DOCSLIB.ORG

The Hymns of Gregory of Nazianzus and Their Place in The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Hymns of Gregory of Nazianzus and their Place in the History of Greek and Early Christian Hymnography (Le. ~.1.1.29-t.1.38 and 2.1.38 in Migne, PG 37 cols 507-22 and 1325-29) by Vassiliki Frangeskou .,A.I Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Classics December, 1984 Abstract The present research concerns some hymns attributed to Gregory Nazianzen: ~.1.1.29-1.1.38 and 2.1.38 (M.37. cols 507-22 and 1325- 29). The primary aim in the examination of these poems is to see their position in the Greek and early Christian hymnographical tradi- tion. To fulfil this in the best possible way it seemed necessary to spend the first part of the InUbduction on surveying very briefly: a) the definition of the term u~vos as this is used in Greek literature and the various types of Greek pagan hymns, b) the extant examples of them in a chronological order with particular emphasis on the hexa- meter hymns"and c)the form and content of these hymns. To these I have added a very brief history of the extant early Christian hymns, placing particular emphasis on hymns written in quantitative metres. The second part of the Inttbduction is spent on general observations with regard to the language, style, content and metre of the hymns under discussion, in order to give the reader a general view of these hymns as a group and allow him to see the degree of the poet's conformity to traditional'Greek practice, particularly with_ regard to his usage of the hexameter. The text of the hymns in the form it appears in the Migne edition is unreliable in a number of cases, and so I decided to attempt to produce a critical edition based on the extant MSS. The main body of the research consists of a commentary on these hymns since I considered a commentary to be the best way to analyse these poems and show their place in the literary genre to which they belong. Since the authenticity of some of these hymns is disputed, I place particular emphasis in the commentary on parallel expressions and ideas from genuine Gregorian works in order to support their authenticity. Contents Acknowledgements Lists of Abbreviations 2- 9 I. Introduction 1. Brief Account on Gregorian Studies 10- 12 2.a) Definition of the Term vY~vos and,Types of it b) Brief History of Greek Pagan Hymnography c) The Form and Content of the Greek Pagan Hymn 13- 31 3.a) Brief History of Early Christian Hymnography b) The Meaning, Form and Content of Early Christian Hymns 32- 38 4. Language, Style and Content of the Uregorian' Hymns 39- 49 5. Metre 50- 62 6. Manuscripts 63- 83 7. Editions 84- 88 II. Text 89-104 III. Commentary 105-106 1. Carmina 1.1.33 - 1.1.35 106-161 2. Carmina 1.1.36 - 1.1.38 (and 2.1.22.1-12, 2.1.3) 162-201 3. Carmina 2.1.38, 1.1.31 202-255 4. Carmina 1.1.30, 1.1.32 256-303 5. Carmen 1.1.29 304-343 IV. Appendices: I. ' Metre: Tables 1-7 344-347 II. Table of Editions 348 III.Gregory's Techniques in Verse- Composition 349-351 IV. Table of Main Features of the 'Gregorian' Hymns 352-354 V. Select .Bibliography 355-363 1 Acknowledgements The present research was undertaken in the School of Classics thanks to the generous research sholarship from the University of Leeds. Further financial assistance during my first year of studies came from Alexander Onassis Foundation. To both contributors to my financial status I must here record a great debt. To my supervisor, Dr H. B. Gottschalk lowe an unceasing and stimulating guidance and supervision throughout the course of the present research which enabled me to overcome the various difficult- ies arising from it and at the same time helped me to avoid mistakes and inconsistencies due to my insufficient knowledge of this research area and of the ways of conducting research during the early stages of my studies. I am, therefore, particularly grateful to him. My warmest thanks are also due to all the members of staff of the School of Classics for creating the atm~here needed for the fulfilment of this study under favourable circumstances. The prompt completion of my thesis would not have been possible if the assistants of the Brotherton Library had not been so co-operative and helpful, particularly those at the Interlibrary Loans Desk who showed great eagerness, despite the frequency of demand, in ordering the majority of the bibliography needed for my research from other Universities in England and abroad. 