The tragedy of the one guy who was right about the Trojan Horse – Noah Charney

VIDEOSCRIPT:

For ten grueling years, the Greeks laid siege to Troy, scattering ships and encampments across the city’s shores. But as the Trojans awoke for another day of battle, they found their enemies had vanished overnight—leaving behind only an enormous wooden horse. Seeing this as a symbol of the Greeks’ surrender, the soldiers dragged their prize into the city and began to celebrate.

But one Trojan wasn’t happy. Laocoön, a seer and priest, was deeply suspicious of the Greek gift. He reminded his fellow Trojans of their enemy’s reputation for trickery and cautioned them not to accept this strange offering. The crowd jeered at his warning, but Laocoön was undeterred. He forced his way to the wooden beast and thrust his sword into its belly. Yet his blade drew no blood. And if there were men shifting inside, Laocoön couldn’t hear them over the crowd.

Still grim with foreboding, Laocoön retreated home and enlisted his sons in preparing a sacrifice to the gods. But his fate—and that of his fellow Trojans—was already sealed. The gods had decided to grant the Greeks victory by ensuring the success of their scheme to infiltrate Troy. And Poseidon sought to punish the priest for threatening that plan. Two great serpents emerged from the sea’s rolling waves and descended on Laocoön and his sons. The seer’s violent death went unnoticed amidst the celebrations.

But that night, when tragedy struck, the Trojans finally remembered the old priest’s warning. Laocoön’s tragic tale inspired countless retellings across the ancient world. Virgil describes the seer’s demise in his epic poem “The Aeneid,” and Sophocles composed an entire play about the ill-fated priest. However, his most famous and influential depiction is a marble statue called “Laocoön and His Sons.” Likely carved by a trio of artists from Rhodes, the exact origins of this piece remain mysterious, with current theories dating its creation anywhere from 200 BCE to 68 CE.

Whenever it was made, this sculpture remains the epitome of the Hellenistic Baroque style. But even within a tradition known for its dramatic facial expressions and contorted figures, no other piece in this style comes close to the intensity of “Laocoön and His Sons.” The nearly life-sized figures are writhing in agony, straining to untangle massive snakes from their limbs. Their faces are packed with desperation, and yet Laocoön’s expression is fiercely determined to resist. The scene is also uniquely brutal—paused precisely as the serpent’s venomous jaws are about to bite down.

Displayed as the centerpiece of Emperor Nero’s Domus Aurea palace complex, this gruesome sculpture was one of the most talked about artworks of its time. Renowned Roman writer Pliny the Elder even went so far as to call it “preferable to any other production of the art of statuary.” Unfortunately, the statue was lost when Domus Aurea was consumed by fire in 109 CE. But Laocoön’s tale was far from finished.

In 1506, Michelangelo Buonarotti—then the most famous sculptor in Rome—received a message that Pope Julius II had unearthed something marvelous. Even caked with dirt, “Laocoön and His Sons” astonished Michelangelo. The dramatic musculature was over-the-top, but all the more powerful for being so extreme. And the curving shapes of its serpent and human figures drew his eyes in constant motion.

Pope Julius prominently displayed the piece at the Vatican, but its influence on Michelangelo is what made the statue truly famous. The sculpture’s emotive, exaggerated elements transformed his approach to representing the human body. His paintings and sculptures began to feature contorted poses, referred to as “figura serpentinata,” meaning snake-like shapes. And his celebrated work in the Sistine Chapel centered on muscular, hyperextended figures.

Soon, Michelangelo’s new style sparked an entire artistic movement called Mannerism—influencing artists throughout the 1500s to exaggerate and twist human bodies for dramatic effect. Since artists of the Renaissance revered ancient Greco-Roman art above all else, perhaps it’s not surprising that “Laocoön and His Sons” made such a large impact. But not even the real Laocoön could have predicted that his likeness would become one of the most influential sculptures ever made.

