Editing Polyxena (section)

==Sacrifice of Polyxena==
Some claimed Polyxena committed [[suicide]] after Achilles' death out of guilt.<ref>Philostratus,''Heroica''</ref> According to [[Euripides]], however, in his plays ''[[The Trojan Women]]'' and ''[[Hecuba (play)|Hecuba]]'', Polyxena's famous death was caused at the end of the Trojan War. Achilles' ghost had come back to the Greeks to demand the [[human sacrifice]] of Polyxena so as to appease the wind needed to set sail back to Hellas. She was to be killed at the foot of Achilles' grave. [[Hecuba]], Polyxena's mother, expressed despair at the death of another of her daughters. (Polyxena was killed after almost all of her brothers and sisters.)

However, Polyxena was eager to die as a sacrifice to Achilles rather than live as a slave. She reassured her mother, and refused to beg before [[Odysseus]] or be treated in any way other than a princess. She asked that Odysseus reassure her mother as she is led away. Polyxena's virginity was critical to the honor of her character, and she was described as dying bravely as the son of Achilles, [[Neoptolemus]], slit her throat: she arranged her clothing around her carefully so that she was fully covered when she died.<ref name="collier"/><blockquote>“The whole crowd of the Achaean army was there ''en masse'' before the tomb for the slaughter of your girl.  The son of Achilles then took Polyxena by the hand and made her stand on the top of the mound.  And I was near by.  Picked young men selected from the Achaeans attended, to hold down your poor girl if she struggled.  Then Achilles’ son took a full goblet all of gold in his hands and raised on high the libation for his dead father.  He signaled to me to call for silence from the whole Achaean army.  And I stood up in the middle and said these words: ‘Silence, Achaeans, let the whole host be silent!  Silence!  Not a word!’ And I hushed the crowd to stillness.  and he said, ‘O son of Peleus, my father, receive from me this libation which summons up the dead, and be appeased.  Come, so that you may drink a virgin’s pure dark blood which the army and I give to you.  Show yourself well disposed towards us and grant that we may untie the ropes which hold our ships’ sterns fast, meet with a favorable return from Troy and, all of us, reach our native land.’ That was what he said, and the whole army prayed after him.  Then, seizing his sword of solid gold by the hilt, he started to draw it from its sheath, and with a nod he signaled to the young men picked from the Greek army to take hold of the girl.  But when she saw this, she spoke out these words: ‘Argives, you who have sacked my city, I am happy to die.  Let no one lay a hand on my body, I shall offer my neck with good courage.  By the gods, leave me free when you kill me so that I can die a free woman!  I am a princess and it would shame me to bear the name of slave among the dead.’  The host roared their approval and king Agamemnon told the young men to let the maiden go… When she heard this order of the master, she took hold of her dress and tore it from the top of her shoulder to the middle of her waist by the navel.  Her lovely breasts and bosom were revealed like a statue’s, and sinking to her knees upon the ground she spoke the most heart-rending words of all: “Look at me!  If you are eager to strike this bosom, young Neoptolemus, strike it now – or if you want to cut into my neck, here is my throat all ready.’ In his pity for the girl, he wavered between reluctance and eagerness, but then he cut her windpipe with his sword.  Springs of blood welled forth.  But even though she was dying, she nonetheless took great care to fall modestly, hiding what should be hidden from men’s eyes.”<ref>{{Cite book |last=Euripides |title=Hecuba; The Trojan Women; Andromache |publisher=Oxford University Press |year=2000 |isbn=0-19-283987-X |location=Oxford |pages=lines 522–570 |translator-last=Morwood |translator-first=James}}</ref></blockquote>

===In classical art===
[[File:Polyxena side 0059, the actual kill.jpg|thumb|Sacrifice of Polyxena near the tumulus of Achilles. [[Polyxena sarcophagus]], c.500 BC.<ref name="CBR79">{{cite book |last1=Rose |first1=Charles Brian |title=The Archaeology of Greek and Roman Troy |date=2014 |publisher=Cambridge University Press |isbn=9780521762076 |page=79 |url=https://books.google.com/books?id=Y9gaAgAAQBAJ&pg=PA79 |language=en}}</ref>]]
A few examples in Greek imagery can be securely identified as depicting the sacrifice of Polyxena.<ref>M. Robertson “Troilos and Polyxene. Notes on a changing legend,” in J.-P. Dexcoeudres (ed.) Eumousia. Ceramic and iconographic studies in honour of Alexander Cambitoglou, Sydney, 1990, p. 64-65</ref> Most show Polyxena sacrificed over the tomb of Achilles. However, some details in the pictorial evidence of the sacrifice hint at varying and perhaps earlier versions of the story.

