ClassX Video Lessons Subjects Art The tragedy of the one guy who was right about the Trojan Horse – Noah Charney
For a decade, the Greeks besieged the city of Troy, setting up camps and ships along its shores. One morning, the Trojans awoke to find their enemies had mysteriously disappeared, leaving behind a gigantic wooden horse. Believing this to be a sign of Greek surrender, the Trojans brought the horse into their city and began celebrating their apparent victory.
However, not everyone was convinced. Laocoön, a Trojan seer and priest, was deeply suspicious of the Greeks’ gift. He reminded his fellow Trojans of the Greeks’ cunning nature and warned them against accepting such a strange offering. Despite being mocked by the crowd, Laocoön stood firm. He approached the wooden horse and stabbed it with his sword, but no blood was drawn. If there were men hidden inside, the noise of the celebration drowned out any sound they might have made.
Feeling uneasy, Laocoön returned home and prepared a sacrifice to the gods with his sons. Unfortunately, the fate of the Trojans was already sealed. The gods had decided to grant victory to the Greeks, ensuring their plan to infiltrate Troy would succeed. Poseidon, in particular, wanted to punish Laocoön for threatening this scheme.
From the sea, two enormous serpents emerged and attacked Laocoön and his sons. Their violent deaths went unnoticed amid the ongoing festivities. However, when disaster struck that night, the Trojans remembered Laocoön’s warning.
Laocoön’s story has inspired countless retellings throughout history. The Roman poet Virgil recounts the seer’s demise in his epic poem “The Aeneid,” and the playwright Sophocles wrote a play about the ill-fated priest. The most famous depiction of Laocoön is a marble statue titled “Laocoön and His Sons,” likely created by a group of artists from Rhodes. Although the exact origins of this artwork are unclear, it is believed to have been made between 200 BCE and 68 CE. Regardless of its creation date, the sculpture is a prime example of the Hellenistic Baroque style.
Among the dramatic expressions and twisted figures characteristic of this tradition, “Laocoön and His Sons” stands out for its intensity. The nearly life-sized figures are shown in agony, struggling to free themselves from the massive snakes coiled around them. Their faces convey desperation and hopelessness, yet Laocoön’s expression reflects a fierce determination to resist. The scene captures the moment just before the serpents’ venomous jaws are about to strike.
Originally displayed in Emperor Nero’s Domus Aurea palace complex, this striking sculpture was a topic of much discussion in its time. The renowned Roman writer Pliny the Elder even claimed it was “preferable to any other production of the art of painting or of statuary.” Unfortunately, the statue was lost when the Domus Aurea was destroyed by fire in 109 CE.
However, Laocoön’s story did not end there. In 1506, Michelangelo Buonarotti, the most famous sculptor in Rome at the time, learned that Pope Julius II had discovered something remarkable. Even covered in dirt, “Laocoön and His Sons” left Michelangelo in awe. The dramatic musculature was exaggerated, yet it was this very extremity that added to its power. The flowing forms of the serpents and human figures captivated his attention.
Pope Julius prominently displayed the statue at the Vatican, but its influence on Michelangelo was what truly elevated its fame. The sculpture’s emotive and exaggerated features transformed Michelangelo’s approach to depicting the human body. His subsequent works began to showcase contorted poses, known as “figura serpentinata,” meaning snake-like shapes. His celebrated work in the Sistine Chapel featured muscular, hyperextended figures.
Michelangelo’s innovative style sparked a movement known as Mannerism, influencing artists throughout the 1500s to exaggerate and twist human forms for dramatic effect. Given that Renaissance artists held ancient Greco-Roman art in high esteem, it is perhaps unsurprising that “Laocoön and His Sons” had such a profound impact. Little did Laocoön know that his likeness would become one of the most influential sculptures in history.
Gather in groups and create a short skit that reenacts the moment when Laocoön warns the Trojans about the wooden horse. Focus on capturing the tension and skepticism of the moment. Consider how Laocoön might have felt and how the Trojans reacted to his warning. Present your skit to the class and discuss the different interpretations of this pivotal moment.
Examine images of the sculpture “Laocoön and His Sons” and write a short analysis of its artistic elements. Pay attention to the expressions, body language, and the overall composition. Discuss how these elements convey the story’s themes of struggle and determination. Share your analysis with the class and compare your observations with those of your peers.
Write a diary entry from Laocoön’s perspective on the day he warned the Trojans. Include his thoughts, emotions, and any regrets he might have had. Consider how he perceived the reactions of his fellow Trojans and his sons. Share your diary entry with a partner and discuss how Laocoön’s character is portrayed in your writing.
Engage in a class debate about the role of fate in Laocoön’s story. One side will argue that Laocoön’s fate was sealed by the gods, while the other will argue that human actions and decisions played a more significant role. Use evidence from the article and other historical sources to support your arguments. Reflect on how this debate influences your understanding of the story.
Conduct research on the influence of the sculpture “Laocoön and His Sons” on Renaissance art, particularly Michelangelo’s work. Create a presentation that highlights key aspects of this influence, such as the development of Mannerism and the concept of “figura serpentinata.” Present your findings to the class and discuss how ancient art continues to impact modern creativity.
For ten years, the Greeks laid siege to Troy, establishing camps and ships along the city’s shores. However, one morning, the Trojans awoke to find their enemies had mysteriously vanished, leaving behind a massive wooden horse. Interpreting this as a sign of the Greeks’ surrender, the soldiers brought the horse into the city and began to celebrate.