VOCABULARY:

• grueling /ˈɡruː.əl.ɪŋ/ (adj) – Extremely tiring and demanding. SYN: exhausting, arduous.
• lay siege to /leɪ siːdʒ tuː/ (phrase) – To surround a place in order to force it to surrender. SYN: besiege, blockade.
• scatter /ˈskætər/ (v) – To disperse or spread out over an area. SYN: disperse, spread.
• encampment /ɪnˈkæmpmənt/ (n) – A temporary place with tents or structures for people to live. SYN: camp, campsite.
• vanish /ˈvænɪʃ/ (v) – To disappear suddenly and completely. SYN: disappear, evaporate.
• leave behind /liːv bɪˈhaɪnd/ (phrase) – To abandon or not take something with you when you go. SYN: abandon, forsake.
• surrender /səˈrɛndər/ (v) – To give up or yield to another’s power. SYN: yield, capitulate.
• seer /sɪr/ (n) – A person who is believed to be able to see the future; a prophet. SYN: prophet, oracle.
• priest /priːst/ (n) – A person authorized to perform religious rituals. SYN: cleric, minister.
• suspicious /səˈspɪʃəs/ (adj) – Having or showing a cautious distrust of someone or something.SYN: doubtful, skeptical.
• trickery /ˈtrɪkəri/ (n) – The practice of deceiving someone to achieve a goal.
  SYN: deception, deceit.
• offering /ˈɔːfərɪŋ/ (n) – Something presented for acceptance or rejection. SYN: gift, presentation.
• jeer /dʒɪr/ (v) – To make rude or mocking remarks. SYN: mock, ridicule.
• be undeterred /bi ʌn.dɪˈtɜrd/ (phrase) – To not be discouraged or dissuaded. SYN: persist, continue.
• thrust /θrʌst/ (v) – To push something suddenly or violently in a specific direction.SYN: shove, drive.
• blade /bleɪd/ (n) – The flat cutting part of a knife or sword.
  SYN: edge, cutter.
• grim /ɡrɪm/ (adj) – Stern, forbidding, or uninviting. SYN: stern, harsh.
• foreboding /fɔːrˈboʊdɪŋ/ (n) – A feeling that something bad will happen. SYN: apprehension, dread.
• enlist /ɪnˈlɪst/ (v) – To enroll or sign up for a service or duty. SYN: recruit, engage.
• sacrifice /ˈsækrɪfaɪs/ (n) – An act of giving up something valued for the sake of something else. SYN: offering, surrender.
• infiltrate /ˈɪnfɪltreɪt/ (v) – To secretly enter or gain access to an organization or place. SYN: penetrate, sneak in.
• serpent /ˈsɜːrpənt/ (n) – A large snake. SYN: snake, viper.
• emerge /ɪˈmɜrdʒ/ (v) – To come into view or become apparent. SYN: appear, surface.
• unnoticed/ʌnˈnoʊtɪst/ (adj) – Not seen or recognized. SYN: overlooked, disregarded.
• demise /dɪˈmaɪz/ (n) – Death or the end of something. SYN: death, downfall.
• epic /ˈɛpɪk/ (adj) – Notable or impressive, often in scale or grandeur. SYN: monumental, heroic.
• ill-fated /ɪlˈfeɪtɪd/ (adj) – Marked by bad luck or destined to fail. SYN: doomed, unfortunate.
• a trio of /ə ˈtriːoʊ əv/ (phrase) – A group of three. SYN: three, threes.
• mysterious /mɪˈstɪəriəs/ (adj) – Difficult or impossible to understand or explain. SYN: enigmatic, puzzling.
• epitome /ɪˈpɪtəmi/ (n) – A perfect example of a particular quality or type. SYN: embodiment, representation.
• dramatic facial expressions /drəˈmætɪk ˈfeɪʃl ɪkˈsprɛʃənz/ (phrase) – Intense and expressive features that convey strong emotions. SYN: expressive faces, emotive expressions.
• contorted figures /kənˈtɔːrtɪd ˈfɪɡjʊrz/ (phrase) – Twisted or distorted shapes of the body. SYN: twisted forms, distorted shapes.
