Virgil Aeneid
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Trapani Eryx Segesta
AENEAS TODAY Aeneas’ Journey in Contemporary Literature www.aeneasroute.org Aeneas’ Journey in Contemporary Literature AENEAS’ JOURNEY IN CONTEMPORARY LITERATURE TRAPANI ERIX SEGESTA By Filomena Giannotti University of Siena Department of Philology and Critcism in Ancient and Modern Literatures Translated from Italian by Gavin Williams March 2021 Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature Index 1 Vincenzo Consolo, Sicily on Foot (1991) 2 Umberto Saba, Entellus (1946) Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature 1 VINCENZO CONSOLO, SICILY ON FOOT (1991) We stated, in reference to the origin of Segesta, the journey by the pious Aeneas to the banks of the Tiber. If, then, we were to go aboard a ship in the Trojan fleet, we could now get to know, place by place, just as Virgil names them, this western part of Sicily. Getting to see Trapani and the nearby woods, consecrated to Anchises, the beach where the sacrifices were made, and the games held in honour of the old king who had died, Lilybaeum with the cave of the Sibyl… And going up to the upper city of the Elymians and of the Trojans, to the temple of the goddess on the highest point … Poi vicino alle stelle, in vetta all’Érice, fondano un tempio a Venere Idalia … […] Virgil, making poetry out of the myth, tells us that the city [Egesta or Segesta] was founded by Aeneas, who left a number of companions here, under Aceste or Segeste, until fate, or the divine mission, led him to Lazio. -
Fathers, Ante-Nicene
THE AGES DIGITAL LIBRARY COLLECTIONS THE ANTE-NICENE FATHERS VOL. 3 Edited by A. Roberts and J. Donaldson B o o k s F o r Th e A g e s AGES Software • Albany, OR USA Version 2.0 © 1997 2 THE ANTE-NICENE FATHERS The Writings of the Fathers down to A.D. 325 THE REV. ALEXANDER ROBERTS, D.D., AND JAMES DONALDSON, LL.D., EDITORS AMERICAN REPRINT OF THE EDINBURGH EDITION printed July, 1975 VOLUME 2 LATIN CHRISTIANITY: ITS FOUNDER, TERTULLIAN 1. APOLOGETIC; 2. ANTI-MARCION; 3. ETHICAL. 3 LATIN CHRISTIANITY ITS FOUNDER, TERTULLIAN THREE PARTS: 1. APOLOGETIC 2. ANTI-MARCION 3. ETHICAL AMERICAN EDITION CHRONOLOGICALLY ARRANGED, WITH NOTES, PREFACES, AND ELUCIDATIONS, BY A. CLEVELAND COXE, D.D. Ta< ajrcai~a e]qh kratei>tw. The Nicene Council 4 PREFACE We present a volume wildly differing, in its contents, from those which have gone before; it contains the works of the great founder of Latin Christianity, the versatile and brilliant Tertullian. Not all his works, indeed, for they could not be contained in one of our books. This book, however, considerably overruns the promised number of pages; and gives three complete parts of Tertullian’s writings, according to the classification of our Editor-in-chief. The Fourth volume will begin with the fourth class of his works, those which exhibit our author’s ascetic ideas and the minor morals of the Primitive Christians, that collection being closed by the four treatises which were written in support of a defined and schismatical Montanism. The Editor-in-chief has been in active correspondence with representative men of divers theological schools, hoping to secure their cooperation in editorial work. -
OVID Metamorphoses
Metamorphoses Ovid, Joseph D. Reed, Rolfe Humphries Published by Indiana University Press Ovid, et al. Metamorphoses: The New, Annotated Edition. Indiana University Press, 2018. Project MUSE. muse.jhu.edu/book/58757. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/58757 [ Access provided at 20 May 2021 05:17 GMT from University of Washington @ Seattle ] book FIve The Fighting of Perseus* So Perseus told his story, and the halls Buzzed loud, not with the cheery noise that rings From floor to rafter at a wedding-party. No; this meant trouble. It was like the riot When sudden squalls lash peaceful waves to surges. Phineus was the reckless one to start it, That warfare, brandishing his spear of ash With sharp bronze point. “Look at me! Here I am,” He cried, “Avenger of my stolen bride! No wings will save you from me, and no god Turned into lying gold.”* He poised the spear, As Cepheus shouted: “Are you crazy, brother? What are you doing? Is this our gratitude, This our repayment for a maiden saved? If truth is what you want, it was not Perseus Who took her from you, but the Nereids Whose power is terrible, it was hornèd Ammon, It was that horrible monster from the ocean Who had to feed on my own flesh and blood, And that was when you really lost her, brother; 107 lines 20–47 She would have died—can your heart be so cruel To wish it so, to heal its grief by causing Grief in my heart? It was not enough, I take it, For you to see her bound and never help her, Never so much as lift a little finger, And you her uncle and her promised husband! So now you grieve that someone else did save her, You covet his reward, a prize so precious, It seems, you could not force yourself to take it From the rocks where it was bound. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Servius, Cato the Elder and Virgil
