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Lynnie McIlvain
Raised in Washington State, Lynnie is an alumna of the Clark College where she primarily studied art history and English. She went on to obtain her bachelor’s degree from the University of Puget Sound in a field about which she is even more passionate: classics & Ancient Mediterranean studies. She currently lives in Tacoma WA, and quietly nurtures her love of history, literature and writing, and languages alongside her professional career in nonprofit development.
Education:University of Puget SoundBA Classics & Ancient Mediterranean StudiesExpertise:Articles by Lynnie McIlvain
Euripides, the final Greek tragedian, closed out the era of Greek tragedy with a skillful attention to human drama not appreciated till after his death.
“He saw life as hard, but he could bear it hard,” says Edith Hamilton of Sophocles. This is the truth of the second great Greek tragedian.
“He who learns must suffer.” This Aeschylus says in Libation Bearers, and it distills himself. The first tragedian was a man who lived through bloodshed and found meaning through trauma.
In many ways, theater looked a lot different 2000 years ago than it does today, put on with masks and small casts and strange contraptions—that was ancient Greek theater.
Plato recorded Socrates’s teachings, chiefly his conceptualizations of the soul. In Phaedrus, Socrates imagines the pederastic lover’s soul as a chariot, tripartitioned into the charioteer, right horse, and left horse.
Greek storytelling pulls from many different traditions and cultures, particularly Mesopotamia due to the close trade relationship the two civilizations shared. The Epic of Gilgamesh proves this relationship.