DOCSLIB.ORG

Index of Names

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Index of Names INDEXOFNAMES Acamas 262 Danai 5, 44, 162, 170, 413, 423, Achaemenides 57–76, §2 440 Achaica 462 Dardanaarma618 Achilles 29; Achilli (gen.) 540 Dardanidae 59, 445 Achiui 45 Dardanis 787 Aeneas and Mt.Ida 634–78 (iii); and Dardanium...litus 583 penates 293; as narrator 506–58, Deiphobus 310, HE, §4(ii) 559–66; dolor of 589–633; father Dido as audience 506 of people 2; on roofs 458 Diomedes 164 Aiax 414 Dolopians 7, 785; exercitus 415 Anchises 300, 597, 634–78, 747; Dorica castra 27 phys. state of 647; and Venus ib.; Dymas 340, 394, 428 and Priam 560, 687; recovery of 679–704; as seer 679–704 Eois equis 417 (i); as interpreter of portents, Epeius 264 ib. Erinys 337, 573 Androgeos 371 Euripides, Philoctetes 77–104 Andromache 453–68, 456, 562 Eurus 418 Apollinis infula 430 Eurypylum 114 Argiua phalanx 254 Argolica 119; tela 177 Gorgone 616 Ascanius 598, 652, 666, 674, 747 Grai 148; Graiae 598, Graiae Asia 193, 557 matres 786; Graiarum...iubarum Asinius Pollio 506–58, 554, 556 412 Astyanacta 457; Astyanax 526, Grillius 77–104 562 Atridae 104, 415, 500 Hector 522, 543; tears of 271; Auster 111; Austri 304 abuse of body 272, 278; while Automedon 477 alive 272f.; arms of Achilles 275; burning of ships 276; Belus 82 appearance of ghost 277; treatment of body in Hom., Calchas 100, 123, 176, 185 ib.; hair, ib. ; as paladin 281, Capys 35 285, 289–95; and penates Cassandra 404; and Coroebus 343 296 Coroebus 341, 386, 407, 424 Hecuba 501, 515 Creusa 562, 597, 651, 666, 738; Helen 567–88; hides in temple HE, Creusa as spectre 772; geneal. of §7(ii). Helen, blamed 601 787 Hesperia 781 Cybele 788 Hypanis 340, 428 628 index of names Ida 801; and Aen.’s departure Panthus 318, 429 634–78 (iii); silua 696 Paris 602; blamed, ib.; and Iliaci cineres 431 shepherds 58 Iliades 580 Pelasga arte 152; Pelasgi 83 Ilium 625 Peleus 548 Iphitus 340, 435 Pelias 435, 436 Ithacus 104, 123, 128 Pelides 263 Iulus 563; hair of, 683f.; as future Pelopea moenia 193 leader 682; age of 681; names of Penates 293, 514, 717, 747 682 Peneus 425 Iuno 612; temple of 761 Pergama 41 Periphas 476 Lacaenae 601 Philoctetes 57–76, §1 Laocoon 199ff.; genealogy 41; Phoebi oracula 114 innocence 40–56, §1; structure of Phoenix 762 scenes, 40–56, §2; guilt of 199– Phryges 191; neutral/positive 276 233; relat. of V. to statue, 40–56, Polites 526 §3; priesthood 40–56, §1 Pompey and Priam 506–58, 554–8, Lavinia 679–704 (ii) 556, 557, 558 Lucifer 801 Priam 147, 501, 581;Priam Lydius Thybris 781f. and realm 191; Priam, d. of, recollected 667; death of 506– Machaon 263 58; how killed 552, where, 558; Magna Mater 788 majesty of 484 Martem indomitum 440 Priam see also Pompey Menelaus 264; HE, §§4(ii), 7(ii) Priameia uirgo 403; Priami regna Mineruae adytis 404; and TH 31 22; Priami sedes 437 Mycenae 25, 180, 577 Pyrrhus 469, 506–58, 662; alleged Mygdonides 342 bastardy 549; hibernates 471–5; Myrmidones 7, 252, 785 Achilles reborn ib. Neoptolemus 263, 469 Rhipheus 339, 394, 426 Neptune 610; and Troy, Trojans 201; Neptunia Troia 625 Scaeas...portas 612 Nereus 419 Scyros 477 Notus 417 Servius Tullius 679–704 (ii) Sigea...freta 312 Oceano 250 Sinon 259; story of, 57–76; in art 57 Olympus, superus 779 Spartam 577 Orco 398 Sthenelus 261 Othryades 319 Tenedos 21, 204, 255 Pacuvius 554–8 Teucer as adj. 747 Palamedes 82, 90 Teucri 48; Teucris 427 Palladis 15, 615; and Greeks, Teucria 26 Trojans, 163; and TH 189 Thessandrus 261 Palladium 166 Thoas 262.
