The Argonautica
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The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
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). -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
The Birds and Plato's Symposium.Pdf
Baquerizo 1 Olivia M. Baquerizo ([email protected]) CAMWS 2021, Plato Panel Fordham Univeristy Friday, April 9 Aetiologies of Eros: The Birds and Plato’s Symposium abstract: https://camws.org/sites/default/files/meeting2021/abstracts/2389AetiologiesofEros.pdf Ephialtes and Otus in the Platonic Aristophanes’ Speech 1. Ephialtes and Otus in the Symposium (190b.5-190c) trans. Nehamas and Woodruff ἦν οὖν τὴν ἰσχὺν δεινὰ καὶ τὴν ῥώμην, καὶ τὰ In strength and power, therefore, they were φρονήματα μεγάλα εἶχον, ἐπεχείρησαν δὲ τοῖς θεοῖς, terrible, and they had great ambitions. They καὶ ὃ λέγει Ὅμηρος περὶ Ἐφιάλτου τε καὶ Ὤτου, περὶ made an attempt on the gods, and homer’s ἐκείνων λέγεται, τὸ εἰς τὸν οὐρανὸν ἀνάβασιν story about Ephiatles and Otus was ἐπιχειρεῖν ποιεῖν, ὡς ἐπιθησομένων τοῖς θεοῖς originally about them: how they tried to make an ascent to heaven so as to attack the gods. 2. Ephialtes and Otus in the Odyssey (11.306-20) trans. A. S. kline τὴν δὲ μετ᾽ Ἰφιμέδειαν, Ἀλωῆος παράκοιτιν Next I saw Iphimedeia, Aloeus’ wife, who εἴσιδον, ἣ δὴ φάσκε Ποσειδάωνι μιγῆναι, claimed she had slept with Poseidon. She καί ῥ᾽ ἔτεκεν δύο παῖδε, μινυνθαδίω δ᾽ ἐγενέσθην, too bore twins, short-lived, godlike Otus and Ὦτόν τ᾽ ἀντίθεον τηλεκλειτόν τ᾽ Ἐφιάλτην, famous Ephialtes, the tallest most handsome οὓς δὴ μηκίστους θρέψε ζείδωρος ἄρουρα men by far, bar great Orion, whom the καὶ πολὺ καλλίστους μετά γε κλυτὸν Ὠρίωνα: 310 fertile Earth ever nourished. They were ἐννέωροι γὰρ τοί γε καὶ ἐννεαπήχεες ἦσαν fifteen feet wide, and fifty feet high at nine εὖρος, ἀτὰρ μῆκός γε γενέσθην ἐννεόργυιοι. -
Gods of the Silver Screen: Cinematic Representations of Myth and Divinity Lloyd Llewellyn-Jones
Ogden / Companion to Greek Religion 1405120541_4_027 Final Proof page 421 17.11.2006 4:50pm A Companion to Greek Religion Edited by Daniel Ogden Copyright © 2007 by Blackwell Publishing Ltd PART IX Epilogue Ogden / Companion to Greek Religion 1405120541_4_027 Final Proof page 423 17.11.2006 4:50pm A Companion to Greek Religion Edited by Daniel Ogden Copyright © 2007 by Blackwell Publishing Ltd CHAPTER TWENTY-SEVEN Gods of the Silver Screen: Cinematic Representations of Myth and Divinity Lloyd Llewellyn-Jones Ever since cinema’s infancy, myth – and Greek mythology in particular – has been a mainstay of cinematic output, in that films either incorporate mythological names or characters in their titles – The Andromeda Strain (dir. Wise, 1971), The Poseidon Adventure (dir. Neame, 1972), Black Narcissus (dir. Powell, 1947) – or else recreate episodes from classical mythology. Jon Solomon estimates that there have been over eighty mythological movies made by American and European film studios to date, proving that movie producers are keen to mine the depths of classical myth for screen materials (Solomon 2001:101). The release of films like Disney’s animated feature Hercules (dir. Clements and Musker, 1997) and the blockbuster Troy (dir. Petersen, 2004) demonstrates that Greek mythology continues to play a significant role in the construction of ancient history in mass popular culture. As Martin Winkler puts it: Ancient myths and archetypes recurring in films attest to the vitality of our own cultural tradition. Retellings of classical stories on film show that filmmakers have used the ancient material consciously in order to comment on their own times or that they unconsciously reflect cultural trends. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
The 'Trial by Water' in Greek Myth and Literature