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository MEFRA – 129/1 – 2017, p. 85-100. Servius, Cato the Elder and Virgil Christopher SMITH C. Smith, British School at Rome, University of St Andrews, [email protected] This paper considers one of the most significant of the authors cited in the Servian tradition, Cato the Elder. He is cited more than any other historian, and looked at the other way round, Servius is a very important source for our knowledge of Cato. This paper addresses the questions of what we learn from Servius’ use of Cato, and what we learn about Virgil ? Servius, Cato the Elder, Virgil, Aeneas Cet article envisage la figure du principal auteur cite dans la tradition servienne, Caton l’Ancien. C’est l’historien le plus cité par Servius et, à l’inverse, Servius est une source très importante pour notre connaissance de Caton. Cet article revient sur l’utilisation de Caton par Servius et sur ce que Servius nous apprend sur Virgile. Servius, Catone l’Ancien, Virgile, Énée The depth of knowledge and understanding icance of his account of the beginnings of Rome. underpinning Virgil’s approach to Italy in the Our assumption that the historians focused on the Aeneid demonstrates that he was a profoundly earlier history and then passed rapidly over the learned poet ; and it was a learning which was early Republic is partly shaped by this tendency in clearly drawn on deep knowledge and under- the citing authorities2. -
Listening the Unheeded: Women Appropriating and Re Telling Myths of Maddened Cassandra and Murderous Medea
180 Listening the Unheeded: Women Appropriating and Re telling Myths of Maddened Cassandra and Murderous Medea Shaweta Nanda One cannot help but notice the increasing engagement of contemporary or near contemporary women writers with Classical myths in their works. The first part of the paper explores the possible reasons behind this phenomenon. Myths are a fertile site in order to analyze the manner in which women have been perceived rather constructed and designed by patriarchy as silent, inferior, mad passive non entities, like Cassandra, or active monstrous creatures, like Medea, in the past. These myths are not dead but still continue to bind women in different guises thus, women writers explore how these mythic figures and stories have relevance for the present times too. The second part of the paper unravels the complex ways in which women writers engage with myths thereby propelling us to reconsider our conventional definitions and understanding of the term ‘myth’. Myths no longer seem sacrosanct as women writers become “resisting readers” (J. Fetterley) who seek to appropriate, revise and re tell/ re write these “grand” patriarchal narratives from the feminist/ ‘womanist’ points of view. In doing so they radically “novelize” the myths by making them “dialogic” in nature by inserting polyphonic voices and accounts that intend to disrupt the hierarchy of the Greek male narratives, including those of Homer and Aeschylus. Cassandra, daughter of the Trojan King Priam, had the gift of prophesy but was cursed by Apollo that no one would believe her once she refused to submit to him sexually. She was disbelieved, silenced, incarcerated, termed “mad,” raped by various agents of patriarchy as recounted in the several versions of the Greek myth, especially in Homeric and Aeschylus’s accounts. -
Map 44 Latium-Campania Compiled by N
Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways. -
The Waterway of Hellespont and Bosporus: the Origin of the Names and Early Greek Haplology
