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COMMENTARY Calchas on the Basis of an Omen Declares That Troy Must
COMMENTARY 1-20 Calchas on the basis of an omen declares that Troy must be taken by trickery. It is easy to assert 1 that Q. has combined the traditional detail2 of Odysseus' device ofthe Horse with Sinon's claim in Virg. A. 2. 185f. that Calchas 'ordered' the Greeks to build it. Even if the detail is Virg. 's own 3, in Q. Calchas' intervention is grounded in reality, is based on a wholly dif ferent set of circumstances, is strategically necessary (an effective method of crushing the stiff opposition put up by the god-fearing Neoptolemos, a motif certainly not of Q. 's own devising: 66-103n. ), and must be viewed against the background of a tradition in which oracles, prophecies and portents abound4 , and in which Calchas came to assume an increasingly dominant role 5 • Q. 's Calchas indeed (for his teaming up with Odysseus cf. the n. on 360-88, § 4 (a) (ii)) is a leading light in decision making both before and after the fall of Troy6 • His Trojan counterpart Helenos, so popular elsewhere, is virtually driven out of the action: he is a fighter viii. 252f., xi. 348f.; a seer, though not explicitly so, only in the chaotic prophecy of Hera at x. 346f. Calchas is on the scene at this point in the saga in Dictys 5. 7: he predicts that Troy will fall into Greek hands on the basis of an omen involving an eagle carrying a victim's entrails. The doubly inept Triph. 172f. is worth a passing glance: the 'aged' Calchas is in the Horse, and in his capacity as a seer he is well aware ( EU Elow~) that the Greeks were at long last going to take Troy.-Triph. -
Consider Rembrandt's “Aristotle Contemplating the Bust of Homer
Charles Hill Yale University / Stanford University The Trojan Horse: Grand Strategy and National Identity Consider Rembrandt’s “Aristotle Contemplating the Bust of Homer.” What is he contemplating? How to convey the matters of war and peace, of strategy and humanity found in Homer’s Iliad and Odyssey to Aristotle’s pupil Alexander. Homer’s face and sightless eyes give no clue. Aristotle’s gaze is off into space. His right hand to Homer’s head; his left hand fingers the chain that carries a pendant engraved with the head of Alexander the Great, whose expression we cannot make out. We can imagine the thoughts and words of Homer running like an electric current up to and through the mind of Aristotle, then down and on into the mind and actions of the conqueror of the world. Sometime around the year 345 Aristotle moved to the island of Mytilene where he did biological observation. Then in 343 came the invitation for which he ever after was famed: to come to the court of King Philip II of Macedonia to tutor his son Alexander, who was then thirteen years of age. As one historian put it: A rich romance came to surround that happy coupling of prince and philosopher, and we shall not hope to see through the fog of legend or determine how far Aristotle influenced his ambitious and unlovely charge –– the boy who would become Alexander the Great and rule the world from the Peloponnesus to Persia to the Punjab. So Aristotle was given the opportunity in actuality that Plato only longed for in theory –– to educate a philosopher-king. -
And Type the TITLE of YOUR WORK in All Caps
IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr. -
Trojan War - Wikipedia, the Free Encyclopedia Trojan War from Wikipedia, the Free Encyclopedia for the 1997 Film, See Trojan War (Film)
5/14/2014 Trojan War - Wikipedia, the free encyclopedia Trojan War From Wikipedia, the free encyclopedia For the 1997 film, see Trojan War (film). In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen Trojan War from her husband Menelaus king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; its sequel, the Odyssey describes Odysseus's journey home. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful Achilles tending the wounded Patroclus of all women and wife of Menelaus, fall in love with Paris, who (Attic red-figure kylix, c. 500 BC) took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean The war troops to Troy and besieged the city for ten years because of Paris' Setting: Troy (modern Hisarlik, Turkey) insult. -
Minor Characters in the Aeneid Page 1
Minor Characters in the Aeneid Page 1 The following characters are described in the pages that follow the list. Page Order Alphabetical Order Aeolus 2 Achaemenides 8 Neptune 2 Achates 2 Achates 2 Aeolus 2 Ilioneus 2 Allecto 19 Cupid 2 Amata 17 Iopas 2 Andromache 8 Laocoon 2 Anna 9 Sinon 3 Arruns 22 Coroebus 3 Caieta 13 Priam 4 Camilla 22 Creusa 6 Celaeno 7 Helen 6 Coroebus 3 Celaeno 7 Creusa 6 Harpies 7 Cupid 2 Polydorus 7 Dēiphobus 11 Achaemenides 8 Drances 30 Andromache 8 Euryalus 27 Helenus 8 Evander 24 Anna 9 Harpies 7 Iarbas 10 Helen 6 Palinurus 10 Helenus 8 Dēiphobus 11 Iarbas 10 Marcellus 12 Ilioneus 2 Caieta 13 Iopas 2 Latinus 13 Juturna 31 Lavinia 15 Laocoon 2 Lavinium 15 Latinus 13 Amata 17 Lausus 20 Allecto 19 Lavinia 15 Mezentius 20 Lavinium 15 Lausus 20 Marcellus 12 Camilla 22 Mezentius 20 Arruns 22 Neptune 2 Evander 24 Nisus 27 Nisus 27 Palinurus 10 Euryalus 27 Polydorus 7 Drances 30 Priam 4 Juturna 31 Sinon 2 An outline of the ACL presentation is at the end of the handout. Minor Characters in the Aeneid Page 2 Aeolus – with Juno as minor god, less than Juno (tributary powers), cliens- patronus relationship; Juno as bargainer and what she offers. Both of them as rulers, in contrast with Neptune, Dido, Aeneas, Latinus, Evander, Mezentius, Turnus, Metabus, Ascanius, Acestes. Neptune – contrast as ruler with Aeolus; especially aposiopesis. Note following sympathy and importance of rhetoric and gravitas to control the people. Is the vir Aeneas (bringing civilization), Augustus (bringing order out of civil war), or Cato (actually -