For instance, some images appear to show Polyxena sacrificed over an altar, rather than a tomb, and one sarcophagus relief, from Gümüşçay, the [[Polyxena sarcophagus]], dated to c. 500 BC<ref>{{cite journal|last1=Senvinç|first1=N.|title=A New Sarcophagus of Polyxena from the Salvage Excavations at Gümüşçay|journal=Studia Troica|date=1996|volume=6|pages=251–64}}</ref> shows a tripod placed next to the tomb. These details have been interpreted as indicating an association between the burial mound of Achilles and sacred ground dedicated to Apollo.

===Post-classical art===
There was a trickle of images in medieval and Renaissance art, often as illustrations to  [[Boccaccio]]'s ''[[De mulieribus claris]]''.  [[Primaticcio]] painted it in the [[Chateau of Fontainebleau]] (1541–47).  But the subject became more popular in the Baroque, often paired with the [[Continence of Scipio]].  [[Pietro da Cortona]] "established his reputation" with a large painting in 1625 (now [[Pinacoteca Capitolina]], 2.17 × 4.19 m).<ref name="Mylonopoulos, 61">Mylonopoulos, 61</ref>
Examples include paintings [[The Sacrifice of Polyxena (Giovanni Francesco Romanelli)|by Giovanni Francesco Romanelli]] [[The Sacrifice of Polyxena (Charles Le Brun)|and by Charles Le Brun (1647)]], both in the [[Metropolitan Museum of Art]], New York.  [[Sebastiano Ricci]] planned a large painting in the 1720s, but never got beyond studies.<ref>[https://www.rct.uk/collection/themes/exhibitions/canaletto-and-the-art-of-venice/the-queens-gallery-palace-of-holyroo-2 "''The Sacrifice of Polyxena'' c. 1726–30"], [[Royal Collection]]</ref>  The 18th-century [[Venetian painter]] [[Giovanni Battista Pittoni]] was especially keen on the subject,<ref name="Hall, 249; Aghion et al, 242"/> painting at least nine versions of four compositions.<ref name="Mylonopoulos, 61"/>

Most versions show Polyxena going to her death in a dignified manner, though often with her breasts bared.  The sacrifice may be performed by a priest, or Neoptolemus.  As in Ricci's versions, Achilles' tomb may have an [[equestrian statue]] of him above it, and [[Agamemnon]], who opposed the killing, may be present expressing dissent. Sometimes the ghost of Achilles hovers in the air nearby.<ref name="Hall, 249; Aghion et al, 242"/>

The statue ''The Rape of Polyxena'' by [[Pio Fedi]] (1855–1865) is very prominently displayed in the [[Loggia dei Lanzi]] in Florence. The name does not refer to [[rape|sexual rape]], but to an earlier definition of the word derived from the [[Latin language|Latin]] [[wikt:Special:Search/rapere|''rapere'']] (supine stem ''raptum''), "to snatch, to grab, to carry off".<ref name = "cor">Corinne J. Saunders, ''Rape and Ravishment in the Literature of Medieval England'', Boydell & Brewer, 2001, p. 20.</ref><ref name = "Kei">Keith Burgess-Jackson, ''A Most Detestable Crime: New Philosophical Essays on Rape'', Oxford University Press, New York, 1999, p. 16.</ref> Thus, the statue shows Polyxena's taking to be killed by Neoptolemus, despite the protests of her mother Hecuba, seated. The body on the ground, somewhat anachronistically, is either [[Polites of Troy|her brother Polites]], or possibly Hector.  In most versions, both were killed much earlier, and buried by that point in the various stories.<ref>[https://books.google.com/books?id=E3h2Eb0Q5vAC&pg=PA97 "The Rape of Polyxena"], ''The Illustrated London News'', p. 97, 25 January 1868; [http://www.thehistoryblog.com/archives/24401 "Tourist breaks a finger off Uffizi’s Rape of Polyxena"], The History Blog</ref>