English Greek Composition Interpretation Name Name Abas
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OVID Metamorphoses
Metamorphoses Ovid, Joseph D. Reed, Rolfe Humphries Published by Indiana University Press Ovid, et al. Metamorphoses: The New, Annotated Edition. Indiana University Press, 2018. Project MUSE. muse.jhu.edu/book/58757. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/58757 [ Access provided at 20 May 2021 05:17 GMT from University of Washington @ Seattle ] book FIve The Fighting of Perseus* So Perseus told his story, and the halls Buzzed loud, not with the cheery noise that rings From floor to rafter at a wedding-party. No; this meant trouble. It was like the riot When sudden squalls lash peaceful waves to surges. Phineus was the reckless one to start it, That warfare, brandishing his spear of ash With sharp bronze point. “Look at me! Here I am,” He cried, “Avenger of my stolen bride! No wings will save you from me, and no god Turned into lying gold.”* He poised the spear, As Cepheus shouted: “Are you crazy, brother? What are you doing? Is this our gratitude, This our repayment for a maiden saved? If truth is what you want, it was not Perseus Who took her from you, but the Nereids Whose power is terrible, it was hornèd Ammon, It was that horrible monster from the ocean Who had to feed on my own flesh and blood, And that was when you really lost her, brother; 107 lines 20–47 She would have died—can your heart be so cruel To wish it so, to heal its grief by causing Grief in my heart? It was not enough, I take it, For you to see her bound and never help her, Never so much as lift a little finger, And you her uncle and her promised husband! So now you grieve that someone else did save her, You covet his reward, a prize so precious, It seems, you could not force yourself to take it From the rocks where it was bound. -
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. -
Champions of the Gods
Champions of the Gods Champions of the Gods by Warren Merrifield 1 Champions of the Gods Copyright ©2006 Warren Merrifield. This is an entry into the Iron Game Chef ‘06 competition. It uses the ingredients Ancient, Committee and Emotion, and is designed to be played in four two–hour sessions. Typeset in Garamond and Copperplate. Created with Apple Pages software on a G5 iMac. Contact me at [email protected] 2 Champions of the Gods Map of the Ancient Greek World 3 Champions of the Gods Introduction This is my Iron Game Chef ‘06 Entry. It uses the ingredients Ancient, Committee and Emotion, and is designed to be run in four two–hour sessions with between three and five participants. There is no Gamesmaster. I am no authority on Ancient Greece and its myths, so please indulge me any inaccuracies that I may have presented here. Background The Ancient Greek World, during the Age of Gods and Men: Zeus, father of all the Gods has decided that he wants a new religious festival for the Mortals to honour him. He has declared that it will be known as the “Olympics” and shall be held in the most worthy city–state in all of the Greek World — anywhere from Iberia to the Black Sea. But there are more city–states than Zeus can be bothered to remember, so to discover which is most worthy, he has chosen a number of his Godly offspring to do it for him. They will be known as the “Mount Olympus Committee”, and will report back in four mortal years, or Zeus shall rip all of Creation asunder. -
Provided by the Internet Classics Archive. See Bottom for Copyright
Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away. -
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. -
Notes Du Mont Royal ←
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres ÏHISTORIÆ» ’*POETICÆ,H ’SCRIPTORES ANTIQJLW ’APOLLODORUS Atbmimfis. PTOLEMÆUS mm. 1v. 1c o N o N Grammaticm. PARTHMEN IUs mima; ANTON INUS immuns. Græcè 8c Latine. Jccgfi’è’re hem: Nm é Milice: mafia; la PARISIIIS. Typis F. u c u E T. Profiant apud R. S c o T "r, ü Bibliopolam Londinenfem. v MDCLxxm I - fluerez I L L u s (R0TIR 1’ D.JOSEPHO WILLIAMSON; 22141111 Lamina, SERENISSIMOMCAROLOIL - MAG. 31m: .FRANC. ET Hua. REGI - ’ A CONSILus InNTERIORIBuS, ETA SECRETIS STATus. , Xfiant’ in me , ".V I R "7CLARIS promerità 1m SIME) , magna diuturna. ,Sponte tuâ; nullo meo merito, defcendifli etiam- ad maclé benewolentiâ, qué Genti: a bnju: Epifiola Dcdicatoria: ’ buju: (9* (thorium ,literato: homi- ne: compleâîerù. Necfpem, nec cogitotionem guidon: foui, dignum aliquz’d tonifiât benefic’iis, unqmm reponencli ; aequo ’èm’mpotiebatur id ont fortune TUÆ magnitudo, ont ’mèæ agami; Non Âceflb interim juflâ debitâq; prodicatione ubiq; t’efl’ari toutim: Tibi dobere me, quantum firme? homo bomini poteflfiugi hâcÇnullâ’aliânzle wifi) gratit’udifii: mm fighificonclæ’curâ adduôîm,Nomini T110 ho: li- bella: infrrz’pfi. Molui Forum mo- j dellw boom, quÆm-mz’nù: group. Quanquam ’confllz’o huic meolz’lluçl jetiompotracinaritpoflîtguàd non in: l’pridem (quetzal al? lau’mqriz’tizofiu- diorum meOrüm’rationemTc ex- ,peétare * ’ Epiflola. Dedicatoria.’ wpeâare dicerer. Obtempero mi: 5 etiam ad exiflimotionù mon: periculnm. Ha: tomèn qua- liocnnque flint, non profil: , mi fiera, npnd TE wilefcent. -
Wulf: Libretto
WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield. -
Dr. Turhan Yörükân | Yunan Mitolojisinde Aşk
Dr. Turhan Yörükân | Yunan Mitolojisinde Aşk TÜRKİYE İŞ BANKASI Kültür Yayınları Dr. Turhan Yörükân 29 Aralık 1927'de İstanbul'da doğdu. Lise öğrenimini Latince eğitim veren çeşitli okullarda tamamladı. Dil ve Tarih Coğrafya Fakültesi Felsefe Bölümü'nü bitirdi; sonraları aynı fakültede psikoloji ve pedagoji -slstanı olarak görev yaptı. Gençliğinden başlayarak klasik filolojiyle İlgilenen Dr Yörükân Yunan mitosuna, felsefesine ve bilimine olan merakını hep canlı tuttu. Çeşitli bilimsel dergilerde makaleleri yayım lanan Dr. Yörükân yazar ve editör olarak otuzun üzerinde kitap yayımladı. Dr. Yörükân halen Ankara'da yaşıyor, çalışmalarını sürdürüyor. T Ü R K İY E İŞ B A N K A S I Kültür Yayınları Genel Yayın: 457 Edebiyat Dizisi: 115 Datça / Knidos’daki Aphrodite Euploia tapınağında yer alan Aphrodite heykeli için, Gaius Plinius Secundus (İ.S. 23- 79), yazdığı tabiî ilimler ansiklopedisinde (Naturalis Historia, 36, 20), “Praksiteles, bu eseriyle, mermer işleyen bir sanatçı olarak, kendisini bile aşmıştır... Onun bu eseri, sadece kendi yaptığı eserler içerisinde değil, bütün dünyadaki eserler içeri sinde en üstün olanı idi. Birçok kimse, denizler aşarak onu Knidos’ta görmeye geliyordu", diyor. Samsatlı (Samosatalı) Lukianos (İ.S. 120-200), Aşklar (13-14) adlı eserinde, “Bahçedeki bitkilerden yeterince haz duyduktan sonra, tapmağa girdik. Tanrıçanın Paros merme rinden yapılmış olağanüstü güzellikteki heykeli, tapmağın or tasında duruyordu... Vücudunun bütün güzelliği, herhangi bir örtü ile gizlenmiş değildi. Sadece bir eliyle, iffetini korumak istercesine önünü kapatıyordu. Sanatçının sergilediği üstün lük, taşın katı ve inatçı tabiatını kırmış, onu, her uzvun şekli ne uyum sağlamak zorunda bırakmıştı", diyor. Praksiteles’in yapmış olduğu Aphrodite heykelinin sikke ler üzerine darp edilmiş görüntüsü, aradan asırlar geçmiş ol masına rağmen, Roma Dönemi’nde etkisini sürdürmeye de vam etmiştir. -
Homer the Iliad
1 Homer The Iliad Translated by Ian Johnston Open access: http://johnstoniatexts.x10host.com/homer/iliadtofc.html 2010 [Selections] CONTENTS I THE QUARREL BY THE SHIPS 2 II AGAMEMNON'S DREAM AND THE CATALOGUE OF SHIPS 5 III PARIS, MENELAUS, AND HELEN 6 IV THE ARMIES CLASH 6 V DIOMEDES GOES TO BATTLE 6 VI HECTOR AND ANDROMACHE 6 VII HECTOR AND AJAX 6 VIII THE TROJANS HAVE SUCCESS 6 IX PEACE OFFERINGS TO ACHILLES 6 X A NIGHT RAID 10 XI THE ACHAEANS FACE DISASTER 10 XII THE FIGHT AT THE BARRICADE 11 XIII THE TROJANS ATTACK THE SHIPS 11 XIV ZEUS DECEIVED 11 XV THE BATTLE AT THE SHIPS 11 XVI PATROCLUS FIGHTS AND DIES 11 XVII THE FIGHT OVER PATROCLUS 12 XVIII THE ARMS OF ACHILLES 12 XIX ACHILLES AND AGAMEMNON 16 XX ACHILLES RETURNS TO BATTLE 16 XXI ACHILLES FIGHTS THE RIVER 17 XXII THE DEATH OF HECTOR 17 XXIII THE FUNERAL GAMES FOR PATROCLUS 20 XXIV ACHILLES AND PRIAM 20 I THE QUARREL BY THE SHIPS [The invocation to the Muse; Agamemnon insults Apollo; Apollo sends the plague onto the army; the quarrel between Achilles and Agamemnon; Calchas indicates what must be done to appease Apollo; Agamemnon takes Briseis from Achilles; Achilles prays to Thetis for revenge; Achilles meets Thetis; Chryseis is returned to her father; Thetis visits Zeus; the gods con-verse about the matter on Olympus; the banquet of the gods] Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Pausanias: Travel and Memory in Roman Greece
Pausanias: Travel and Memory in Roman Greece SUSAN E. ALOCOCK JOHN F. CHERRY JAS ELSNER, Editors OXFORD UNIVERSITY PRESS Pausanias pausanias Travel and Memory in Roman Greece Edited by Susan E. Alcock, John F. Cherry, & Jas´Elsner 3 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Saˆo Paulo Shanghai Singapore Taipei Tokyo Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Pausanias : travel and memory in Roman Greece / edited by S.E. Alcock, J.F. Cherry & J. Elsner. p. cm. Includes bibliographical references and index. ISBN 0-19-512816-8 (cloth) 1. Pausanias. Description of Greece. 2. Greece—Description and travel—Early works to 1800. 3. Greece—Antiquities. 4. Greece—Historiography. I. Alcock, Susan E. II. Cherry, John F. III. Elsner, Jas´. DF27.P383 P38 2000 938'.09—dc21 00-022461 Frontispiece: Location of principal places mentioned in the book. 987654321 Printed in the United States of America on acid-free paper For Silvia, Britten, and Bax This page intentionally left blank Preface This volume is dedicated to the principle that Pausanias deserves more—and more ambitious—treatment than he tends to receive.