Load more

Recommended publications
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars.
    [Show full text]
  • ARCTOS Acta Philologica Fennica
    ARCTOS Acta Philologica Fennica VOL. LI HELSINKI 2017 INDEX Heikki Solin Rolf Westman in Memoriam 9 Ria Berg Toiletries and Taverns. Cosmetic Sets in Small 13 Houses, Hospitia and Lupanaria at Pompeii Maurizio Colombo Il prezzo dell'oro dal 300 al 325/330 41 e ILS 9420 = SupplIt V, 253–255 nr. 3 Lee Fratantuono Pallasne Exurere Classem: Minerva in the Aeneid 63 Janne Ikäheimo Buried Under? Re-examining the Topography 89 Jari-Matti Kuusela & and Geology of the Allia Battlefield Eero Jarva Boris Kayachev Ciris 204: an Emendation 111 Olli Salomies An Inscription from Pheradi Maius in Africa 115 (AE 1927, 28 = ILTun. 25) Umberto Soldovieri Una nuova dedica a Iuppiter da Pompei e l'origine 135 di L. Ninnius Quadratus, tribunus plebis 58 a.C. Divna Soleil Héraclès le premier mélancolique : 147 Origines d'une figure exemplaire Heikki Solin Analecta epigraphica 319–321 167 Holger Thesleff Pivotal Play and Irony in Platonic Dialogues 179 De novis libris iudicia 220 Index librorum in hoc volumine recensorum 277 Libri nobis missi 283 Index scriptorum 286 Arctos 51 (2017) 63–88 PALLASNE EXURERE CLASSEM: MINERVA IN THE AENEID Lee Fratantuono The goddess Minerva is a key figure in the theology of Virgil's Aeneid, though there has been relatively little written to explicate all of the scenes in the epic in which she plays a part or receives a reference.1 The present study seeks to provide a commentary on every mention of Pallas Athena/Minerva in Virgil's poetic corpus, with the intention of illustrating how the goddess plays a crucial role in the unfolding drama of the transition from a Trojan to an Italian identity for the future Rome, and in particular how the Volscian heroine Camilla serves as a mortal incarnation of the Minerva who was a patroness of battles and the military arts.
    [Show full text]
  • Pausanias' Description of Greece
    BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.
    [Show full text]
  • A Jungian Analysis of Hector Berlioz's Les Troyens by Rhea M
    We Are Living in a Patriarchal World and I Am an Archetypal Girl: A Jungian Analysis of Hector Berlioz’s Les Troyens by Rhea Michelle Bumpass A thesis submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of Master of Music in Musicology Chair of Committee: Paul Bertagnolli Committee Member: Katherine Turner Committee Member: Francesca Behr University of Houston August 2020 DEDICATION Dedicated to my grandmother, Abbie Claxton. ii ACKNOWLEDGMENTS I would like to thank Dr. Bertagnolli for his guidance, edits, and patience during my thesis process. I would also like to express gratitude to my committee members, Dr. Turner and Dr. Behr, for their edits and support. Many thanks to the library staff for assistance, especially during the pandemic shutdown. I would like to also thank Stacia Morgan Dunn for her assistance throughout my graduate program. Finally, I am eternally grateful to my friends, family, and colleagues who listened to my theories, gave advice, and supported my thesis writing adventure. iii ABSTRACT Cultural archetypes embody ideas, characters, and stories, which societies use to define women and assign their gender roles accordingly. The same occurs in operas. When a composer also writes the libretto, their decision about archetypal representation of their characters and musical support can reveal aspects about their own personality and opinions. Utilizing the archetypal theory of Carl Jung as a critical framework, this thesis argues that the characters in Hector Berlioz’s opera, Les Troyens (1858), portray gendered archetypes, that musical topics support these archetypes, and that they ultimately reinforce Aeneas’s destiny in a patriarchal, imperial society due to Berlioz acting as composer and librettist.