Yet, one Trojan was not convinced. Laocoön, a seer and priest, expressed deep skepticism about the Greek gift. He reminded his fellow Trojans of the Greeks’ cunning nature and warned them against accepting such a peculiar offering. Despite the crowd’s ridicule, Laocoön remained resolute. He approached the wooden horse and stabbed it with his sword, but his blade did not draw blood. If there were men hidden inside, Laocoön could not hear them over the noise of the celebration.
Feeling a sense of dread, Laocoön returned home and enlisted his sons to prepare a sacrifice to the gods. Unfortunately, his fate—and that of the Trojans—was already determined. The gods had decided to grant victory to the Greeks by ensuring their plan to infiltrate Troy succeeded. Poseidon sought to punish Laocoön for threatening that scheme.
From the sea, two great serpents emerged and attacked Laocoön and his sons. Their violent deaths went unnoticed amidst the festivities. However, when tragedy struck that night, the Trojans remembered Laocoön’s warning.
Laocoön’s story has inspired numerous retellings throughout history. Virgil recounts the seer’s demise in his epic poem “The Aeneid,” and Sophocles wrote a play about the ill-fated priest. The most famous depiction of Laocoön is a marble statue titled “Laocoön and His Sons,” likely created by a group of artists from Rhodes. The exact origins of this artwork remain unclear, with theories suggesting it was made between 200 BCE and 68 CE. Regardless of its creation date, the sculpture exemplifies the Hellenistic Baroque style.
Among the dramatic expressions and contorted figures characteristic of this tradition, “Laocoön and His Sons” stands out for its intensity. The nearly life-sized figures are depicted in agony, struggling to free themselves from the massive snakes entwined around them. Their faces convey desperation and hopelessness, yet Laocoön’s expression reflects a fierce determination to resist. The scene is particularly striking, capturing the moment just before the serpents’ venomous jaws are about to strike.
Originally displayed in Emperor Nero’s Domus Aurea palace complex, this striking sculpture was a topic of much discussion in its time. The renowned Roman writer Pliny the Elder even claimed it was “preferable to any other production of the art of painting or of statuary.” Unfortunately, the statue was lost when the Domus Aurea was destroyed by fire in 109 CE.
However, Laocoön’s story did not end there. In 1506, Michelangelo Buonarotti, the most famous sculptor in Rome at the time, learned that Pope Julius II had discovered something remarkable. Even covered in dirt, “Laocoön and His Sons” left Michelangelo in awe. The dramatic musculature was exaggerated, yet it was this very extremity that added to its power. The flowing forms of the serpents and human figures captivated his attention.
Pope Julius prominently displayed the statue at the Vatican, but its influence on Michelangelo was what truly elevated its fame. The sculpture’s emotive and exaggerated features transformed Michelangelo’s approach to depicting the human body. His subsequent works began to showcase contorted poses, known as “figura serpentinata,” meaning snake-like shapes. His celebrated work in the Sistine Chapel featured muscular, hyperextended figures.
Michelangelo’s innovative style sparked a movement known as Mannerism, influencing artists throughout the 1500s to exaggerate and twist human forms for dramatic effect. Given that Renaissance artists held ancient Greco-Roman art in high esteem, it is perhaps unsurprising that “Laocoön and His Sons” had such a profound impact. Little did Laocoön know that his likeness would become one of the most influential sculptures in history.
Tragedy – A dramatic composition, often in verse, dealing with a serious or somber theme, typically involving a great person destined to experience downfall or destruction. – In Shakespeare’s tragedy “Macbeth,” the protagonist’s ambition leads to his ultimate demise.
Troy – An ancient city in Asia Minor, which was the setting of the Trojan War, as described in Homer’s epic poems. – The fall of Troy is a pivotal event in classical literature, symbolizing the end of an era.
Laocoön – A Trojan priest who, along with his sons, was killed by sea serpents sent by the gods, as depicted in both literature and art. – The sculpture of Laocoön and his sons captures the intense struggle and agony of the mythological scene.
Serpents – Mythological or symbolic creatures often representing danger, evil, or transformation in literature and art. – In the story of Laocoön, the serpents are a divine punishment, illustrating the theme of inevitable fate.
Sculpture – The art of creating three-dimensional works by carving, modeling, or assembling materials such as stone, metal, or wood. – Michelangelo’s sculpture of David is renowned for its exquisite detail and representation of human form.
Virgil – An ancient Roman poet known for his epic work “The Aeneid,” which tells the story of Aeneas’s journey to found Rome. – Virgil’s influence on Western literature is profound, with “The Aeneid” serving as a cornerstone of classical epic poetry.
Aeneid – An epic poem by Virgil that narrates the adventures of Aeneas, a Trojan hero, as he travels to Italy to establish a new homeland. – The “Aeneid” explores themes of duty, fate, and the founding of a great civilization.
Michelangelo – A Renaissance artist renowned for his masterpieces in painting, sculpture, and architecture, including the Sistine Chapel ceiling. – Michelangelo’s work exemplifies the ideals of the Renaissance, blending beauty with emotional depth.
Mannerism – An artistic style that emerged in the late Renaissance, characterized by elongated forms, exaggerated poses, and complex compositions. – The mannerism movement is evident in the works of artists like El Greco, who emphasized emotion over realism.
Art – The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated for their beauty or emotional power. – Art serves as a reflection of society, capturing the cultural and historical context of its time.
