DOCSLIB.ORG

Swan Song for Funeral Elegy It Was Not “Ye Plague”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Swan Song for Funeral Elegy It Was Not “Ye Plague” Vol.1:no.4 "Let me not to the marriage of true minds admit impediments..." Summer 2002 It was not Swan song for Funeral Elegy “Ye Plague” Prof. Donald Foster concedes it’s not by Shakespeare; Oxfordian Richard Kennedy credited in turnaround Oxfordian mythology about the cause of n a stunning turn of events in the author- ship debate, reported in the June 20th de Vere’s death INew York Times, Prof. Donald Foster of Vassar College has thrown in the towel on By Paul Hemenway Altrocchi his controversial 1995 claim to have found, in the 1612 poem A Funeral Elegy (which or more than 80 years Stratfordians, bore “by W.S.” on its title page), a new poem unhampered by their vacuous pre- by William Shakespeare. Fmises and the impenetrable corneal The reason that this story has author- opacities of their unyielding conventional ship overtones is that— as those involved in wisdom, have enjoyed basting and barbecu- the authorship debate back then well ing those who believe in Edward de Vere. know—the story behind the story in 1995- So convinced are Oxfordians, on the 1996 was clearly the circa 1612 composi- other hand, that they are the main reposito- tion date for Elegy, which then—theoreti- ries of Truth—“Vero Nihil Verius”—that cally—put an end to Oxfordian claims that they sometimes fail to police themselves Edward de Vere was Shakespeare. His 1604 with the self-criticism which is essential to death would mean he couldn’t have written hasten the inevitable paradigm shift. Elegy, therefore he couldn’t be Shakespeare. Examples of Oxfordian myths carried Now, however, both Foster and his col- on for decades include the false idea that The first page from the 1612 A Funeral Elegy, league Richard Abrams concede that the Burghley’s daughter, Anne, was “sweet” be- the once-famous, but now infamous, poem cause Burghley said so1, and that Oxfordians (by the mysterious “W.S.”) that Prof. Foster’s poem is most likely by John Ford, and could debate Stratfordian professors with computer said in 1995 was by Shakespeare. credit the work of fellow scholars Prof. such powerful logic that they would “see the This claim was questioned by most Brian Vickers of the Swiss Federal Institute light” and promptly abandon their anoxic Shakespeareans around the world right from of Technology in Zurich, and Prof. Gilles D. hypotheses. the beginning. Yet in just a few years Elegie Monsarrat of the University of Burgundy in A myth is an ill-founded belief held found its way into several prestigious Shake- France, for their concession. Prof. uncritically. This paper describes careless speare collections, whose editors will now Monsarrat’s article in the May Review of research by Oxfordians regarding the cause have to do a quick about-face and get it English Studies, in which he lauds Prof. of Edward de Vere’s death, and its uncritical right back out. Brian Vickers’s work on Elegy (to appear transmittal for three quarters of a century. in an upcoming book), makes the case for Ashbourne story update Ford as the true author. The “Ye Plague” Myth And, in a further authorship twist to this Barbara Burris’s series on the Ash- story, Prof. Vickers credits Oxfordian Rich- B.M. Ward, in his 1928 biography of de bourne portrait story will continue in our ard Kennedy (of Newport, Oregon) as “the Vere2, appears to have initiated the myth next issue (Fall 2002). Meanwhile, check first to identify John Ford as the author of that Oxford died of the plague. Ward states: our Letters page and From the Editors for the poem.” Kennedy had advanced the issue some thoughts and comments about what by his research on the Elegy in 1996 and In the margin of the page in the Parish we have published so far, particularly Part his forceful insistence in several Internet Register in which the burial occurs has been III and the incredible story of how the Shakespeare discussion forums that the written ‘ye Plague.’ It may be that his death Folger Shakespeare Library apparently real author of Elegy was John Ford, a pro- at the age of fifty-four was due to this disease. “engineered” the Hamersley attribution. lific but undistinguished writer of verse— (Continued on page 14) (Continued on page 4) Internet Ed. (©2002, The Shakespeare Fellowship - not for sale or distribution without written consent) page 2 Shakespeare Matters Summer 2002 ing is the wrist ruffs worn by the Ashbourne portrait of Sir Edward Cecil wearing wrist Letters: sitter, which had gone out of fashion by ruffs, painted around 1610, makes it im- mid-1580s, so that the date of 1612 origi- possible to claim that the Ashbourne must nally painted on the picture is an impossi- have been painted