Further Responses to Lewis's 'Lost Aeneid'
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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. -
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). -
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. -
Meter in Catullan Invective: Expectations and Innovation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2015 Meter in Catullan invective: expectations and innovation https://hdl.handle.net/2144/15640 Boston University BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation METER IN CATULLAN INVECTIVE: EXPECTATIONS AND INNOVATION by MICHAEL IAN HULIN WHEELER B.A., University of Florida, 2004 M.A., University of Florida, 2005 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 © Copyright by MICHAEL IAN HULIN WHEELER 2015 Approved by First Reader ______________________________________________________ Patricia Johnson, Ph.D. Associate Professor of Classical Studies Second Reader ______________________________________________________ James Uden, Ph.D. Assistant Professor of Classical Studies Third Reader ______________________________________________________ Jeffrey Henderson, Ph.D. William Goodwin Aurelio Professor of Greek Language and Literature Acknowledgements Above all others, I would like to thank my family for their support along the journey towards the completion of my dissertation. I owe the greatest gratitude to my wife, Lis, whose (long-suffering) patience, love, and willingness to keep me on track has been indispensable; to my parents and grandmother, who have been nothing but supportive and encouraging along the way; to my late grandfather and great-uncle, who showed me that getting a doctorate was a possibility (though admittedly the two-years-to- degree record was impossible to match); and finally to Caesar Augustus, the most classically educated dachshund I’ve ever known, and to his loving successor Livia, both of whom are sorely missed. -
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 -
2012 Njcl Certamen Advanced Division Round One
2012 NJCL CERTAMEN ADVANCED DIVISION ROUND ONE 1. Say in Latin, “Marcus is younger than I.” MĀRCUS EST MINOR NĀTŪ / IUNIOR MĒ / QUAM EGO B1: Now say in Latin: But Cicero is much older than me. SED CICERŌ EST MULTŌ MAIOR NĀTŪ / SENIOR MĒ / QUAM EGO B2: What use of the ablative case is illustrated in the phrase minor nātū, meaning “younger”? RESPECT / SPECIFICATION 2. At what battle in 225 BC did the Romans first by javelin and then by sword finally vanquish the advancing Gauls? TELAMON B1: After the victory at Telamon, the Romans decided to counter-invade northern Italy. What general, a plebeian and novus homō, first successfully defeated the Insubrēs in 223 BC? (GAIUS) FLAMINIUS B2: What Insubrian chieftain did Marcus Claudius Marcellus slay in 222 BC, thus earning the spolia opīma? VIRIDOMARUS 3. Which of the Muses is sometimes said to have been the mother of the Trojan ally Rhesus and is generally agreed to have been the mother of both Linus and Orpheus? CALLIOPE B1: Two of the muses are said to have been the mother of the Sirens by the river god Achelous. Name either one. MELPOMENE / TERPSICHORE B2: Which Muse, whom Tacitus might have invoked, was forced by Aphrodite to fall in love with a mortal, with whom she had a son named Hyacinth? CL(E)IO 4. What Latin author, in addition to being a statesman, was Rome’s first prose writer? (MARCUS PORCIUS) CATO THE ELDER B1: What is the Latin title of Cato’s only extant prose treatise? DĒ AGRĪ CULTŪRĀ / DĒ RĒ RUSTICĀ B2: What Greek historian did Cato have released after he was captured by the Romans? POLYBIUS 5. -
The Role of Female Characters in Vergil's Aeneid
Durham E-Theses The role of female characters in Vergil's Aeneid Akinluyi, Emmanuel Olusegun How to cite: Akinluyi, Emmanuel Olusegun (1965) The role of female characters in Vergil's Aeneid, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9714/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 1. "THE ROLE OF FEMALE CHARACTERS IN VERGIL 1 S AENEID" DISSERTATION PRESENTED TO THE UNIVERSITY OF DURHAM FOR THE DEGREE OF M.A • . BY EMMANUEL OLUSEGUN AKINLUYI OCTOBER 1965 The copyright of this thesis rests with the author. f . should be published without No quotatiOn rom tt · f t' on derived his prior written consent an d m orma 1 from it should be acknowledged. 2 CONTENTS Page Abstract...................................................... 3 CHAPTER ONE DIDO - 1 furor' and infelix; ~~Tai:~cru: ; alter Aeneas ; ................................• 6 CHAPTER TWO The words pius and pietas in reference to Aeneas and how they affect his relationship with Dido. -
Ap Latin Summer Assignment
