Clarissimi Viri Joshua Roberts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Shakespeare's Coriolanus As an Epitome of A
Conference of the International Journal of Arts and Sciences 2(1): 41-45 (2009) CD-ROM. ISSN: 1943-6114 © InternationalJournal.org Shakespeare’s Coriolanus as an Epitome of a Dysfunctional Family Buket Dogan, Middle East Technical University, Turkey Coriolanus has not been studied as extensively as Shakespeare’s other tragedies. Yet, with the change in sense of style with the turn of the twentieth-century Coriolanus is on stage more often and receives critical attention. Coriolanus seems rather a modern play in not evocating sympathy for any of the characters with whom the reader can identify himself with. Coriolanus has many distancing and disagreeable characteristics that may generate dislike for the protagonist, yet the skillfully adorned rhetoric and speech prove Coriolanus to be one of Shakespeare’s greatest tragedies, as T.S. Eliot puts it Coriolanus is “Shakespeare’s most assures artistic success” (in Brockman 50). Shakespeare for some time was engaged “writing plays about the destructive effects of excessive emotional attachments between children and parents”, for instance, in Hamlet or King Lear (King 14). The outcome of the parental repression is likely to produce the worst repercussions on Coriolanus, who is torn between his own identity and the identity that his mother trying to exert on him. Coriolanus has been dominated by his mother ever since his early childhood. At the outset of the play, the main motive for Coriolanus’ services for Rome is mainly to please his mother rather than to ensure Rome’s well-being. The First Citizen asserts that: “though soft-conscienced men can be content to say it was for his country, he did it to please his mother” (1.1.37-9). -
ROMANS F/ 52 PART L: the KINGS of ROME
ruuLAE rcWAE STORIES OF FAMOLJS ROMANS f/ 52 PART l: THE KINGS OF ROME 1 iam dEdum: "for a long time already.' 2 aegrl ferre, to take badly, resent. Sex. Tarquinil: the youngest son ofTarquinius Superbus; see 11:17 and the note there" 3 ut . , . statuerent: "that they decided," result clause (see the grammar note on page 56). 5 Tarquinius CollEtlnus, -I (m.), Lucius Tarquinius Collatinus (nephew of Tarquinius Superbus and husband oflucretia). sorOre . n6tus: "born from the sister," ablative ofsourcewith nEtus, perfect participle ofthe verb n6scor. 6 contubernium, -i (n.), the sharing of a tent in the army, the status of be- ing messmates. in contuberrrid iuvenum rEgi0rum . erat: "was a messmate of . ." Ardea, -ae (f), Ardea (a town to the south of Rome). 7 *hber, libera, hberum, free, outspoken, unrestricted, unrestrained. frnusquisque, tnaquaeque, tnumquodque, each one. 8 *nutue, -ts (f), daughter-in-1aw. 9 *ltxus, -0.s (m.), luxury, luxurious living, extravagance. *d6prehend6, d6prehendere (3), dEprehendl, d6preh6nsum, to get hold of, surprise, catch in the act. CollEtia, -ae (f), Collatia (a town in Latium). 10 LucrEtia, -ae (f), Lucretia (wife of Collatinus). lanificium, -I (n.), wool-spinning, weaving (a traditional occupation of a Roman housewife). L1 offendO, offendere (3), offeadi, oftnsum, to strike against, find, en- counf,er. pudlcus, -a, -lrm, chase, virtuous. *itrdicd (1), to judge, proclaim, declare, think. 12 *corrump6, corrumpere (3), corrtrpl, corruptum, to break, corrupt, seduce, Ad quan corrumpendam: "To seduce her," gerundive (see the grammar note on page 59). 13 propinquitds, propinquitdtig (f), family relationship. Sextus Tarquinius was admitted to the house because he was a rela- tive. -
Coriolanus and Fortuna Muliebris Roger D. Woodard
Coriolanus and Fortuna Muliebris Roger D. Woodard Know, Rome, that all alone Marcius did fight Within Corioli gates: where he hath won, With fame, a name to Caius Marcius; these In honour follows Coriolanus. William Shakespeare, Coriolanus Act 2 1. Introduction In recent work, I have argued for a primitive Indo-European mythic tradition of what I have called the dysfunctional warrior – a warrior who, subsequent to combat, is rendered unable to function in the role of protector within his own society.1 The warrior’s dysfunctionality takes two forms: either he is unable after combat to relinquish his warrior rage and turns that rage against his own people; or the warrior isolates himself from society, removing himself to some distant place. In some descendent instantiations of the tradition the warrior shows both responses. The myth is characterized by a structural matrix which consists of the following six elements: (1) initial presentation of the crisis of the warrior; (2) movement across space to a distant locale; (3) confrontation between the warrior and an erotic feminine, typically a body of women who display themselves lewdly or offer themselves sexually to the warrior (figures of fecundity); (4) clairvoyant feminine who facilitates or mediates in this confrontation; (5) application of waters to the warrior; and (6) consequent establishment of societal order coupled often with an inaugural event. These structural features survive intact in most of the attested forms of the tradition, across the Indo-European cultures that provide us with the evidence, though with some structural adjustment at times. I have proposed that the surviving myths reflect a ritual structure of Proto-Indo-European date and that descendent ritual practices can also be identified. -
