Both tours are recorded in a Perseus Path that can be selected from the Path Index. When you use a Path to follow the guided tours, Perseus will function as an autopilot; once you have selected one of the guided tours as the current path, you simply click the right arrow of the Path icon on the Navigator to progress through the footprints of the path. The only skills needed for the guided tours are the ability to select a path and the ability to click the right arrow on the Path icon.
As you move through the tours, each new location is accompanied by a small note that appears in a separate floating window. You can reposition this note window on your screen or close it by clicking the box in its upper left-hand corner. The notes indicate features of the current card and your location in the guided tour.
Remember: If you are ever lost or unsure of your location on a path, two
procedures can help you regain your sense of navigation. One is to click the
left arrow of the Path icon on the Navigator to retrace your steps on the
current path. The second is to choose, from the Perseus Menu, the Current Path
Card option. This card shows a layout of the path. You can select any location
on this layout, see its corresponding notes, and go directly to the path
location.
This icon is the Path icon, with its Path Previous and Path Next arrows
(left and right arrows, respectively). Use the Path Next arrow on the Navigator
to move to the next path location. (Path locations are often referred to as
footprints.) Experiment as much as you like when you are on each path
location. Clicking the Path Previous or Path Next arrows will always move you
to the previous or next footprint on the path.
This icon is the Perseus icon. In the guided tours, the Perseus icon indicates that you can follow the locations of the guided tour but get there yourself instead of using the Path icon on the Navigator. In effect, it means the tour is under manual control instead of autopilot.
The Path Index appears, listing the two guided tours.
The Path Card for this guided tour appears in figure 3.1. It provides a brief
overview of the stops in this tour.
Figure 3.1 Path Card for Guided Tour 1
You may wonder about various buildings indicated on the plan. Click on a
building to see a dialog box that identifies the building and offers you the
choice of seeing a site plan of that particular building, seeing its associated
catalog card, or canceling to remain in the large site plan. Choose the Cancel
option for now when you click the buildings to identify them.
The word "peripteral" may not be familiar to you. The next stop will help you
with this word.
Read the information on the sculpture, then review the list of reconstruction
drawings. Click the large plan for this pediment. Go to the next footprint
without closing the image window. If necessary, resize the image using the
resizing box in the lower right-hand corner, and move it to a convenient place
on your screen. This is an image window that will hide the effects of using the
Navigator if the image covers the active HyperCard window.
A text reference appears in the description. This example shows how Perseus can
help you explore the relations between art and archaeological objects and
primary texts. The next stop brings you directly to this text reference.
Next, the path will enable you to examine and compare a figure on the
pediments.
The Path Index appears, listing the two guided tours.
The Path Card for this guided tour appears in figure 3.2. It provides a brief
overview of the stops in this tour.
Figure 3.2 Path Card for Guided Tour 2
The text references to Herodotus follow the format of all other Perseus
references to works by Herodotus: the abbreviated author's name and book and
chapter numbers. The text references to works by Apollodorus derived from the
Loeb Classical Library edition use the volume and page number. On this tour,
the next stop takes you directly to one of the text references cited in this
article: "makes men and gives them fire: Apollod. vol. 1.51."
In Perseus 1.0, Apollodorus is the only author whose works have related
commentary in the Notes field. Click the Translation/Notes toggle button to
display Notes. Under note 1.7.1b, you will discover some other versions of how
Prometheus delivered the fire. You will also see text references to Hes. Th.
and Hes. WD. These are works by Hesiod: Theogony and Works and
Days. You may wish to see Hesiod's references to the same subject described
by Apollodorus. The next footprint is an example of the reference in Hesiod's
Theogony.
Locate and select the Greek word [[section]]ndeg.zeugmai. The next stop will
show an analysis of this word.
Now that you have gained a sense of how to use the Philological Tools in
relation to primary texts, you may wish to stray from this path to investigate
the definition or usage of some of the words used by Aeschylus, particularly if
they appear frequently in Prometheus Bound. You might pursue the
literary characters to whom these words refer. Experiment as much as you like.
When you are ready to resume the path, click the right arrow of the Path icon
on the Navigator.
If you are viewing digitized images, remember to close the image windows by
clicking the close box in the upper left-hand corner.
3.2 GUIDED TOUR 1
Tour 1 focuses on the Sanctuary of Aphaia, its environs, and related
artifacts.
FIND YOUR OWN WAY TO STOP 1
You have reached the first location of the tour, the Site Index.