DECEPTION and THEODICY in AENEID 1-4 by Kevin Gaul
DECEPTION AND THEODICY IN AENEID 1-4 by Kevin Gaul Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2017 © Copyright by Kevin Gaul, 2017 To my patient parents and somewhat faithful dog. ii TABLE OF CONTENTS ABSTRACT ...................................................................................................................... iv LIST OF ABBREVIATIONS USED ............................................................................... v ACKNOWLEDGEMENTS ............................................................................................ vi CHAPTER 1. INTRODUCTION .................................................................................... 1 CHAPTER 2. LATE AEQUARA TUTA SILENT ........................................................... 6 CHAPTER 3. DOLUS AN VIRTUS, QUIS IN HOSTE REQUIRAT? ........................ 19 CHAPTER 4. POSTQUAM RES ASIAE PRIAMIQUE EVERTERE GENTEM ...... 33 CHAPTER 5. UNA DOLO DIVUM SI FEMINA VICTA DUORUM EST ................. 50 CHAPTER 6. CONCLUSION ....................................................................................... 61 REFERENCES ................................................................................................................ 68 iii ABSTRACT The theme of deception, or dolus, is undeniably central to the Aeneid, both as a frequent vehicle for the unfolding narrative and as a means by which the poet explores more complex themes. Ultimately, this thesis aims to shed light -
Ralph Hexter
Ralph Hexter What was the Trojan Horse Made Of?: Interpreting Vergil 's Aeneid The most startling feature of the Aeneid's narrative economy is the flash- back represented by books 2 and 3, the account of the fall of Troy and then of Aeneas's wanderings told in Carthage by Aeneas to Dido. Star- tling it is not in the context of Vergilian imitation of Homer: Aeneas tells his story to Dido as Odysseus had told parts of his to the Phaeacians in the Odyssey. 1 But while the Odyssey serves as a rich subtext for the Aeneid, it does not serve readers well if it dulls us to what is novel and, in my view, most characteristically Vergilian about the Roman poet's use of inset narrative, which he doubles or squares. For just as Aeneas's narrative to Dido is set near the beginning of Vergil's narrative to us, as the second and third of twelve books, so near the beginning of Aeneas's narrative we have the account of Sinon's2 deception of the Trojans-by means of storytelling-which leads to their undoing as they accept the Trojan horse into the city. This is a short circuit of narrative and interpretation that no listener or interpreter can overlook. For me, it is the primal scene of narration and misinterpretation in the Aeneid. 3 That this inner scene of narrative deception and misinterpretation is itself part of Aeneas's tale to Dido, which in different ways and for very different reasons leads to her undoing, and that Aeneas's account and Dido's suicide are in turn set within Vergil's narrative to us, has profound ramifications for our understanding of Vergil's text and of our own role and responsibilities as readers. -
The Motion Picture Meets Greek Mythology
The Motion Picture Meets Greek Mythology Sarah Fattore-Castro INTRODUCTION This curriculum unit is designed to encourage seventh grade reading students to visualize Greek myths and discern between actual Greek mythology and pieces from other mythology. Greek myths are not only a fun way to learn about ancient Greece, but also a link to everyday life. From early childhood we are exposed to images of Hercules, Zeus, and many other myths taken from ancient Greece. In my curriculum unit, I will look at several myths and versions of these myths. I will then look at the film portrayal of these same myths included in Clash of the Titans, Jason of the Argonauts, and A Midsummer Night’s Dream. This unit can be adapted to any secondary class studying Greek mythology and its impact on Western literature and film. The evolution of Greek mythology exists all around us. Therefore, the purpose of studying these myths in secondary education stems from its role in Western literature and culture. Greek mythology is seen in architecture, literature, medicine, government and art. Mythology is the study of myths. The word myth itself comes from the Latin word mythos and from the Greek word muthos, meaning “story” (Elements, 454). Myths are stories meant to explain a phenomenon and often fit in religious rituals. They were handed down generation to generation through word of mouth until finally recorded by poets such as Homer. Of course, through the passing through many generations, myths began to change; people began to create new myths such as the myth of Cupid and Psyche. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