2 List of Abbreviations a) Collections of Pagan Works CAF = Comicorum Atticorum Fragmenta, 3 vols, edited by T.Kock (Leipzig, 1880-88) Coll.Alex. = Collectanea Alexandrina, edited by J.U.Powell (Oxford: Clarendon Press, 1925) FGH = Fragmente der griechischen Historiker, edited by F.Jacoby (Berlin, 1923-) Heitsch = Die griechischen Dichterfragmente der RBmischen Kaiserzei t, edited by E. Heitsch, Abhandlungen der Akademie der Wissen- schaften in GBttingen, philologisch-historische Klasse, series 3, 49, vol.1 (GBttingen: Vandenhoeck-Ruprecht, 1961) IG = Inscriptiones Graecae (further details in LSJ p.xxxix) PLF = Poetarum Lesbiorum Fragmenta, edited by E.Lobel - D.Page (Oxford: Clarendon Press, 1955) PLG = Poetae Lyrici Graeci, edited by T.Bergk, fourth reprint ed., 3vols,3:Poetae Melici (Leipzig: T,1914-15) PPF = Poetarum Philosophorum Fragmenta, edited by H. Diels (Berlin, 1901)· SVF = Stoicorum Veterum Fragmenta, edited by H. von Arnim (Leipzig, 1903) TGF = Tragtcorum Graecorum Fragmenta, edited by A. Nauck, second edition (Leipzig, 1889) Vorsokr.= Fragmente der Vorsokratiker, edited by H. Diels, fourth edition (Berlin,1922) West = Iambi et ElegiGraeci ante Alexandrum Cantati, edited by M.L.West, 2vols (Oxford: Clarendon Press, 1971-72) 3 b) Pagan Authors and Works AP = Anthologia Graeca, books .1-9 edited by P.Waltz (Paris: Les Belles Lettres, 1928-74), book 10 by W.R.Paton, in The Greek Anthology, vol.5 (London: Heinemann,1956),book 11 by R.Aubreton (Paris,1972), books 13-15byF.Btiffiere (P.,1970) API. = Anthologia Planudea, edited by R.Aubreton (Paris: Les Belles Lettres, 1980) Aesch. = Aeschyli, Septem quae supersunt Tragoedias, edited by D. Page (Oxford: Clarendon Press,1972)1 Apoll. Rhod. Argon. = Apollonii Rhodii, Argonavtica, edited by H. FrMnkel (Oxford: Clarendon Press, 1961) Arat. Phaen. = The Phaenomena of Aratus with an English Translation, edited by G.R.Mair (London: Heinemann, 1921) Archiloch. = Archilochus (PLG ii Bergk: see Abbreviations (a)) Aristides orat. = Aelii Aristidis Smyrnaei, quae supersuntomnia, edited py B. Keil, 2vols (Berlin: Weidmann, 1958) Aristoph. = Aristophanes Comicus, edited by V. Couton (Paris: Les Belles Lettres,1924-34) Aristot. hymn.Arete = Aristoteles Philosophus (PLG ii Bergk: see Abbr. (al) Bacchyl.= Bacchylides, The Poems and Fragments, edited with Intodu~io~ Notes and Prose Translation by Sir R.C.Jebb (Cambridge:Univ. Press, 1905) Callim = Callimachus, edited by R.Pfeiffer, 2vols (Oxford: Clarend. Press, 1949-53) and for Hymns the edition by E.Cahen (Paris: Les Belles Lettres,1948) Carm.Pop. = Carmina Popularia (PLG iii Bergk: see Abbr. (a)) Chrysip.= Chrysippus Stoicus (SVF ii, iii Arnim: see Abbr. (a)) -------------------- 1. For titles of individual works of this and other common authors see the list of authors and works in LSJ pp.xviff. 4 Cleanth.~. = Cleanthes Stoicus, Hymnus in Jovem, edited by G. Zuntz, in 'Zum Kleanthes-Hymnus', Harvard Studies in Classical Philology, 63 (1958), 289-308 (pp.301-303) Corp.Herm.= Corpus Hermeticum, 2 vols, edited by A.D.Nock - A.-J. Festugiere (Paris:BL, 1945) Democr. = Democritus Philosophus (H.Diels, Vorsokr., ii: see Abbr.(a)) Empedocl. = Empedocles Poeta Philosophus (PPF H.Diels: see Abbr.(a)) ~. = Epigrammata Graeca ex Lapidibus conlecta, edited by G. Kaibel (Berlin: G.Reimer,1878) Eur. = Euripidis Fabulae, 3 vols, edited by G.Murray (Oxford: Clarendon Press} Heraclit. = Heraclitus Philosophus (H.Diels Vorsokr.i : see Abbr.(a)) Hesiod. fr.= Hesiodus Epicus, Fragment~, edited by Merkelbach -M.L. West ______ IDper.= Hesiod, Works and Days. edited with Prolegomena and Commentary by M.L.West (Oxford: Clarendon Press,1978) ______ Theog.= Hesiod, Theogony, edited with Prolegomena and Commentary by M.L.West (Oxford: Clarendon Press,1966) Hom.~.= The Homeric Hymns, edited by T.W.Allen - W.R.Halliday and E.E.Sikes, second edition (Oxford: Clarendon Press,1936) II. = Ilias. Homeri Opera, edited by D.B.Monro - T.W.Allen, second edition, vols 1-2 (Oxford: Clarendon Press, 1908-) Julian.orat.8 and 11 = The Works of the Emperor Julian with English Translation, by W.C.Wright, vol.1 (London: Heinemann, 191~ Liban. ~.5 = Libanii Opera recensuit R.Foerster, vol.1.1 (Leipzi~ Teubner, 1903) Mag.hymn.---- = Magic Hymns,edited in Abel (see below Orph.Arg.),--- Heitsch (see Abbr.(a)), and Preisendanz, Pap.Mag.Gr.,vol.3 (see below Pap.Mag.Gr.) Marc.Aurel.= Marcus 'Aurelius Imperator, edited by J.H.Leopold (Oxf.) ~ 5 Men.Rhet. = Menander Rhetor, edited with Translation and Commentary by D.A.Russell - N.G.Wilson (Oxf.:Clarendon Press,1981) Mesom. = Mesomedes Lyricus edited by Heitsch: see Abbr. (a) Nonn. = Nonnos, Dionysiaca, edited with English Translation byW.H. D.Rouse ,3JvoJs'o:.ondon:Heinemann, 1940) Od. = Odyssea. Homeri Opera, edited by D.B.Monro - T.W.Allen, second edition, vols 3-4 (Oxf.:Clarend. Press) Olymp. = Olympiodorus, In Platonis Gorgiam Commentaria, edited by L. G.Westerink (Leipzig: Teubner, 1970) Oppian. ~ Oppian, Colluthus, Tryphiodorus, edited with English Trans- lation by A.W.Mair (London: Heinemann, 1928) Orac.Chald. = Oracula Chaldaica, edited by E. des Places (Paris: se 11971) Orph.Arg.
Recommended publications
  • HAY-DISSERTATION-2017.Pdf

