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Saevae Memorem Iunonis Ob Iram Juno, Veii, and Augustus
Acta Ant. Hung. 55, 2015, 167–178 DOI: 10.1556/068.2015.55.1–4.12 PATRICIA A. JOHNSTON SAEVAE MEMOREM IUNONIS OB IRAM JUNO, VEII, AND AUGUSTUS Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit litora, multum ille et terris iactatus et alto vi superum saevae memorem Iunonis ob iram. Aen. I 1–4 Summary: A driving force in Vergil’s Aeneid is the hostility of Juno to the Trojans as they approach, and finally arrive in Italy. The epic in some ways mirrors the opposition encountered by Augustus as the new ruler of Rome. Juno’s opposition to the Trojans has its origin not only in Greek mythology, but in the his- tory of the local peoples of Italy with whom early Romans had to contend. From the outset of the poem she becomes the personification of these opposing forces. Once the Trojans finally reach mainland Italy, she sets in motion a long war, although the one depicted in the Aeneid was not as long as the real wars Ro- mans waged with the Latin League and with the many of the tribes of Italy, including the Veii. The reality of the wars Rome had to contend with are here compared to the relatively brief one depicted in the Aeneid, and the pacification of Juno reflects the merging of the different peoples of Rome with their subjugator. Key words: Juno, saeva, MARS acrostic, Etruscan Uni, evocatio, Veii, Fidenae, Aventinus, Gabii, Prae- neste, Tibur, Tanit, Saturnia, Apollo, Cumae and Hera, asylum, Athena, Aeneas, Anchises’ prophecy An important part of Augustan Myth is found in Vergil’s depiction of Juno, who is named in the opening lines of the epic and is a persistent presence throughout the poem. -
The Wolf in Virgil Lee Fratantuono
The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Further Commentary Notes
Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X). -
The Idea of the Labyrinth
·THE IDEA OF · THE LABYRINTH · THE IDEA OF · THE LABYRINTH from Classical Antiquity through the Middle Ages Penelope Reed Doob CORNELL UNIVERSITY PRESS ITHACA AND LONDON Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 1990 by Cornell University First printing, Cornell Paperbacks, 1992 Second paperback printing 2019 All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-2393-2 (cloth: alk. paper) ISBN 978-1-5017-3845-6 (pbk.: alk. paper) ISBN 978-1-5017-3846-3 (pdf) ISBN 978-1-5017-3847-0 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress An open access (OA) ebook edition of this title is available under the following Creative Commons license: Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/ by- nc-nd/4.0/. For more information about Cornell University Press’s OA program or to download our OA titles, visit cornellopen.org. Jacket illustration: Photograph courtesy of the Soprintendenza Archeologica, Milan. For GrahamEric Parker worthy companion in multiplicitous mazes and in memory of JudsonBoyce Allen and Constantin Patsalas Contents List of Plates lX Acknowledgments: Four Labyrinths xi Abbreviations XVll Introduction: Charting the Maze 1 The Cretan Labyrinth Myth 11 PART ONE THE LABYRINTH IN THE CLASSICAL AND EARLY CHRISTIAN PERIODS 1. -
Of Turnus in the Aeneid Michael Kelley
Tricks and Treaties: The “Trojanification” of Turnus in the Aeneid Michael Kelley, ‘18 In a poem characterized in large part by human intercourse with the divine, one of the most enigmatic augury passages of Virgil’s Aeneid occurs in Book XII, in which Juturna delivers an omen to incite the Latins toward breaking their treaty with the Trojans. The augury passage is, at a superficial level, a deceptive exhortation addressed to the Latins, but on a meta- textual, intra-textual, and inter-textual level, a foreshadowing of the downfall of Turnus and the Latins. In this paper, I will begin by illustrating how the deception within Juturna’s rhetoric and linguistic allusions to deception in the eagle apparition indicate a true meaning which supersedes Juturna’s intended trickery. Then, in demonstrating inter-textual and intra-textual paradigms for Turnus, I will explain how the omen, and the associations called for therein, actually anticipate Turnus’s impending, sacrificial death. Finally, I will address the implications of my claim, presenting an interpretation of a sympathetic Turnus and a pathetically deceived Juturna. While the omen which follows is not necessarily false, Juturna’s rhetoric, spoken in the guise of Turnus’s charioteer Metiscus,1 is marked by several rhetorical techniques that are, ultimately, fruitful in inciting the Latins toward combat. Attempting to invoke their better reason, Juturna begins the speech with several rhetorical questions that appeal to their sense of honor and their devotion to Turnus.2 Her description of the Trojans as a fatalis manus, translated by Tarrant as “a troop protected by fate,”3 is most likely sarcastic, referencing what she deems a self-important insistence on prophecy from the Trojans. -
Virgil's Pier Group
Virgil’s Pier Group In this paper I argue that the ship race of Aeneid 5 presents a metapoetic commentary whereby Virgil re-validates heroic epic and announces the principal intertexts of his middle triad. The games as a whole are rooted in transparent allusion to Iliad 23 and have, accordingly, drawn somewhat less critical attention than books 4 and 6. For Heinze (121-36), the agonistic scenes exemplify Virgil’s artistic principles for reshaping Homeric material. Similarly, Otis (41- 61) emphasized Virgilian characterization. Putnam (64-104) reads the games in conjunction with the Palinurus episode as a reflection on heroic sacrifice. Galinsky has emphasized the degree to which the games are interwoven with themes and diction in both book 5 and the poem as a whole. Harris, Briggs, and Feldherr have explored historical elements and Augustan political themes within the games. Farrell attempts to bring synthesis to these views by reading the games through a lens of parenthood themes. A critical observation remains missing. Water and nautical imagery are well-established metaphors for poetry and poiesis. The association is attested as early as Pindar (e.g. P. 10.51-4). In regard to neoteric and Augustan poetics, it is sufficient to recall the prominence of water in Callimachus (Ap. 105-113). This same topos lies at the foundation of Catullus 64 and appears within both the Georgics and Horace’s Odes (cf. Harrison). The agones of Aeneid 5 would be a natural moment for such motifs. Virgil introduces all four ships as equals (114). Nevertheless, the Chimaera is conspicuous for its bulk and its three-fold oars (118-20). -
Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century Bce
ARCHAEOLOGICAL AND LITERARY ETRUSCANS: CONSTRUCTIONS OF ETRUSCAN IDENTITY IN THE FIRST CENTURY BCE John B. Beeby A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James B. Rives Jennifer Gates-Foster Luca Grillo Carrie Murray James O’Hara © 2019 John B. Beeby ALL RIGHTS RESERVED ii ABSTRACT John B. Beeby: Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century BCE (Under the direction of James B. Rives) This dissertation examines the construction and negotiation of Etruscan ethnic identity in the first century BCE using both archaeological and literary evidence. Earlier scholars maintained that the first century BCE witnessed the final decline of Etruscan civilization, the demise of their language, the end of Etruscan history, and the disappearance of true Etruscan identity. They saw these changes as the result of Romanization, a one-sided and therefore simple process. This dissertation shows that the changes occurring in Etruria during the first century BCE were instead complex and non-linear. Detailed analyses of both literary and archaeological evidence for Etruscans in the first century BCE show that there was a lively, ongoing discourse between and among Etruscans and non-Etruscans about the place of Etruscans in ancient society. My method musters evidence from Late Etruscan family tombs of Perugia, Vergil’s Aeneid, and Books 1-5 of Livy’s history. Chapter 1 introduces the topic of ethnicity in general and as it relates specifically to the study of material remains and literary criticism. -