Caesar, Succession, and the Chastisement of Rulers Patrick Martin
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The Formulaic Dynamics of Character Behavior in Lucan Howard Chen
Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Howard Chen All rights reserved ABSTRACT Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen This dissertation analyzes the three main protagonists of Lucan’s Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the “formula.” Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan’s poem as well as the presence of an underlying drive that unites its fractured world. Table of Contents Acknowledgments ............................................................................................................ vi Introduction ...................................................................................................................... -
First Triumvirate and Rise of Octavian BY: Jake, Eliza and Maheen First Triumvirate
First Triumvirate and Rise of Octavian BY: Jake, Eliza and Maheen First Triumvirate • An alliance of the three most powerful men in Rome, Marcus Licinus Crassus, Gaius Julius Caesar, and Gneaus Pompey Magnus. Rome was in chaos and the 3 seized control of the Republic. • The three would dominate Roman politics for personal gains throughout the territories of the Republic. Julius Caesar • In Rome, Julius Caesar was elected as the tribune of the Plebs, military tribune, and governor of many provinces throughout the Republic. • Believed Crassus helped Julius Caesar win the election to become the Propraetor or governor of Hispania in 63 B.C.E. • Julius returned to Rome after his term as governor. Caesar had a business or political agreement with Pompey and Crassus in 60 B.C.E. Caesar was the consul while Pompey and Crassus were in the senate. • Created the First Triumvirate • After his term, Julius was in deeply in debt politically and financially to Crassus and desperately needed to raise money. Marcus Crassus • Crassus was the richest man in all the Roman Republic. He was sharp and clever in Roman politics. He would be a senator and even become consul a few times. • He was a mentor to Julius Caesar in his early career. • Gained much fame during the Spartacus rebellion but much of it was stolen by Pompey. • He was a longtime rival to Pompey Magnus and this would be his eventually downfall. He would ally with Caesar and Pompey, but strived for military victory over Pompey. He went to Parthia where he was defeated at Carrhae. -
Ancient Battles Guido Beltramini
Ancient Battles Guido Beltramini In 1575 Palladio published an illustrated Italian edition of Julius Caesar’s Commentaries. Five years later, his death halted the publication of Polybius’ Histories, which included forty-three engravings showing armies deployed at various battles: from Cannae to Zamas, Mantinea and Cynoscephalae. At the height of his career, Palladio invested time, energy and money into two publishing ventures far removed from architecture. In fact the two publications were part of a world of military matters which had attracted Palladio’s interest since his youth, when it formed an integral part of his education undertaken by Giangiorgio Trissino. As John Hale has shown, sixteenth-century Venice was one of the most active centres in Europe for military publications dealing with matters such as fortifications, tactics, artillery, fencing and even medicine. The distinguishing element in the Venetian production of such books was the widespread belief in the importance of the example of the Classical Greek and Roman writers, shared by men of letters and professional soldiers. This was combined with particular care shown towards the reader. The books were supplemented with tables of contents, indices, marginal notes and even accompanied by the publication of compendia illustrating the texts, such as the series entitled Gioie (‘Gems’) which Gabriele Giolito published from 1557 to 1570 (Hale 1980, pp. 257-268). Fig 1: Valerio Chiericati, manuscript of Della Many of the leading players in this milieu were linked to Trissino, albeit Milizia. Venice, Museo Correr, MS 883 in different ways: cultivated soldiers like Giovan Jacopo Leonardi, the Vicentine Valerio Chiericati (fig. -
LUCAN's CHARACTERIZATION of CAESAR THROUGH SPEECH By
LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY (Under the Direction of Thomas Biggs) ABSTRACT This thesis examines Caesar’s three extended battle exhortations in Lucan’s Bellum Civile (1.299-351, 5.319-364, 7.250-329) and the speeches that accompany them in an effort to discover patterns in the character’s speech. Lucan did not seem to develop a specific Caesarian style of speech, but he does make an effort to show the changing relationship between the General and his soldiers in the three scenes analyzed. The troops, initially under the spell of madness that pervades the poem, rebel. Caesar, through speech, is able to bring them into line. Caesar caters to the soldiers’ interests and egos and crafts his speeches in order to keep his army working together. INDEX WORDS: Lucan, Caesar, Bellum Civile, Pharsalia, Cohortatio, Battle Exhortation, Latin Literature LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY B.A., The College of Wooster, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2016 © 2016 Elizabeth Talbot Neely All Rights Reserved LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY Major Professor: Thomas Biggs Committee: Christine Albright John Nicholson Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 iv TABLE OF CONTENTS Page CHAPTER 1 INTRODUCTION .........................................................................................................1 -
University Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meaht to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Reception of Cato Uticensis and the Confederate Lost Cause
The Reception of Cato Uticensis and the Confederate Lost Cause On June 4, 1914, the 106th anniversary of former Confederate President Jefferson Davis’ birth, sculptor Moses Ezekiel’s monument to the Confederacy, called New South, was unveiled in Arlington National Cemetery in Washington, DC. The monument is full of references to the ancient Roman world, especially in its sculptural style and the presence of a godly, pseudo- Minerva figure representing the New South. More curiously, Ezekiel inscribed the following quote from Book I of Lucan’s Pharsalia onto the monument underneath the seal of the Confederacy: “uictrix causa deis placuit sed uicta Catoni.” What does Cato have to do with the Lost Cause? Cato Uticensis was a Roman statesman, moralist, general, and avid defender of the Republic. Though he disliked both Pompey and Julius Caesar, he fought with Pompey against Caesar during the Civil War from 49 to 46 BCE. He became the de facto leader against Caesar after Pompey’s death in 48 but committed suicide in Utica after Caesar’s victory at Thrapsus. Robert Goar’s text detailing generally how a ‘legend’ formed around Cato in literature after his death from the first century BCE to the fifth century CE serves as the point of departure for this paper (Goar 1987). Goar concisely analyzes how the myth of Cato was adopted and transformed over time but does not analyze the impact or effects of this myth. The primary concern of this paper is on the legend’s impact— almost two millennia later. This paper explores the reception of the myths of both Cato Uticensis and his ancestor Cato Censorius by antebellum and postbellum Southern white Americans. -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013). -
Julius Caesar
DISCOVERY GUIDE 2009 Julius Caesar Directed by Robert Currier Costume Design - Claire Townsend Set Design - Mark Robinson Lighting Design - Ellen Brooks Properties Design - Joel Eis Stage Manager - Allison Ward Producer - Lesley Currier Discovery Guide written by Luis Araquistain www.marinshakespeare.org 415/499-4488 Welcome to the Discovery Guide for Julius Caesar Introduction---------------------------------------------------- Marin Shakespeare Company is thrilled to present Shakespeare’s riveting historical drama, Julius Caesar. As one of Shakespeare’s most notable and often quoted plays (“Et tu, Brute?”), this show makes an intriguing introduction to ‘the Bard’ for students who are new to Shakespeare and an action-packed re-introduction for students already familiar with Shakespeare’s plays. The story is both an exciting adventure, as well as a portrait of political greatness in action, with lessons to teach about ancient Rome and the world today. This DISCOVERY GUIDE will provide you with some background on the play, explanations of characters and plot lines and pre- and post-show activities, exercises and discussion questions for further deepen your theatre-going experience! Let us know if this DISCOVERY GUIDE is helpful ([email protected])! Enjoy! Contents---------------------------------------------------------- PAGE 1 Discover: the origins of the play PAGES 2 - 4 Discover: the characters (including actor headshots) PAGES 4 - 7 Discover: the story of the play (or hear a recording at marinshakespeare.org) PAGE 8 Discover: -
