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Summaries of the Trojan Cycle Search the GML Advanced
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. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
Vergil's Nisus and the Language of Self-Sacrifice In
Vergil’s Nisus and the Language of Self-Sacrifice in Paradise Lost LEAH WHITTINGTON Princeton University When the Son of God offers to die for mankind in book 3 of Paradise Lost (1667), readers who have been tempted to join the devil’s party for the first two books of the poem confront an unsettling dramatic scene: the assembly in heaven is staged as a mirror image of the demonic council at Pandemonium. The listening host suddenly grows quiet, and a solitary hero figure emerges out of the silence to take on the burden of raising the collective fortune. Placed beside the Son’s promise to atone for man’s sin with his death, Satan’s exploratory mission to earth comes into focus as a fallen reflection of self-sacrifice, a self-aggrandiz- ing perversion of the poem’s heroic ideal now articulated in the Son. This moment of internal self-reference has often been identified as part of Milton’s didactic strategy to confront the reader with proof of his own fallenness,1 but it is less often recognized that the Son’s speech to the angelic host makes use of an allusion that gives it a central place in the story of Milton’s engagement with classical epic.2 When the Son 1. See Stanley Fish, Surprised by Sin (Berkeley: University of California Press, 1971). Fish famously argues that the heroic portrayal of Satan is part of a larger narrative strategy by which Milton provokes the reader ‘‘with evidence of his corruption’’ and forces him ‘‘to refine his perceptions so that his understanding will be once more proportionable to truth’’ (xiii). -
Getting Acquainted with the Myths Search the GML Advanced
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. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
The Wolf in Virgil Lee Fratantuono
The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des -
Further Commentary Notes
Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X). -
Of Turnus in the Aeneid Michael Kelley
Tricks and Treaties: The “Trojanification” of Turnus in the Aeneid Michael Kelley, ‘18 In a poem characterized in large part by human intercourse with the divine, one of the most enigmatic augury passages of Virgil’s Aeneid occurs in Book XII, in which Juturna delivers an omen to incite the Latins toward breaking their treaty with the Trojans. The augury passage is, at a superficial level, a deceptive exhortation addressed to the Latins, but on a meta- textual, intra-textual, and inter-textual level, a foreshadowing of the downfall of Turnus and the Latins. In this paper, I will begin by illustrating how the deception within Juturna’s rhetoric and linguistic allusions to deception in the eagle apparition indicate a true meaning which supersedes Juturna’s intended trickery. Then, in demonstrating inter-textual and intra-textual paradigms for Turnus, I will explain how the omen, and the associations called for therein, actually anticipate Turnus’s impending, sacrificial death. Finally, I will address the implications of my claim, presenting an interpretation of a sympathetic Turnus and a pathetically deceived Juturna. While the omen which follows is not necessarily false, Juturna’s rhetoric, spoken in the guise of Turnus’s charioteer Metiscus,1 is marked by several rhetorical techniques that are, ultimately, fruitful in inciting the Latins toward combat. Attempting to invoke their better reason, Juturna begins the speech with several rhetorical questions that appeal to their sense of honor and their devotion to Turnus.2 Her description of the Trojans as a fatalis manus, translated by Tarrant as “a troop protected by fate,”3 is most likely sarcastic, referencing what she deems a self-important insistence on prophecy from the Trojans. -
On History and Political Thought in Homer's Iliad, with a Focus on Books
Defining Politics: On History and Political Thought in Homer’s Iliad, With a Focus on Books 1-9 by Andrew M. Gross A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Political Science University of Toronto © Copyright by Andrew M. Gross 2017 Defining Politics: On History and Political Thought in Homer’s Iliad, With a Focus on Books 1-9 Andrew M. Gross Doctor of Philosophy Department of Political Science University of Toronto 2017 ii Abstract The Iliad is a work of great literary complexity that contains profound insights and a wide- ranging account of the human condition. Some of the most important recent scholarly work on the poem has also emphasized the political dimension of Homer’s account. In this dissertation, I aim to contribute to our understanding of the Iliad as a work of political thought. Focusing on books 1 through 9 of the Iliad, I will try to show how we can discover in it a consistent chronological or historical account, even though at many points that history is not presented in a linear way, in the poem itself. Through various references we are able to discern an historical account of the entire cosmic order. Homer focuses on the newly established Olympian gods and, therewith, their need to enforce the crucial separation between themselves and human beings: that is, between their own status as immortals, and our condition as mortals. Homer’s history of the Trojan War, in turn, conveys crucial lessons about politics and the human condition. The dissertation traces the history of the war as it emerged from a private struggle and developed into a public war. -