before 1585, although of To the Editors: bility. Never having taken much notice of course it may have been. There may be wrist ruffs up till now, I thought I would many good reasons for ruling out Hamer- I enjoyed reading your article look through the only book of Tudor and sley as the sitter for the Ashbourne, but wrist “Smithsonian showdown and New York Jacobean portraits I have. Sure enough, all ruffs are not one of them. Times feature article rock the authorship the sitters after about 1590 were wearing debate,” (Shakespeare Matters, Spring wrist cuffs rather than ruffs—apart that is John M. Rollett 2002) but there is one misrepresentation of from one painted by Michiel Jansz van Ipswich, Suffolk, United Kingdom fact in it, which I am sure is a result of a Miereveld circa 1610, wearing what are 30 June 2002 misunderstanding. You wrote: undoubtedly wrist ruffs. The sitter was Sir Niederkorn’s judicious but sympathetic Edward Cecil, later Viscount Wimbledon. To the Editors: treatment of the Oxford case marks a gigan- The existence of just one person portrayed tic shift in attitude from The New York wearing wrist ruffs so long (25 years) after Thank you for the splendid series on the Times of a few years ago. In comments to the this style had supposedly gone out of fash- Ashbourne portrait. However, a couple of newsletter, Niederkorn underscored that attitudes towards the authorship question ion is enough to show that the Ashbourne points in Ms. Burris’s Part III account have shifted throughout the institution. could also have been painted around 1610, (Shakespeare Matters, Spring 2002) that and removes one of the cornerstones of my p. 9 statement did not cover deserve I have no knowledge of any shift of Barbara Burris’s argument. Moreover, this clarification. attitudes throughout The Times. What I portrait was painted in Holland; as a suc- On p. 16 Ms. Burris asks, “If this were tried to underscore in reply to questions on cessful London merchant, it is not improb- truly a blind search,” how could Helen Cyr Oxford Day was that the thinking at The able that Hamersley would visit Holland know that the 1687 date listed “was a typo- Times is not monolithic. Articles appear all now and again on business, and therefore graphical error?” The answer is simple. She the time depicting the different sides of possible that he was painted during such a did not know and as Ms. Burris’s narrative various issues. Every writer brings an indi- visit, especially as the best Dutch painters makes clear, Helen continued the search vidual perspective to every piece, and edi- were regarded as superior to any in within the time available. tors bring individual perspectives as well. England. As it happens, Cornelius Ketel My 1979 statement (in the summer 1979 Skepticism is a hallmark of journal- returned to Holland in 1581, and died Shakespeare Oxford Society Newsletter) ism. The old adage to young writers in the in 1616. that 1687 was a “typographical error” is news business is, “If your mother says she It seems to me that the existence of this patently an ex post facto deduction from loves you, check it out.” If anything, skep- ticism was the natural reaction to the sub- ject of my article by my colleagues at The Subscriptions to Shakespeare Matters are Times, not credulity. Come to think of it, Shakespeare Matters Published quarterly by the $30 per year ($15 for online issues only). Oxfordians I’ve met are more prone to The Shakespeare Fellowship Family or institution subscriptions are $45 per skepticism than credulity, too. year. Patrons of the Fellowship are $75 and up. Editorial Offices Send subscription requests to: William S. Niederkorn P.O. Box 263 The Shakespeare Fellowship The New York Times Somerville, MA 02143 P.O. Box 561 New York, NY Belmont MA 02478 29 May 2002 Co-Editors: Dr. Roger Stritmatter, William Boyle The purpose of the Shakespeare Fellowship To the Editors: is to promote public awareness and acceptance Contributing Editors: of the authorship of the Shakespeare Canon by Mark Anderson, Dr. Charles Berney, Edward de Vere, 17th Earl of Oxford (1550- Barbara Burris’s researches into the Charles Boyle, Dr. Felicia Londre, 1604), and further to encourage a high level of Ashbourne portrait make fascinating read- Alex McNeil, Dr. Anne Pluto, scholarly research and publication into all Elisabeth Sears, Richard Whalen, ing (Shakespeare Matters Vol. 1, nos.1, 2 aspects of Shakespeare studies, and also into the Hank Whittemore, Dr. Daniel Wright history and culture of the Elizabethan era. and 3), revealing evidence of apparent skull- The Society was founded and incorporated duggery committed by the Folger authori- Phone (Somerville, MA): (617) 628-3411 Phone (Northampton, MA): (413) 585-8610 in 2001 in the State of Massachusetts and is ties on several occasions.
