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Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
The Odes of Horace
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE CORNELL UNIVERSnV LIBRARY 3 1924 084 679 640 The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924084679640 THE ODES OF HORACE GLADSTONE THE ODES OF HORACE TRANSLATED INTO ENGLISH BY W. E. GLADSTONE ^ > ((nil I J CHARLES SCRIBNER'S SONS NEW YORK MDCCCXCIV COPVRIGHTi' 1894, EY_^ CHARLES SCRIBNER'S SONS TROW DIREOTORY PRINTINQ AND BOOKBINDING COMPANY NEW YORK PREFACE The Translations of the Horatian Odes already- known to the public are numerous ; and their stand- ard is not mean ; so that the question may fairly be put, Why add to the number? and that question is entitled to receive an answer. My answer for the present is as follows. There is, in my view, one special necessity of translation from Horace, which has, so far as I know, hereto- fore received in many quarters what seems to me a very inadequate share of attention; that is to say, the necessity of compression. So far as I am aware, Milton in earlier days, and Conington in our own, are conspicuous exceptions, but are almost the only exceptions, to this observation. And without com- pression, in my opinion, a translation from Horace, whatever its other merits may be, ceases to be Horatian: ceases, that is, to represent the original. It also ceases to represent the author, who, more per- ; VI PREFACE haps than any writer among the ancients, has re- vealed his personality in his works: a personality highly interesting, and yet more signally instructive. -
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. -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11. -
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. -
The Argonautica
The Argonautica Apollonius Rhodius Project Gutenberg Etext of The Argonautica by Apollonius Rhodius Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. The Argonautica by Apollonius Rhodius February, 1997 [Etext #830] Project Gutenberg Etext of The Argonautica by Apollonius Rhodius *****This file should be named 1argn10.txt or 1argn10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, 1argn11.txt. VERSIONS based on separate sources get new LETTER, 1argn10a.txt. This electronic edition was edited, proofed, and prepared by Douglas B. Killings ([email protected]), January 1997. We are now trying to release all our books one month in advance of the official release dates, for time for better editing. Please note: neither this list nor its contents are final till midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Recognition and its Dilemmas in Roman Epic Permalink https://escholarship.org/uc/item/4hn808p4 Author Librandi, Diana Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Recognition and its Dilemmas in Roman Epic A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics by Diana Librandi 2021 © Copyright by Diana Librandi 2021 ABSTRACT OF THE DISSERTATION Recognition and its Dilemmas in Roman Epic by Diana Librandi Doctor of Philosophy in Classics University of California, Los Angeles, 2021 Professor Francesca Katherine Martelli, Chair The present dissertation examines the widespread presence of tropes of tragic recognition in Roman epic poetry from an interdisciplinary perspective. I argue that Roman epic poets draw at once on tragedy and ancient philosophy to address the cognitive instability generated by civil war, an event which recurrently marks the history of Rome since its foundation. When civil conflicts arise, the shifting categories of friend and enemy, kin and stranger, victor and vanquished, generate a constant renegotiation of individual identities and interpersonal relationships. It is in light of these destabilizing changes that I interpret the Roman epic trend of pairing civil war narratives with instances of tragic recognition. Far from working exclusively as a plot device or as a marker of the interaction between the genres of epic and tragedy, tropes of tragic recognition in Roman epic are conducive to exploring the epistemological and ethical dilemmas posed by civil war. -
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. -
The Etymology of Ferus/Fera in Virgil
The Etymology of ferus/fera in Virgil NEIL ADKIN The recent and very substantial study of Virgil’s animal similes by Fra- tantuono expresses surprise at the inspecificity of fera in Aeneid 9,5511. This passage may be cited in full: isque [sc. Helenor] ubi se Turni media inter milia vidit, 550 hinc acies atque hinc acies astare Latinas, ut fera, quae densa venantum saepta corona contra tela furit seseque haud nescia morti inicit et saltu supra venabula fertur – haud aliter iuvenis medios moriturus in hostis 555 inruit (Aen. 9,549-555). Fratantuono’s surprise at the unique unspecificness of fera here is shared by this book’s most recent commentator2, who is additionally dis- comfited by Virgil’s depiction of the beast’s jump as apparently successful, though both reader and beast know it will die. Such fishiness can be shown to be a signal that Virgil is etymologizing3. This is evidently the case here as well. Ferus/fera was etymologized from feror4. Fera…fertur frames this tristichic simile: such «framing» is an etymological marker5. ___________ 1 Fratantuono 2012-13, 82: «This is the only animal simile in the epic where the zoological referent is left unidentified». He makes the same surprised observa- tion re this same theronymical nonspecificity on p. 99. 2 Dingel 1997, 208. 3 Cf. Adkin 2006; Adkin 2007; Adkin 2009a; Adkin 2011; Adkin 2016a; Adkin 2016b. 4 Cf. Maltby 1991, 228 (s. v. fera; citing inter al. Serv. Aen. 1,215: feras dicimus aut quod omni corpore feruntur aut quod naturali utuntur libertate et pro desiderio suo feruntur) and 230 (s. -
The Argonautica
The Argonautica Apollonius Rhodius The Argonautica Table of Contents The Argonautica........................................................................................................................................................1 Apollonius Rhodius........................................................................................................................................1 INTRODUCTION.........................................................................................................................................1 BOOK I..........................................................................................................................................................3 BOOK II.......................................................................................................................................................20 BOOK III.....................................................................................................................................................36 BOOK IV.....................................................................................................................................................52 i The Argonautica Apollonius Rhodius Translation by R.C. Seaton, 1912. INTRODUCTION Much has been written about the chronology of Alexandrian literature and the famous Library, founded by Ptolemy Soter, but the dates of the chief writers are still matters of conjecture. The birth of Apollonius Rhodius is placed by scholars at various times between 296 and 260 B.C., while -
O Oceanids (Ὠκεανίδες). the 'Holy Company' of Daughters of *Ocean and *Tethys, and Sisters of the River-Gods. Their N
O Oceanids (Ὠκεανίδες). The 'holy company' of daughters of *Ocean and *Tethys, and sisters of the river-gods. Their number varies, but Apollodorus names seven (Asia, *Styx, Electra, Doris, Eurynome, *Amphitrite, *Metis) and Hesiod forty-one, including, in addition to those mentioned by Apollodorus, *Calypso *Clymene and Philyra. Most of those named mated with gods (Amphitrite with Poseidon, Doris with Nereus for example) and produced important offspring (Athena was born from Metis and Zeus, Philyra mated with Kronos in the form of a horse and produced the centaur Chiron, Clymene was the mother of Prometheus, and also bore Phaethon to Helius the sun-god.). The sons of Ocean were the fresh-water rivers, but some of the daughters were sea-nymphs, others spirits of streams called after a characteristic of their water such as Ocyrrhoe ('swift-flowing') or Xanthe ('brownish-yellow'); Styx, unusually, was a female river deity, personifying the river of Hades. Calypso ruled over the island kingdom of Ogygia (but her parentage as a true Oceanid is disputed). Metis had the ability, common to sea-gods, of being able to change her shape, although she was little more than the personification of wisdom, swallowed by Zeus in order to absorb that wisdom and to contain any threat from the child with whom she was pregnant. Oceanids feature as the chorus in Prometheus Bound, a tragedy which is set at the north-eastern edge of the known world, and at a time before Zeus had consolidated his power. The Oceanids were part of the older, pre-Olympian race of gods, who had a role as consorts or mothers of other divinities, but were more often viewed anonymously as belonging to the vastness of the sea, to be placated in times of storm and turbulence.