The TROJAN WAR
The TROJAN WAR The Chronicles of Dictys of Crete Indiana University Greek and Latin Classics and Dares the Phrygian TRANSLATED WITH AN INTRODUCTION AND NOTES BY R. M. FRAZER, JR. Indiana University Press BLOOMINGTON & LONDON CONTENTS INTRODUCTION The Medieval Troy Story 3 The Anti-Homeric Tradition 5 Dictys 7 Dares 11 The Translation 15 A JOURNAL OF THE TROJAN WAR by Dictys of Crete Letter 19 Preface 20 Book One 23 Book Two 37 Book Three 70 Book Four 87 Book Five 103 Book Six 119 THE FALL OF TROY, A HISTORY by Dares the Phrygian [Letter] 133 Sections 1-44 133 ALL RIGHTS RESERVED Copyright © 1966 by Indiana University Press BIBLIOGRAPHY 169 Library of Congress catalog card number: 65-19709 NOTES 170 Manufactured in the United States of America INDEX OF PROPER NAMES 180 v THE TROJAN WAR The Chronicles Adcnowledgments of Dictys of Crete The present volume brings together for the first time in En and Dares the Phrygian glish translation the accounts of Dictys and Dares about the Trojan War. These works deserve our careful attention as the principal sources of the medieval Troy story and as examples of the anti-Homeric literature of late antiquity. In the introduction I have briefly described the influence of our authors on later European literature, and have tried to show how our Latin texts depend on Greek originals. For the latter purpose I have found the scholarship of Nathaniel Edward Griffin especially rewarding for Dictys and that of Otmar Schissel von Fleschenberg for Dares. I have used the notes to comment on matters of form (how our Latin texts probably differ from their Greek originals), to point out difficulties and incon sistencies, and to cite some of the sources and parallel versions of the stories that Dictys and Dares tell. -
Aeneid Iii: Aeneas’ Voyage Per Imperium
AENEID III: AENEAS’ VOYAGE PER IMPERIUM by B. TODD THOMASON (Under the Direction of Sarah Spence) ABSTRACT This thesis is an analysis of Aeneas’ stops at Crete, Mt. Etna, Thrace, Buthrotum, Drepanum, Delos, the Strophades, Actium, and Castrum Minervae in Aeneid III. Of these nine landfalls, six are part of the traditional Aeneas legend while three appear to be Vergilian inventions. The purpose of this study is to analyze the actions and experiences of the Trojans in these various locations in an effort to discover why Vergil selected these particular settings for Aeneas’ adventures. The episodes are divided into those that celebrate Rome’s triumph over the Greek East and those that expose the pain, hardship, and even irony inherent in that triumph with the goal of revealing Vergil’s objective assessment of the empire in which he lived. INDEX WORDS: Vergil, Virgil, Aeneid—Criticism, Rome—History, Rome—Literature Crete, Sicily, Thrace, Buthrotum, Delos, Strophades, Actium, Castrum Minervae, Aeneid 3, Aeneas AENEID III: AENEAS’ VOYAGE PER IMPERIUM by B. TODD THOMASON B.A., The University of North Carolina at Greensboro, 1997 M.Div., Mercer University, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 © 2004 B. Todd Thomason All Rights Reserved AENEID III: AENEAS’ VOYAGE PER IMPERIUM by B. TODD THOMASON Major Professor: Sarah Spence Committee: Robert Curtis T. Keith Dix Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2004 KRISTENAE CONIUGI AMICAE DELICIIS ET P. -
In the Beginning Was the House: Part One: How Social
In the Beginning Was the House1 Part One: How Social and Identity Formation of Early Christian Groups Took Place Dennis E. Smith† Introduction If we are to attempt a thick description of first- and second-century Christ group social and identity formation, we must take seriously the importance of the context, that is, the physical space in which that formation took place. Indeed, before we can correctly analyze any text, concept, or theology we need to ac- count for the physical space in which it was born and nurtured. Too often we interpret our data as if it existed only as a set of ideas or as if it was manifest in some version of “church” as we know it today. In fact, physical space is more often than not a determinative factor of meaning. I propose that the physical space where early Christ groups were formed was the ancient house. The house is the primary, if not the only, named assembly space for Christ groups in the NT. The house was the determinative social en- vironment for what they became. It was never viewed as a temporary meeting place until they could build a proper church, since church buildings did not yet exist, either physically or conceptually. The house was synonymous with their identity as Christ followers. They had fully adapted to and were fully embed- ded in the social environment of the house. Archaeological Data2 Interpreting the house as a social environment begins with the archaeo- logical data. The spectacular remains of Roman period houses in Pompeii, Herculaneum, and Ephesus offer a rich collection of such data.