Load more

Recommended publications
  • The Emperor's New Clothes, Or, on Flattery and Ecomium in the Silvae
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2013 The Emperor's New Clothes, or, on Flattery and Ecomium in the Silvae Cynthia Damon University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classics Commons, and the Near Eastern Languages and Societies Commons Recommended Citation (OVERRIDE) Damon, C. (2013). The emperor's new clothes, or, on flattery and ecomium in the silvae. In J. F. Miller, C. Damon, & K. S. Myers Vertis in usum (pp. 174-188). München : Leipzig : Saur. DOI: 10.1515/ 9783110956924.174 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/44 For more information, please contact [email protected]. The Emperor's New Clothes, or, on Flattery and Ecomium in the Silvae Disciplines Arts and Humanities | Classics | Near Eastern Languages and Societies This book chapter is available at ScholarlyCommons: https://repository.upenn.edu/classics_papers/44 THE EMPEROR'S NEW CLOTHES, OR, ON FLATTERY AND ENCOMIUM IN THE SILVAE• BY CYNTHIA DAMON In the first letter of his ninth book Pliny urges his friend Maximus to hurry on the publication of a work in which Maximus attacks a certain Pompei us Planta. Planta has just died, but Pliny maintains that if Maxi­ mus (who has been working on this piece for some time) gets it published promptly, it will have the same effect as if it had been pub­ lished while its victim was still alive: in defunctum quoque tamquam in uiuentem adhuc editur, si editur statim (Ep.
    [Show full text]
  • Dictynna, 16 | 2019 ‘Most Musicall, Most Melancholy’: Avian Aesthetics of Lament in Greek and Rom
    Dictynna Revue de poétique latine 16 | 2019 Varia ‘Most musicall, most melancholy’: Avian aesthetics of lament in Greek and Roman elegy Thomas J. Nelson Electronic version URL: http://journals.openedition.org/dictynna/1914 ISSN: 1765-3142 Publisher Université Lille-3 Electronic reference Thomas J. Nelson, « ‘Most musicall, most melancholy’: Avian aesthetics of lament in Greek and Roman elegy », Dictynna [Online], 16 | 2019, Online since 29 November 2019, connection on 20 December 2019. URL : http://journals.openedition.org/dictynna/1914 This text was automatically generated on 20 December 2019. Les contenus des la revue Dictynna sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. ‘Most musicall, most melancholy’: Avian aesthetics of lament in Greek and Rom... 1 ‘Most musicall, most melancholy’: Avian aesthetics of lament in Greek and Roman elegy1 Thomas J. Nelson 1 In Il Penseroso (‘The Reflective Man’), the English poet John Milton (1608–1674) conjures a vision of poetic melancholy and contemplation. After invoking the Goddess Melancholy and picturing her attendant train (‘Peace’, ‘Quiet’ and the like), he dwells on a night-time scene of melancholic music (vv. 55–64): And the mute Silence hist along, ’Less Philomel will deign a Song, In her sweetest, saddest plight, Smoothing the rugged brow of night, While Cynthia checks her Dragon yoke, Gently o’re th’ accustom’d Oke; Sweet Bird that shunn’st the noise of folly, Most musicall, most melancholy! Thee Chauntress oft the Woods among, I woo to hear thy Eeven-Song; 2 In Milton’s thought world, reflective silence is banished by the intrusive song of the nightingale (‘Philomel’), whose melody comes alive through the incessant sibilance and alliteration of these verses.