AP LATIN SUMMER ASSIGNMENT: Cardinal Gibbons High School Magistra Crabbe: 2018/2019 Assignment: Read and prepare for a test on Books I, II, IV, VI, VIII, and XII of Virgil’s Aeneid. Directions: ● Carefully read the introduction to the Aeneid written by Bernard Knox, and fill out the corresponding reflection questions. These questions will be collected and graded in August. Content from the introduction will be represented on the test in August. ● Carefully read the English Portions of the Syllabus from Virgil’s Aeneid. This is the entirety of Books I, II, IV, VI, VIII, and XII of Virgil’s Aeneid. Students should read the Revised Penguin Edition by David West. Hard copies of this book are available from Mrs. Crabbe in room 211. ● Fill out the corresponding study questions for each book. In August, these study questions will be collected and graded. ● Students will take a test on these readings before beginning the Latin portion of the AP Syllabus. Index of This Document: Introduction to the Aeneid by Bernard Knox: pp 126 Reading Questions for Introduction: pp 2734 Book I Reading Questions: pp 3543 Book II Reading Questions: pp 4449 Book IV Reading Questions: pp 5056 Book VI Reading Questions: pp 5764 Book VIII Reading Questions: pp 6568 Book XII Reading Questions: pp 6974 Suggested Reading Schedule: May 28th June 1st: Relax this week and recover from your finals. Drink lots of water. Get plenty of sleep. Spend time outside and do something fun with your friends. Help your parents around the house. -
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.................................................................... -
Vergil and the English Poets Columbia University Press Sales Agents
Book .N h Copyright N^ CDRORIGHT DEPOSIT. Columbia Wini\itt0itv STUDIES IN ENGLISH AND COMPARATIVE LITERATURE VERGIL AND THE ENGLISH POETS COLUMBIA UNIVERSITY PRESS SALES AGENTS NEW YOltK LEMCKE & BUECHNER 30-32 Eabt 27tu Stueet LONDON HUMPHREY MILFORD Amen Corner, E.G. SHANGHAI EDWARD EVANS & SONS, Ltd. 30 North Szechuen Road VERGIL AND THE ENGLISH POETS BY ELIZABETH NITCHIE, Ph. D. Instructor in English in Goucher Collegb ^^^'^^^ COLUMBIA UNIVERSITY PRESS 1919 All rights reserved < Copyright, 1919 By Columbia University Press Printed from type, April, 1919 ^ k7 i9!9 ©CI.A515690 -v- .', ( This Monograph has been approved by the Department of English and Comparative Literature in Columbia University as a contribution to knowledge worthy of publication. A. H. THORNDIKE, Executive Officer PREFACE This book has grown out of a long-standing interest in the classics and a feeling that the connection between the Uterature of Greece and Rome and that of England is too seldom realized and too seldom stressed by the lovers and teachers of both. As Sir Gilbert Murray has said in his recent presidential address to the Classical Association of England, The Religion of a Man of Letters, ^^ Paradise Lost and Prometheus Unbound are . the children of Vergil and Homer, of Aeschylus and Plato. Let us admit that there must of necessity be in all English literature a strain of what one may call vernacular English thought. ... It remains true that from the Renaissance onward, nay, from Chaucer and even from Alfred, the higher and more massive workings of our literature owe more to the Greeks and Romans than to our own un-Romanized ancestors." Vergil has probably exerted more influence upon the literature of England throughout its whole course and in all its branches than any other Roman poet. -
University Micrdnlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Fama and Fiction in Vergil's Aeneid
Fama and Fiction in Vergil’s Aeneid For my sister, Lydia Fama and Fiction in Vergil’s Aeneid Antonia Syson The Ohio State University Press • Columbus Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Syson, Antonia Jane Reobone, 1973– Fama and fiction in Vergil’s Aeneid / Antonia Syson. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1234-9 (cloth : alk. paper) ISBN-10: 0-8142-1234-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9336-2 (cd-rom) ISBN-10: 0-8142-9336-0 (cd-rom) 1. Virgil. Aeneis—Criticism and interpretation. 2. Epic poetry, Latin—History and criticism. 3. Rhetoric, Ancient. I. Title. PA6932.S97 2013 873'.01—dc23 2013014967 Cover design by Mia Risberg Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. Cover image: Master of the Aeneid (fl. ca. 1530–1540). Juno, Seated on a Golden Throne, Asks Alecto to Confuse the Trojans. France, Limoges, ca. 1530–35. Painted enamel plaque on copper, partly gilt, H. 9 in. (22.9 em) ; W. 8 in. (20.3 em.). Fletcher Fund, 1945 (45.60.6). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Chapter 1 • Introduction 1 1.1 The seams of fiction in