FOLLOW THE FOOTPRINT TO STOP 1
FIND YOUR OWN WAY TO STOP 2
You have reached the Site Summary of Aegina, Sanctuary of Aphaia. Read the
information in the summary. To gain a sense of Aegina and its environs, you may
wish to look at photographs. Scroll down in the Plans & Views field, and
click some entries under Photographs. If you are viewing digitized images,
remember to close the photograph windows when you wish to continue. The next
location provides a more detailed description of Aegina.
FOLLOW THE FOOTPRINT TO STOP 2
FIND YOUR OWN WAY TO STOP 3
You have reached the Site Description of Aegina, Sanctuary of Aphaia. Read the
information in the description. Next, you will see where Aegina is in the Greek
World.
FOLLOW THE FOOTPRINT TO STOP 3
FIND YOUR OWN WAY TO STOP 4
The Atlas shows the plotted site of Aegina.
FOLLOW THE FOOTPRINT TO STOP 4
FIND YOUR OWN WAY TO STOP 5
The Small Composite Site Plan shows the complex structure of the Sanctuary of
Aphaia. This plan is complex, showing all the phases of construction from the
eighth through the fifth centuries B.C. To watch the growth of the sanctuary,
use the Construction Phases pop-up menu .
FOLLOW THE FOOTPRINT TO STOP 5
FIND YOUR OWN WAY TO STOP 6
You may wish to see an enlarged plan of the sanctuary. This location shows the
Large Site Plan. Use the scroll window to see different parts of the sanctuary.
FOLLOW THE FOOTPRINT TO STOP 6
FIND YOUR OWN WAY TO STOP 7
Now that you have seen the small and large site plans, you may wish to see
photographs of the sanctuary from ground-level perspectives. At this location,
image buttons indicate available photographs. Try clicking some to see the
ground-level views. If you are viewing digitized images, remember to close the
photograph windows when you are ready to continue.
FOLLOW THE FOOTPRINT TO STOP 7
FIND YOUR OWN WAY TO STOP 8
The Temple of Aphaia is an architectural structure at Aegina. This stop is an
architectural summary of the temple. A number of plans and views of this
structure are available. Click as many as you wish to see views, models and
fragments of the building, and associated architectural sculpture. If you are
viewing digitized images, remember to close the image windows before
continuing.
FOLLOW THE FOOTPRINT TO STOP 8
FIND YOUR OWN WAY TO STOP 9
The Encyclopedia contains an entry titled Peripteral, indicating that it is
used to describe a temple whose cella is surrounded by a covered colonnade.
Look at a drawing by clicking Illustration in the upper-right corner. Remember
to close the illustration window when you wish to continue.
FOLLOW THE FOOTPRINT TO STOP 9
FIND YOUR OWN WAY TO STOP 10
After the short diversion to the Encyclopedia, the guided tour returns to the
architecture catalog, this time to a more detailed description of the Temple of
Aphaia at Aegina. In front of the temple was an altar, a separate structure but
one intimately connected with the temple. Such closely related objects are
often included in the See Also section of the description.
FOLLOW THE FOOTPRINT TO STOP 10
FIND YOUR OWN WAY TO STOP 11
The Altar of Aphaia also has a summary and description. To see the location of
this structure relative to the site, click Locate Building. The large site plan
will appear, and the location of the structure will flash.
FOLLOW THE FOOTPRINT TO STOP 11
FIND YOUR OWN WAY TO STOP 12
The tour has returned to the Temple of Aphaia description, with the plan
information highlighted. The temple was decorated with sculptures in its
pediment. To look at a sculpture, specifically West Pediment 2, continue the
path.
FOLLOW THE FOOTPRINT TO STOP 12
FIND YOUR OWN WAY TO STOP 13
The tour has jumped to the sculpture catalog, to the summary of West Pediment
2. In Perseus, groups of sculptural figures often have one general entry and
then a series of individual entries for each figure. You are now at the general
entry for the West Pediment.
FOLLOW THE FOOTPRINT TO STOP 13
FIND YOUR OWN WAY TO STOP 14
You have kept open the large reconstruction drawing of the West Pediment of the
temple. This stop offers a more detailed description of the pediment. As you
read, scroll around the drawing window to match images and description.
FOLLOW THE FOOTPRINT TO STOP 14
FIND YOUR OWN WAY TO STOP 15
Both East and West pediments of the Temple of Aphaia depicted the same scene,
but they were carved perhaps a decade apart at a time when Greek sculpture was
undergoing radical transformations. There are great stylistic and compositional
differences between the two pediments, so the tour has stopped at the
description of the East Pediment of the temple.