    [Show full text]
  • Baudelaire's Swan Song
    Baudelaire's Swan Song A lecture by Jonathan Tuck Delivered at St. John's College, Annapolis-October 13, 2006 This lecture is dedicated to the memory of Brother Robert Smith. The late Reverend J. Winfree Smith, a long-time Annapolis tutor, a historian of the New Program, an Anglican priest, a scholar and a Virginia gentleman of the old school, used to assert that Charles Baudelaire was a greater poet than Homer. Winfree's view counts for quite a lot with me, but I would not go that far. I am willing to say that Baudelaire is the greatest poet of the last two hundred years or so, the first and most essential of"modern" writers and the one who best articulates our own feelings of what it is to be modern. And I think that Le Cygne is Baudelaire's greatest poem, although perhaps not his most typical one. This valuation sets the bar quite high enough for me, for this evening at least. Thus, for about the last twenty years, I have held the writing of this lecture before me as a daunting but imperative task. I have a further reason for trepidation: I believe that it's indispensable, before discussing any poem, first to read it aloud. But I am keenly aware that, unlike some of you, I am very far from a native or even a fluent speaker of French,. My hope is that in enunciating the poem aloud, I can bring out some of its metrical features through a kind of exaggeration; that may compensate you for having to hear my accented reading.
    [Show full text]
  • Some Imitations of Pindar and Sappho by Horace
    Some imitations of Pindar and Sappho by Horace The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2015.12.31. "Some imitations of Pindar and Sappho by Horace." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/some-imitations-of- pindar-and-sappho-by-horace/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39699959 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS.
    [Show full text]
  • The Ears of Hermes
    The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2.
    [Show full text]
  • Zoology Into Legend Plato's
    Zoology into Legend Plato’s ‘Ornitheology’ and ‘Entomythology’1 Andrea Capra* Andrea Abstract The myth of the cicadas (Phaedrus, 259b5ff.) and that of the dying swans (Phaedo, 84e3ff.) occupy a special position among Plato’s myths, in that they are entirely the author’s invention, as scholars have often argued. However, both myths clearly draw on a rich poetic tradition that is already well-established in archaic epic. At the same time, both myths incorporate zoological details into their fabric. By comparing Plato’s myths both with their poetic models and with Aristotle’s zoology, I show how Plato’s cicadas and swans reveal a careful blend of tradition and ‘science’. Plato created a new hybrid, which can be jokingly christened ‘ornitheology’ and ‘entomythology’. Key-words: Plato . cicadas . swans . zoology . myth Resumo O mito das cigarras (Fedro, 259b5sqs) e o dos cisnes morrendo (Fédon, 84e3sqs) ocupam uma posição especial entre os mitos de Platão, no sentido de que são inteiramente inventados pelo autor, como os comentadores têm frequentemente argumentado. Entretanto, ambos os mitos apóiam-se claramente em uma rica tradição poética que já está bem estabelecida na épica arcaica. Ao mesmo tempo, ambos os mitos incorporam detalhes zoológicos em sua composição. Comparando os mitos de Platão tanto com os seus modelos poéticos quanto com a zoologia de Aristóteles, eu mostro como as cigarras e os cisnes de Platão revelam uma cuidadosa mistura de tradição e ‘ciência’. Platão criou um novo híbrido, que pode ser bem- humoradamente batizado de ‘orniteologia’ e ‘entomitologia’. Palavras-chave: Platão, cigarras, cisnes, zoologia, mito. 1 I presented an earlier version of this paper at the Celtic Conference in Classics (Edinburgh, July 2010, Panel: Animals in the Greek and Roman World).
    [Show full text]
  • The Musical Nomos in Aeschylus' Oresteia Author(S): Thomas J
    The Musical Nomos in Aeschylus' Oresteia Author(s): Thomas J. Fleming Source: The Classical Journal, Vol. 72, No. 3 (Feb. - Mar., 1977), pp. 222-233 Published by: The Classical Association of the Middle West and South Stable URL: http://www.jstor.org/stable/3296898 . Accessed: 27/01/2014 12:33 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Classical Association of the Middle West and South is collaborating with JSTOR to digitize, preserve and extend access to The Classical Journal. http://www.jstor.org This content downloaded from 136.152.208.62 on Mon, 27 Jan 2014 12:33:08 PM All use subject to JSTOR Terms and Conditions THE MUSICAL NOMOS IN AESCHYLUS' ORESTEIA Althoughthe imageryof the Oresteia has for many years been the subjectof critical scrutiny, musical allusions have failed to attractthe notice which their importancedeserves.1 Such an oversightmay be due to our ignoranceof Greek music, especially the music of the classical period. We are often tempted to view musical language or imagery in a poem in the same light as astrological symbols;however significantthey might be, they aredrawn from an areaof life that remains obscure to us and that is peripheralto our experience of poetry.