    [Show full text]
  • DECEPTION and THEODICY in AENEID 1-4 by Kevin Gaul
    DECEPTION AND THEODICY IN AENEID 1-4 by Kevin Gaul Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2017 © Copyright by Kevin Gaul, 2017 To my patient parents and somewhat faithful dog. ii TABLE OF CONTENTS ABSTRACT ...................................................................................................................... iv LIST OF ABBREVIATIONS USED ............................................................................... v ACKNOWLEDGEMENTS ............................................................................................ vi CHAPTER 1. INTRODUCTION .................................................................................... 1 CHAPTER 2. LATE AEQUARA TUTA SILENT ........................................................... 6 CHAPTER 3. DOLUS AN VIRTUS, QUIS IN HOSTE REQUIRAT? ........................ 19 CHAPTER 4. POSTQUAM RES ASIAE PRIAMIQUE EVERTERE GENTEM ...... 33 CHAPTER 5. UNA DOLO DIVUM SI FEMINA VICTA DUORUM EST ................. 50 CHAPTER 6. CONCLUSION ....................................................................................... 61 REFERENCES ................................................................................................................ 68 iii ABSTRACT The theme of deception, or dolus, is undeniably central to the Aeneid, both as a frequent vehicle for the unfolding narrative and as a means by which the poet explores more complex themes. Ultimately, this thesis aims to shed light
    [Show full text]
  • AP® Latin Teaching the Aeneid
    Professional Development AP® Latin Teaching The Aeneid Curriculum Module The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.org. © 2011 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Contents Introduction................................................................................................. 1 Jill Crooker Minor Characters in The Aeneid...........................................................3 Donald Connor Integrating Multiple-Choice Questions into AP® Latin Instruction....................................................................
    [Show full text]
  • The Aeneid Virgil
    The Aeneid Virgil TRANSLATED BY A. S. KLINE ROMAN ROADS MEDIA Classical education, from a Christian perspective, created for the homeschool. Roman Roads combines its technical expertise with the experience of established authorities in the field of classical education to create quality video courses and resources tailored to the homeschooler. Just as the first century roads of the Roman Empire were the physical means by which the early church spread the gospel far and wide, so Roman Roads Media uses today’s technology to bring timeless truth, goodness, and beauty into your home. By combining excellent instruction augmented with visual aids and examples, we help inspire in your children a lifelong love of learning. The Aeneid by Virgil translated by A. S. Kline This text was designed to accompany Roman Roads Media's 4-year video course Old Western Culture: A Christian Approach to the Great Books. For more information visit: www.romanroadsmedia.com. Other video courses by Roman Roads Media include: Grammar of Poetry featuring Matt Whitling Introductory Logic taught by Jim Nance Intermediate Logic taught by Jim Nance French Cuisine taught by Francis Foucachon Copyright © 2015 by Roman Roads Media, LLC Roman Roads Media 739 S Hayes St, Moscow, Idaho 83843 A ROMAN ROADS ETEXT The Aeneid Virgil TRANSLATED BY H. R. FAIRCLOUGH BOOK I Bk I:1-11 Invocation to the Muse I sing of arms and the man, he who, exiled by fate, first came from the coast of Troy to Italy, and to Lavinian shores – hurled about endlessly by land and sea, by the will of the gods, by cruel Juno’s remorseless anger, long suffering also in war, until he founded a city and brought his gods to Latium: from that the Latin people came, the lords of Alba Longa, the walls of noble Rome.