Horatius at the Bridge” by Thomas Babington Macauley
A Charlotte Mason Plenary Guide - Resource for Plutarch’s Life of Publicola Publius Horatius Cocles was an officer in the Roman Army who famously defended the only bridge into Rome against an attack by Lars Porsena and King Tarquin, as recounted in Plutarch’s Life of Publicola. There is a very famous poem about this event called “Horatius at the Bridge” by Thomas Babington Macauley. It was published in Macauley’s book Lays of Ancient Rome in 1842. HORATIUS AT THE BRIDGE By Thomas Babington Macauley I LARS Porsena of Clusium By the Nine Gods he swore That the great house of Tarquin Should suffer wrong no more. By the Nine Gods he swore it, And named a trysting day, And bade his messengers ride forth, East and west and south and north, To summon his array. II East and west and south and north The messengers ride fast, And tower and town and cottage Have heard the trumpet’s blast. Shame on the false Etruscan Who lingers in his home, When Porsena of Clusium Is on the march for Rome. III The horsemen and the footmen Are pouring in amain From many a stately market-place; From many a fruitful plain; From many a lonely hamlet, Which, hid by beech and pine, 1 www.cmplenary.com A Charlotte Mason Plenary Guide - Resource for Plutarch’s Life of Publicola Like an eagle’s nest, hangs on the crest Of purple Apennine; IV From lordly Volaterae, Where scowls the far-famed hold Piled by the hands of giants For godlike kings of old; From seagirt Populonia, Whose sentinels descry Sardinia’s snowy mountain-tops Fringing the southern sky; V From the proud mart of Pisae, Queen of the western waves, Where ride Massilia’s triremes Heavy with fair-haired slaves; From where sweet Clanis wanders Through corn and vines and flowers; From where Cortona lifts to heaven Her diadem of towers. -
The Puppet Show of Memory
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library DA 574.B25A3 1922 Puppet show of memor 3 1924 028 027 245 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028027245 THE PUPPET SHOW OF MEMORY By the same Author THE BLACK PRINCE GASTON DE FOIX MAHASENA COLLECTED POEMS DESIDERIO POEMS—1914-1919 TRANSLATIONS ANCIENT AND MODERN WITH THE RUSSIANS IN MANCHURIA A YEAR IN RUSSIA THE RUSSIAN PEOPLE LANDMARKS IN RUSSIAN LITERATURE AN OUTLINE OF RUSSIAN LITERATURE RUSSIAN ESSAYS AND STUDIES THE GLASS MENDER FORGET-ME-NOT AND LILY OF THE VALLEY ORPHEUS IN MAYFAIR DEAD LETTERS DIMINUTIVE DRAMAS LOST DIARIES THE GREY STOCKING PASSING BY R.F.C. H.Q. OVERLOOKED THE PUPPET SHOW OF MEMORY BY MAURICE BARING LONDON: WILLIAM HEINEMANN NOTE MY thanks are due to Messrs. Methuen for allowing me to use in Chapters XVI.-XIX. some matter which has already appeared in A Year in Russia and Russian Essays, two books published by them; to Mr. Leo Maxe for allowing me to use an article on Sarah Bernhardt which appeared in the National Review, and has been re-written for this book; to Father C. C. Martindale and Mr. Desmond McCarthy for kindly cor- recting the proofs. M. B. CONTENTS PAGE I. The Nursery .... I II. The Nursery and the Schoolroom . M III. Membland ... 31 IV. Membland ... -
Online Library of Liberty: Shakespeare's Plutarch, Vol. 2
The Online Library of Liberty A Project Of Liberty Fund, Inc. Plutarch, Shakespeare’s Plutarch, Vol. 2 (containing the main sources of Anthony and Cleopatra and of Coriolanus) [1579] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
Giovanni De Matociis and the Codex Oratorianus of the De Uiris Illustribus Urbis Romae’, Exemplaria Classica: Journal of Classical Philology 24 (2017), Pp