    [Show full text]
  • Silence As the Greatest Music: the Harmony of Philosophy and Mousikê in Plato’S Phaedo ฀
    Silence as the greatest music: The harmony of philosophy and Mousikê in Plato’s Phaedo ฀ Plato’s Phaedo has always attracted special attention not least because of its challenging topic: the meditation on death and the portrayal of dying. In thinking about this particular convergence of reflection and reality important philosophical questions emerge. How can we conceive death? What can we say about dying? Why are we thinking about death and dying? It seems that a coherent approach to death and dying is equally problematic in reflection and reality. The common attitude is one of silence. We ignore the reflection and accept the reality when it happens. But the suggestion in the Phaedo is that we must practice in reflection what we are to live in reality. Socrates in fact goes further by asserting death as the central topic of philosophy. He states that “those who practice philosophy aright study nothing but dying and being dead” ( Phaedo , 64a, trans. Fowler). This suggests that the contemplation of death in the Phaedo mirrors the examined life in the Apology. 1 Its silent maxim may be that the unpractised death is not worth dying. The striking portrayal of Socrates’ death 2 shows that an examination or practice of death is not only possible but that such an examination will transform our attitude towards dying. This transformation is underlined dramatically: the dialogue commences with its main character imprisoned. It ends with this character admonishing a disciple to pay a debt for a process of recovery, of healing and of liberation. But
    [Show full text]
  • Disbelieved Through Millennia: Cassandra As Woman Truth-Teller and Translator Marissa Lewis Seattle Pacific Nu Iversity
    Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2019 Disbelieved Through Millennia: Cassandra as Woman Truth-Teller and Translator Marissa Lewis Seattle Pacific nU iversity Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Classical Literature and Philology Commons, Translation Studies Commons, and the Women's Studies Commons Recommended Citation Lewis, Marissa, "Disbelieved Through Millennia: Cassandra as Woman Truth-Teller and Translator" (2019). Honors Projects. 102. https://digitalcommons.spu.edu/honorsprojects/102 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. Disbelieved Through Millennia: Cassandra as Woman Truth-Teller and Translator by Marissa J. Lewis Faculty Advisor, Dr. Owen Ewald Second Reader, Dr. Doug Thorpe A project submitted in partial fulfillment of the requirements of the University Scholars Honors Program Seattle Pacific University 2019 Approved _______________________ Date ______________ Abstract This paper investigates two major characterizations of the mythological figure Cassandra, reading her in Aeschylus’ Agamemnon and Seneca’s Agamemnon as a woman truth-teller and translator. It develops a notion of translation as negotiation of discursive space and breaking open of boundaries, including boundaries between pairs of languages, experiences, times, and places. This sense of translation draws on the reception theory of Charles Martindale and privileges the discursive location of the translator as integral to their translation; a specifically female translator occupies different discursive spaces than her male counterpart due to the social experience of gender.