FOLLOW THE FOOTPRINT TO STOP 15
FIND YOUR OWN WAY TO STOP 16
This stop brings you to a text by Apollodorus, describing a particular campaign
depicted in the pediment. Apollodorus is the only author in this version of
Perseus whose works have commentary in the Notes field. Toggle between the
Translation and Notes before going to the next footprint.
FOLLOW THE FOOTPRINT TO STOP 16
FIND YOUR OWN WAY TO STOP 17
This stop on the tour offers a way to examine and compare the figure of Athena
(figure 1) on the East and West pediments. Look at the front view of the upper
figure by clicking the view. If you are using digitized images, do not close
the image--the next footprint takes you to Athena of the East Pediment (E1) for
comparison.
FOLLOW THE FOOTPRINT TO STOP 17
FIND YOUR OWN WAY TO STOP 18
You have read the summary of the E1 figure of Athena and have seen an image of
it. Now you can compare the figure on the East Pediment to the corresponding
figure on the West Pediment by choosing to see the head and shoulder frontal
view, or other views as desired. Compare the figures of Athena from the two
pediments by examining their pose, movement, clothing, and any other features
in which you are interested. Rearrange the images on your screen to permit
comparisons, then continue this path.
FOLLOW THE FOOTPRINT TO STOP 18
FIND YOUR OWN WAY TO STOP 19
Now that you have examined the E1 figure in comparison with the W1 figure of
Athena, read the description of the E1 figure, which states, "The whole recalls
the figure of Athena on the krater in Boston by the Tyszkiewicz Painter (Boston
97.368), as Ohly observed." The catalog citation refers to a vase in the
collection of the Museum of Fine Arts, Boston. Perseus contains a catalog entry
and views of this vase, as the next footprint demonstrates.
FOLLOW THE FOOTPRINT TO STOP 19
FIND YOUR OWN WAY TO STOP 20
This catalog summary describes the vase referred to in the description of the
E1 figure on the previous footprint. Here you can find out about this vase and
see images of Athena on it.
FOLLOW THE FOOTPRINT TO STOP 20
FIND YOUR OWN WAY TO STOP 21
The path woven through the Perseus resources began with the site of Aegina,
Sanctuary of Aphaia. Perhaps you have become intrigued by a particular theme,
such as the images of Athena on archaeological objects. The Keyword Search
enables you to sort the archaeological evidence in Perseus by object type,
class, and keyword. Here, try selecting Vases as the object type and Divinities
as the class, then clicking Athena in the keywords. The results show that
several other vases depict Athena. Examine the other attributes of the pop-up
menus above each column of results, then try clicking a vase in the results to
go directly to that vase's catalog summary.
FOLLOW THE FOOTPRINT TO STOP 21
FIND YOUR OWN WAY TO STOP 22
This concludes the first guided tour. You should now be familiar with some of
the resources, features, and contents of Perseus, particularly with regard to
art and archaeological evidence.
FOLLOW THE FOOTPRINT TO STOP 22
3.3 GUIDED TOUR 2
Tour 2 focuses on primary texts and Prometheus as a character in literature.
FIND YOUR OWN WAY TO STOP 1
You have reached the first location of the tour, the Primary Texts Index.
Review the list of works by Aeschylus, then change the Index Type to Date. Note
that the date of Prometheus Bound is 453, whereas the dates given for
Aeschylus are 524/5 to 456/5 B.C. To learn the reason for this discrepancy, the
next footprint will take you to an article on the life of Aeschylus.
FOLLOW THE FOOTPRINT TO STOP 1
FIND YOUR OWN WAY TO STOP 2
You can now look for the discrepancy between the date of Prometheus
Bound and the span of Aeschylus' life. With this background in mind, the
next part of the tour focuses on Prometheus as a character in literature.
FOLLOW THE FOOTPRINT TO STOP 2
FIND YOUR OWN WAY TO STOP 3
The full text of Prometheus Bound is included in Perseus both in Greek
and in English translation. The Primary Texts Display permits you to view the
two versions juxtaposed or in isolation. Read as much of this work as you wish
before continuing the tour. The next stop is a secondary reference in Perseus,
an Encyclopedia article on Prometheus.
FOLLOW THE FOOTPRINT TO STOP 3
FIND YOUR OWN WAY TO STOP 4
The Encyclopedia entry for Prometheus is derived from the Loeb Classical
Library editions of Herodotus and Apollodorus. As a result, there are a number
of references to texts by these authors. These indexes provide more than simple
text locations, however; they also provide small pieces of information about
the topic. Read these glosses as a brief outline of the deeds of Prometheus.