1 [This is the peer-reviewed version of the following article: J.A. Stover, G. Woudhuysen, ‘Giovanni de Matociis and the Codex Oratorianus of the De uiris illustribus urbis Romae’, Exemplaria Classica: Journal of Classical Philology 24 (2017), pp. 125-148, I.S.S.N.: 2173-6839, which has been published in its final form at http://www.uhu.es/publicaciones/ojs/index.php/exemplaria/article/view/3211] Giovanni de Matociis and the Codex Oratorianus of the De uiris illustribus urbis Romae ABSTRACT: One of the most curious manuscripts of the De uiris illustribus is Biblioteca dei Girolamini, XL pil. VI, no. XIII. This manuscript has been thought either to go back to the early Veronese humanist Giovanni de Matociis, or to contain authentic ancient information. We demonstrate that the manuscript has nothing to do with Matoci, but is closely linked to Giacomo Filippo Foresti, a late-fifteenth-century historian. Its chief feature of interest is that it shares some readings with another branch of the tradition of the DVI, the Corpus Aurelianum, thus providing new evidence for the circulation of that text. RESUMEN: Uno de los manuscritos del De uiris illustribus (DVI) más curiosos es Nápoles, Biblioteca dei Girolamini, XL pil. VI, no. XIII. Entre los rasgos que se han asociado a este manuscrito se encuentran dos: que se remonta al temprano humanista veronés, Giovanni de Matociis, y que contiene información antigua auténtica. Demostramos que el manuscrito no tiene nada que ver con Matoci, sino que está estrechamente ligado a Giacomo Filippo Foresti, un historiador del fines del siglo XV. -
Under the Influence of Art: the Effect of the Statues of Horatius Cocles and Cloelia on Valerius
Under the Influence of Art: The Effect of the Statues of Horatius Cocles and Cloelia on Valerius Maximus’ Facta et Dicta Memorabilia In his work, Facta et Dicta Memorabilia, Valerius Maximus stated in the praefatio of his chapter “De Fortitudine” that he will discuss the great deeds of Romulus, but cannot do so without bringing up one example first; someone whose similarly great deeds helped save Rome (3.2.1-2). This great man is Horatius Cocles. Valerius Maximus noted that he must next talk about another hero, Cloelia, after Horatius Cocles because they fight the same enemy, at the same time, at the same place, and both perform facta memorabilia to save Rome (3.2.2-3). Valerius Maximus mentioned Horatius Cocles and Cloelia together, as if they are a joined pair that cannot be separated. Yet there is another legendary figure, Mucius Scaevola, who also fights the same enemy, at the same time, and also performs facta memorabilia to save Rome. It is strange both that Valerius Maximus seemed compelled to unite Cloelia with the mention of Horatius Cocles, and also that he did not include Mucius Scaevola. Instead, Scaevola’s story is at the beginning of the next chapter (3.3.1). Traditionally these three heroes, Horatius Cocles, Cloelia, and Mucius Scaevola, were mentioned together by historians such as Livy and Dionysius of Halicarnassus, whose works predate Valerius Maximus’ (Ab Urbe Condita 2.10-13, Roman Antiquities 5.23-35). Valerius Maximus was able to split up the triad, despite the tradition, without receiving flack because it had already been done by Virgil in the Aeneid, where he described the dual images of Cocles and Cloelia on Aeneas’ shield, but Scaevola is absent (8.646-651). -
Lays of Ancient Rome
Lays of Acient Rome Lays of Ancient Rome By Thomas Babbington Macaulay 1 Lays of Acient Rome Preface Horatius The Lay The Battle of the Lake Regillus The Lay Virginia The Lay The Prophecy of Capys The Lay That what i called the hitory of the Kings and early Consuls of Rome is to a great extent fabulus, few scholars have, since the ti of Beaufort, ventured to deny. It is certain that, more than three hundred and sixty years after the date ordinarily assigned for the foundatio of the city, the public records were, with scarcely an exception, destroyed by the Gauls. It is certain that the oldest annals of the coonwealth were compiled mre than a century and a half after th destruction of the records. It is certain, therefore, that the great Latin writers of the Augustan age did not possss those materials, without which a trustworthy account of the infancy of the republic could not possibly be framed. Those writers own, indeed, that the chronicles to which they had access were filled with battles that were never fought, and Consuls that were never inaugurated; and we have abundant proof that, in these chronicles, events of the greatest importance, suc as the issue of the war with Porsa and the issue of the war with Brennus, were grossly misrepresented. Under thes circumstances a wise man will look with great suspicio on the lged whi has com do to us. He will perhaps be inclined to regard th princes who are said to have founded the civil and religious institutions of Rom, the sons of Mars, and the husband of Egeria, as mere mythgial persage, of the same class with Persus and Ixion. -
By DECEMBER 2015