The Iliad by Homer (Discussion on Some Relevant Issues)
DEPT. OF ENGLISH, SEM-IV, CC8, THE ILIAD (ATASI SAHOO) The Department of English Raja N. L. Khan Women’s College (Autonomous) Midnapore, West Bengal Study Material--3 On The Iliad by Homer (Discussion on Some Relevant Issues) For Course: English Hons. SEM: IV Paper: HCC8 Session: 2019-2020 Prepared by Atasi Sahoo Guest Teacher Department of English Raja N.L. Khan Women’s College (Autonomous) Date: 23rd April, 2020 23rd April, 2020 1 DEPT. OF ENGLISH, SEM-IV, CC8, THE ILIAD (ATASI SAHOO) The story of Homer’s The Iliad is based on the Trojan War and the central theme is the ‘wrath of Achilles’. In the following paragraph the major themes and some relevant issues are discussed. ❖ Analysis of Important Issues and Characters: • Main Focus of The Iliad: According to Aristotle, Homer didn’t want to depict the whole Trojan War of almost ten years, rather his narrative is based on a single theme—the wrath of Achilles. How that anger is originated and its aftermath are illustrated in the epic. The very first line of Book 1 declares the anger and reason behind that anger of Achilles is depicted in Book 1. The whole story is based on the lives of the aristocratic people, the aristocratic heroes. The human actions in the story take place in the Greek camps, or in the battlefield or in Ilium whereas the gods and goddesses stay on the Mount Olympus and they continue to engage themselves internally or externally in the human affairs. Though the narrative illustrates only a few weeks in the last year of the Trojan War, Homer generates the impression that he is covering the whole war, and even the times before and after it, as we can come to know many of the events that took place many years ago and it also foretells the upcoming events towards the end of the narrative. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Recognition and its Dilemmas in Roman Epic Permalink https://escholarship.org/uc/item/4hn808p4 Author Librandi, Diana Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Recognition and its Dilemmas in Roman Epic A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics by Diana Librandi 2021 © Copyright by Diana Librandi 2021 ABSTRACT OF THE DISSERTATION Recognition and its Dilemmas in Roman Epic by Diana Librandi Doctor of Philosophy in Classics University of California, Los Angeles, 2021 Professor Francesca Katherine Martelli, Chair The present dissertation examines the widespread presence of tropes of tragic recognition in Roman epic poetry from an interdisciplinary perspective. I argue that Roman epic poets draw at once on tragedy and ancient philosophy to address the cognitive instability generated by civil war, an event which recurrently marks the history of Rome since its foundation. When civil conflicts arise, the shifting categories of friend and enemy, kin and stranger, victor and vanquished, generate a constant renegotiation of individual identities and interpersonal relationships. It is in light of these destabilizing changes that I interpret the Roman epic trend of pairing civil war narratives with instances of tragic recognition. Far from working exclusively as a plot device or as a marker of the interaction between the genres of epic and tragedy, tropes of tragic recognition in Roman epic are conducive to exploring the epistemological and ethical dilemmas posed by civil war. -
AP® Latin Teaching the Aeneid
Professional Development AP® Latin Teaching The Aeneid Curriculum Module The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.org. © 2011 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Contents Introduction................................................................................................. 1 Jill Crooker Minor Characters in The Aeneid...........................................................3 Donald Connor Integrating Multiple-Choice Questions into AP® Latin Instruction.................................................................... -
Virgils Aeneas: the Roman Ideal of Pietas Gemino Abad Singapore Management University, [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences (Open Access) 1-2003 Virgils Aeneas: The Roman Ideal of Pietas Gemino Abad Singapore Management University, [email protected] Follow this and additional works at: http://ink.library.smu.edu.sg/soss_research Part of the Social and Behavioral Sciences Commons Citation Abad, Gemino, "Virgils Aeneas: The Roman Ideal of Pietas" (2003). Research Collection School of Social Sciences (Open Access). Paper 17. http://ink.library.smu.edu.sg/soss_research/17 Available at: http://ink.library.smu.edu.sg/soss_research/17 This Working Paper is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences (Open Access) by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. SSSMMMUUU HHHUUUMMMAAANNNIIITTTIIIEEESSS &&& SSSOOOCCCIIIAAALLL SSSCCCIIIEEENNNCCCEEESSS WWWOOORRRKKKIIINNNGGG PPPAAAPPPEEERRR SSSEEERRRIIIEEESSS Virgils Aeneas: The Roman Ideal of Pietas Gemino Abad October 2003 Paper No. 6-2003 ANY OPINIONS EXPRESSED ARE THOSE OF THE AUTHOR(S) AND NOT NECESSARILY THOSE OF THE SCHOOL OF ECONOMICS & SOCIAL SCIENCES, SMU VIRGIL’S AENEAS: THE ROMAN IDEAL OF PIETAS To get right to the heart of the matter, the Roman ideal of pietas which Virgil’s Aeneas embodies means the observance of what is due to the gods and men, and obeying one’s destiny (fatum, fate) or calling.