    HAY-DISSERTATION-2017.Pdf

    Copyright by Paul Jerome Hay 2017 The Dissertation Committee for Paul Jerome Hay certifies that this is the approved version of the following dissertation: Time, Saecularity, and the First Century BCE Roman World Committee: Andrew Riggsby, Supervisor Penelope Davies Karl Galinsky Ayelet Haimson Lushkov Molly Pasco-Pranger Time, Saecularity, and the First Century BCE Roman World by Paul Jerome Hay, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 To my loving and supportive family Acknowledgements Throughout my career, I have had many sources of encouragement and guidance whose influence helped me reach this stage and to whom I will always be grateful. First of all, my deepest and sincerest thanks go to Andrew Riggsby, whose support has had a profound effect not only on this dissertation, but on my scholarly interests, my approach to research, and my enthusiasm for this field. His patience and thoughtful advice were deeply instrumental to the success of this project, and one of the great joys of my time in this program was the opportunity to work closely with him for the last three years. He has truly served as a role model for how I hope to engage with my own students in the future. I would also like to thank Karl Galinsky and Ayelet Haimson Lushkov, whose mentorship throughout my time in Austin was enormously influential. I spent many hours in their offices discussing my research ideas, as well as my career path in the future as a member of the professoriate.
  • Bacchylides 17: Singing and Usurping the Paean Maria Pavlou

    Bacchylides 17: Singing and Usurping the Paean Maria Pavlou

    Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C.
  • Time and Place, Narrative and Speech in Philicus, Philodamus and Limenius