    [Show full text]
  • The Two Voices of Statius: Patronymics in the Thebaid
    The Two Voices of Statius: Patronymics in the Thebaid. Kyle Conrau-Lewis This thesis is submitted in total fulfilment of the requirements for the degree of Master of Arts School of Historical and Philosophical Studies University of Melbourne, November 2013. 1 This is to certify that: 1. the thesis comprises only my original work towards the degree of master of arts except where indicated in the Preface, 2. due acknowledgement has been made in the text to all other material used, 3. the thesis is less than 50,000 words in length, exclusive of tables, maps, bibliographies and appendices. 2 Contents Abstract 4 Introduction 5 Chapter 1 24 Chapter 2 53 Chapter 3 87 Conclusion 114 Appendix A 117 Bibliography 121 3 Abstract: This thesis aims to explore the divergent meanings of patronymics in Statius' epic poem, the Thebaid. Statius' use of language has often been characterised as recherché, mannered and allusive and his style is often associated with Alexandrian poetic practice. For this reason, Statius' use of patronymics may be overlooked by commentators as an example of learned obscurantism and deliberate literary self- fashioning as a doctus poeta. In my thesis, I argue that Statius' use of patronymics reflects a tension within the poem about the role and value of genealogy. At times genealogy is an ennobling feature of the hero, affirming his military command or royal authority. At other times, a lineage is perverse as Statius repeatedly plays on the tragedy of generational stigma and the liability of paternity. Sometimes, Statius points to the failure of the son to match the character of his father, and other times he presents characters without fathers and this has implications for how these characters are to be interpreted.
    [Show full text]
  • The Aeneid by Virgil Translated by Tony Kline
    The Aeneid By Virgil Translated by Tony Kline Lines 1-56 The Trojan Horse: Laocoön’s Warning They were all silent, and turned their faces towards him intently. Then from his high couch our forefather Aeneas began: “O queen, you command me to renew unspeakable grief, Nathaniel Dance-Holland - The how the Greeks destroyed the riches of Troy, Meeting of Dido and Aeneas and the sorrowful kingdom, miseries I saw myself, and in which I played a great part. What Myrmidon, or Dolopian, or warrior of fierce Ulysses, could keep from tears in telling such a story? Now the dew-filled night is dropping from the sky, and the setting stars urge sleep. 10But if you have such desire to learn of our misfortunes, and briefly hear of Troy’s last agonies, though my mind shudders at the memory, and recoils in sorrow, I’ll begin. ‘After many years have slipped by, the leaders of the Greeks, opposed by the Fates, and damaged by the war, build a horse of mountainous size, through Pallas’s divine art, and weave planks of fir over its ribs: they pretend it’s a votive offering: this rumor spreads. They secretly hide a picked body of men, chosen by lot, there, in the dark body, filling the belly and the huge 20cavernous insides with armed warriors. Tenedos is within sight, an island known to fame, rich in wealth when Priam’s kingdom remained, now just a bay and an unsafe anchorage for boats: they sail there, and hide themselves, on the lonely shore. We thought they had gone, and were seeking Mycenae 1 Copyright © 2015 by Greenville Area School District All rights reserved.
    [Show full text]
  • The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4Th Century A.D. INTRODUCTION Homer's "Iliad"
    The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4th Century A.D. INTRODUCTION Homer's "Iliad" begins towards the close of the last of the ten years of the Trojan War: its incidents extend over some fifty days only, and it ends with the burial of Hector. The things which came before and after were told by other bards, who between them narrated the whole "cycle" of the events of the war, and so were called the Cyclic Poets. Of their works none have survived; but the story of what befell between Hector's funeral and the taking of Troy is told in detail, and well told, in a poem about half as long as the "Iliad". Some four hundred years after Christ there lived at Smyrna a poet of whom we know scarce anything, save that his first name was Quintus. He had saturated himself with the spirit of Homer, he had caught the ring of his music, and he perhaps had before him the works of those Cyclic Poets whose stars had paled before the sun. We have practically no external evidence as to the date or place of birth of Quintus of Smyrna, or for the sources whence he drew his materials. His date is approximately settled by two passages in the poem, viz. vi. 531 sqq., in which occurs an illustration drawn from the man-and-beast fights of the amphitheatre, which were suppressed by Theodosius I. (379-395 A.D.); and xiii. 335 sqq., which contains a prophecy, the special particularity of which, it is maintained by Koechly, limits its applicability to the middle of the fourth century A.D.