Anatomizing Civil War
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Anatomizing Civil War Anatomizing Civil War Studies in Lucan’s Epic Technique • Martin T. Dinter The University of Michigan Press Ann Arbor Copyright © Martin T. Dinter 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2015 2014 2013 2012 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Dinter, Martin T. Anatomizing Civil War : studies in Lucan’s epic technique / Martin Dinter. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11850- 2 (hardback) — ISBN 978- 0- 472- 02871- 9 (e- book) 1. Lucan, 39– 65. Pharsalia. 2. Lucan, 39– 65— Technique. 3. Epic poetry, Latin— History and criticism. 4. Rome— History— Civil War, 49– 45 B.C.— Literature and the war. I. Title. PA6480.D56 2012 873'.01— dc23 2012042614 parentibus optimis Acknowledgments • With great pleasure I thank the following institutions for their kind and gener- ous support in the course of my research: DAAD, Cusanuswerk— bischöfliche Studienförderung e.V., University of Heidelberg-C ambridge Programme, AHRC, St. John’s College Benefactor Scholarships, The Cambridge European Trust, The Jebb Fund, The Kurt Hahn Trust, The Fondation Hardt. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Oracula Mortis in the Pharsalia
Loyola University Chicago Loyola eCommons Classical Studies: Faculty Publications and Other Works Faculty Publications 7-1977 Oracula Mortis in the Pharsalia John F. Makowski Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/classicalstudies_facpubs Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Literature and Philology Commons Recommended Citation Makowski, JF. "Oracula Mortis in the Pharsalia" in Classical Philology 72(3), 1977. 193-202. This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in Classical Studies: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © University of Chicago Press, 1997. ORACULA MORTIS IN THE PHARSALIA JOHN F. MAKOWSKI A LTHOUGH it departsfrom epic conventionin manyways, most notably in the rejection of the deorumministeria, the Pharsalia adheresto tra- dition in the matter of oracles and contains three visitations to a seat of prophecy. Appius goes to Delphi (5. 67-236), Sextus Pompeius to the Thessalian witch Erichtho (6. 413-830), and Cato to the temple of Jupiter Hammon (9. 511-86). The obvious similarities of the situations invite com- parison, but no one has as yet attempted to analyze them as a unit.' Such a study, however, will be fruitful because the three episodes have more in common than first meets the eye. For they all develop a number of themes which are central to the epic, and taken together, they constitute a tripartite statement on the place of foreknowledge,on man's relationship to the gods, and on the meaning of death. -
ANNE BARTON Anne Barton 1933–2013
ANNE BARTON Anne Barton 1933–2013 IN 1953 SHAKESPEARE QUARTERLY, then, as now, one of the two leading academic Shakespeare journals in the world, published an article concisely titled ‘Love’s Labour’s Lost’.1 The list of contributors identified the author as ‘Miss Bobbyann Roesen, a Senior at Bryn Mawr’, who ‘is the first under- graduate to contribute an essay to Shakespeare Quarterly. She attended the Shakespeare Institute at Stratford-upon-Avon in the summer of 1952 and hopes to pursue graduate studies in Renaissance literature at Oxford or Cambridge.’2 Looking back forty years later, the former Miss Roesen, now Anne Barton, had ‘a few qualms and misgivings’ about reprinting the article in a collection of some of her pieces. As usual, her estimate of her own work was accurate, if too modest: As an essay drawing fresh attention to a play extraordinarily neglected or mis- represented before that date, it does not seem to me negligible. Both its high estimate of the comedy and the particular reading it advances are things in which I still believe. But, however influential it may have been, it is now a period piece, written in a style all too redolent of a youthful passion for Walter Pater.3 Undoubtedly influential and far from negligible, the article not only continues to read well, for all its Paterisms, but also continues to seem an extraordinary accomplishment for an undergraduate. There is, through- out, a remarkable ability to close-read Shakespeare carefully and with sus- tained sensitivity, to see how the language is working on the page and how 1 Bobbyann Roesen, ‘Love’s Labour’s Lost’, Shakespeare Quarterly, 4 (1953), 411–26.