    Time and Place, Narrative and Speech in Philicus, Philodamus and Limenius

    chapter 5 Time and Place, Narrative and Speech in Philicus, Philodamus and Limenius E.L. Bowie My three chosen subjects may seem unlikely bedfellows: two poets whose epi- graphically preserved hymns were composed for performance in the sanctuary of Apollo at Delphi, Philodamus of Scarpheia and Limenius of Athens; and composing between them chronologically, but treated before them in my dis- cussion, a scholarly figure from the Alexandrian Pleiad, Philicus of Corcyra, of whose hymn to Demeter a third century bc papyrus preserves 62 lines in vari- ous degrees of legibility. Yet their works are all “hymns,” and their diversity will cast some light on the difference that can be found between species of the capa- cious form. My discussion of Philicus will bring out how prominent speeches seem to have been in his hymn, and how its spatial focus was concentrated on three demes of Attica associated with the cult of Demeter and Persephone, Eleusis, Halimous and above all (I propose) Prospalta, a focus that seems to have been matched by his otherwise surprising choice of Attic dialect for his medium. Philicus’ apparent choice of Prospalta for the dramatically presented entry and rhesis of the old woman from Halimous, Iambe, may, I suggest, have related to his use of his hymn to offer an alternative explanation for the origins of aischrologia in the cult of Demeter and perhaps for its place in Attic comedy. By contrast the hymns of Philodamus and Limenius, performed and then inscribed for timeless readers in the sanctuary of Apollo at Delphi, sweep their audiences and viewers along on the whirlwind journeys through Greece performed by the fama and by the persons of the hymned divinities—Dionysus in the case of Philodamus, Apollo in that of Limenius—journeys that end at the navel of the world where the performance and inscription happens, and in Limenius’ poem a journey that is paralleled by the movement from Athens to Delphi of the Pythais that performs it.
  • Remembering Music in Early Greece

    Remembering Music in Early Greece

    REMEMBERING MUSIC IN EARLY GREECE JOHN C. FRANKLIN This paper contemplates various ways that the ancient Greeks preserved information about their musical past. Emphasis is given to the earlier periods and the transition from oral/aural tradition, when self-reflective professional poetry was the primary means of remembering music, to literacy, when festival inscriptions and written poetry could first capture information in at least roughly datable contexts. But the continuing interplay of the oral/aural and written modes during the Archaic and Classical periods also had an impact on the historical record, which from ca. 400 onwards is represented by historiographical fragments. The sources, methods, and motives of these early treatises are also examined, with special attention to Hellanicus of Lesbos and Glaucus of Rhegion. The essay concludes with a few brief comments on Peripatetic historiography and a selective catalogue of music-historiographical titles from the fifth and fourth centuries. INTRODUCTION Greek authors often refer to earlier music.1 Sometimes these details are of first importance for the modern historiography of ancient 1 Editions and translations of classical authors may be found by consulting the article for each in The Oxford Classical Dictionary3. Journal 1 2 JOHN C. FRANKLIN Greek music. Uniquely valuable, for instance, is Herodotus’ allusion to an Argive musical efflorescence in the late sixth century,2 nowhere else explicitly attested (3.131–2). In other cases we learn less about real musical history than an author’s own biases and predilections. Thus Plato describes Egypt as a never-never- land where no innovation was ever permitted in music; it is hard to know whether Plato fabricated this statement out of nothing to support his conservative and ideal society, or is drawing, towards the same end, upon a more widely held impression—obviously superficial—of a foreign, distant culture (Laws 656e–657f).
  • Viereck's Official Greek Sermo Graecus Quo Senatus Populusque

    Viereck's Official Greek Sermo Graecus Quo Senatus Populusque

    The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Viereck's Ofcial Greek Sermo Graecus quo Senatus populusque Romanus magistratusque populi Romani usque ad Tiberii Caesaris aetatem in scriptis publicis usi sunt examinatur: scripsit Paulus Viereck, Dr. Ph. Gottingae, MDCCCLXXXVIII. (5 Mark). E. L. Hicks The Classical Review / Volume 4 / Issue 1-2 / February 1890, pp 37 - 39 DOI: 10.1017/S0009840X00189486, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00189486 How to cite this article: E. L. Hicks (1890). The Classical Review, 4, pp 37-39 doi:10.1017/S0009840X00189486 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 132.239.1.230 on 13 Apr 2015 THE CLASSICAL REVIEW. 37 One advantage of treating Greek and fort and the accent coincide, as in 'rura Latin metres side by side is that the con- manebunt,' ' lumine caelum,' and such like tinuity of development pervading them can common types. But Havet (Metrique, p. 60) be better seen. The way the pentameter will not allow this to have been intentional, forms a connecting link between the Kara and he decides that ' le r61e de 1' accent est arixov and the lyric metres (p. 100), the absolument nul dans la versification latine.' gradual restrictions on its last syllables Weil and Benloew, in their Theorie generate (p. 116), and the slow but subtle influence of de VAccentuation latine (a treatise unfortu- accent (pp.
  • Pindar's Isthmians 3 and 4