    [Show full text]
  • Swan Culture
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Collected Literature in Organized and Valuable Repository J.Rakuno Gakuen Univ.,28 (1):65～83 (2003) SWAN CULTURE Mark BRAZIL (June 2003) “The Silver Swan, who living had no note, When death approached unlocked her silent throat, Leaning her breast against a reedy shore, Thus sung her first and last, and sung no more, Farewell all joys, O death come close to mine eyes, More geese than swans now live, more fools than wise.” ―Orlando Gibbons. Madrigals & Motets 1612. The striking beauty of the archetypal swans Naming and Knowing has lodged itself so powerfully in the human imag- Few sights or sounds can be as stirring as that ination that their massed annual leave-takings of a flock of Whooper Swans clamouring in flight and arrivals have only served to heighten their as they plane down, their wings angled, their mystery. As peoples and their oral traditions heads raised,and their feet and webs spread wide travelled across Asia and Europe,ancient tales of as air-brakes, onto their feeding or roosting swans,of swan maidens and of swan knights were grounds (see Figure 1). In a sub-Arctic winter carried and inter-mingled, some spreading in setting, crisp with a brilliant blue sky, where mythical form far beyond the range of the swans deeply snow-crusted ancient dormant volcanoes themselves. These creatures of tale, myth, and ring ice-cove red lakes, and where steam curls legend became,somehow,linked too with the cult skywards from thermal springs into the frigid air, of the sun in such a way that now it is impossible little else can match the beauty of the Angels of to unravel the origins or the meanings of many of Winter, or be pure enough to grace such sacred the ancient tales (Evans & Dawnay 1972).
    [Show full text]
  • Mousikē and Mythos: the Role of Choral Performance in Later Euripidean Tragedy
    Mousikē and Mythos: The Role of Choral Performance in Later Euripidean Tragedy by Naomi Alison Weiss A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mark Griffith, Co-Chair Professor Leslie Kurke, Co-Chair Professor Donald Mastronarde Professor Anastasia-Erasmia Peponi Professor Richard Crocker Spring 2014 Mousikē and Mythos: The Role of Choral Performance in Later Euripidean Tragedy © Copyright by Naomi Alison Weiss, 2014. All rights reserved. ABSTRACT Mousikē and Mythos: The Role of Choral Performance in Later Euripidean Tragedy by Naomi Alison Weiss Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Co-Chair Professor Leslie Kurke, Co-Chair This dissertation takes a new approach to the study of Greek theater by examining the dramatic function of mousikē (music, song, dance) in the plays of Euripides. Previous scholarship has tended to see the many references to mousikē in his later work only in connection with the “New Music” (the changes in musical style, language, and instruments in fifth-century Athens), and to disregard their place within the plays themselves, often deeming especially meta-musical choral odes to be irrelevant to the surrounding drama. In contrast, I explore the dynamics of choreia (choral song and dance) and the sociocultural meanings of different musical images in four plays to show how mousikē plays a vital role in directing and complementing the movement of the plot. I demonstrate how Euripides uses traditional as well as new images of mousikē, and argue that this combination of musical motifs is essential to an understanding of each play’s dramatic structure.
    [Show full text]
  • Animal Alterity Cover Photo by David Lindbjerg, Courtesy of the Artist
    ISSN 1904-6022 www.otherness.dk/journal September 2016 Edited by Sune Borkfelt Special Issue: Animal Alterity Cover photo by David Lindbjerg, courtesy of the artist. Animal Alterity Volume 5 · Number 2 · September 2016 Welcoming the interdisciplinary study of otherness and alterity, Otherness: Essays and Studies is an open-access, full-text, and peer-reviewed e-journal under the auspices of the Centre for Studies in Otherness. The journal publishes new scholarship primarily within the humanities and social sciences. GUEST ISSUE EDITOR Sune Borkfelt Aarhus University, Denmark GENERAL EDITOR Dr. Maria Beville Limerick Institute of Technology, Ireland ASSOCIATE EDITORS Susan Yi Sencindiver, PhD Aarhus University, Denmark Matthias Stephan, PhD Aarhus University, Denmark © 2016 Otherness: Essays and Studies ISSN 1904-6022 Further information: www.otherness.dk/journal/ Otherness: Essays and Studies is an open-access, non-profit journal. All work associated with the journal by its editors, editorial assistants, editorial board, and referees is voluntary and without salary. The journal does not require any author fees nor payment for its publications. Cover photo by David Lindbjerg, courtesy of the artist. Volume 5 · Number 2 · September 2016 CONTENTS Notes on Contributors iv Introduction: Thinking through Animal Alterities 1 Sune Borkfelt 1 From Over the Horizon: 13 Animal Alterity and Liminal Intimacy beyond the Anthropomorphic Embrace Richie Nimmo 2 Other(ed) Rabbits: 47 Using Otherness as a Frame to Teach Critical Approaches to Human-Animal
    [Show full text]