A Thesis entitled Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies by Savannah Xaver as partial fulfillment of the requirements for the Bachelor of Arts Degree with Honors in English Thesis Dire Dr. Andrew Mattison Honors Advisor Dr. Melissa Valiska Gregory The University of Toledo DECEMBER 2015 Abstract Motherhood in Shakespeare's late tragedies consists of an unbalance between feminine and masculine forces. Lady Macbeth and Volumnia from Coriolanus strike readers and critics as intricate and aberrant characters. They stand out as women characters in their respective plays because they embrace masculinity rather than femininity. I argue that Shakespeare purposefully crafted Lady Macbeth and Volumnia to create conflict with the tragic heroes through their speeches and dialogue. Within the masculine filled, war- fueled worlds of Macbeth and Coriolanus, a woman must support her male relatives involved in war activities. Not only that, but it becomes a rite of passage for men to dominate women in order to succeed in life and perhaps become more masculine. Lady Macbeth and Volunmnia, however, utilize their strong wills to control and even overpower the men around them. By alluding to their feminine physicality, such as the act of breastfeeding, and combining it with masculine imagery of blood, Lady Macbeth and Volumnia establish dominance and attempt to mute gender. I claim Shakespeare composed the dialogues for each woman to focus on their physical attributes as a tactic to showcase personality and how it relates to gender. The challenging of gender within these tragedies appears dangerous for the men; however, critics argue that Lady Macbeth and Volumnia act out of love or, perhaps, an overindulgence of it. -
2016 National Latin Exams
2016 ACL/NJCL NATIONAL LATIN EXAM INTRODUCTION TO LATIN EXAM A CHOOSE THE BEST ANSWER FROM A, B, C, OR D. MARK ANSWERS ON ANSWER SHEET. 1. What is the Roman name for the Greek god Hermes? A) Mercury B) Mars C) Vulcan D) Pluto 2. Which goddess is the mother of Cupid and has this bird as a symbol? A) Juno B) Venus C) Minerva D) Vesta 2. 3. The Roman numerals IV + VI = A) VII B) VIII C) IX D) X 4. A Latin teacher asking the name of a person in a picture would ask A) Ubi est? B) Quid agis? C) Quis est? D) Estne laetus? 5. Who in ancient Rome wore a toga praetexta? A) senator B) mater C) libertus D) servus 6. What is the best translation of the Latin motto festīnā lentē? A) hurry slowly B) happy birthday C) time flies D) seize the day 7. Based on the Latin root, who would be considered urbane? A) a sailor B) a city dweller C) a shepherd D) a nymph 8. At what large amphitheater would the Romans watch gladiatorial fights and animal hunts? A) the Forum B) the Curia C) the Colosseum D) the Pantheon 9. Sicilia is on the map in the area numbered A) 1 B) 2 C) 3 D) 4 9. 10. If a bird flew in a straight line from Hispania to Graecia, it would be 10. 2 flying A) north B) south C) east D) west 11. What Latin abbreviation means “and the rest”? A) P.S. B) a.m. -
Rome in Shakespeare's Tragedies
Chronotopos A Journal of Translation History Angela Tiziana Tarantini & Christian Griffiths Introduction to by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during Romethe Fascist in Shakespeare’s Period. Tragedies 2/2019 Abstract DOI: 10.25365/cts-2019-1-2-8 Herausgegeben am / Éditée au / What follows is a prefatory commentary and an English Edited at the: Zentrum für translation of the critical introduction to the text Roma Translationswissenschaft der nelle tragedie di Shakespear Universität Wien Tragedies) published in Italy in 1924. The book contains the translations of Julius Caesare (Rome and inCoriolanus Shakespeare’s, both ISSN: 2617-3441 carried out by Ada Salvatore, and an introductory essay written by Giuseppe De Lorenzo. Our aim in translating the introductory essay by De Lorenzo is to raise awareness among non-Italian speaking scholars of how Shakespearian material was appropriated through translation by translators and intellectuals during the Fascist era. Keywords: translation, Shakespeare, fascism, Italy Zum Zitieren des Artikels Tarantini, Angela Tiziana & Griffiths, Christian (2019): Introduction to by De Lorenzo. How Shakespearean/ Pour Material citer l’article was appropriate / To cite thed by article: Translators and Scholars during the Fascist Period, Chronotopos 2 (1), 144-177. DOI: 10.25365/cts-2019-1-2-8 Rome in Shakespeare’s Tragedies Angela Tiziani Tarantini & Christian Griffiths: Introduction to Rome in Shakespeare’s Tragedies by DeLorenzo. Angela Tiziana Tarantini & Christian Griffiths Introduction to Rome in Shakespeare’s Tragedies by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during the Fascist Period Abstract What follows is a prefatory commentary and an English translation of the critical introduction to the text Roma nelle tragedie di Shakespeare (Rome in Shakespeare’s Tragedies) published in Italy in 1924.