    Pindar's Isthmians 3 and 4

    PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Roman Vladimirovich Ivanov May 2010 © 2010 Roman Vladimirovich Ivanov PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY Roman Vladimirovich Ivanov, Ph. D. Cornell University 2010 As pointed out by Richard Hamilton, ‘commentaries on individual odes are arguably the most obvious need in Pindaric scholarship’ (Bryn Mawr Classical Review 1999.01.01). My dissertation is a small step toward satisfying this need. The choice of the Third and Fourth Isthmians has been motivated by the lack of a thorough and up- to-date commentary and by the fact that this pair of odes poses a number of interpretative problems with resonances throughout the entire epinician corpus. The dissertation opens with four essays that address the major problems besetting the interpretation of the two odes. The first, ‘Isthmians 3 and 4: One or Two Poems?’, examines critically the arguments about the relationship between the two poems. Section two, ‘Isthmians 3 and 4: Imitation at the Symposium’, argues that Isthmian 3 is an improvised piece imitating Isthmian 4. On the basis of evidence from Pindar and Bacchylides, I follow J. Strauss Clay in positing the symposium as the most likely performance setting of this poem. Section three, ‘Μοῦσα Ἀυθιγενής: Context and Performance of Short Epinician Odes’, raises doubts about the now orthodox assumption that short epinician odes like Isthmian 3 were performed at the sites of the games and proposes plausible alternative scenarios.
  • A Pilgrimage Through English History and Culture (M-S)

    A Pilgrimage Through English History and Culture (M-S)

    Brigham Young University BYU ScholarsArchive Faculty Publications 2009-05-01 A Pilgrimage Through English History and Culture (M-S) Gary P. Gillum [email protected] Susan Wheelwright O'Connor Alexa Hysi Follow this and additional works at: https://scholarsarchive.byu.edu/facpub Part of the English Language and Literature Commons BYU ScholarsArchive Citation Gillum, Gary P.; O'Connor, Susan Wheelwright; and Hysi, Alexa, "A Pilgrimage Through English History and Culture (M-S)" (2009). Faculty Publications. 11. https://scholarsarchive.byu.edu/facpub/11 This Other is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Faculty Publications by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. 1462 MACHIAVELLI, NICCOLÒ, 1469-1527 Rare 854.318 N416e 1675 The Works of the famous Nicolas Machiavel: citizen and Secretary of Florence. Written Originally in Italian, and from thence newly and faithfully Translated into English London: Printed for J.S., 1675. Description: [24], 529 [21]p. ; 32 cm. References: Wing M128. Subjects: Political science. Political ethics. War. Florence (Italy)--History. Added Author: Neville, Henry, 1620-1694, tr. Contents: -The History of florence.-The Prince.-The original of the Guelf and Ghibilin Factions.-The life of Castruccio Castracani.-The Murther of Vitelli, &c. by Duke Valentino.-The State of France.- The State of Germany.-The Marriage of Belphegor, a Novel.-Nicholas Machiavel's Letter in Vindication of Himself and His Writings. Notes: Printer's device on title-page. Title enclosed within double line rule border. Head pieces. Translated into English by Henry Neville.
  • Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES

    Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES

    Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES NUMBER 7 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) was supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Meta- physics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 Number 6: Donald J. Mastronarde, Preliminary Studies on the Scholia to Euripides, 2017 Early Greek Alchemy, Patronage and Innovation in Late Antiquity Olivier Dufault CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2019 by Olivier Dufault.
  • Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles

    Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles

    Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades.
  • Nikos Skoulikidis.Pdf

