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Banished to the Black Sea: Ovid's Poetic
BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome. -
The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Greek Mythology and Medical and Psychiatric Terminology
HISTORY OF PSYCHIATRY Greek mythology and medical and psychiatric terminology Loukas Athanasiadis A great number of terms in modern psychiatry, Narcissus gave his name to narcissism (ex medicine and related disciplines originate from treme self-love based on an idealised self-image). the Greek, including pathology, schizophrenia, He was a young man extremely proud of his ophthalmology, gynaecology, anatomy, pharma beauty and indifferent to the emotions of those cology, biology, hepatology, homeopathy, allo who fell in love with him. A goddess cursed him pathy and many others. There are also many to feel what it is to love and get nothing in return. terms that originate from figures from ancient He subsequently fell in love with his own image Greek mythology (or the Greek words related to when he saw his reflection in the water of a those figures) and I think that it might be fountain, and believed that this image belonged interesting to take a look at some of them. to a spirit. Every time he tried to embrace the Psyche means 'soul' in Greek and she gave her image it disappeared and appeared without names to terms like psychiatry (medicine of the saying a word. At the end the desperate soul), psychology, etc. Psyche was a mortal girl Narcissus died and was turned into a flower that with whom Eros ('love', he gave his name to still bears his name. erotomania, etc.) fell in love. Eros's mother Echo was a very attractive young nymph who Aphrodite had forbidden him to see mortal girls. always wanted to have the last word. -
Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, Ca
Chapter 3 Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, ca. 1300–1770 Karl Enenkel Introduction: The Ovidian Myth and Its Gender Narrative Although from antiquity on, the concept of the nymph has included a great variety of minor deities connected with different local cults and various habi- tats, all nymphs seem to have in common that they were imagined as young, beautiful, gracious girls, and that they were thought to behave in a female and feminine way; if attached to Diana, they were believed to act as virgins. The myth of Salmacis, however, refers to a different kind of nymph: a nymph that excels in the inversion of “normal” gendered behaviour, and that was thought to have caused the disturbing bodily phenomenon of Hermaphroditism.1 The myth as it was depicted and interpreted in the early modern period is entirely based on a literary invention by Ovid, in his Metamorphoses (IV, 288–388).2 Ovid’s highly imaginative story, however, does not give an account 1 On the physical and medical phenomenon of Hermaphroditism in Greco-Roman antiquity and in the Renaissance (which in itself will not be the topic of this contribution) cf., inter alia, Brisson L., Sexual Ambivalence: Androgyny and Hermaphroditism in Graeco-Roman Antiquity, transl. J. Lloyd (Berkeley, California U.P.: 2002; originally French, Paris: 1999); Long K.P., Hermaphrodites in Renaissance Europe (Aldershot: 2006); Duval Jacques, Des Hermaphrodits […] (Rouen, David Geuffroy: 1612). 2 Except for Ovid’s narrative in his Metamorphoses, there are no Greek or Latin sources from antiquity that provide other substantial versions of the myth. -
THE CONTRAPOSITION BETWEEN EPOS and EPULLION in HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena
Anuario de Estudios Filológicos, ISSN 0210-8178, vol. XXVII, 23-39 THE CONTRAPOSITION BETWEEN EPOS AND EPULLION IN HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena Universidad de Extremadura Resumen En este artículo se esbozan algunos de los hitos más importantes que configuran, desde Antímaco de Colofón hasta las últimas manifestaciones poéticas helenísticas y romanas, la contraposición entre el e[po~ y el ejpuvllion. Sobre este último «género», repleto de elemen- tos etiológicos y largas digresiones, se aportan y se comparan datos importantes mediante dos métodos conocidos: la Quellensforchung y la comparación entre seguidores de la escuela de Calímaco y los denominados Telquines. Se analizan epigramas