The Waterway of Hellespont and Bosporus: the Origin of the Names and Early Greek Haplology Dedicated to Henry and Renee Kahane* DEMETRIUS J. GEORGACAS ABBREVIATIONS AND BIBLIOGRAPHY 1. A few abbreviations are listed: AJA = American Journal of Archaeology. AJP = American Journal of Philology (The Johns Hopkins Press, Baltimore, Md.). BB = Bezzenbergers Beitriige zur Kunde der indogermanischen Sprachen. BNF = Beitriige zur Namenforschung (Heidelberg). OGL = Oorpus Glossariorum Latinorum, ed. G. Goetz. 7 vols. Lipsiae, 1888-1903. Chantraine, Dict. etym. = P. Chantraine, Dictionnaire etymologique de la langue grecque. Histoire des mots. 2 vols: A-K. Paris, 1968, 1970. Eberts RLV = M. Ebert (ed.), Reallexikon der Vorgeschichte. 16 vols. Berlin, 1924-32. EBr = Encyclopaedia Britannica. 30 vols. Chicago, 1970. EEBE = 'E:rccr'YJel~ t:ET:ateeta~ Bv~avnvwv E:rcovowv (Athens). EEC/JE = 'E:rcuJT'YJfhOVtUn ' E:rccrrJel~ C/JtAOaocptufj~ EXOAfj~ EIsl = The Encyclopaedia of Islam (Leiden and London) 1 (1960)-. Frisk, GEJV = H. Frisk, Griechisches etymologisches Worterbuch. 2 vols. Heidelberg, 1954 to 1970. GEL = Liddell-Scott-Jones, A Greek-English Lexicon. Oxford, 1925-40. A Supplement, 1968. GaM = Geographi Graeci Minores, ed. C. Miiller. GLM = Geographi Latini Minores, ed. A. Riese. GR = Geographical Review (New York). GZ = Geographische Zeitschrift (Berlin). IF = Indogermanische Forschungen (Berlin). 10 = Inscriptiones Graecae (Berlin). LB = Linguistique Balkanique (Sofia). * A summary of this paper was read at the meeting of the Linguistic Circle of Manitoba and North Dakota on 24 October 1970. My thanks go to Prof. Edmund Berry of the Univ. of Manitoba for reading a draft of the present study and for stylistic and other suggestions, and to the Editor of Names, Dr. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
V.S. Lectures. No. 68 APOLLONIUS RHODIUS and VIRGIL a Lecture
V.S. Lectures. No. 68 APOLLONIUS RHODIUS AND VIRGIL A lecture delivered to the Virgil Society 24th October 1964 by J. D. M. Preshous, M.A. The propositions that I wish to examine are first, that Virgil in creating his own poetic image very often fused together a number of his sources into what is sometimes a most intricate pattern, and secondly, that among these sources, Apollonius Rhodius was often prominent. Most of the accepted facts of Virgil’s youth and upbringing are to be found in the Vitae Vergilianae, short biographies written by post-classical authors. Of these the most important is that which was for a long time attributed to Donatus but which is now more generally ascribed to Suetonius. The other two Lives - those by Servius and by Valerius Probus (the latter no more than a brief preface) - seem to draw largely for their material upon Suetonius, A few passages only are relevant to a study of Virgil's method of composition. To begin with, Suetonius records that Virgil’s poetry required considerable time for its completion (Life of Virgil, 25): Bucolica trienno, Georgica septem, Aeneidea undecim perfecit annis. This is further emphasised later (22): cum Georgica scriberet, traditur cotidie meditatos mane plurimos versus dictare solitus, ac per totum diem retractando ad paucissimos redigere, non absurde carmen se ursae more parere dicens et lambendo demum effingere... "When he was writing the Georgies, he is said to have been in the habit of writing daily a very large number of verses, thought out early in the morning, and throughout the day of reducing these to a very few by a process of reshaping; saying, not inappropriately, that he produced a poem as a bear her cub and licked it at last into shape..." This is very important. -
HYPERBOREANS Myth and History in Celtic-Hellenic Contacts Timothy P.Bridgman HYPERBOREANS MYTH and HISTORY in CELTIC-HELLENIC CONTACTS Timothy P.Bridgman
STUDIES IN CLASSICS Edited by Dirk Obbink & Andrew Dyck Oxford University/The University of California, Los Angeles A ROUTLEDGE SERIES STUDIES IN CLASSICS DIRK OBBINK & ANDREW DYCK, General Editors SINGULAR DEDICATIONS Founders and Innovators of Private Cults in Classical Greece Andrea Purvis EMPEDOCLES An Interpretation Simon Trépanier FOR SALVATION’S SAKE Provincial Loyalty, Personal Religion, and Epigraphic Production in the Roman and Late Antique Near East Jason Moralee APHRODITE AND EROS The Development of Greek Erotic Mythology Barbara Breitenberger A LINGUISTIC COMMENTARY ON LIVIUS ANDRONICUS Ivy Livingston RHETORIC IN CICERO’S PRO BALBO Kimberly Anne Barber AMBITIOSA MORS Suicide and the Self in Roman Thought and Literature Timothy Hill ARISTOXENUS OF TARENTUM AND THE BIRTH OF MUSICOLOGY Sophie Gibson HYPERBOREANS Myth and History in Celtic-Hellenic Contacts Timothy P.Bridgman HYPERBOREANS MYTH AND HISTORY IN CELTIC-HELLENIC CONTACTS Timothy P.Bridgman Routledge New York & London Published in 2005 by Routledge 270 Madison Avenue New York, NY 10016 http://www.routledge-ny.com/ Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX14 4RN http://www.routledge.co.uk/ Copyright © 2005 by Taylor & Francis Group, a Division of T&F Informa. Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photo copying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming.