The Irish Æneid
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Some Devices of Drama Used in Aeneid 1—4 a Paper Read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil
Some Devices of Drama used in Aeneid 1—4 A paper read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil.' # That the episode of Dido (one might say the whole unit books 1 —4 of the Aeneid) is worked out very much in the spirit of Greek tragedy was remarked by Henry Nettleship ninety-nine years ago. * I cannot therefore lay claim to novelty in my choice of subject, nor yet do I intend simply to rearrange kaleidoscopically the many detailed discussions of this subject which can be found in various places, notably in what I like to think of as Pease’s Chrestomathy, that is to say his introduction to his massive commentary on book 4. 2 Austin’s and Williams’s commentaries on the individual books, Austin’s article on the Wooden Horse, 3 and Michael Wigodsky’s ‘Vergil and Early Latin Poetry,’4 (which has some helpful remarks on Virgil and Greek tragedy also) are all distinguished contributors in this field. At the same time, and with the greatest possible respect to one of our Vice- Presidents, Dr Michael Grant, I feel bound to protest in the strongest terms at the suggestion which he makes twice on one page of his recent book ‘Roman Myths’ 5, that there may have been some tragic play on the subject of Dido and Aeneas in existence when Virgil wrote: better to accept his reservation that such an hypothesis may well be an unfounded reflection on Virgil’s originality. True, we all recognize that the Aeneid is an inspired synthesis, and I shall presently make a suggestion of my own about Virgil’s relationship to contemporary Roman drama. -
HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Succeeding Succession: Cosmic and Earthly Succession B.C.-17 A.D
Publication of this volume has been made possiblej REPEAT PERFORMANCES in partj through the generous support and enduring vision of WARREN G. MOON. Ovidian Repetition and the Metamorphoses Edited by LAUREL FULKERSON and TIM STOVER THE UNIVE RSITY OF WI S CON SIN PRE SS The University of Wisconsin Press 1930 Monroe Street, 3rd Floor Madison, Wisconsin 53711-2059 Contents uwpress.wisc.edu 3 Henrietta Street, Covent Garden London WC2E SLU, United Kingdom eurospanbookstore.com Copyright © 2016 The Board of Regents of the University of Wisconsin System Preface Allrights reserved. Except in the case of brief quotations embedded in critical vii articles and reviews, no part of this publication may be reproduced, stored in a retrievalsystem, transmitted in any format or by any means-digital, electronic, Introduction: Echoes of the Past 3 mechanical, photocopying, recording, or otherwise-or conveyed via the LAUREL FULKERSON AND TIM STOVER Internetor a website without written permission of the University of Wisconsin Press. Rightsinquiries should be directed to rights@>uwpress.wisc.edu. 1 Nothing like the Sun: Repetition and Representation in Ovid's Phaethon Narrative 26 Printed in the United States of America ANDREW FELDHERR This book may be available in a digital edition. 2 Repeat after Me: The Loves ofVenus and Mars in Library of Congress Cataloging-in-Publication Data Ars amatoria 2 and Metamorphoses 4 47 BARBARA WElDEN BOYD Names: Fulkerson, Laurel, 1972- editor. 1 Stover, Tim, editor. Title: Repeat performances : Ovidian repetition and the Metamorphoses / 3 Ovid's Cycnus and Homer's Achilles Heel edited by Laurel Fulkerson and Tim Stover. PETER HESLIN Other titles: Wisconsin studies in classics. -
Warrior Vaunts in the Iliad
250 Poulheria Kyriakou die bloße Rachehandlung ihm keine Befriedigung schaffen kann. Ihm fehlt die Erkenntnis der Beschaffenheit des Menschlichen, die größere Dauer und höheren Wert besitzt, als die bloße Rache- handlung. Es ist bezeichnend, daß Achilleus diese Wende nicht selbst durchführen kann, sondern daß sein Entschluß wieder als Ausfluß des göttlichen Willens dargeboten wird, wodurch der Weg zu einer echten Versöhnung geöffnet wird. Achilleus erfährt jetzt, was es heißt, hilfreich und edel zu handeln, nicht aber den Stolz auf die rein körperliche Gewalt als letztes Ziel ritterlichen Daseins an- zusehen. Es kann kein Zufall sein, daß die Ilias mit der feierlichen Beisetzung Hektors schließt, genau mit dem Akt, den Achilleus selbst vor dem Zweikampf höhnisch abgewiesen hatte. Es gibt also auch für das heroische Dasein eine Art der Auseinandersetzung, die das gemeinsame höhere Recht in Geltung läßt. Wollte Homer darauf hinweisen, daß er diese Art des Rittertums für die richtige hält? Bonn Hartmut Erbse WARRIOR VAUNTS IN THE ILIAD Warrior vaunts, the short speeches of triumph delivered over a vanquished dead or dying opponent, are peculiar to the Iliad and very rare in extant literature after Homer.1 These speeches have 1) In Od. 22 only the cowherd Philoetius vaunts over the suitor Ctesippus (287–91), ‘admonishing’ him not to boast in the future but to let the gods be the arbiters of his claims. A more conventional vaunt but over an unconventional ene- my is found in the Homeric Hymn to Apollo (362–70), on which see the detailed discussion of A.M. Miller, From Delos to Delphi (Leiden 1986) 88–91. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