concretos, epilios de Teócrito, Mosco, la Hécale de Calímaco, epilios de Trifiodoro, Hedilo, Museo, Euforión, Partenio, Poliano, así como de Cornelio Galo y Cinna. Finalmente, se estudia la dicotomía «agua»/«vino» como símbolos de inspiración y se ofrece una posible clave para focalizar el paso de dicha contraposición desde la literatura helenística griega a la romana. Palabras clave: Epos, epyllion, hellenistic poetry, Cantores Callimachi. Abstract This paper describes some highly important aspects than configure, from Aminachus of Colofos to the latest Hellenistic and Roman poetic pieces, the contraposition of the concepts e[po~ and ejpuvllion. About this latter ‘genre’, filled with etiological and disgressive elements, data are contrasted according to two well known methods: Quellensforchung and comparison between Callimachus’ followers and Telquines. Specific epigrams are reviewed, also some epic poems by Theocritus, Moscos, the Hecale by Callimachus, epic poems by Trifiodorus, Hedilus, Museus, Euforius, Partenius, Polianus, Cornelius, Galius, and Cinnas. Finally, dichotomous elements like ‘water’/‘wine’ are studied as symbols for inspiration. -
Water, Women & Bodies in Ovid's Metamorphoses
Water, Women & Bodies in Ovid’s Metamorphoses Τhe ancient philosophers and scientists, in discussing gender differences, link women to wetness (τὸ ὑγρόν); Aristotle (Prob.809b12), Rufus (ap. Orib., Coll. Med. lib. inc. 20.1-2), Aretaeus (SA 2.12.4), Hippocrates (Mul. 1.1 viii 12.6-21) and Galen (Comp. Med. Gen. 2.1 xiii 467-8K) describe women as being naturally softer and wetter than men. While readers of Ovid’s Metamorphoses have noticed a connection between women and places of water (Salzman- Mitchell, 2005; Nugent, 1990; Parry, 1964), I suggest that the ancient scientific and philosophical works about women and their bodies cast light on the transformative property of water in Ovid’s Metamorphoses. I propose to consider how men and women deploy water in the Metamorphoses as a weapon against the opposite sex. In this context, water functions to emasculate men and to render women “more feminine”. In discussing the ancient physiological views, Anne Carson shows that women (like water) are soft and mollifying, porous and penetrable, formless and boundless. The most important and dangerous property that water and women share, however, is their pollutability; once they are polluted, they become polluting (Carson, 1990). Furthermore, women have a proclivity for overstepping and wreaking havoc on boundaries. This proclivity becomes even more dangerous when women are seen as watery and polluting bodies that contaminate and destroy gender boundaries. The Salmacis and Hermaphroditus story in the Metamorphoses (4.285-388) is one of the many episodes that clearly encapsulate the polluting and emasculating nature of a woman and her water (3.138-252; 5.439-461; 5.533-550; 6.317-381). -
Reading the Presence of Both Male and Female Sex Organs
214 HORMONESG. 2006, ANDROUTSOS 5(3):214-217 Historical note Hermaphroditism in Greek and Roman antiquity George Androutsos Institute of History of Medicine, University Claude Bernard, Lyon, France ABSTRACT Since antiquity hermaphrodites have fascinated the mind and excited the imagination. In this paper, such subjects are discussed as legends about the nativity of Hermaphroditus, son of Hermes and Aphrodite, the social status of these bisexual beings, and their fate in Greek- Roman antiquity. Key words: Female pseudohermaphroditism, Hermaphroditism, Male pseudohermaphroditism. INTRODUCTION The cult of the dual being is also to be found amongst the numerous arcane sciences of the mys- Hermaphroditism is a state characterized by tical religions of Hindu peoples, before spreading the presence of both male and female sex organs. through Syria to Cyprus, and then into Greece. Here Recent developments in the understanding of the it degenerated and met the same fate as the hyste- pathogenetic mechanisms involved in defective sex- ro-phallic cults. During such times of decadence, ual differentiation and the social repercussions of hermaphroditism was looked upon as the embodi- the term hermaphrodite have created the need for ment of sexual excess, while for philosophers, it rep- new terminology. Hence, such disorders are today resented the twofold nature of the human being, designated as genetic defects in the differentiation considered as the original being.3 of the genital system.1 HERMAPHRODITES IN ANCIENT GREECE THE FORERUNNERS Greek mythology abounds in examples of such Beings that are simultaneously both male and dual beings. Even the gods themselves were often female have stirred the human imagination since hermaphrodites: Dyalos, the androgyne; Arse- ancient times. -
Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse. -
Studies in Colluthus' Abduction of Helen
Studies in Colluthus’ Abduction of Helen Mnemosyne Supplements late antique literature Editors David Bright (Emory) Scott McGill (Rice) Joseph Pucci (Brown) Editorial Board Laura Miguélez-Cavero (Oxford) Stratis Papaioannou (Brown) Aglae Pizzone (Geneva) Karla Pollmann (Kent) VOLUME 380 The titles published in this series are listed at brill.com/mns-lal Studies in Colluthus’ Abduction of Helen By Cosetta Cadau LEIDEN | BOSTON Cover illustration: Ivory pyxis dating from the late fifth to the early sixth century AD. © The Walters Arts Museum, Baltimore. Library of Congress Cataloging-in-Publication Data Cadau, Cosetta, author. Studies in Colluthus’ Abduction of Helen / By Cosetta Cadau. pages cm. — (Mnemosyne supplements: Late Antique Literature ; 380) Includes bibliographical references and index. Summary: This first monograph in English on Colluthus situates this late antique author within his cultural context and offers a new appraisal of his hexameter poem The Abduction of Helen, the end-point of the pagan Greek epic tradition, which was composed in the Christianised Egyptian Thebaid. The book evaluates the poem’s connections with long-established and contemporary literary and artistic genres and with Neoplatonic philosophy, and analyzes the poet’s re-negotiation of traditional material to suit the expectations of a late fifth-century AD audience. It explores Colluthus’ interpretation of the contemporary fascination with visuality, identifies new connections between Colluthus and Claudian, and shows how the author’s engagement with the poetry of Nonnus goes much further than previously shown—Provided by publisher. ISBN 978-90-04-27950-6 (hardback : alk. paper) — ISBN 978-90-04-28959-8 (e-book) 1. Colluthus, of Lycopolis. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
Speech, Silence, and Gender in the Hermaphroditus Myth of Ovid’S Metamorphoses (4.274-388)
Speech, Silence, and Gender in the Hermaphroditus Myth of Ovid’s Metamorphoses (4.274-388) In this paper, I analyze the Salmacis and Hermaphroditus myth in Ovid’s Metamorphoses (4.274-388) in terms of direct speech and explicit references to silence for both of the principal characters. I argue that Ovid uses direct speech to empower both the aggressor Salmacis and the victim Hermaphroditus; in the former case, speech serves to align Salmacis with other rapists and aggressors throughout the Metamorphoses and characterize her negatively, while in the latter case, Hermaphroditus’ speech enables him to resist Salmacis’ advances, at least initially, and ends the narrative proper, a fact that allows Hermaphroditus the last word, as it were. Silence, on the other hand, serves in Salmacis’ case as a rhetorical tool to gain the upper hand (4.329 and 4.338-340), but in Hermaphroditus’ case, the narrator Alcithoë mostly prevents Hermaphroditus from speaking to emphasize the visual allure of his body and his victimhood. While previous scholarship on the episode has focused on such considerations as Salmacis’ appropriation of the male gaze, the subversion of “traditional” gender roles, and the iconographic and literary representations of Salmacis and Hermaphroditus prior to Ovid (Salzman-Mitchell 2005, 160- 163; Keith 1999, 216-221; Nagle 1984, 248-252; Robinson 1999, passim), this paper expands the existing scholarship by focusing on the role of speech and silence in the episode in the constitution of each character, Salmacis as a gender-defying rapist and Hermaphroditus as an empowered, recalcitrant male victim. Salmacis speaks directly four times in the narrative: 4.320-328, to proposition Hermaphroditus; 4.337-338, to feign a departure to mollify Hermaphroditus; 4.356, to declare victory; and 4.370-372, to taunt Hermaphroditus as he tries to escape and to pray to the gods that they be joined together.