    [Show full text]
  • The Judgemental Narrator: Narratorial Nepios- Comments from Homer to Nonnus
    Symbolae Osloenses Norwegian Journal of Greek and Latin Studies ISSN: 0039-7679 (Print) 1502-7805 (Online) Journal homepage: https://www.tandfonline.com/loi/sosl20 The Judgemental Narrator: Narratorial Nepios- Comments from Homer to Nonnus Anastasia Maravela To cite this article: Anastasia Maravela (2019) The Judgemental Narrator: Narratorial Nepios-Comments from Homer to Nonnus, Symbolae Osloenses, 93:1, 58-105, DOI: 10.1080/00397679.2019.1641344 To link to this article: https://doi.org/10.1080/00397679.2019.1641344 Published online: 11 Dec 2019. Submit your article to this journal View related articles View Crossmark data Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=sosl20 Symbolae Osloenses, Vol. , No. , –, https://doi.org/./.. THE JUDGEMENTAL NARRATOR:NARRATORIAL NEPIOS- COMMENTS FROM HOMER TO NONNUS ANASTASIA MARAVELA DEPARTMENT OF PHILOSOPHY,CLASSICS,HISTORY OF ART AND IDEAS, UNIVERSITY OF OSLO,NORWAY This is a study of the literary modes and transformations of the narratorial νήπιος- comment in Greek epic from Homer to Nonnus. It explores the narrative settings, the typology, and the literary effects of this narrative device which both reveals the seams of the narrative levels and directs attention to the fragility of the human characters whose fate or ignorance of the actual situation is revealed by means of a narratorial νήπιος-intervention. The focus of the analysis is on the literary interplay and allusive engagement of later with earlier instances of the device as regards the replication or modification of the narrative setting, the constituent elements of the comment and its narrative function.
    [Show full text]
  • A Marginal Hero: the Representations of Diomedes in the Greek World
    A MARGINAL HERO M.A. Thesis - T. Medeiros; McMaster University - Classics A MARGINAL HERO: THE REPRESENTATIONS OF DIOMEDES IN THE GREEK WORLD By TELMO MEDEIROS, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Telmo Medeiros, September 2012 i M.A. Thesis - T. Medeiros; McMaster University - Classics McMaster University MASTER OF ARTS (2012) Hamilton, Ontario (Classics) TITLE: A Marginal Hero: The Representations of Diomedes in the Greek World AUTHOR: Telmo Medeiros, B.A. (McMaster University) SUPERVISOR: Professor Kathryn Mattison NUMBER OF PAGES: ix, 133 ii M.A. Thesis - T. Medeiros; McMaster University - Classics Abstract The epic hero Diomedes is, in my opinion, considered a marginal hero, as he is relegated to a backbench in ancient Greek thought and ideology. I examine why this is the case, considering his role and impact in Homer's Iliad. Greek society valued its epic heroes beyond the words of the poets, yet some heroes received much more attention that others as central characters in tragedy and iconography, consequently regarded as favourites by mass audiences. I believe that examining a marginal hero like Diomedes is important in order to understand why Greek culture generally disregarded some warriors in favour of others, especially in the case of Diomedes, who displays heroic virtues more evidently than several other heroes who have received more attention. Overall Greek attitudes toward him offer an intriguing perspective on the epic heroes and the ways in which the Greeks idealized them. An examination of Greek literary, visual, and religious spheres of influence effectively aid in determining the reasons behind this phenomenon.
    [Show full text]