• writhing in agony /ˈraɪðɪŋ ɪn ˈæɡəni/ (phrase) – Moving in a twisting or contorted way, often due to pain. SYN: squirming, twisting.
• untangle massive snakes /ʌnˈtæŋɡl ˈmæsɪv sneɪks/ (phrase) – To free or loosen something that is twisted together. SYN: free, uncoil.
• desperation /ˌdɛspəˈreɪʃən/ (n) – A state of despair or hopelessness. SYN: despair, hopelessness.
• uniquely brutal /juˈniːkli ˈbruːtəl/ (phrase) – Distinctively harsh or savage. SYN: exceptionally harsh, extraordinarily cruel.
• venomous /ˈvɛnəməs/ (adj) – Capable of injecting venom through a bite or sting. SYN: poisonous, toxic.
• centerpiece /ˈsɛntərˌpiːs/ (n) – The most important or prominent item. SYN: focal point, main feature.
• gruesome /ˈɡruːsəm/ (adj) – Causing horror or disgust.
  SYN: horrifying, ghastly.
• statuary /ˈstætʃuːɛri/ (n) – Statues collectively, especially in a certain context. SYN: sculpture, statues.
• unearth /ʌnˈɜrθ/ (v) – To discover something hidden or lost.
  SYN: discover, excavate.
• musculature /ˈmʌskjʊlətʃər/ (n) – The system of muscles in a body. SYN: muscles, physique.
• over-the-top /ˌoʊvər ðə tɒp/ (phrase) – Exaggerated or excessive in style. SYN: excessive, exaggerated.
• draw SO’s eyes /drɔː soʊz aɪz/ (phrase) – To attract attention visually. SYN: catch attention, attract gaze.
• contorted poses /kənˈtɔːrtɪd poʊzɪz/ (phrase) – Twisted or distorted body positions. SYN: twisted stances, distorted shapes.
• chapel /ˈtʃæpəl/ (n) – A small place of worship. SYN: place of worship, sanctuary.
• muscular /ˈmʌskjʊlər/ (adj) – Having well-developed muscles. SYN: strong, robust.
• hyperextended /ˌhaɪpərɪkˈstɛndɪd/ (adj) – Extended beyond the normal range of motion. SYN: overstretched, extended.
• figures /ˈfɪɡjʊrz/ (n) – Representations of human or animal shapes. SYN: forms, shapes.
• spark /spɑːrk/ (n) – A small fiery particle. SYN: flicker, flash.

A. Summary:

• The Greeks, after a 10-year siege, found a wooden horse as a symbol of their surrender.
• Laocoön, a seer and priest, was suspicious of the horse and warned his fellow Trojans not to accept it.
• Laocoön retreated home and enlisted his sons in preparing a sacrifice to the gods.
• The gods decided to grant the Greeks victory by ensuring their plan to infiltrate Troy.
• Poseidon sought to punish Laocoön for threatening their plan, leading to the death of Laocoön and his sons.
• The tale inspired retellings across the ancient world, including Virgil’s “The Aeneid” and Sophocles’ play.
• The most famous depiction of Laocoön is the marble statue “Laocoön and His Sons,” possibly carved by a trio of Rhodes artists.
• The statue, depicting the figure writhing in agony, was one of the most talked about artworks of its time.
• Michelangelo Buonarotti, a sculptor in Rome, was astonished by the sculpture’s dramatic musculature and curving shapes.
• The sculpture’s emotive, exaggerated elements transformed Michelangelo’s approach to representing the human body, leading to the artistic movement “Mannerism.”

B. Reading Comprehension Exercise

Instructions: Please watch the video carefully and choose the correct answer from the options provided for each question. If possible, also read the accompanying text for better understanding.