódios; Modern Greek: Κολοσσός της Ρόδου, romanizedKolossós tis Ródou) was a statue of the Greek sun god Helios, erected in the city of Rhodes, on the Greek island of the same name, by Chares of Lindos in 280 BC. One of the Seven Wonders of the Ancient World, it was constructed to celebrate the successful defence of Rhodes against an attack by Demetrius I of Macedon, who had besieged it for a year with a large army and navy.

According to most contemporary descriptions, the Colossus stood approximately 70 cubits, or 33 metres (108 feet) high – approximately two-thirds of the height of the modern Statue of Liberty from feet to crown – making it the tallest statue in the ancient world. It collapsed during the earthquake of 226 BC, although parts of it were preserved. In accordance with the Oracle of Delphi, the Rhodians did not rebuild it. John Malalas wrote that Hadrian in his reign re-erected the Colossus, but he was mistaken. According to the Suda, the Rhodians were called Colossaeans (Κολοσσαεῖς), because they erected the statue on the island.

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Suda in the context of Milo of Croton

Milo or Milon of Croton (fl. 540 – 511 BC) was a famous ancient Greek athlete from Croton, which is today in the Magna Graecia region of southern Italy.

Milo was a six-time winner at the Olympics, once for boys' wrestling in 540 BC at the 60th Olympics and later five times for wrestling at the 62nd to 66th Olympics. He continued competing long after what would have been considered a normal Olympic athlete's prime, and would have been over 40 years of age by the 67th Olympiad. He also attended many of the Pythian Games. His historicity is attested by many classical authors, among them Aristotle, Pausanias, Cicero, Herodotus, Vitruvius, Epictetus, and the author of the Suda, but there are many legendary stories surrounding him.

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Suda in the context of Sitalces

Sitalces (Sitalkes) (/sɪˈtælˌsz/; Ancient Greek: Σιτάλκης; reigned 431–424 BC) was one of the kings of the Thracian Odrysian state. The Suda called him Sitalcus (Σίταλκος).

He was the son of Teres I, and on the sudden death of his father in 431 BC succeeded to the throne. Sitalces enlarged his kingdom by successful wars, and it soon comprised the whole territory from Abdera in the south to the mouths of the Danube in the north, and from the Black Sea in the east to the sources of the Struma in the west.

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Suda in the context of Delphyne

In Greek mythology, Delphyne (Greek: Δελφύνη) is the name given, by some accounts, to the monstrous serpent killed by Apollo at Delphi. Although, in Hellenistic and later accounts, the Delphic monster slain by Apollo is usually said to be the male serpent Python, in the earliest known account of this story, the Homeric Hymn to Apollo (6th century BC), the god kills a nameless she-serpent (drakaina), subsequently called Delphyne. According to the Suda, Delphi was named after Delphyne.

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Suda in the context of Mimnermus

Mimnermus (Ancient Greek: Μίμνερμος Mímnermos) was a Greek elegiac poet from either Colophon or Smyrna in Ionia, who flourished about 632–629 BC (i.e. in the 37th Olympiad, according to Suda). He was strongly influenced by Homer, yet he wrote short poems suitable for performance at drinking parties and was remembered by ancient authorities chiefly as a love poet. Mimnermus in turn exerted a strong influence on Hellenistic poets such as Callimachus and thus also on Roman poets such as Propertius, who even preferred him to Homer for his eloquence on love themes (see Comments by other poets below).

His work was collected by Alexandrian scholars in just two "books" (relatively few compared for example with the twenty-six books for Stesichorus) and today only small fragments survive. The fragments confirm the ancient estimate of him as a "consummate poet" but also indicate that he was a "sturdier character" than the indulgent love poet he was assumed to be by various ancient commentators. Almost no reliable biographical details have been recorded. One ancient account linked him romantically with a flute girl who subsequently gave her name, Nanno, to one of his two books.

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