Course No. 3300
Taught by Robert Garland
Colgate University
M.A., McMaster University Ph.D., University College London
"Greece, the captive, made their savage victor captive." So wrote the Roman poet Horace in the 1st century B.C., when Rome's matchless armies had consolidated control over the entire Mediterranean world. Greece lay vanquished along with scores of other formerly independent lands. Yet Horace saw that something was special about Greece

REUPLOAD NEEDED

In the 1st century B.C., Rome's matchless armies consolidated control over the entire Mediterranean world, and Greece lay vanquished along with scores of other formerly independent lands—yet the Roman poet Horace saw something special in Greece when he wrote "Greece, the captive, made her savage victor captive."

The Captive Woman's Lament in Greek Tragedy

The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved.

The Captive of Kensington Palace

The young Princess Victoria, strictly confined within the boundaries of Kensington Palace, is being moulded for her awesome future as Queen of England. Surrounded by her dolls and closely guarded by her domineering mother and faithful governess, she slowly becomes aware of the bitter conflicts that 

The Captive Queen of Scots

“Burn the murderess!”
So begins Jean Plaidy’s The Captive Queen of Scots, the epic tale of the Scottish Queen Mary Stuart, cousin to Queen Elizabeth of England. After her husband, Lord Darnley, is murdered, suspicion falls on Mary and her lover, the Earl of Bothwell. A Catholic in a land of stern Protestants, Mary finds herself in the middle of a revolt, as her bloodthirsty subjects call for her arrest and execution.