FOLLOW THE FOOTPRINT TO STOP 4
FIND YOUR OWN WAY TO STOP 5
Chapter 7 of Apollodorus, Book 1, explains how Prometheus gave fire to mortals.
References to notes are found throughout the English translations, such as the
note labeled 1.7.1b.
FOLLOW THE FOOTPRINT TO STOP 5
FIND YOUR OWN WAY TO STOP 6
The reference to Prometheus giving fire to humans is found in line 565 of
Theogony. Read this account before continuing the next part of the path,
which concentrates on a concept in Aeschylus' Prometheus Bound.
FOLLOW THE FOOTPRINT TO STOP 6
FIND YOUR OWN WAY TO STOP 7
The tour returns to the original text examined, Prometheus Bound. Focus
on the section surrounding line 108. Prometheus has just been nailed to the
rock and left there. In his first long monologue, he refers to his bonds and to
the yoke of constraint that binds him. The concepts of physical constraint and
subjugation to greater force that were introduced in the opening scene are
developed here.
FOLLOW THE FOOTPRINT TO STOP 7
FIND YOUR OWN WAY TO STOP 8
The Morphological Analysis shows the stem and form of words. When you have
identified the lemma, you may wish to see a definition of this word. The next
footprint shows the lexicon.
FOLLOW THE FOOTPRINT TO STOP 8
FIND YOUR OWN WAY TO STOP 9
As used by Aeschylus, the word means yoke in, bind, or involve in misfortune.
Perhaps you can find another use by Aeschylus in Prometheus Bound.
Continue to the next footprint.
FOLLOW THE FOOTPRINT TO STOP 9
FIND YOUR OWN WAY TO STOP 10
Note that two uses of this stem are found in the works of Aeschylus, and both
are in Prometheus Bound. You have already seen line 108. Compare it with
what you will see next in line 579.
FOLLOW THE FOOTPRINT TO STOP 10
FIND YOUR OWN WAY TO STOP 11
In line 579, this word refers to Io, another victim of the gods and another of
the main characters in Prometheus Bound. The path continues the
exploration of the word's use in works by Aeschylus.
FOLLOW THE FOOTPRINT TO STOP 11
FIND YOUR OWN WAY TO STOP 12
Another Philological Tool searches for compound verbs. In this example, the
first two letters of the lemma have been deleted. The results of the search
show other verbs built on the same root, three of which are in Prometheus
Bound. Of these three, line 462 is a new reference in this tour. If you
wish, pursue the use of these other words by selecting the text reference, then
clicking Go to Text. When you are ready, click the right arrow on the Path icon
to pick up the path again.
FOLLOW THE FOOTPRINT TO STOP 12
FIND YOUR OWN WAY TO STOP 13
Because the concept of yoking and constraint is so strong in Prometheus
Bound, you may wish to see other words that express a similar concept. This
stop shows the English-Greek Word List. According to the search, the word
"yoke" appears in the definitions of thirty-nine words, shown in the left
column. Of these words, twelve are found in works by Aeschylus. You can select
one and click Show Usage to see how it is used in Aeschylus.
FOLLOW THE FOOTPRINT TO STOP 13
FIND YOUR OWN WAY TO STOP 14
The tour concludes by offering a sense of the ancient theaters where
Prometheus Bound would have been performed. This stop shows the possible
structures indexed under the category Theater. The next footprint is the
Theater of Dionysos in Athens.
FOLLOW THE FOOTPRINT TO STOP 14
FIND YOUR OWN WAY TO STOP 15
From this summary of the Theater of Dionysos, you can explore and compare
information gained from the texts and information offered here. What are the
dates of the theater? Does it date from the time of Aeschylus and the
production of Prometheus Bound? Click some of the plans and photographs
of the theater.
FOLLOW THE FOOTPRINT TO STOP 15
FIND YOUR OWN WAY TO STOP 16
This is a more detailed description of the theater. Note that related
structures are listed under See Also. You can click any of these to see the
catalog summary for that item. Try a few before continuing.
FOLLOW THE FOOTPRINT TO STOP 16
FIND YOUR OWN WAY TO STOP 17
To gain a broader view of ancient theaters, you can use the Encyclopedia,
indexed by subject, to read articles on theater and drama.
FOLLOW THE FOOTPRINT TO STOP 17
FIND YOUR OWN WAY TO STOP 18
Here you are, back at the Gateway to Perseus. This guided tour should have
familiarized you with text references and text tools, as well as with their
potential links to the archaeological repository in Perseus.
FOLLOW THE FOOTPRINT TO STOP 18