Leeds International Classical Studies 7.1 (2008) ISSN 1477-3643 (http://www.leeds.ac.uk/classics/lics/) © Fiona McHardy The ‘trial by water’ in Greek myth and literature FIONA MCHARDY (ROEHAMPTON UNIVERSITY) ABSTRACT: This paper discusses the theme of casting ‘unchaste’ women into the sea as a punishment in Greek myth and literature. Particular focus will be given to the stories of Danaë, Augë, Aerope and Phronime, who are all depicted suffering this punishment at the hands of their fathers. While Seaford (1990) has emphasized the theme of imprisonment which occurs in some of the stories involving the ‘floating chest’, I turn my attention instead to the theme of the sea. The coincidence in these stories of the threat of drowning for apparent promiscuity or sexual impurity with the escape of those girls who are innocent can be explained by the phenomenon of the ‘trial by water’ as evidenced in Babylonian and other early law codes (cf. Glotz 1904). Further evidence for this theory can be found in ancient novels where the trial of the heroine for sexual purity is often a key theme. The significance of chastity in the myths and in Athenian society is central to understanding the story patterns. The interrelationship of mythic and social ideals is drawn out in the paper. This paper examines the punishment of ‘unchaste’ women in Greek myth and literature, in particular their representation in Euripides’ fragmentary Augë, Cretan Women and Danaë. My focus is on punishments involving the sea, where it is possible to discern two interrelated strands in the tales.1 The first strand involves an angry parent condemning an errant daughter to be cast into the sea with the intention of drowning her. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Download Horace: the SATIRES, EPISTLES and ARS POETICA
+RUDFH 4XLQWXV+RUDWLXV)ODFFXV 7KH6DWLUHV(SLVWOHVDQG$UV3RHWLFD Translated by A. S. Kline ã2005 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non- commercial purpose. &RQWHQWV Satires: Book I Satire I - On Discontent............................11 BkISatI:1-22 Everyone is discontented with their lot .......11 BkISatI:23-60 All work to make themselves rich, but why? ..........................................................................................12 BkISatI:61-91 The miseries of the wealthy.......................13 BkISatI:92-121 Set a limit to your desire for riches..........14 Satires: Book I Satire II – On Extremism .........................16 BkISatII:1-22 When it comes to money men practise extremes............................................................................16 BkISatII:23-46 And in sexual matters some prefer adultery ..........................................................................................17 BkISatII:47-63 While others avoid wives like the plague.17 BkISatII:64-85 The sin’s the same, but wives are more trouble...............................................................................18 BkISatII:86-110 Wives present endless obstacles.............19 BkISatII:111-134 No married women for me!..................20 Satires: Book I Satire III – On Tolerance..........................22 BkISatIII:1-24 Tigellius the Singer’s faults......................22 BkISatIII:25-54 Where is our tolerance though? ..............23 BkISatIII:55-75 -
Jason and the Golden Fleece by Max I
Jason and the Golden Fleece By Max I. A long time ago, a child named Jason was born in the small kingdom of Iolcus, which was in Northern Greece. He was born before actual Greek history, in a time where Gods and heroes still existed. He was the son of King Aeson, who ruled Iolcus fairly and justly. His mother was descended from Poseidon, the god of the sea. Therefore, Jason had royal blood and divine blood as well. Jason grew up to be a good looking and good-natured boy. He was polite to everybody and everybody liked him. And everybody knew that Jason would inherit the throne of Iolcus. He was a good friend of Max, who was a foreigner from Colchis. In fact, he was one of the most valuable people on the journey because he was from where the Golden Fleece was hidden. 10 years before Jason was born, a king and queen called Athamas and Nephele ruled in Northern Greece. However, king Athamas grew tired of his kind, virtuous queen, and sent her away so he could marry a cruel woman named Ino. However, Ino was so cruel she resolved to murder the king’s children, as she was mad after a argument with Athamas. Queen Nephele rushed back to save her children and enlisted the help of the God Hermes. Hermes created a massive golden ram to carry the two children to safety. Their names were Phrixus and Helle. The Ram carried them all the way to Colchis, where they could seek shelter. However, as they were flying over a great river that separates Europe from Asia, Helle fell off the Ram to her death.