University of Florida Thesis Or Dissertation Formatting
THE ANATOMY OF ROMAN EPIC: A STUDY OF POETIC VIOLENCE By JAMES MOSS LOHMAR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 James Moss Lohmar 2 Meis parentibus sororibusque bellis 3 ACKNOWLEDGMENTS I must first thank my mother, for forcing me to take Latin, and my father, for always talking shop. My sisters, Sarah and Elizabeth, have supported me throughout my studies, and their enthusiasm for my progress is always welcome. I have profound respect for Dr. Robert Burgess and Professors Mario Erasmo and James Anderson, without whose enthusiasm and instruction my decision to pursue a Ph.D. would have never come about. My gratitude goes to Professor Victoria Pagán and the students of her Lucan seminar during Fall 2009, whence the nascent stages of this project were born. My thanks go to Seth Boutin, Megan Daly and George Hendren, in particular, for their erudition and collegial support in this process. Lindsay Rogers offered me much support in the way of professional and academic advice throughout my graduate studies. I have appreciated the criticisms of Professor Gene Witmer in UF Philosophy, who has offered help in making this project appeal to a non-specialist audience. His suggestions of horror bibliography and modern film comparanda have been indispensible. Professor Kostas Kapparis has been a steady mentor in my teaching and writing since I began Ph.D. work, and his objectivity has kept my argument grounded in the text. -
The Greek World
THE GREEK WORLD THE GREEK WORLD Edited by Anton Powell London and New York First published 1995 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2003. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 First published in paperback 1997 Selection and editorial matter © 1995 Anton Powell, individual chapters © 1995 the contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Greek World I. Powell, Anton 938 Library of Congress Cataloguing in Publication Data The Greek world/edited by Anton Powell. p. cm. Includes bibliographical references and index. 1. Greece—Civilization—To 146 B.C. 2. Mediterranean Region— Civilization. 3. Greece—Social conditions—To 146 B.C. I. Powell, Anton. DF78.G74 1995 938–dc20 94–41576 ISBN 0-203-04216-6 Master e-book ISBN ISBN 0-203-16276-5 (Adobe eReader Format) ISBN 0-415-06031-1 (hbk) ISBN 0-415-17042-7 (pbk) CONTENTS List of Illustrations vii Notes on Contributors viii List of Abbreviations xii Introduction 1 Anton Powell PART I: THE GREEK MAJORITY 1 Linear -
Susa and Memnon Through the Ages 15 4
Samuel Jordan Center for Persian Studies and Culture www.dabirjournal.org Digital Archive of Brief notes & Iran Review ISSN: 2470-4040 Vol.01 No.04.2017 1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s fire temple, 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370 Editor-in-Chief Touraj Daryaee (University of California, Irvine) Editors Parsa Daneshmand (Oxford University) Arash Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU) Book Review Editor Shervin Farridnejad (Freie Universität Berlin) Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen) Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents Articles & Notes 1. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
Astrocladistics of the Jovian Trojan Swarms
MNRAS 000,1–26 (2020) Preprint 23 March 2021 Compiled using MNRAS LATEX style file v3.0 Astrocladistics of the Jovian Trojan Swarms Timothy R. Holt,1,2¢ Jonathan Horner,1 David Nesvorný,2 Rachel King,1 Marcel Popescu,3 Brad D. Carter,1 and Christopher C. E. Tylor,1 1Centre for Astrophysics, University of Southern Queensland, Toowoomba, QLD, Australia 2Department of Space Studies, Southwest Research Institute, Boulder, CO. USA. 3Astronomical Institute of the Romanian Academy, Bucharest, Romania. Accepted XXX. Received YYY; in original form ZZZ ABSTRACT The Jovian Trojans are two swarms of small objects that share Jupiter’s orbit, clustered around the leading and trailing Lagrange points, L4 and L5. In this work, we investigate the Jovian Trojan population using the technique of astrocladistics, an adaptation of the ‘tree of life’ approach used in biology. We combine colour data from WISE, SDSS, Gaia DR2 and MOVIS surveys with knowledge of the physical and orbital characteristics of the Trojans, to generate a classification tree composed of clans with distinctive characteristics. We identify 48 clans, indicating groups of objects that possibly share a common origin. Amongst these are several that contain members of the known collisional families, though our work identifies subtleties in that classification that bear future investigation. Our clans are often broken into subclans, and most can be grouped into 10 superclans, reflecting the hierarchical nature of the population. Outcomes from this project include the identification of several high priority objects for additional observations and as well as providing context for the objects to be visited by the forthcoming Lucy mission. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.