    Nikos Skoulikidis.Pdf

    The Handbook of Environmental Chemistry 59 Series Editors: Damià Barceló · Andrey G. Kostianoy Nikos Skoulikidis Elias Dimitriou Ioannis Karaouzas Editors The Rivers of Greece Evolution, Current Status and Perspectives The Handbook of Environmental Chemistry Founded by Otto Hutzinger Editors-in-Chief: Damia Barcelo´ • Andrey G. Kostianoy Volume 59 Advisory Board: Jacob de Boer, Philippe Garrigues, Ji-Dong Gu, Kevin C. Jones, Thomas P. Knepper, Alice Newton, Donald L. Sparks More information about this series at http://www.springer.com/series/698 The Rivers of Greece Evolution, Current Status and Perspectives Volume Editors: Nikos Skoulikidis Á Elias Dimitriou Á Ioannis Karaouzas With contributions by F. Botsou Á N. Chrysoula Á E. Dimitriou Á A.N. Economou Á D. Hela Á N. Kamidis Á I. Karaouzas Á A. Koltsakidou Á I. Konstantinou Á P. Koundouri Á D. Lambropoulou Á L. Maria Á I.D. Mariolakos Á A. Mentzafou Á A. Papadopoulos Á D. Reppas Á M. Scoullos Á V. Skianis Á N. Skoulikidis Á M. Styllas Á G. Sylaios Á C. Theodoropoulos Á L. Vardakas Á S. Zogaris Editors Nikos Skoulikidis Elias Dimitriou Institute of Marine Biological Institute of Marine Biological Resources and Inland Waters Resources and Inland Waters Hellenic Centre for Marine Research Hellenic Centre for Marine Research Anavissos, Greece Anavissos, Greece Ioannis Karaouzas Institute of Marine Biological Resources and Inland Waters Hellenic Centre for Marine Research Anavissos, Greece ISSN 1867-979X ISSN 1616-864X (electronic) The Handbook of Environmental Chemistry ISBN 978-3-662-55367-1 ISBN 978-3-662-55369-5 (eBook) https://doi.org/10.1007/978-3-662-55369-5 Library of Congress Control Number: 2017954950 © Springer-Verlag GmbH Germany 2018 This work is subject to copyright.

  • Mythological Variants Inisidore of Seville's Etymologies

    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Search the GML Mythological Variants in Isidore of Seville's Etymologies advanced Isidoro de Sevilla (c. 560‐636), painting by Bartolomé Esteban Murillo (1618‐ 82). (Image in public domain) Selection of less common variants of the Greek myths in Isidore of Seville's Etymologies Books, chapters and lines in the Namesakes are numbered for identifications purposes as is praxis in the Greek Mythology Link. If a name is not linked, see the Etymologies: Dictionary for further details. Excerpts from Isidore's Etymologies are in red. Sources Abbreviations Achaeus: 9.2.72. "The Achaians, also known as Achivians, were named after Achaeus, son of Jupiter." The eponym of the Achaeans, Achaeus 1, is otherwise known as son of Xuthus 1 & Creusa 1 (Apd.1.7.3; Pau.7.1.6; Strab.8.7.1). Achaeus 2, son of Poseidon & Larisa 1 is also regarded as eponym of the Achaeans (DH.1.17.3). Agenor: 14.4.1. "Europa was the daughter of Agenor, king of Libya, whom Jupiter carried to Crete after she had been abducted from Africa ... This Agenor is the son of Libya, after whom Libya, that is Africa, is said to have been named ..." Usually, Europa is believed to have been abducted in Phoenicia where she was born (Apd.3.1.1). Apollodorus says that Agenor 1 was born in Egypt but departed to Phoenicia where he reigned (2.1.4).
  • The Lyric Chorus in Euripides’ Phoenician Women

    The Lyric Chorus in Euripides’ Phoenician Women

    Paths of Song The Lyric Dimension of Greek Tragedy Edited by Rosa Andújar, Thomas R. P. Coward and Theodora A. Hadjimichael ISBN 978-3-11-057331-2 e-ISBN (PDF) 978-3-11-057591-0 e-ISBN (EPUB) 978-3-11-057399-2 ISSN 1868-4785 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2018 Walter de Gruyter GmbH, Berlin/Boston Editorial Office: Alessia Ferreccio and Katerina Zianna Logo: Christopher Schneider, Laufen Printing: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com TableofContents Abbreviations IX RosaAndújar,ThomasR.P.Coward, and Theodora A. Hadjimichael Introduction 1 I Tragic and LyricPoets in Dialogue P. J. Finglass Stesichorus andGreek Tragedy 19 ThomasR.P.Coward ‘Stesichorean’ Footsteps in the Parodos of Aeschylus’ Agamemnon 39 Pavlos Sfyroeras Pindar at Colonus: ASophoclean Response to Olympians 2and 3 65 Lucia Athanassaki Talking Thalassocracy in Fifth-centuryAthens: From Bacchylides’‘Theseus Odes’ (17 &18) and Cimonian Monuments to Euripides’ Troades 87 II Refiguring Lyric Genres in Tragedy LauraSwift Competing Generic Narratives in Aeschylus’ Oresteia 119 AndreaRodighiero How Sophocles Begins: Reshaping Lyric Genres in Tragic Choruses 137 Anastasia Lazani Constructing